TED2005
Scott McCloud: The visual magic of comics
Scott McCloud o stripovima
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U ovom pogledu koji ne smijete propustiti, Scott McCloud mijenja format prezentacije u iskustvo nalik stripu, gdje diverzije prepune boja lete kroz dječje fascinacije i zamišljene budućnosti koje naše oči mogu čuti i dotaknuti.
Scott McCloud - Cartoonist
Scott McCloud is author of Understanding Comics, a comic book about comics. He's an evangelist for comics as a valid literary form (as more than pulp and kids' stuff) and his admiring fans include a laundry list of superstar cartoonists. Full bio
Scott McCloud is author of Understanding Comics, a comic book about comics. He's an evangelist for comics as a valid literary form (as more than pulp and kids' stuff) and his admiring fans include a laundry list of superstar cartoonists. Full bio
Double-click the English transcript below to play the video.
00:18
Of the five senses,
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Od pet čula
00:19
vision is the one that I appreciate the most,
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vid je ono koje najviše cijenim,
00:22
and it's the one that I can least take for granted.
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i najmanje uzimam zdravo za gotovo.
00:25
I think this is partially due to my father, who was blind.
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Mislim kako je to djelomično zbog mog oca, koji je bio slijep.
00:29
It was a fact that he didn't make much of a fuss about, usually.
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Činjenica je kako on nije od toga stvarao prevelik problem, najčešće.
00:31
One time in Nova Scotia,
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Jednom kada smo išli u Novu Škotsku,
00:32
when we went to see a total eclipse of the sun --
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da vidimo potpuno pomračenje Sunca --
00:35
yeah, same one as in the Carly Simon song,
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da, isto ono koje se spominje u pjesmi Carly Simon,
00:37
which may or may not refer
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koje se može a i ne mora odnositi na
00:39
to James Taylor, Warren Beatty or Mick Jagger; we're not really sure.
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James Taylora, Warren Beattya ili Mick Jaggera; nismo stvarno sigurni.
00:42
They handed out these dark plastic viewers
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Dali su nam one tamne plastične folije
00:45
that allowed us to look directly at the sun
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koje su nam omogućavale da gledamo ravno u sunce
00:47
without damaging our eyes.
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a da pri tome ne oštetimo oči.
00:49
But Dad got really scared:
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Ali otac se jako uplašio:
00:50
he didn't want us doing that.
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nije htio da to napravimo.
00:52
He wanted us instead to use these cheap cardboard viewers
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Umjesto toga, htio je da koristimo jeftine kartonske okvire
00:55
so that there was no chance at all that our eyes would be damaged.
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tako da nije bilo teorije da nam se oštete oči.
00:59
I thought this was a little strange at the time.
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U to vrijeme mi je to bilo pomalo čudno.
01:01
What I didn't know at the time
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Ono što tada nisam znao
01:02
was that my father had actually been born with perfect eyesight.
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jest da je moj otac bio zapravo rođen sa savršenim vidom.
01:05
When he and his sister Martha were just very little,
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Kada su on i njegova sestra Marta bili jako mali,
01:07
their mom took them out to see a total eclipse --
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njihova mama ih je povela da vide potpuno pomračenje --
01:10
or actually, a solar eclipse --
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u stvari pomračenje sunca --
01:11
and not long after that,
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i nedugo nakon toga,
01:12
both of them started losing their eyesight.
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oboje su započeli gubiti vid.
01:16
Decades later,
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Desetljećima kasnije,
01:17
it turned out that the source of their blindness
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ispalo je kako je izvor njihova sljepila
01:19
was most likely some sort of bacterial infection.
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bila najvjerojatnije neka vrsta bakterijske infekcije.
01:22
As near as we can tell,
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Koliko najbolje možemo zaključiti,
01:23
it had nothing whatsoever to do with that solar eclipse,
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to nije imalo apsolutno nikakve veze s pomračenjem sunca,
01:27
but by then my grandmother had already gone to her grave
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ali do tada je moja baka već otišla na onaj svijet
01:29
thinking it was her fault.
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misleći kako je to bila njena krivica.
01:32
So, Dad graduated Harvard in 1946,
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Tako je otac diplomirao na Harvardu 1946.
01:35
married my mom,
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oženio se mojom majkom,
01:36
and bought a house in Lexington, Massachusetts,
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i kupio kuću u Lexingtonu, Massachusetts,
01:39
where the first shots were fired against the British in 1775,
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gdje su ispaljeni prvi meci protiv Britanaca 1775.,
01:43
although we didn't actually hit any of them until Concord.
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premda ih nismo u stvari pogodili sve do Concorda.
01:45
He got a job working for Raytheon,
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Dobio je posao radeći za Raytheon,
01:47
designing guidance systems,
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dizajnirajući sustave za navođenje,
01:49
which was part of the Route 128 high-tech axis in those days --
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koji su bili dio Rute 128, tehnološke osi tog doba --
01:52
so the equivalent of Silicone Valley in the '70s.
