Charles Limb: Your brain on improv

74,850 views ・ 2011-01-05

TED


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譯者: Yang Zhao 審譯者: Ariel Hsu
我是一個研究創造力的外科醫師,
00:16
So I am a surgeon who studies creativity,
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00:18
and I have never had a patient tell me,
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從來沒有一個病人對我說
00:21
"I really want you to be creative during surgery,"
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我希望您能在手術時來點創意。
00:24
and so I guess there's a little bit of irony to it.
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我想這有點諷刺意味。
00:27
I will say though that, after having done surgery a lot,
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但是我要說,在實施過無數次的外科手術之後,
00:30
it's similar to playing a musical instrument.
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我覺得手術在一定程度上跟彈奏一種樂器很相似。
00:32
And for me, this deep and enduring fascination with sound
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而對於我來說,正是這種深刻而持久的聲音魅力,
00:35
is what led me to both be a surgeon
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吸引著我在做一個手術醫師的同時,
00:37
and to study the science of sound, particularly music.
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學習研究聲音的科學,特別是音樂。
那麼,在下面的幾分鐘裡,我將試著跟你們談論
00:40
I'm going to talk over the next few minutes
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關於我的職業
00:42
about my career
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00:43
in terms of how I'm able to study music
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特別在於我究竟是如何研究音樂
00:45
and try to grapple with all these questions
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以及努力設法解決這些關於
00:47
of how the brain is able to be creative.
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大腦如何產生創意的疑問。
00:50
I've done most of this work at Johns Hopkins University,
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這些工作大部分是我在約翰·霍普金斯大學時候完成的,
00:52
and at the National Institute of Health where I was previously.
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也有一些是我之前在美國國家健康研究中心做的。
我會先回顧一下一些科學實驗
00:55
I'll go over some science experiments and cover three musical experiments.
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並且會涉及三個音樂實驗。
我想從給你們展示一段影片開始。
00:59
I will start off by playing a video for you.
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這是基斯·哈雷特的一段影片, 他是一位著名的爵士即興音樂創作人,
01:01
This video is of Keith Jarrett, who's a well-known jazz improviser
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並且可能是最著名的,能將即興創作
01:04
and probably the most well-known, iconic example
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提升到一個相當高水平且最具代表性的人物。
01:07
of someone who takes improvisation to a higher level.
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並且,他將用他的大腦
01:09
And he'll improvise entire concerts off the top of his head,
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創作出整場音樂會,
01:12
and he'll never play it exactly the same way again,
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並且他將永遠不會再用一模一樣的方式表演。
因此, 以一種極高度的創作形式來說,
01:15
so as a form of intense creativity,
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我想這是一個非常好的例子。
01:17
I think this is a great example.
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01:18
And so why don't we go and click the video.
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所以現在讓我們來看看這段影片吧。
01:21
(Music)
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(音樂)
02:17
(Music ends)
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剛剛發生的一切真是非凡而美妙。
02:19
It's really a remarkable thing that happens there.
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一直以來 -- 我只是一個聆聽者,一個樂迷 --
02:21
I've always as a listener, as a fan,
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我聽著,然後我被震懾住了。
02:23
I listen to that, and I'm astounded.
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02:24
I think -- how can this possibly be?
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我想:這怎麼可能發生?
02:26
How can the brain generate that much information,
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大腦怎麼能自行產生那麼多的信息,
那麼多的音樂?
02:29
that much music, spontaneously?
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02:30
And so I set out with this concept, scientifically,
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所以,我合乎科學地展開這個概念,
02:33
that artistic creativity, it's magical, but it's not magic,
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具有藝術性的創作,它是神奇的,但它不是魔術。
意思是說,它是大腦的產物。
02:37
meaning that it's a product of the brain.
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沒有很多的腦死亡者在創作藝術。
02:39
There's not too many brain-dead people creating art.
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所以基與這種理念,那藝術性的創作
02:42
With this notion that artistic creativity is in fact a neurologic product,
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實際上是一種神經產物,
02:45
I took this thesis that we could study it
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我帶來了這個議題,我們可以來研究一下,
02:48
just like we study any other complex neurologic process,
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就像我們可以研究別的複雜的神經過程一樣。
02:51
and there are subquestions that I put there.
