TED2010
David Byrne: How architecture helped music evolve
Dejvid Birn: Kako je arhitektura pomogla razvoju muzike
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Kako mu je karijera napredovala, Dejvid Birn (David Byrne) je svirao od CBGB (klub) do Karnegi Hola. On pita: da li mesto događaja pravi muziku? Od sviranja bubnja napolju preko vagnerovskih opera, do roka u areni, on istražuje uticaj konteksta na inovacije u muzici.
David Byrne - Musician, artist, writer
David Byrne builds an idiosyncratic world of music, art, writing and film. Full bio
David Byrne builds an idiosyncratic world of music, art, writing and film. Full bio
Double-click the English transcript below to play the video.
00:16
This is the venue
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Ovo je mesto
00:18
where, as a young man,
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na kom sam, kao mladić,
00:20
some of the music that I wrote was first performed.
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po prvi put izveo muziku koju sam napisao.
00:23
It was, remarkably,
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To je nesumnjivo bila
00:25
a pretty good sounding room.
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prostorija sa prilično dobrim zvukom.
00:27
With all the uneven walls and all the crap everywhere,
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Sa svim tim nejednakim zidovima i glupostima svuda,
00:29
it actually sounded pretty good.
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zapravo je prilično dobro zvučalo.
00:31
This is a song that was recorded there.
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Ovo je pesma koja je tamo snimljena.
00:34
(Music)
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(muzika)
00:36
This is not Talking Heads,
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Ovo nisu "Talking Heads"
00:39
in the picture anyway.
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bar ne na slici.
00:41
(Music: "A Clean Break (Let's Work)" by Talking Heads)
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(Muzika: "A Clean Break (Let's Work) od "Talking Heads")
00:49
So the nature of the room
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Dakle priroda sobe
00:51
meant that words could be understood.
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je omogućavala da se reči razumeju.
00:53
The lyrics of the songs could be pretty much understood.
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Tekstovi pesama su prilično dobro mogli da se razumeju.
00:55
The sound system was kind of decent.
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Zvučni sistem je bio donekle pristojan.
00:58
And there wasn't a lot of reverberation in the room.
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Nije bilo mnogo odjeka u prostoriji.
01:01
So the rhythms
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Tako da su i ritmovi
01:03
could be pretty intact too,
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mogli biti prilično netaknuti,
01:05
pretty concise.
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prilično koncizni.
01:07
Other places around the country had similar rooms.
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Druga mesta širom zemlje imala su slične prostorije.
01:09
This is Tootsie's Orchid Lounge in Nashville.
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Ovo je "Tootsie's Orchid Lounge" u Nešvilu.
01:12
The music was in some ways different,
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Muzika je na neki način drugačija,
01:14
but in structure and form,
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ali u strukturi i formi
01:17
very much the same.
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prilično ista.
01:19
The clientele behavior was very much the same too.
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Ponašanje posetilaca prilično je isto, takođe.
01:24
And so the bands at Tootsie's
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Bendovi u "Tootsie's"
01:26
or at CBGB's
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ili u "CBGB-u"
01:28
had to play loud enough --
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morali su da sviraju dovoljno glasno -
01:31
the volume had to be loud enough to overcome
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zvuk je trebalo da bude dovoljno glasan da nadjača
01:33
people falling down, shouting out
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ljude koji padaju, viču
01:35
and doing whatever else they were doing.
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i rade sve što su radili.
01:37
Since then, I've played other places
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Od tada sam svirao na drugim
01:39
that are much nicer.
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mestima koja su mnogo lepša.
01:41
I've played the Disney Hall here
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Svirao sam ovde u "Dizni Holu"
01:44
and Carnegie Hall and places like that.
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i u "Karnegi Holu" i takvim mestima.
01:47
And it's been very exciting.
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Veoma je uzbudljivo.