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ekvivalentu Silikonske doline iz 1970-ih.
01:55
Dad wasn't a real militaristic kind of guy;
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Tata nije bio pravi vojnički tip,
01:58
he just really felt bad that he wasn't able to fight in World War II
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samo mu je bilo strašno žao što se nije mogao boriti u II. svjetskom ratu
02:01
on account of his handicap,
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zbog svog hendikepa,
02:02
although they did let him get through
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premda su ga pustili da
02:04
the several-hour-long army physical exam
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obavi višesatni vojni test fizičke spreme
02:08
before they got to the very last test,
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priej nego što su došli do zadnjeg testa,
02:09
which was for vision.
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koji je bio test vida.
02:10
(Laughter)
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(Smijeh)
02:14
So, Dad started racking up all of these patents
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Tako da je otac počeo osmišljavati razne patente
02:17
and gaining a reputation as a blind genius, rocket scientist, inventor.
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i dobio reputaciju slijepog genijalca, znanstvenika, inovatora.
02:20
But to us he was just Dad,
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Ali nama je on jednostavno bio otac,
02:21
and our home life was pretty normal.
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i naš je život u kući bio prilično normalan.
02:25
As a kid, I watched a lot of television
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Kao dijete, puno sam gledao televiziju
02:27
and had lots of nerdy hobbies
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i imao puno štreberskih hobija
02:29
like mineralogy and microbiology and the space program
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kao što su minerologija i mikrobiologija i svemirski program
02:32
and a little bit of politics.
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i pomalo politika.
02:33
I played a lot of chess.
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Puno sam igrao šah.
02:35
But at the age of 14,
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Ali kada mi je bilo 14 godina,
02:36
a friend of mine got me interested in comic books,
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jedan prijatelj me zainteresirao za stripove,
02:37
and I decided that was what I wanted to do for a living.
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i odlučio sam kako je upravo to ono što žellim raditi.
02:41
So, here's my dad:
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Znači, evo mog oca:
02:42
he's a scientist, he's an engineer and he's a military contractor.
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on je znanstvenik, inženjer i radi za vojsku.
02:48
So, he has four kids, right?
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I on ima četvero djece, točno?
02:51
One grows up to become a computer scientist,
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Jedno odraste i postane informatičar,
02:52
one grows up to join the Navy,
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jedno odraste i ode u mornaricu,
02:55
one grows up to become an engineer,
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jedno odraste i postane inženjer,
02:57
and then there's me:
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i onda imate mene:
02:59
the comic book artist.
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crtač stripova.
03:01
(Laughter)
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(Smijeh)
03:04
Which, incidentally, makes me the opposite of Dean Kamen,
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Što me, sasvim slučajno, čini suprotnim Dean Kamenu,
03:05
because I'm a comic book artist, son of an inventor,
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jer ja sam crtač stripova, sin izumitelja,
03:07
and he's an inventor, son of a comic book artist.
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dok je on izumitelj, sin crtača stripova.
03:10
(Laughter)
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(Smijeh)
03:11
Right, it's true.
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Točno, to je istina.
03:13
(Applause)
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(Pljesak)
03:16
The funny thing is, Dad had a lot of faith in me.
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Smiješno je što je otac imao jako puno vjere u mene.
03:18
He had faith in my abilities as a cartoonist,
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Imao je vjere u moju sposobnost kao crtača stripova,
03:21
even though he had no direct evidence that I was any good whatsoever:
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premda nije imao nikakvog direktnog dokaza da sam dobar:
03:24
everything he saw was just a blur.
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sve što je on vidio bilo je mutno.
03:26
Now, this gives a real meaning to the term "blind faith,"
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To sada daje pravo značenje izrazu 'slijepa vjera',
03:28
which doesn't have the same negative connotation for me that it does for other people.
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koji meni nema tu negativnu konotaciju koju ima za druge ljude.
03:33
Now, faith in things which cannot be seen, which cannot be proved,
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Vjera u stvari koje su nevidljive, koje se ne mogu dokazati,
03:36
is not the sort of faith that I've ever really related to all that much.
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nije tip vjere s kojom sam se ja ikada mogao previše poistovjetiti.
03:40
I tend to like science,
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Ja ipak volim znanost,
03:41
where what we see
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gdje ono što vidimo
03:43
and can ascertain are the foundation of what we know.
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i što možemo potvrditi, predstavlja osnovu onoga što znamo.
03:47
But there's a middle ground, too.
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Ali postoji tu i zajednički dio.
03:49
A middle ground tread by people like poor old Charles Babbage,
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Njega čine ljudi poput Charles Babbagea,
03:52
and his steam-driven computers that were never built.
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i njegovog računala na paru koje nikada nije napravljeno.
03:56
Nobody really understood what it was that he had in mind,
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Nitko nikada nije razumio što je on to točno imao na umu,
03:58
except for Ada Lovelace,
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osim Ade Lovelace,
04:02
and he went to his grave trying to pursue that dream.