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並且, 我覺得還有一些我放在那裡的小問題。
02:53
Is it possible to study creativity scientifically?
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真的有可能用科學的方法研究創造力嗎?
02:55
And I think that's a good question.
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我認為這是個很好的問題。
02:57
And I'll tell you that most scientific studies of music,
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我要告訴你們,大部分針對音樂所做的科學研究,
03:00
they're very dense,
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它們非常難以理解。
03:02
and when you go through them,
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當你閱讀它們時,很難從中辦識音樂。
03:03
it's very hard to recognize the music in it.
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03:05
In fact, they seem to be unmusical entirely
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實際上,它們整個看上去非常的不具音樂性。
03:07
and to miss the point of the music.
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而且完全失去了音樂的特性。
03:09
This brings the second question:
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因此,這就帶來了第二個問題:
03:11
Why should scientists study creativity?
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為什麼科學家們要研究創造力呢?
03:13
Maybe we're not the right people to do it.
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也許我們並不是研究音樂的正確人選。
03:15
(Laughter)
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但也有可能我們是。
03:16
Well it may be, but I will say that, from a scientific perspective,
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但是,我將要說,從一個科學的角度 ——
03:19
we talked a lot about innovation today,
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當今我們談論很多關於創新的事情。
03:21
the science of innovation,
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科學創新。
03:23
how much we understand about how the brain is able to innovate
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我們對大腦如何可以創新的認知
還只是初級。
03:26
is in its infancy,
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03:27
and truly, we know very little about how we are able to be creative.
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是的,我們對我們如何可以創新知之甚少。
03:30
I think that we're going to see,
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所以,我想,我們將看到
03:32
over the next 10, 20, 30 years,
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再過10年,20年,30年
03:34
a real science of creativity that's burgeoning
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一種關於創造力的真實科學將會迅速發展,並且繁榮興旺。
03:36
and is going to flourish,
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03:37
Because we now have new methods that can enable us
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因為現在有新的方法使得我們可以
運用這些類似的過程,
03:40
to take this process like complex jazz improvisation,
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像複雜的爵士即興表演,嚴僅地研究它
03:42
and study it rigorously.
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讓它一直深入到大腦。
03:44
So it gets down to the brain.
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這樣以後我們都可以擁有這個非凡的大腦,
03:46
All of us have this remarkable brain,
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而現在我們對大腦只有差強人意的認識。
03:48
which is poorly understood, to say the least.
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03:50
I think that neuroscientists have more questions than answers,
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我想,神經學家們
的問題可能比答案還多。
03:54
and I'm not going to give you answers today,
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而我自己,我今天將不會給你們很多的解答。
03:56
just ask a lot of questions.
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我只問大量的問題。
03:58
And that's what I do in my lab.
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基本上,這正是我每天在實驗室作的事情。
03:59
I ask questions about what is the brain doing to enable us to do this.
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我會問很多問題,關於我們的大腦做了什麼才使得我們可以做這做那。
這就是我用的主要方法。 這種方法叫功能磁共振影像。
04:03
This is the main method that I use. This is functional MRI.
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如果你有在磁共振影像掃描儀中待過,基本上是相同的東西,
04:06
If you've been in an MRI scanner, it's very much the same,
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04:08
but this one is outfitted in a special way to not just take pictures of your brain,
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但這一個被裝備成一種特別的方式
它不僅能為你的腦部拍照,
04:12
but to also take pictures of active areas of the brain.
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還為腦部的活動區域拍照。
04:15
The way that's done is by the following:
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下面就是這個方法的實現:
04:17
There's something called BOLD imaging,
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這是一種叫血氧影像的東西,
04:19
which is Blood Oxygen Level Dependent imaging.
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是血和氧氣水平的影像。
當你處在一個功能磁共振影像掃描儀中時,
04:22
When you're in an fMRI scanner, you're in a big magnet
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你是在一個巨大的磁場中
04:25
that's aligning your molecules in certain areas.
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將你局部區域的分子排列起來。
04:27
When an area of the brain is active, meaning a neural area is active,
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當大腦的某塊區域在活動,也就是說一塊神經區域在活動的時候,
它使血流轉到那塊區域。
04:31
it gets blood flow shunted to that area.