01:49
But I also noticed that sometimes the music
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Ali takođe sam primetio da muzika
01:51
that I had written,
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koju sam napisao,
01:53
or was writing at the time,
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ili koju sam pisao u to vreme,
01:55
didn't sound all that great
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uopšte ne zvuči dobro
01:57
in some of those halls.
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u nekim od tih sala.
01:59
We managed,
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Išlo nam je,
02:01
but sometimes those halls didn't seem exactly suited
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ali nekada te sale nisu bile baš pogodne
02:04
to the music I was making
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za muziku koju sam stvarao
02:06
or had made.
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ili stvorio.
02:08
So I asked myself:
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Tako sam se upitao:
02:10
Do I write stuff
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Da li pišem stvari
02:11
for specific rooms?
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za određene prostore?
02:13
Do I have a place, a venue,
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Da li mi je u glavi mesto
02:15
in mind when I write?
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događaja, dok pišem?
02:17
Is that a kind of model for creativity?
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Da li je to neki model za kreativnost?
02:19
Do we all make things with
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Da li svi stvaramo imajući
02:21
a venue, a context, in mind?
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mesto događaja, kontekst, u glavi?
02:25
Okay, Africa.
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Ok, Afrika.
02:27
(Music: "Wenlenga" / Various artists)
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(Muzika: "Wenlenga" / Različiti autori)
02:34
Most of the popular music that we know now
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Većina popularne muzike koju danas znamo
02:37
has a big part of its roots in West Africa.
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dobrim svojim delom ima korene u Zapadnoj Africi.
02:40
And the music there,
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A muzika tamo,
02:42
I would say, the instruments,
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rekao bih, ti instrumenti,
02:44
the intricate rhythms,
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ti složeni ritmovi,
02:46
the way it's played, the setting, the context,
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kako se svira, okruženje, kontekst,
02:49
it's all perfect. It all works perfect.
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sve je savršeno. Sve funkcioniše savršeno.
02:51
The music works perfectly in that setting.
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Muzika savršeno odgovara tom okruženju.
02:54
There's no big room
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Nema velike prostorije
02:56
to create reverberation and confuse the rhythms.
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da stvara odjekivanje i da se ritmovi pomešaju.
02:59
The instruments are loud enough
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Instrumenti su dovoljno glasni
03:01
that they can be heard without amplification, etc., etc.
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da se čuju i bez pojačavanja, itd itd.
03:03
It's no accident.
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To nije slučajno.
03:05
It's perfect for that particular context.
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Savršeno je za dati kontekst.
03:08
And it would be a mess
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A bio bi haos
03:10
in a context like this. This is a gothic cathedral.
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u ovakvom kontekstu. Ovo je gotska katedrala.
03:13
(Music: "Spem In Alium" by Thomas Tallis)
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(Muzika: "Spem In Alium", od Tomasa Talisa)
03:19
In a gothic cathedral, this kind of music is perfect.
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Ovakva muzika je savršena u gotskoj katedrali.
03:25
It doesn't change key, the notes are long,
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Ne menja se ključ. Note su duge.
03:27
there's almost no rhythm whatsoever,
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Skoro uopšte nema ritma.
03:32
and the room flatters the music.
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Prostorija laska muzici.
03:34
It actually improves it.
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Ustvari je poboljšava.
03:36
This is the room that Bach
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Za ovu prostoriju je Bah
03:38
wrote some of his music for. This is the organ.
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napisao neku svoju muziku. Ovo je orgulja.
03:41
It's not as big as a gothic cathedral,
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Nije tako velika kao gotska katedrala
03:43
so he can write things that are a little bit more intricate.
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pa je mogao da piše malo složenije stvari.
03:46
He can, very innovatively,
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On može, veoma inovativno,
03:48
actually change keys
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da promeni ključ
03:50
without risking huge dissonances.
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a da ne dođe do ogromne disonance.
03:52
(Music: "Fantasia On Jesu, Mein Freunde" by Johann S. Bach)
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(Muzika: "Fantasia On Jesu, Mein Freunde", Johan S. Bah)
04:00
This is a little bit later.