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i on je otišao u grob pokušavajući ostvariti svoj san.
04:05
Vannevar Bush with his Memex --
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Vannevar Bush s njegovim Memexom --
04:07
this idea of all of human knowledge at your fingertips --
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ta ideja svog ljudskog znanja na dohvat ruke --
04:10
he had this vision.
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on je imao viziju.
04:12
And I think a lot of people in his day
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A ja mislim kako puno ljudi ovih dana
04:13
probably thought he was a bit of a kook.
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misli kako je on bio pomalo čudan.
04:15
And, yeah, we can look back in retrospect and say,
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I da, možemo pogledati unazad i reći,
04:17
yeah, ha-ha, you know -- it's all microfilm. But that's --
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da, ha-ha, znate -- to je mikrofilm. Ali to je --
04:21
that's not the point. He understood the shape of the future.
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to nije poanta. On je razumio kako će izgledati budućnost.
04:24
So did J.C.R. Licklider and his notions for computer-human interaction.
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Kao i J. C. R. Licklider i njegove predstave o interakciji računala i ljudi.
04:28
Same thing: he understood the shape of the future,
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Ista stvar: on je razumio kako će budućnost izgledati,
04:31
even though it was something that would
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iako je to bilo nešto
04:34
only be implemented by people much later.
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što će ljudi primijeniti bitno kasnije.
04:37
Or Paul Baran, and his vision for packet switching.
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Ili Paul Baron, i njegova vizija zamjene paketa informacija.
04:40
Hardly anybody listened to him in his day.
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Jedva da ga je itko slušao unjegovo vrijeme.
04:43
Or even the people who actually pulled it off,
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Pa čak ni ljudi koji su to kasnije zapravo i izveli,
04:45
the people at Bolt, Beranek and Newman in Boston,
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ljudi u Bolt, Beranek i Newmanu u Bostonu,
04:48
who just would sketch out these structures
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koji bi samo skicirali te strukture
04:50
of what would eventually become a worldwide network,
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od kojih će na kraju nastati svjetska mreža,
04:53
and sketching things on the back of napkins and on note papers
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i skicirajući stvari na pozadini ubrusa i notesa
04:57
and arguing over dinner at Howard Johnson's --
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i raspravljajući za vrijeme večere kod Howard Johnsona --
04:59
on Route 128 in Lexington, Massachusetts,
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na Ruti 128 u Lexington, Massachusetts,
05:01
just two miles from where I was studying the Queen's Gambit Deferred
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samo tri i pol kilometra od mjesta na kojem sam ja proučavao kraljičin gambit
05:04
and listening to Gladys Knight & the Pips
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i slušao Gladys Knight & the Pips
05:06
singing "Midnight Train to Georgia," while --
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koji su pjevali ""Midnight Train to Georgia", dok --
05:08
(Laughter)
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(Smijeh)
05:09
-- in my dad's big easy chair, you know?
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-- i to u očevoj velikoj fotelji, znate?
05:12
So, three types of vision, right?
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Tako postoje tri načina gledanja, točno?
05:14
Vision based on what one cannot see:
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Vizija bazirana na onome što nitko ne vidi:
05:17
the vision of that unseen and unknowable.
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vizija nevidljivog i nepoznatog.
05:20
The vision of that which has already been proven or can be ascertained.
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Vizija onoga što je već dokazano ili može biti potvrđeno.
05:23
And this third kind
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I postoji ova treća vrsta
05:26
of vision, of something which
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vizija nečega što
05:28
can be, which may be,
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može biti, ili bi moglo biti,
05:30
based on knowledge, but is as yet unproven.
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bazirano na znanju, ali i dalje nije dokazano.
05:33
Now, we've seen a lot of examples of people who are pursuing that sort of vision in science,
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E sad, vidijeli smo puno primjera ljudi koji su slijedili ovaj tip vizije u znanosti,
05:38
but I think it's also true in the arts, it's true in politics,
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ali smatram kako ih ima i u umjetnosti, i u politici,
05:40
it's even true in personal endeavors.
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pa čak i u našim osobnim nastojanjima.
05:43
What it comes down to, really, is four basic principles:
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U suštini, to se sve svodi na četiri osnovna načela:
05:45
learn from everyone,
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uči od svakog,
05:47
follow no one,
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nemoj slijediti nikoga,
05:49
watch for patterns,
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obrati pažnju na ponavljanja,
05:51
and work like hell.
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i radi kao lud.
05:52
I think these are the four principles that go into this.
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Mislim kako su to četiri načela koja se uklapaju.
05:55
And it's that third one, especially,
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I to posebno ovaj treći,
05:57
where visions of the future
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u kojem se vizija budućnosti
05:59
begin to manifest themselves.
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počinje samo od sebe manifestirati.
06:01
What's interesting is that this particular way of looking at the world,
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Ono što je interesantno da baš taj način gledanja svijeta
06:04
is, I think, only one of four different ways
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po mom mišljenju, samo jedan od četiri različita načina
06:06
that manifest themselves in different fields of endeavor.