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04:33
That blood flow causes an increase in local blood to that area
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血流造成
那塊區域的血量增加
04:37
with a deoxyhemoglobin change in concentration.
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它改變脫氧血紅蛋白的濃度。
04:40
Deoxyhemoglobin can be detected by MRI,
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去氧合血紅蛋白可以被磁共振成像探測到,
而氧基红血球素不能被探測到。
04:43
whereas oxyhemoglobin can't.
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04:44
So through this method of inference --
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所以通過這種推斷 ——
04:46
and we're measuring blood flow, not neural activity --
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並且我們在測量血流,而不是神經活動——
我們稱之為大腦某個血量正在增加的區域
04:49
we say that an area of the brain that's getting more blood
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在某特別的任務中是活動的。
04:52
was active during a particular task, and that's the crux of how fMRI works.
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那就是功能磁共振成像的工作原理的關鍵之處。
而它從90年代以來
04:55
And it's been used since the '90s to study really complex processes.
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就被用來研究相當複雜的過程。
04:59
I'm going to review a study that I did, which was jazz in an fMRI scanner.
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現在我將來回顧一下我自己做的一個研究,
這個研究是關於功能磁共振掃描儀中的爵士樂。
05:03
It was done with a colleague, Alan Braun, at the NIH.
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這是我和我的一個同事,亞倫·布勞恩,在美國國家健康研究中心時做的。
05:05
This is a short video of how we did this project.
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這是一個我們如何進行這個項目的短片。
05:08
(Video) Charles Limb: This is a plastic MIDI piano keyboard
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(視頻)查爾斯·理姆:這是一個塑料的MIDI (音樂設備數字接口)鋼琴鍵盤
我們用這個鍵盤來進行爵士樂實驗。
05:11
that we use for the jazz experiments.
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05:12
And it's a 35-key keyboard
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它是一塊35鍵的鍵盤
05:14
designed to fit both inside the scanner,
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這樣設計是爲了同時適合掃描儀內部,
同時安全地帶著磁性,
05:17
be magnetically safe,
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05:18
have minimal interference that would contribute to any artifact,
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將人為造成的干擾物質
減低到最少量
05:22
and have this cushion so that it can rest on the players' legs
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並且有這個墊子,這樣演奏者可以將它放在腿上
05:25
while they're lying down in the scanner, playing on their back.
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當他們躺在掃描儀里,用他們的背後表演時。
05:28
It works like this -- this doesn't actually produce any sound.
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它是這樣工作的 ——它並不真正產生任何聲音。
05:31
It sends out what's called a MIDI signal --
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它會輸出一個 MIDI 的信號--
或者叫音樂設備數字接口--
05:34
or a Musical Instrument Digital Interface --
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信號通過這些電線中進入這個盒子然後進入電腦,
05:36
through these wires into the box and then the computer,
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05:38
which then trigger high-quality piano samples like this.
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然後發出一個高品質的鋼琴聲。
05:41
(Music)
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(音樂)
(音樂)
05:48
(Music)
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06:07
(Music ends)
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06:09
OK, so it works.
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查爾斯·理姆:好,所以它是可用的。
06:11
And so through this piano keyboard,
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所以通過這個鋼琴鍵盤,
06:13
we have the means to take a musical process and study it.
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我們現在有辦法獲取一段音樂的過程並來研究它。
那現在你有了這個很酷的鋼琴鍵盤了,你要做點什麼呢?
06:16
So what do you do now that you have this cool piano keyboard?
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06:18
You can't just say, "It's great we have a keyboard."
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你不能光說——“我們弄到這麼各好鍵盤真是太棒了。”
實際上,我們必須想出一個科學實驗。
06:21
We have to come up with a scientific experiment.
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這個實驗依靠以下這些。
06:23
The experiment really rests on the following:
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06:26
What happens in the brain during something that's memorized and over-learned,
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當我們依循記憶運用一些熟悉的事物時,大腦會如何活動?
06:29
and what happens in the brain during something
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當自發的產生或即興創作出一些東西,
我們的大腦又發生了什麼
06:32
that is spontaneously generated, or improvised,
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在某種程度上那是運動神經
06:34
in a way that's matched motorically
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和低階感官運動特徵符合的情形?
06:36
and in terms of lower-level sensory motor features?
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所以,我這裡提供一個範例。
06:39
I have here what we call the paradigms.