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Ovo je malo kasnije.
04:02
This is the kind of rooms that Mozart wrote in.
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Ovo su prostorije u kakvim je Mocart pisao.
04:05
I think we're in like 1770, somewhere around there.
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Mislim da smo sad u 1770., tu negde.
04:08
They're smaller, even less reverberant,
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Manje su, ima još manje odjeka,
04:10
so he can write really frilly music
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tako da može da piše veoma kitnjastu
04:12
that's very intricate -- and it works.
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i složenu muziku - koja funkcioniše.
04:16
(Music: "Sonata in F," KV 13, by Wolfgang A. Mozart)
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(Muzika: Sonata u F Duru", KV!13, Volfgang A. Mocart)
04:19
It fits the room perfectly.
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Savršeno odgovara prostoriji.
04:25
This is La Scala.
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Ovo je "La Scala."
04:27
It's around the same time,
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Iz otprilike istog vremena.
04:29
I think it was built around 1776.
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Mislim da je sagrađena oko 1776.
04:31
People in the audience in these opera houses, when they were built,
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Kada su sagrađene, ljudi u publici su se u ovakvim
04:34
they used to yell out to one another.
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operskim salama nadvikivali.
04:36
They used to eat, drink and yell out to people on the stage,
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Jeli su, pili i vikali ljudima na sceni,
04:39
just like they do at CBGB's and places like that.
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baš kao što rade u "CBGB-u" i takvim mestima.
04:41
If they liked an aria,
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Ako bi im se dopala arija,
04:43
they would holler and suggest
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vikali bi i predlagali
04:45
that it be done again as an encore,
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da se izvede ponovo, u nastavku,
04:47
not at the end of the show, but immediately.
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ne na kraju predstave, nego odmah.
04:50
(Laughter)
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(smeh)
04:54
And well, that was an opera experience.
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Pa, to je bilo iskustvo opere.
04:57
This is the opera house that Wagner built for himself.
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Ovo je opera koju je Vagner izgradio za sebe.
05:01
And the size of the room is not that big.
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Prostorija i nije toliko velika.
05:04
It's smaller than this.
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Manja je od ove.
05:06
But Wagner made an innovation.
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Ali, Vagner je uneo nešto novo.
05:08
He wanted a bigger band.
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Želeo je veći orkestar.
05:10
He wanted a little more bombast,
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Želeo je nešto bombastičnije.
05:12
so he increased the size of the orchestra pit
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Tako je povećao prostor za orkestar
05:14
so he could get more low-end instruments in there.
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da bi mogao da u njega ubaci više dubljih instrumenata.
05:17
(Music: "Lohengrin / Prelude to Act III" by Richard Wagner)
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(Muzika: "Loengrin / Preludijum za treći čin", Rihard Vagner)
05:27
Okay.
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Okej.
05:30
This is Carnegie Hall.
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Ovo je "Karnegi Hol."
05:33
Obviously, this kind of thing became popular.
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Očigledno je nešto ovako postalo popularno.
05:35
The halls got bigger. Carnegie Hall's fair-sized.
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Sale su se povećale. "Karnegi Hol" je kao sajam.
05:38
It's larger than some of the other symphony halls.
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Veća je od nekih drugih simfonijskih sala.
05:41
And they're a lot more reverberant
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I mnogo je akustičnija
05:43
than La Scala.
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od "La Scale".
05:45
Around the same,
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Otprilike u isto vreme,
05:47
according to Alex Ross who writes for the New Yorker,
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prema Aleksu Rosu koji piše za "New Yorker",
05:50
this kind of rule came into effect
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ovo pravilo je stupilo na snagu,
05:53
that audiences had to be quiet --
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publika je morala da bude tiha,
05:55
no more eating, drinking and yelling at the stage,
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nema više jela, pića i vikanja na scenu,
05:57
or gossiping with one another
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ili međusobnog tračarenja
05:59
during the show.