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koji se manofestiraju u različitim poljima ljudskog djelovanja.“
06:08
In comics, I know that
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U stripu se, po mom mišljenju,
06:10
it results in sort of a formalist attitude
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on izražava u formalističkom pristupu
06:13
towards trying to understand how it works.
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koji pokušava shvatiti kako nešto funkcionira.
06:15
Then there's another, more classical, attitude
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Onda tu je drugi, klasičniji stav
06:18
which embraces beauty and craft.
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koji iznad svega cijeni ljepotu i vještinu.
06:20
Another one which believes in the pure transparency of content.
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Onda sljedeći, koji vjeruje u čistu transparentnost sadržaja.
06:24
And then another
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I još jedan
06:26
which emphasizes the authenticity of human experience --
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koji naglašava autentičnost ljudskog iskustva --
06:28
and honesty, and rawness.
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i iskrenost i sirovost.
06:30
These are four very different ways of looking at the world. I even gave them names.
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Ovo su četiri vrlo različita načina gledanja na svijet. Čak sam im dao i nazive.
06:32
The classicist, the animist, and formalist and iconoclast.
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Klasičan, animistički, formalistički i ikonoklastični.
06:36
Interestingly, it seemed to correspond more or less
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Interesantno, čini se kako više-manje odgovara
06:37
to Jung's four subdivisions of human thought.
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Jungovim podjelama ljudske misli.
06:42
And they reflect a dichotomy of art and delight
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I one zrcale dihotomiju umjetnosti i života
06:44
on left and the right;
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po vertikali:
06:46
tradition and revolution on the top and the bottom.
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tradicije i revolucije po horizontali.
06:48
And if you go on the diagonal, you get content and form --
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A ako odete dijagonalno, dobijete sadržaj i formu --
06:50
and then beauty and truth.
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i onda ljepotu i istinu.
06:52
And it probably applies just as much
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I to je primjenjivo jednako
06:53
to music and to movies and to fine art,
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na glazbu i filmove te umjetnost,
06:56
which has nothing whatsoever to do with vision at all,
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što nema baš nikakve veze s vizijom,
06:59
or for that matter, nothing to do with our conference theme of
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ili, kada smo već kod toga, s temom naše konferencije
07:02
"Inspired by Nature" --
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'Inspirirano prirodom' --
07:03
except to the extent of the fable of the frog
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osim ako to primjenite na basnu o žabi
07:06
who gives the ride to the scorpion on his back to get across the river
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koja prebacuje škorpiona na svojim leđima preko rijeke
07:09
because the scorpion promises not to sting him,
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jer joj škorpion obećao kako je neće ubosti,
07:11
but then the scorpion does sting him anyway and they both die,
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ali onda je škorpion ipak ubode i oboje umru,
07:13
but not before the frog asks him why and the scorpion says,
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ali ne prije nego što ga žaba pita zašto a škorpion joj kaže,
07:16
"Because it's my nature" --
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"Jer mi je to u prirodi." --
07:17
in that sense, yes.
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u tom smislu, da.
07:19
(Laughter)
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(Smijeh)
07:21
So --
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Dakle --
07:23
so this was my nature. The thing was, I saw
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to je bila moja priroda. Stvar je u tome, da sam vidio
07:26
that the route that I took to discovering
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kako je taj put kojim sam krenuo ka pronalaženju
07:28
this focus in my work
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tog fokusa u mom radu
07:31
and who I was,
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i toga tko sam,
07:33
I saw it as just this road to discovery.
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vidio sam to samo kao put ka spoznaji.
07:35
Actually, it was just me embracing my nature,
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U stvari, ja sam samo prihvatio svoju prirodu
07:37
which means
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Što znači
07:39
that I didn't actually fall that far from the tree after all.
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da u stvari nisam pao jako daleko od stabla.
07:44
So what does a "scientific mind"
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Dakle što "znanstveni um"
07:46
do in the arts?
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radi u umjetnosti?
07:49
Well, I started making comics,
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Pa, počeo sam raditi stripove,
07:50
but I also started trying to understand them, almost immediately.
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ali sam također i počeo pokušavati da ih razumijem, skoro odmah.
07:52
And one of the most important things about comics, I discovered,
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I jedna od najvažnijih stvari sa stripovima, otkrio sam,
07:55
was that comics are a visual medium,
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jest da su stripovi vizualni medij,
07:57
but they try to embrace all of the senses within it.
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ali pokušavaju obuhvatiti sva čula u sebi.
08:01
So, the different elements of comics, like pictures and words,
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Tako različiti elementi stripa, poput slika i riječi,
08:05
and the different symbols and everything in between
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i različiti simboli i sve između toga
08:08
that comics presents
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što strip predstavlja
08:09
are all funneled through the single conduit of vision.
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su potaknuti kroz jedinstven kanal - čulo vida.