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06:41
There's a scale paradigm, which is playing a scale up and down, memorized,
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有一個音階範例,就是彈奏上下的音調,並記起來。
然後是這段音階的即興演奏--
06:45
then there's improvising on a scale,
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06:46
quarter notes, metronome, right hand --
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4分音符,節拍器,右手--
06:48
scientifically very safe,
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從科學觀點是很安全的,
06:50
but musically really boring.
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但是從音樂角度來說確非常無聊。
06:52
Then there's the bottom one, which is called the jazz paradigm.
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最後還有一個,稱為爵士樂的範例。
然後我們將專業的爵士樂手帶到美國國家健康研究中心,
06:55
So we brought professional jazz players to the NIH,
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接著讓他們記住像左下方的音樂,
06:57
and we had them memorize this piece of music on the lower-left,
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就是你們剛剛聽我彈的這段,
07:00
which is what you heard me playing --
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然後我們讓他們即興創作同一段相同的和弦。
07:02
and we had them improvise to the same chord changes.
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如果你點擊右下方的聲音圖標,
07:05
And if you can hit that lower-right sound icon,
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這裡有一個掃描儀記錄的例子。
07:07
that's an example of what was recorded in the scanner.
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(音樂)
07:10
(Music)
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07:35
(Music ends)
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總而言之,這並不是最自然的環境,
07:37
In the end, it's not the most natural environment,
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但是他們能夠演奏真實的音樂。
07:39
but they're able to play real music.
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雖然我已經把那段獨奏聽過200次了,
07:41
And I've listened to that solo 200 times,
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我仍然喜歡它。
07:43
and I still like it.
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07:44
And the musicians were comfortable in the end.
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而音樂家們,他們最後也感覺很好。
我們先測量這些音符的數量。
07:47
We first measured the number of notes.
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07:48
Were they playing more notes when they were improvising?
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他們在即興表演時真的彈奏了更多的音符嗎?
並不是這樣的。
07:51
That was not what was going on.
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然後我們看了腦部的活動。
07:53
And then we looked at the brain activity.
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我試著把這部分壓縮,來告訴你們。
07:55
I will try to condense this for you.
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這是對比圖,它顯示出
07:57
These are contrast maps that are showing subtractions between what changes
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當你在即興創作
08:00
when you're improvising vs. when you're doing something memorized.
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和你正在做記憶中的事情時的差值。
08:03
In red is an area that's active in the prefrontal cortex,
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紅色部分是前額葉皮質活動的區域,
是大腦的前額葉。
08:06
the frontal lobe of the brain,
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08:07
and in blue is this area that was deactivated.
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而藍色,是不活動的區域。
我們管這個重點區域叫做內側前額葉皮質
08:10
So we had this focal area called the medial prefrontal cortex
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活動很頻繁。
08:13
that went way up in activity.
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這塊寬的區域稱為外側前額葉皮層
08:14
We had this broad patch of area called the lateral prefrontal cortex
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活動較遲緩, 我們來做個總結。
08:17
that went way down in activity,
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08:19
I'll summarize that for you.
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這些是腦部的多功能區域。
08:20
These are multifunctional areas of the brain,
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就像我說的,這不是大腦裡爵士樂的區域。
08:22
these are not the jazz areas of the brain.
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他們負責主要的事情
08:25
They do a whole host of things
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這些事情跟自我反省,
08:27
that have to do with self-reflection,
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08:28
introspection, working memory etc.
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內省及工作記憶相關。
真實的意識存在前額葉.
08:31
Really, consciousness is seated in the frontal lobe.
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08:33
But we have this combination
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但是我們認為有一個相關的區域
08:35
of an area that's thought to be involved in self-monitoring, turning off,
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自我控制的部分是關閉的,
而這塊區域被認為是自動傳遞(導)的,
08:39
and this area that's thought to be autobiographical,
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或者是自我表現的區域開啟了。
08:41
or self-expressive, turning on.
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我們認為,至少初步認為
08:43
We think, at least in this preliminary --
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這是一項研究,它可能是錯誤的。
08:45
it's one study; it's probably wrong, but it's one study --
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但它仍然是一項研究。
08:48
(Laughter)
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我們認為,至少一個合理的假說
08:49
we think that at least a reasonable hypothesis
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是,要有創造性,
08:52
is that, to be creative,
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08:53
you should have this weird dissociation in your frontal lobe.