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dok traje koncert.
06:01
They had to be very quiet.
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Morali su da budu veoma tihi.
06:03
So those two things combined meant that
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Dakle te dve stvari u kombinaciji značile su
06:05
a different kind of music
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da je drugačija muzika
06:07
worked best in these kind of halls.
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najbolje funkcionisala u ovakvim salama.
06:10
It meant that there could be extreme dynamics,
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To je značilo da može biti užasno dinamično,
06:12
which there weren't in some of these
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što nije postojalo u nekim od
06:14
other kinds of music.
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ovih ranijih vrsta muzike.
06:16
Quiet parts could be heard
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Mogli su se čuti tiši delovi
06:18
that would have been drowned out
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koji bi bili ugušeni
06:20
by all the gossiping and shouting.
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svim tračarenjem i vikanjem.
06:22
But because of the reverberation
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Ali zbog akustike u
06:24
in those rooms like Carnegie Hall,
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tim prostorijama kao što je "Karnegi Hol",
06:26
the music had to be maybe a little less rhythmic
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muzika je morala možda da bude manje ritmična
06:28
and a little more textural.
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i sa više tekstura.
06:30
(Music: "Symphony No. 8 in E Flat Major" by Gustav Mahler)
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(Muzika: Simfonija br 8 u Es Duru", Gustav Maler)
06:33
This is Mahler.
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Ovo je Maler.
06:36
It looks like Bob Dylan, but it's Mahler.
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Izgleda kao Bob Dilan, ali je Maler.
06:41
That was Bob's last record, yeah.
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To je Bobova poslednja ploča, da.
06:44
(Laughter)
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(smeh)
06:47
Popular music, coming along at the same time.
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Popularna muzika, stiže u isto vreme.
06:50
This is a jazz band.
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Ovo je džez orkestar.
06:52
According to Scott Joplin, the bands were playing
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Prema Skotu Džoplinu, orkestri su svirali
06:55
on riverboats and clubs.
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na rečnim brodovima i u klubovima.
06:57
Again, it's noisy. They're playing for dancers.
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Opet, bučno je. Sviraju za plesače.
06:59
There's certain sections of the song -- the songs had different sections
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Postoje određeni delovi pesama - pesme su imale određene delove
07:02
that the dancers really liked.
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koji su se mnogo dopadali igračima.
07:04
And they'd say, "Play that part again."
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I oni bi rekli, "Sviraj ponovo taj deo".
07:06
Well, there's only so many times
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Pa, koliko samo puta
07:08
you can play the same section of a song over and over again for the dancers.
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možete da odsvirate isti deo iznova i iznova za igrače.
07:11
So the bands started to improvise new melodies.
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Tako su bendovi počeli da improvizuju nove melodije.
07:14
And a new form of music was born.
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I rođen je novi muzički oblik.
07:16
(Music: "Royal Garden Blues" by W.C. Handy / Ethel Waters)
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(Muzika: "Royal Garden Blues", W.C. Handy/ Ethel Waters)
07:26
These are played mainly in small rooms.
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Ove se uglavnom sviraju u malim prostorijama.
07:30
People are dancing, shouting and drinking.
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Ljudi igraju, viču i piju.
07:32
So the music has to be loud enough
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Znači da muzika mora da bude dovoljno glasna
07:34
to be heard above that.
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da nadjača sve to.
07:36
Same thing goes true for -- that's the beginning of the century --
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Ista stvar važi za - to je na početku veka -
07:39
for the whole of 20th-century popular music,
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za svu popularnu muziku dvadesetog veka,
07:42
whether it's rock or Latin music or whatever.
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bilo da je u pitanju rok, latino ili šta god.
07:44
[Live music] doesn't really change that much.
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Ne menja se mnogo.
07:47
It changes about a third of the way into the 20th century,
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Menja se otprilike za trećinu u dvadesetom veku,
07:50
when this became
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kada je ovo postalo
07:53
one of the primary venues for music.