08:11
So you have things like resemblance,
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Tako da imate stvari kao što je sličnost,
08:13
where something which resembles the physical world can be abstracted
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gdje nešto što ima sličnost sa stvarnim svijetom može biti sažeto
08:16
in a couple of different directions:
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u nekoliko različitih pravaca:
08:18
abstracted from resemblance,
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sažeto iz sličnosti,
08:20
but still retaining the complete meaning,
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ali i dalje zadržavajući svoje puno značenje,
08:22
or abstracted away from both resemblance and meaning towards the picture plan.
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ili kao apstrakcija koja se udaljava i od sličnosti i od značenja i pretvara u sliku.
08:26
Put all these three together, and you have a nice little map
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Kada sve ovo uzmete u obzir, dobijete lijepu malu mapu
08:28
of the entire boundary of visual iconography
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cjelokupnog obuhvata vizualne ikonografije
08:31
which comics can embrace.
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koju strip može prikazati.
08:33
And if you move to the right you also get language,
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I ako krenete dalje desno, imate također jezik,
08:36
because that's abstracting even further from resemblance,
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jer je to sažimanje još dalje od sličnosti,
08:39
but still maintaining meaning.
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ali i dalje zadržavajući značenje.
08:42
Vision is called upon to represent sound
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Slika je angažirana da predstavlja zvuk
08:44
and to understand the common properties of those two
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da pojasni zajedničke karakteristike to dvoje
08:47
and their common heritage, as well.
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kao i njihovo zajedničko naslijeđe.
08:49
Also, to try to represent the texture of sound
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Također, treba predstavljati teksturu zvuka;
08:52
to capture its essential character through visuals.
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i da zadrži njegovo esencijalni karakter kroz vizuale.
08:57
And there's also a balance
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I tu je također ravnoteža
08:59
between the visible and the invisible in comics.
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između vidljivog i nevidljivog u stripovima.
09:02
Comics is a kind of call and response
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Strip je na neki način poziv i odgovor
09:04
in which the artist gives you
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koji vam umjetnik daje
09:05
something to see within the panels,
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nešto da vidite u okviru prizora,
09:06
and then gives you something to imagine between the panels.
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i onda vam da nešto da zamislite između njih.
09:11
Also, another sense
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Također, postoji još jedan pojam
09:13
which comics' vision represents, and that's time.
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koje 'stripovsko oko' predstavlja, a to je vrijeme.
09:17
Sequence is a very important aspect of comics.
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Ritam je jako važan aspekt stripa.
09:21
Comics presents a kind of temporal map.
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Strip predstavlja neku vrstu vremenske mape.
09:24
And this temporal map was something that energizes modern comics,
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I ta vremenska mapa je ono što daje energiju modernom stripu,
09:27
but I was wondering if perhaps it also energizes
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ali ja sam se zapitao daje li možda energiju
09:30
other sorts of forms,
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i drugim formama,
09:32
and I found some in history.
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i pronašao sam neke u povijesti.
09:34
And you can see this same principle operating
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I možete ovdje vidjeti ovaj isti princip kako se primjenjuje
09:37
in these ancient versions of the same idea.
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u ovim antičkim verzijama iste ideje.
09:40
What's happening is, the art form is colliding
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Ono što se zapravo događa jest da se umjetnička forma sudara
09:42
with the given technology,
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s tehnologijom koja joj je na raspolaganju,
09:43
whether it's paint on stone, like the Tomb of the Scribe in ancient Egypt,
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bilo da je to boja na kamenu, kao grobnica u starom Egiptu,
09:47
or a bas-relief sculpture rising up a stone column,
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ili plitki reljef koji se uzdiže po kamenom stubu,
09:50
or a 200-foot-long embroidery,
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ili vez dugačak 60 metara,
09:52
or painted deerskin and tree bark
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ili oslikana jelenska koža i kora drveta
09:54
running across 88 accordion-folded pages.
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koja se prostire na 88 naizmjenično presavijenih stranica.
09:57
What's interesting is, once you hit print --
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Ono što je interesantno je, jednom kada ga počnete štampati --
09:59
and this is from 1450, by the way --
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inače ovo je iz 145o. godine, samo da vam napomenem --
10:01
all of the artifacts of modern comics start to present themselves:
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sve karakteristike modernog stripa počinju bivati vidljive:
10:03
rectilinear panel arrangements,
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pravokutni linearni raspored okvira,
10:05
simple line drawings without tone
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jednostavni linearni crteži bez tona
10:07
and a left-to-right reading sequence.
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i redoslijed čitanja s lijeva na desno.
10:11
And within 100 years,
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I već 100 godina nakon toga,
10:12
you already start to see word balloons and captions,
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već imate balone s tekstom i scene,
10:16
and it's really just a hop, skip and a jump from here to here.
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i u stvari samo je korak od ovog ka ovom.