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你的前額葉不得不有這樣的分離。
一塊區域工作,而一大塊區域關閉,
08:56
One area turns on, and a big area shuts off,
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從而使你不被約束,願意去犯錯誤,
08:58
so that you're not inhibited, you're willing to make mistakes,
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因此你不是一直處於
09:01
so that you're not constantly shutting down
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關閉所有這些新的能夠製造東西的衝動狀態。
09:03
all of these new generative impulses.
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09:05
Now a lot of people know that music is not always a solo activity --
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現在,很多人知道音樂並不總是一個獨立的活動——
有時它是一個溝通性的活動。
09:09
sometimes it's done communicatively.
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所以下一個問題是:
09:11
The next question was:
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09:12
What happens when musicians are trading back and forth,
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當音樂家們前後替換時,
09:14
something called "trading fours,"
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被稱為4小節交換,
09:16
which is something they do normally in a jazz experiment.
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也就是他們通常在爵士樂實驗中做的?
這是一段12小節的布魯斯音樂。
09:19
So this is a 12-bar blues,
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09:20
and I've broken it down into four-bar groups,
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我將它按四小節分組,
09:22
so you would know how you would trade.
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所以你知道你是怎樣交換的。
09:24
We brought a musician into the scanner, same way,
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現在,我們將一位音樂家置入掃描儀--用同樣的方式--
讓他們記憶這段旋律
09:27
had them memorize this melody
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09:28
then had another musician out in the control room
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然後讓另外一名音樂家在外面的控制室
前後互動相互彈奏。
09:31
trading back and forth interactively.
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09:33
So this is a musician, Mike Pope,
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這是一位音樂家,麥克·波普,
09:35
one of the world's best bassists and a fantastic piano player.
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世界上最好的貝司手之一,也是一個了不起的鋼琴家。
09:38
(Music)
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他現在正在彈這段
09:45
He's now playing the piece that we just saw
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我們剛剛看到的
09:47
a little better than I wrote it.
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只是他彈的比我寫得好一點。
09:49
(Video) CL: Mike, come on in.
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(視頻)查爾斯·理姆:
09:51
Mike Pope: May the force be with you.
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護士:你口袋里沒東西了,對吧 麥克?
09:52
Nurse: Nothing in your pockets, Mike?
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麥克·波普:是的,我口袋裡什麼也沒有了。 (護士: 好。)
09:54
MP: No. Nothing's in my pockets.
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10:05
CL: You have to have the right attitude to agree to do it.
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查爾斯·理姆:你必須用正確的態度接受它。
(笑聲)
10:08
(Laughter)
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10:09
It's kind of fun, actually.
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它其實挺有趣的。
10:11
(Music)
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現在我們開始交互彈奏。
10:13
Now we're playing back and forth.
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他在裏面了。你可以看到他的腿在那裡。
10:15
He's in there. You can see his legs up there.
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10:17
(Music)
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10:18
And then I'm in the control room here, playing back and forth.
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而我在控制室裡,交互彈奏。
10:21
(Music)
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(音樂)
10:31
(Music ends)
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10:33
(Video) Mike Pope: This is a pretty good representation
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(視頻)麥克·波普: 這剛好可以好好的表現
10:36
of what it's like.
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它的形式。
10:38
And it's good that it's not too quick.
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而且它很好因為它不是很快。
10:40
The fact that we do it over and over again
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事實上,我們一遍一遍地重複它,
讓你習慣你周圍的環境。
10:43
lets you acclimate to your surroundings.
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所以對我來說最難的是運動知覺的部份,
10:47
So the hardest thing for me was the kinesthetic thing,
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10:49
looking at my hands through two mirrors,
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藉由兩面鏡子
看我的雙手,
10:53
laying on my back,
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躺著
10:55
and not able to move at all except for my hand.
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除了手,別的都不能動。
10:57
That was challenging.
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這很有挑戰性。
10:59
But again --
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但是再一次,
有一瞬間,非常確定的,
11:02
there were moments, for sure --
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有一瞬間,
11:05
(Laughter)
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11:06
there were moments of real, honest-to-God musical interplay, for sure.