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jedno od glavnih mesta događaja za muziku.
07:56
And this was one way
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Ovo je jedan od načina
07:58
that the music got there.
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na koji je muzika dospela tamo.
08:00
Microphones enabled singers, in particular,
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Mikrofoni su omogućili pevačima, naročito,
08:03
and musicians and composers,
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i muzičarima i kompozitorima
08:05
to completely change the kind of music
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da potpuno promene vrstu muzike
08:07
that they were writing.
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koju su komponovali.
08:09
So far, a lot of the stuff that was on the radio was live music,
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Do tada, mnogo muzike na radiju je bilo uživo,
08:12
but singers, like Frank Sinatra,
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ali pevači kao Frenk Sinatra
08:15
could use the mic
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su mogli da koriste mikrofon
08:17
and do things
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i da rade stvari
08:19
that they could never do without a microphone.
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koje nikada ne bi mogli bez mikrofona.
08:22
Other singers after him
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Drugi pevači posle njega
08:24
went even further.
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su otišli još dalje.
08:26
(Music: "My Funny Valentine" by Chet Baker)
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(Muzika: "My Funny Valentine", Čet Bejker)
08:33
This is Chet Baker.
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Ovo je Čet Bejker.
08:35
And this kind of thing
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I ovakva stvar bi
08:37
would have been impossible without a microphone.
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bila nemoguća bez mikrofona.
08:39
It would have been impossible without recorded music as well.
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Takođe bi bila nemoguća bez snimljene muzike.
08:42
And he's singing right into your ear.
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I peva vam direktno u uvo.
08:44
He's whispering into your ears.
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Šapuće vam na uvo.
08:46
The effect is just electric.
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Efekat je prosto električan.
08:48
It's like the guy is sitting next to you,
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Kao da lik sedi pored vas
08:50
whispering who knows what into your ear.
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i šapuće vam ko zna šta na uvo.
08:55
So at this point, music diverged.
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Dakle do tada se muzika razdelila.
08:57
There's live music,
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Postoji živa muzika
08:59
and there's recorded music.
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i snimljena muzika.
09:01
And they no longer have to be exactly the same.
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I one više ne moraju da budu potpuno iste.
09:04
Now there's venues like this, a discotheque,
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Postoje i mesta kao ova, diskoteke,
09:07
and there's jukeboxes in bars,
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i postoje džuboksovi u barovima
09:09
where you don't even need to have a band.
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gde vam orkestar čak nije ni potreban.
09:11
There doesn't need to be any
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Uopšte nije neophodno
09:13
live performing musicians whatsoever,
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da postoje muzičari koji sviraju uživo.
09:16
and the sound systems are good.
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A zvučni uređaji su dobri.
09:19
People began to make music
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Ljudi su počeli da prave muziku
09:21
specifically for discos
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posebno za diskoteke
09:24
and for those sound systems.
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i za te zvučne sisteme.
09:26
And, as with jazz,
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I kao i u džezu,
09:29
the dancers liked certain sections
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plesačima su se neki delovi
09:32
more than they did others.
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dopadali više nego drugi.
09:34
So the early hip-hop guys would loop certain sections.
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Tako bi rani hip-hop momci ponavljali određene sekvence.
09:37
(Music: "Rapper's Delight" by The Sugarhill Gang)
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(Muzika: "Rapper's Delight", The Sugarhill Gang)
09:45
The MC would improvise lyrics
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MC (master of ceremony) bi improvizovao tekst
09:47
in the same way that the jazz players would improvise melodies.
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na isti način na koji su džez muzičari improvizovali melodije.
09:50
And another new form of music was born.
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I jedna nova forma muzike je rođena.
09:54
Live performance, when it was incredibly successful,
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Živi nastupi, kada su imali najviše uspeha,
09:57
ended up in what is probably, acoustically,
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završili su na mestima koja su verovatno,
10:00
the worst sounding venues on the planet:
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akustički, najgora mesta na svetu,
10:03
sports stadiums,
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sportski stadioni,
10:05
basketball arenas and hockey arenas.