10:19
So I wrote a book about this in '93,
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Napisao sam knjigu o ovome 1993.,
10:21
but as I was finishing the book,
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ali dok sam završavao knjigu
10:23
I had to do a little bit of typesetting,
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morao sam malo raditi na prijelomu,
10:24
and I was tired of going to my local copy shop to do it,
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i dosadilo mi je svaki puta ići u lokalnu kopiraonicu to raditi,
10:26
so I bought a computer.
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pa sam kupio računalo.
10:29
And it was just a little thing -- it wasn't good for much except text entry --
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I to je bila samo malena stvar -- bio je dobar samo za unošenje teksta i ništa drugo --
10:32
but my father had told me about Moore's Law,
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ali otac mi je nekada pričao o Mooreovom zakonu,
10:35
about Moore's Law back in the '70s, and I knew what was coming.
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o Mooreovom zakonu davnih '70-ih, i znao sam što dolazi.
10:39
And so, I kept my eyes peeled
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Tako da sam držao otvorene oči
10:41
to see if the sort of changes that happened
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da vidim hoće li se promjene koje su se dogodile
10:43
when we went from pre-print comics to print comics
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kada smo prešli s pred-tiskanih stripova na tiskane stripove
10:46
would happen when we went beyond, to post-print comics.
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dogoditi kada odemo dalje, na post-tiskane stripove.
10:49
So, one of the first things that were proposed
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Tako je jedna od stvari koje su predložene
10:51
was that we could mix the visuals of comics
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bila da možemo miješati vizuale stripova
10:53
with the sound, motion and interactivity
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sa zvukom, kretnjama i interaktivnošću
10:55
of the CD-ROMs that were being made in those days.
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CD-ROM-ova koji su bili tada rađeni.
10:57
This was even before the Web.
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Ovo je bilo i prije Interneta.
10:59
And one of the first things they did was,
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I jedna od prvih stvari koje su napravili bila je,
11:00
they tried to take the comics page as-is
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da probaju napraviti stranice stripa kao što su ranije bile,
11:02
and transplant it to monitors,
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i prebace ih na zaslone,
11:03
which was a classic McLuhanesque mistake
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što je bila klasična McLuhanesque greška
11:06
of appropriating the shape of the previous technology
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prisvajanja forme koju je koristila prethodna tehnologija
11:09
as the content of the new technology.
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kako bi se stvorio sadržaj za novu tehnologiju.
11:11
And so, what they would do is,
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I tako, ono što bi oni napravili je
11:12
they'd have these comic pages that resemble print comics pages,
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da bi uzeli stranice stripa koje sliče na štampane stranice stripa
11:14
and they would introduce all this sound and motion.
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i dodavali bi zvuk i pokret.
11:18
The problem was, that if you go with this idea --
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Problem je u tome da, ukoliko se vratite ideji --
11:20
this basic idea that space equals time in comics --
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osnovnoj ideji gdje je prostor jednak kao i vrijeme u stripu --
11:23
what happens is that when you introduce sound and motion,
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što će se dogoditi kada uvedete zvuk i pokret,
11:25
which are temporal phenomena that can only be represented through time,
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koji su vremenski fenomeni i mogu se prikazati samo kroz vrijeme,
11:29
then they break with that continuity of presentation.
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onda oni prekidaju kontinuitet prezentacije.
11:35
Interactivity was another thing.
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Interakcija je bila nešto drugo.
11:36
There were hypertext comics.
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Postojali su stripovi u hipertekstu.
11:37
But the thing about hypertext
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Ali ono što je problem s hipertekstom
11:38
is that everything in hypertext is either here, not here or connected to here;
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jest da je sve u hipertekstu ili ovdje, ili nije ovdje ili je povezano s nečim ovdje;
11:41
it's profoundly non-spatial.
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on je suštinski ne-prostoran.
11:43
The distance from Abraham Lincoln to a Lincoln penny,
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Razmak između Abrahama Lincolna do Lincolnova penija,
11:46
the Penny Marshall to the Marshall Plan
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Penny Marshall do Marshallovog plana
11:48
to "Plan 9" to nine lives:
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do "Plana 9" do devet života:
11:49
it's all the same.
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sve je to isto.
11:51
(Laughter)
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(Smijeh)
11:52
And -- but in comics, in comics,
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I -- ali u stripu, u stripu,
11:55
every aspect of the work, every element of the work
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svaki aspekt posla, svaki element posla
11:58
has a spatial relationship to every other element at all times.
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ima spacijalni odnos sa svakim drugim elementom cijelo vrijeme.
12:01
So the question was:
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Dakle pitanje je bilo:
12:02
was there any way to preserve that spatial relationship
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postoji li ikakav način očuvanja spacijalnog odnosa
12:05
while still taking advantage of all of the things
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dok se istovremeno iskorištavaju sve prednosti
12:07
that digital had to offer us?
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koje nam nudi digitalna tehnologija?
12:09
And I found my personal answer for this
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I pronašao sam svoj osobni odgovor na ovo pitanje
12:11
in those ancient comics that I was showing you.
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u onim prastarim stripovima koje sam vam pokazivao.