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4363
真的,真誠的音樂相互作用,是肯定的。
查爾斯·理姆:在這一點上,我要耽誤一點時間。
11:11
CL: At this point, I'll take a few moments.
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你們現在能看到什麽--
11:13
So what you're seeing here --
228
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1881
11:14
and I'm doing a cardinal sin in science,
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而我現在要犯一種科學的禁忌,
就是向你們展示一些初步的數據。
11:17
which is to show you preliminary data.
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11:18
This is one subject's data.
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這是一個主體的數據。
11:20
This is, in fact, Mike Pope's data.
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這是,實際上,麥克波普的數據。
11:22
So what am I showing you here?
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所以我要讓你們看什麽呢?
11:23
When he was trading fours with me, improvising vs. memorized,
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當他在和我配合4小節的彈奏時,是靠即興而非記憶
他的語言區域亮了起來,也就是他的布洛卡區,
11:28
his language areas lit up, his Broca's area,
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11:30
in the inferior frontal gyrus on the left.
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也就是左邊的額下回。
11:32
He had it also homologous on the right.
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他實際上在右邊也有一塊相應的區域。
11:34
This is an area thought to be involved in expressive communication.
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這是一塊被認為是參與表達溝通的區域。
這所有的關於音樂是一種語言的觀念,
11:38
This whole notion that music is a language --
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嗯,事實上也許歸根結底是有神經學基礎的,
11:40
maybe there's a neurologic basis to it after all,
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11:42
and we can see it when two musicians are having a musical conversation.
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而當兩個音樂家在進行音樂對話的時候,我們可以看到它。
11:45
So we've done this on eight subjects now,
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而現在我們已經在八個主體上做了這個實驗,
11:47
and we're getting all the data together,
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然後我們把所有數據匯聚在一起,
11:49
hopefully we'll have something to say about it meaningfully.
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但願我們將會得到一些有意義的結果。
現在當我想到即興和語言,那接下來是什麽呢?
11:52
Now when I think about improvisation and the language, what's next?
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說唱,肯定的,說唱 --
11:55
Rap, of course, rap -- freestyle.
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自由形式。
11:58
I've always been fascinated by freestyle.
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我一直都對自由式說唱很著迷。
讓我們繼續,播放這段視頻。
12:01
And let's play this video.
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12:02
(Video) Mos Def: Brown skin I be, standing five-ten I be
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(視頻)莫斯 戴夫:我是棕色皮膚,我站了五十年數
♫當我在你左右,我搖滾♫
12:05
Rockin' it when I be, in your vicinity
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2022
12:07
Whole-style synergy, recognize symmetry
251
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♫各種形勢的協同,相對辨認♫
♫來試著傷害我,化學分解它們♫
12:10
Go and try to injure me, broke 'em down chemically
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12:12
Ain't the number 10 MC, talk about how been I be
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♫不是數字十,說說我該怎麼樣♫
♫像肯尼迪一樣的風格,像3點差十分一樣晚♫
12:15
Styled it like Kennedy, late like a 10 to three
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12:17
When I say when I be, girls say bend that key cut
255
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♫當我說當我做,女孩們隨聲調整♫
12:20
CL: So there's a lot of analogy
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查爾斯·理姆:有大量的比擬
12:22
between what takes place in freestyle rap and jazz.
257
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在自由式說唱和爵士樂之間。
12:24
There are a lot of correlates between the two forms of music,
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實際上,這兩種音樂形式之間有很多
在不同的時期。
12:27
I think, in different time periods, in lot of ways,
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在很多方面,說唱被用作一種社交功能
12:30
rap serves the same social function that jazz used to serve.
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這種功能用爵士來實現的。
所以該如何科學地學習說唱呢?
12:33
So how do you study rap scientifically?
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而我的同事們都或多或少覺得我瘋了,
12:35
And my colleagues think I'm crazy, but I think it's very viable.
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但我覺得這很切實可行。
12:38
This is what you do:
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所以這就是你要做的:你讓一個自由式說唱的藝術家
12:39
You have a freestyle artist come and memorize a rap
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進來,並記住一段你為他們寫的說唱,
12:42
that you write for them,
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這段說唱他們從來沒有聽過,
12:43
that they've never heard before, and then you have them freestyle.