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košarkaške i hokejaške arene.
10:08
Musicians who ended up there did the best they could.
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Muzičari koji su tamo svirali davali su sve od sebe.
10:10
They wrote what is now called arena rock,
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Komponovali su ono što se sada zove arena rok,
10:12
which is medium-speed ballads.
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a to su balade srednje brzine.
10:14
(Music: "I Still Haven't Found What I'm Looking For" by U2)
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(Muzika: "I Still Haven't Found What I'm Looking For", U2)
10:22
They did the best they could
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Dali su sve od sebe,
10:24
given that this is what they're writing for.
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s obzirom da su pisali za ova mesta.
10:27
The tempos are medium. It sounds big.
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Tempo je srednji. Zvuči ogromno.
10:30
It's more a social situation
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To je više socijalna
10:32
than a musical situation.
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nego muzička situacija.
10:34
And in some ways, the music
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I u nekim slučajevima, muzika
10:36
that they're writing for this place
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koju su komponovali za ovo mesto
10:38
works perfectly.
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zvuči savršeno.
10:41
So there's more new venues.
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Evo još nekih novih mesta.
10:44
One of the new ones is the automobile.
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Jedno od njih je automobil.
10:46
I grew up with a radio in a car.
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Odrastao sam uz radio u kolima.
10:48
But now that's evolved into something else.
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Ali to se sad razvilo u sasvim nešto drugo.
10:50
The car is a whole venue.
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Sam auto je mesto događaja.
10:52
(Music: "Who U Wit" by Lil' Jon & the East Side Boyz)
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(Muzika: "Who U Wit", Lil' John & the East Side Boyz)
10:57
The music that, I would say, is written
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Muzika koja je, rekao bih, pisana
11:00
for automobile sound systems
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za automobilske zvučne sisteme,
11:02
works perfectly on it.
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savršeno na njima zvuči.
11:04
It might not be what you want to listen to at home,
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To možda nije ono što biste slušali kod kuće,
11:07
but it works great in the car --
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ali savršeno je u kolima -
11:09
has a huge frequency spectrum,
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ima veliki spektar frekvencije,
11:12
you know, big bass and high-end
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znate, dobre basove i visoke,
11:14
and the voice kind of stuck in the middle.
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a glas je nekako uglavljen u sredini.
11:17
Automobile music, you can share with your friends.
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Muziku za auto možete deliti sa prijateljima.
11:21
There's one other kind of new venue,
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Postoji još jedno novo mesto,
11:23
the private MP3 player.
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privatni MP3 uređaj.
11:26
Presumably, this is just for Christian music.
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Pretpostavljam da je ovaj samo za hrišćansku muziku.
11:28
(Laughter)
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(smeh)
11:34
And in some ways it's like Carnegie Hall,
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I na neki način je kao "Karnegi Hol",
11:37
or when the audience had to hush up,
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ii kad je publika morala da umukne,
11:39
because you can now hear every single detail.
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jer sada možete čuti svaki i najmanji detalj.
11:42
In other ways, it's more like the West African music
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Na drugi način, više je kao zapadnoafrička muzika,
11:44
because if the music in an MP3 player gets too quiet,
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jer ako muzika u MP3 uređaju postane suviše tiha,
11:47
you turn it up, and the next minute,
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pojačate je i u sledećem momentu
11:49
your ears are blasted out by a louder passage.
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uši vam probija glasnija deonica.
11:52
So that doesn't really work.
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Dakle to baš i ne funkcioniše.
11:54
I think pop music, mainly,
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Mislim da se pop muzika, uglavnom,
11:56
it's written today,
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koja se piše danas,
11:58
to some extent, is written for these kind of players,
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donekle piše za ovakve uređaje,
12:01
for this kind of personal experience
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za ovakvo lično iskustvo
12:03
where you can hear extreme detail,
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gde možete da čujete ekstremne detalje,
12:05
but the dynamic doesn't change that much.