12:14
Each of them has a single unbroken reading line,
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Svaki od njih ima jedinstvenu neprekidnu liniju čitanja,
12:17
whether it's going zigzag across the walls
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bilo da se prostire cik-cak preko zidova,
12:19
or spiraling up a column
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ili se spiralno penje uz stub
12:21
or just straight left to right, or even going in a backwards zigzag
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ili ide s lijeva na desno, ili čak cik-cak unazad
12:24
across those 88 accordion-folded pages.
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preko svih onih 88 presavijenih stranica.
12:26
The same thing is happening, and that is that the basic idea
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Ista stvar se događa i osnovna ideja
12:29
that as you move through space you move through time
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da se, krećući kroz prostor, krećete kroz vrijeme,
12:31
is being carried out without any compromise,
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se ovdje događa bez ikakvog kompromisa,
12:33
but there were compromises when print hit.
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ali do kompromisa je došlo kada su se počeli tiskati.
12:36
Adjacent spaces were no longer adjacent moments,
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Prostori koji se nadovezuju više nisu trenuci koji se nadovezuju,
12:39
so the basic idea of comics was being broken again and again
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tako da je osnovna ideja stripa bila izlomljena opet i opet
12:42
and again and again.
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i opet i opet.
12:43
And I thought, O.K., well,
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I ja sam pomislio, OK, dobro,
12:44
if that's true, is there any way,
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ako je to istina, postoji li ikakav način da,
12:47
when we go beyond today's print,
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kada se odmaknemo od današnjeg tiska,
12:49
to somehow bring that back?
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kako bismo to nekako vratili nazad?
12:52
Now, the monitor
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Sada, zaslon
12:55
is just as limited as the page, technically, right?
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je jednako tehnički ograničen kao i stranica, točno?
12:57
It's a different shape, but other than that
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To je drugačija forma, ali osim toga
12:59
it's the same basic limitation.
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ima ista osnovna ograničenja.
13:01
But that's only if you look at the monitor as a page,
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Ali to je tako samo ako gledate na zaslon kao na stranicu,
13:05
but not if you look at the monitor as a window.
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ali nije ako gledate na zaslon kao na prozor.
13:08
And that's what I proposed: that perhaps we could create these comics
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I to je ono što sam ja predložio: da možda možemo kreirati te stripove
13:10
on an infinite canvas:
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na neograničenim platnima:
13:12
along the X axis and the Y axis and staircases.
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preko osi X i osi Y i stepenica.
13:17
We could do circular narratives that were literally circular.
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Možemo raditi kružnu naraciju, koja je u pravom smislu te riječi kružna.
13:19
We could do a turn in a story that was literally a turn.
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Možemo raditi zaokret u priči koji je doslovan zaokret.
13:23
Parallel narratives could be literally parallel.
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Paralelne radnje mogu biti zaista paralelene.
13:27
X, Y and also Z.
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X, Y, kao i Z.
13:30
So I had all these notions. This was back in the late '90s,
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Tako da sam imao sve te zamisli. To je bilo još u kasnim '90-ima,
13:32
and other people in my business thought I was pretty crazy,
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i ostali ljudi u mom poslu su mislili kako sam poprilično lud,
13:36
but a lot of people then went on and actually did it.
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ali dosta ljudi je onda zaista krenulo i sve promijenilo.
13:38
I'm going to show you a couple now.
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Sada ću vam pokazati nekoliko primjera.
13:41
This was an early collage comic by a fellow named Jason Lex.
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Ovo je kolaž strip koji je nastao u ranoj fazi od strane Jason Lexa.
13:48
And notice what's going on here.
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I pogledajte što se ovdje događa.
13:50
What I'm searching for is a durable mutation --
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Ono što tražim ovdje je trajna mutacija --
13:52
that's what all of us are searching for.
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to je ono što svi tražimo.
13:54
As media head into this new era,
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Dok mediji ulaze u novu eru,
13:56
we are looking for mutations
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mi tražimo promjene
13:59
that are durable, that have some sort of staying power.
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koje su trajne, koje imaju održivost.
14:03
Now, we're taking this basic idea of presenting comics in a visual medium,
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Uzeli smo osnovnu ideju prikazivanja stripa kao vizualnog medija,
14:07
and then we're carrying it through all the way from beginning to end.
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i istrajali u njoj od početka do kraja.
14:10
That's that entire comic you just saw
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Ovo što ste upravo vidjeli je cijeli strip
14:12
is up on the screen right now.
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upravo sada na ekranu.
14:14
But even though we're only experiencing it one piece at a time,
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Međutim, iako ga doživljavamo samo dio po dio,
14:17
that's just where the technology is right now.
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to je samo zbog razine na kojoj se trenutno tehnologija nalazi.
14:19
As the technology evolves,
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Kako će tehnologija evoluirati,
14:21
as you get full immersive displays and whatnot,
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kako se budu pojavljivali puni sveobuhvatni displeji i tko zna što još ne,
14:24
this sort of thing will only grow.