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然後你讓他們將它自由化。
12:46
So I told my lab members that I would rap for TED,
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所以我告訴我實驗室的同事們,我將為TED 說唱,
而他們說:“不,你不會的。”
12:49
and they said, "No, you won't."
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然後我想--
12:51
And then I thought --
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12:52
(Laughter)
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(鼓掌)
12:53
(Applause)
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但是有件事情。
12:59
But here's the thing.
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13:00
With this big screen, you can all rap with me. OK?
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用這個大屏幕,你們都可以和我說唱。對麼?
13:03
So what we had them do
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1844
所以我們讓他們來做
13:05
was memorize this lower-left sound icon, please.
275
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是記憶。請按這裡左下角的音樂圖標。
這是控制條件。這是他們要記憶的。
13:08
This is the control condition. This is what they memorized.
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電腦:記憶,撞擊。
13:11
Computer: Memory, thump.
277
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2033
查爾斯·理姆:撞擊的鼓聲是已知且重複的
13:13
CL: Thump of the beat in a known repeat
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2137
13:15
Rhythm and rhyme, they make me complete
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節奏和韻律,他們讓我完整。
13:18
The climb is sublime when I'm on the mic
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當我在麥克風前,爬升是一種崇高
13:20
Spittin' rhymes that hit you like a lightning strike
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分裂那些撞你如醍醐灌頂的韻律
13:22
Computer: Search.
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我在永恆的追求中尋找真理
13:24
CL: I search for the truth in this eternal quest
283
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我的激情不是時尚,你看我穿成這樣就可以知曉
13:26
My passion's not fashion, you can see how I'm dressed
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2730
我的腦中出現了,精神病的字眼,
13:29
Psychopathic words in my head appear
285
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1966
13:31
Whisper these lyrics only I can hear
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小聲地說這些只有我能聽到的歌詞
13:33
Computer: Art.
287
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13:34
CL: The art of discovering and that which is hovering
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發現的藝術和徘徊
在腦中的的自由的東西
13:37
Inside the mind of those unconfined
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13:39
All of these words keep pouring out like rain
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2976
所有這些詞語一直像傾盆大雨
13:42
I need a mad scientist to check my brain
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2735
我需要一個瘋掉的科學家檢查我的大腦
13:45
Computer: Stop.
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1307
(鼓掌)
13:46
(Applause)
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我向你們保證,那將再也不會發生了。
13:55
I guarantee you that will never happen again.
294
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2174
13:57
(Laughter)
295
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1941
(笑聲)
13:59
So now, what's great about these free-stylers,
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2188
現在,關於這些自由式者,什麼是最偉大的,
14:01
they will get cued different words.
297
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他們將從不同的詞組中得到線索。
14:03
They don't know what's coming,
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1444
他們不知道接下來是什麼,但是他們將聽到一些未經思考的東西。
14:05
but they'll hear something off the cuff.
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繼續,點擊那個右邊的聲音圖標。
14:07
Go hit that right sound icon,
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1409
他們將被提示三個詞:“喜歡”,“不”, 和“頭”。
14:08
there will be cued three square words: like, not and head.
301
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2720
他不知道接下來是什麼。
14:11
He doesn't know what's coming. Computer: Like.
302
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2154
自由式者:我就像一些【不清晰】
14:13
Freestyler: I'm like some kind of
303
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1770
【不清晰】外星的,天體的景觀
14:15
extraterrestrial, celestial scene
304
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2229
14:17
Back in the days, I used to sit in pyramids and meditate
305
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2837
回到那些過去的日子,我以前曾坐在金字塔裡冥思
14:20
With two microphones -- Computer: Head
306
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2173
有兩個麥克風懸在我的頭上
14:22
hovering over my head
307
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1334
來看我是否還能聽,分離那聲音
14:24
See if I could still listen,
308
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1363
14:25
spittin' off the sound
309
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1287
14:26
See what you grinning
310
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1185
看你正裂着嘴笑
14:27
I teach the children in the back of the classroom
311
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2425
我在教室的後面教那些孩子
14:30
About the message of apocalyptical
312
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2397
關於天啟的消息
14:32
Computer: Not.