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ali dinamika se ne menja mnogo.
12:08
So I asked myself:
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Tako sam se zapitao:
12:11
Okay, is this
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Ok, da li je ovo
12:13
a model for creation,
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model kreacije,
12:15
this adaptation that we do?
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ovo prilagođavanje koje činimo?
12:18
And does it happen anywhere else?
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I da li se to još negde događa?
12:20
Well, according to David Attenborough and some other people,
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Pa, Dejvid Atenborou i neki drugi kažu
12:23
birds do it too --
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da i ptice tako rade.
12:25
that the birds in the canopy,
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Zov onih ptica u krošnjama,
12:28
where the foliage is dense,
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gde je lišće najgušće,
12:30
their calls tend to be
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mora da bude
12:32
high-pitched, short and repetitive.
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visok, kratak i da se ponavlja.
12:36
And the birds on the floor
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A ptice na nižim nivoima
12:38
tend to have lower pitched calls,
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imaju niži zov,
12:40
so that they don't get distorted
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da se ne bi izmenio
12:42
when they bounce off the forest floor.
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kada odskaču po šumskom tlu.
12:45
And birds like this Savannah sparrow,
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A ptice kao što je ovaj vrabac iz Savane
12:49
they tend to have a buzzing
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proizvode zvuk
12:51
(Sound clip: Savannah sparrow song)
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(Zvučni insert: pesma vrapca iz Savane)
12:53
type call.
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nalik zujanju.
12:55
And it turns out that
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Ispostavlja se da
12:58
a sound like this
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je zvuk kao ovaj
13:00
is the most energy efficient and practical way
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najpraktičniji i najmanje energetski zahtevan
13:03
to transmit their call
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za prenošenje zova
13:06
across the fields and savannahs.
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preko polja i savana.
13:10
Other birds, like this tanager,
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Druge ptice, kao tangare,
13:13
have adapted within the same species.
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su se prilagodile unutar svoje vrste.
13:16
The tananger on the East Coast of the United States,
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Tangare na istočnoj obali Sjedinjenih Država,
13:18
where the forests are a little denser,
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gde su šume nešto gušće,
13:20
has one kind of call,
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imaju jednu vrstu zova,
13:22
and the tananger on the other side, on the west
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a tangare na drugoj strani, na zapadu,
13:25
(Sound clip: Scarlet tanager song)
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(Zvuk: pesma crvene tangare)
13:27
has a different kind of call.
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imaju drugačiju vrstu zova.
13:30
(Sound clip: Scarlet tanager song)
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(Zvuk: pesma crvene tangare)
13:35
So birds do it too.
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Dakle i ptice to rade.
13:38
And I thought:
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I onda sam pomislio:
13:40
Well, if this is a model for creation,
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Pa, ako je ovo model kreacije,
13:43
if we make music,
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ako pravimo muziku
13:45
primarily the form at least,
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doduše prvenstveno njen oblik,
13:48
to fit these contexts,
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da se uklopi u ove kontekste,
13:50
and if we make art to fit gallery walls or museum walls,
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i ako pravimo umetnost da se uklopi na galerijske i muzejske zidove,
13:53
and if we write software to fit existing operating systems,
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i ako pišemo programe da se uklope u postojeće operativne sisteme,
13:58
is that how it works?
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da li to tako funkcioniše?
14:01
Yeah. I think it's evolutionary.
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Da. Mislim da je to evolucija.
14:03
It's adaptive.
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Prilagođavanje.
14:05
But the pleasure and the passion and the joy
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Ali zadovoljstvo i strast i uživanje
14:07
is still there.
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još uvek su tu.
14:10
This is a reverse view of things
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Ovo je obrnut pogled na stvari
14:12
from the kind of traditional Romantic view.
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od onog tradicionalnog romantičnog gledanja.