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ova ideja će samo rasti.
14:26
It will adapt. It will
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Prilagođavat će se.
14:28
adapt to its environment:
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Prilagođavat će se svom okruženju:
14:30
it's a durable mutation.
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to je trajna mutacija.
14:33
Here's another one I'll show you. This is by Drew Weing;
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Evo, pokazati ću vam još jedan. Ovaj je napravio Drew Weing;
14:35
this is called,
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ova se naziva,
14:36
"Pup Contemplates the Heat Death of the Universe."
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"Psić razmišlja o smrti svemira".
15:04
See what's going on here
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Vidite što se ovdje događa
15:06
as we draw these stories on an infinite canvas
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dok iscrtavamo ove priče na neograničenom platnu
15:11
is you're creating a more pure expression
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mi zapravo stvaramo čistiji izraz
15:15
of what this medium is all about.
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onoga što je suština ovog medija.
15:22
We'll go by this a little quickly -- you get the idea.
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Proći ćemo kroz ovo malo brže -- već ste shvatili ideju.
15:24
I just want to get to the last panel.
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Hoću samo doći do posljednjeh okvira.
15:32
(Laughter)
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(Smijeh)
15:35
There we go.
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Evo ga.
15:38
(Laughter)
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(Smijeh)
15:43
(Laughter)
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(Smijeh)
15:49
Just one more.
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Samo još jedan.
15:52
Talk about your infinite canvas.
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Kada smo već kod beskonačnog platna.
15:55
It's by a guy named Daniel Merlin Goodbrey in Britain.
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Ovo je napravio čovjek po imenu Daniel Merlin Goodbrey u Britaniji.
15:58
Why is this important?
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Zašto je ovo važno?
16:01
I think this is important because media,
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Mislim kako je važno zbog medija,
16:04
all media,
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svi mediji,
16:06
provide us a window back into our world.
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za nas predstavljaju prozor u naš svijet.
16:09
Now, it could be that motion pictures --
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Sada, može se dogoditi da će nam filmovi --
16:11
and eventually, virtual reality, or something equivalent to it --
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i konačno, virtualna stvarnost, ili nešto ekvivalentno njoj --
16:14
some sort of immersive display,
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neka vrsta sveobuhvatnog prikaza,
16:16
is going to provide us with our most efficient escape from the world that we're in.
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omogućiti učinkovit bijeg iz svijeta u kojem jesmo.
16:21
That's why most people turn to storytelling, is to escape.
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Zato se većina ljudi okreće pričanju priča, kako bi pobjegli.
16:24
But media provides us with a window
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Ali mediji nam stvaraju prozor
16:27
back into the world that we live in.
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nazad u svijet u kojem živimo.
16:31
And when media evolve
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I kada mediji evoluiraju
16:34
so that the identity of the media becomes increasingly unique.
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tako da njihov identitet postane sve više jedinstven.
16:39
Because what you're looking at is, you're looking at comics cubed:
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Jer ono što vidite predstavlja stripove na kub:
16:42
you're looking at comics that are more comics-like than they've ever been before.
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ovo što vidite su stripovi koji su više stripovski, nego što su to ikada bili.
16:46
When that happens, you provide people with multiple ways
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Kada se to dogodi, pružate ljudima više načina
16:49
of re-entering the world through different windows,
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da ponovo uđu u svijet kroz različite prozore,
16:53
and when you do that, it allows them to triangulate the world that they live in
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i kada to uradite, omogućavate im da prouče svijet u kojem žive
16:56
and see its shape.
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i sagledaju njegovu formu.
16:58
And that's why I think this is important.
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I zato mislim da je ovo značajno.
17:00
One of many reasons, but I've got to go now.
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Ovo je zapravo jedan od mnogo razloga, ali sada moram ići.
17:02
Thank you for having me.
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Hvala vam na pažnji.
ABOUT THE SPEAKER
Scott McCloud - CartoonistScott McCloud is author of Understanding Comics, a comic book about comics. He's an evangelist for comics as a valid literary form (as more than pulp and kids' stuff) and his admiring fans include a laundry list of superstar cartoonists.
Why you should listen
If not for Scott McCloud, graphic novels and webcomics might be enjoying a more modest Renaissance. The flourishing of cartooning in the '90s and '00s, particularly comic-smithing on the web, can be traced back to his major writings on the comics form. The first, Understanding Comics, is translated into 13 languages, and along with Reinventing Comics and Making Comics, its playful and profound investigations are justly revered as something like the Poetics of sequential art.
McCloud coined the term "infinite canvas" -- for the new comics medium made possible by web browsers. He's an avid user of the medium: My Obsession With Chess was widely popular online, as was The Right Number. Back on the printed page, he wrote and illustrated Zot!, a colorful response to then-trendy grimness and gore in comic books. (He describes the book as "a cross between Peter Pan, Buck Rogers and Marshall McLuhan.")
He's the inventor of the game 5-Card Nancy.
Scott McCloud | Speaker | TED.com