313
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1160
14:33
Not really though, 'cause I've got to keep it simple
314
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2628
但是不是真的,因為我必須保持難度簡單
14:36
instrumental
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1606
【不清楚】用樂器演奏
14:38
Detrimental playing Super Mario
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玩超級馬里奧是有害的
14:41
boxes [unclear] hip hop
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【不清楚】盒子【不清楚】hip hop
14:44
Computer: Stop.
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14:45
CL: It's an incredible thing that's taking place.
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查爾斯理姆:再次的,這是發生的一件非常不可思議的事情。
這是在做一件從神經學上看非同尋常的事情。
14:48
It's doing something neurologically remarkable.
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你是否喜歡這音樂是不相干的。
14:50
Whether or not you like the music is irrelevant.
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從創意的角度來說,這是一件了不起的事。
14:52
Creatively speaking, it's just a phenomenal thing.
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這是一段簡短的視頻,關於我們實際上怎麼在掃描儀中做這個實驗。
14:55
This is a short video of how we do this in a scanner.
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(笑聲)
14:57
[fMRI of Hip-Hop Rap]
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14:59
(Laughter)
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(視頻)查爾斯理姆:我們和伊曼紐爾在這裡。
15:00
(Video) CL: We're here with Emmanuel.
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查爾斯理姆:那是在掃描儀中錄的,順便說一句。
15:02
CL: That was recorded in the scanner, by the way.
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(視頻)查爾斯理姆:那是伊曼紐爾在掃描儀裡。
15:04
(Video) CL: That's Emmanuel in the scanner.
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他剛剛為我們記憶了一段旋律。
15:07
He's just memorized a rhyme for us.
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15:10
[Control Condition Memorized Verses]
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伊曼紐爾:鼓點之巔,從不寵辱♫
15:13
Emmanuel: Top of the beat with no repeat
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15:15
Rhythm and rhyme make me complete
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節奏和旋律讓我完整
15:18
Climb is sublime when I'm on the mic
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當我在麥克風前,爬升是一種絕妙的感覺
15:21
Spittin' rhymes that'll hit you like a lightning strike
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分裂那些如閃電一樣撞擊你的旋律
我在永恆的追求中尋找整理
15:24
Computer: Search.
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15:25
I search for the truth in this eternal quest
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我不為時尚而激情,你看我穿啥樣就可以知道
15:27
I'm passing on fashion; you can see how I'm dressed
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查爾斯理姆:好。我將停在這裡。所以我們在他的腦子裡看到了什麼?
15:30
CL: I'm going to stop that there; so what do we see in his brain?
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這實際上是四個說唱者的腦部圖。
15:33
This is four rappers' brains.
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15:34
And we do see language areas lighting up,
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我們看到什麼,我們看到語言區域是亮起來的,
15:36
but then, eyes closed --
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但是然後--眼睛閉上--
15:38
when you are freestyling vs. memorizing,
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當你是自由式對比記憶,
15:41
you've got major visual areas lighting up.
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你的主要視覺區域亮着。
15:43
You've got major cerebellar activity, which is involved in motor coordination.
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你將用到主要的小腦活動,它參與運動協調。
你的腦部活動增加,你的相對任務是,
15:47
You have heightened brain activity when you're doing a comparable task,
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當人物是創造性的,而別的任務是記憶的。
15:50
when that one task is creative and the other task is memorized.
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15:53
It's very preliminary, but I think it's kind of cool.
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這非常基礎,但我覺得多少有點酷。
所以,總結一下,我們已經有很多問題要問。
15:56
To conclude, we've got a lot of questions to ask,
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15:58
and like I said, we'll ask questions here, not answer them.
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就像我說的,我們將問問題,而不是回答它們。
16:01
But we want to get at the root of what is creative genius neurologically,
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但是我們想達到神經學上,創作天才的根本。
而且我想,通過這些方法,我們離那裡越來越近。
16:05
and I think, with these methods, we're getting close.
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16:07
And I think, hopefully in the next 10, 20 years,
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而且我想,希望在未來的10,20年
你將看到真正的,有意義的研究
16:10
you'll see real, meaningful studies
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這些研究能表明科學在跟上藝術的腳步,
16:12
that say science has to catch up to art,
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16:15
and maybe we're starting now to get there.
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而也許我們現在正在開始走向那裡。
16:17
Thank you for your time, I appreciate it.
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感謝你們的時間。 我很感激。
16:19
(Applause)
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(鼓掌)
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