14:14
The Romantic view is that
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Prema romantičnom gledanju,
14:16
first comes the passion
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prvo dolazi strast
14:18
and then the outpouring of emotion,
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a onda izliv emocija
14:20
and then somehow it gets shaped into something.
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i onda se to nekako uobliči u nešto.
14:23
And I'm saying,
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A ja kažem,
14:25
well, the passion's still there,
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pa, strast je i dalje tu,
14:27
but the vessel
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ali objekat
14:29
that it's going to be injected into and poured into,
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u koji će se ona izliti
14:32
that is instinctively and intuitively
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je instinktivno i intuitivno
14:34
created first.
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prvi kreiran.
14:36
We already know where that passion is going.
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Već znamo kuda ta strast ide.
14:43
But this conflict of views is kind of interesting.
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Ali taj sukob gledišta je interesantan.
14:46
The writer,
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Pisac,
14:48
Thomas Frank,
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Tomas Frenk,
14:50
says that
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kaže da
14:52
this might be a kind of explanation
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ovo može biti jedno od objašnjenja zašto
14:54
why some voters vote
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neki glasači glasaju
14:56
against their best interests,
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protiv svojih najboljih interesa,
14:58
that voters, like a lot of us,
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da glasači, kao mnogi od nas,
15:01
assume, that if they hear something that sounds like it's sincere,
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pretpostavljaju da, ako čuju nešto što zvuči iskreno,
15:04
that it's coming from the gut, that it's passionate,
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što dolazi iz dubine, da je to strastveno,
15:06
that it's more authentic.
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da je autentičnije.
15:08
And they'll vote for that.
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I glasaće za to.
15:10
So that, if somebody can fake sincerity,
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Znači, ako neko može da folira iskrenost,
15:12
if they can fake passion,
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da folira strast,
15:15
they stand a better chance
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ima bolje šanse
15:17
of being selected in that way,
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da bude izabran na taj način,
15:21
which seems a little dangerous.
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što deluje pomalo opasno.
15:25
I'm saying the two, the passion, the joy,
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Kažem da ta dva, strast i uživanje,
15:28
are not mutually exclusive.
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nisu međusobno isključivi.
15:30
Maybe what the world needs now is for us to realize
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Možda je svetu sada potrebno da shvatimo
15:33
that we are like the birds.
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da smo kao ptice.
15:35
We adapt.
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Prilagođavamo se.
15:37
We sing.
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Pevamo.
15:39
And like the birds, the joy is still there,
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I kao kod ptica, uživanje je i dalje tu,
15:41
even though we have changed what we do
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iako smo promenili ono što radimo
15:44
to fit the context.
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da bismo se uklopili u kontekst.
15:46
Thank you very much.
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Mnogo vam hvala.
15:48
(Applause)
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(aplauz)
ABOUT THE SPEAKER
David Byrne - Musician, artist, writerDavid Byrne builds an idiosyncratic world of music, art, writing and film.
Why you should listen
Musician, author, filmmaker, curator, conservationist, digital music theorist, bicycle advocate, urban designer, visual artist, humanist ... David Byrne has many ways of expressing himself -- all of them heartfelt, authentic and thought-provoking.
From his groundbreaking recording career, first with Talking Heads and then as a solo artist and collaborator, to his recent use of digital media to connnect his creations to the world, he has been meshing art and technology to create jaw-dropping, soulful masterpieces that tell a story, and often invoke his audience to create some masterpieces of their own. In a recent art installation, Playing the Building, Byrne transformed an empty building into a musical instrument, and then invited visitors to play it.
His book Bicycle Diaries is a journal of what he thought and experienced while cycling through the cities of the world. And his 2012 book How Music Works expands on his 2010 TEDTalk to imagine how music is shaped by its time and place.
In David Byrne's 2010 TEDTalk, the image of CBGB comes from Joseph O. Holmes' CBGB series >>
David Byrne | Speaker | TED.com