TED2005
Scott McCloud: The visual magic of comics
Scott McCloud om tegneserier
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I dette uundgåelige blik på magien ved tegneserier bøjer Scott McCloud taleformatet til en tegneserieagtig oplevelse. Her strømmer farverige indfald forbi tænksomme erindringer og en forestillet fremtid, som vores øjne måske både kan høre og berøre gennem tegneseriernes verden.
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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Ud af de fem sanser
00:19
vision is the one that I appreciate the most,
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Er det synet jeg værdsætter mest
00:22
and it's the one that I can least take for granted.
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og det er det jeg tager mindst for givet.
00:25
I think this is partially due to my father, who was blind.
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Jeg tror det tildels skyldes min far som var blind.
00:29
It was a fact that he didn't make much of a fuss about, usually.
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Det var ikke noget han gjorde særlig meget ud af, for det meste.
00:31
One time in Nova Scotia,
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Engang i Nova Scotia
00:32
when we went to see a total eclipse of the sun --
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da vi skulle se en fuld solformørkelse -
00:35
yeah, same one as in the Carly Simon song,
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ja, den samme som i sangen med Carly Simon -
00:37
which may or may not refer
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som måske, måske ikke refererer
00:39
to James Taylor, Warren Beatty or Mick Jagger; we're not really sure.
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til James Taylor, Warren Beatty eller Mick Jagger; det vides ikke rigtig.
00:42
They handed out these dark plastic viewers
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De delte nogle mørke plastikbriller ud
00:45
that allowed us to look directly at the sun
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som gjorde, at vi kunne se direkte på solen
00:47
without damaging our eyes.
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uden at skade vores øjne.
00:49
But Dad got really scared:
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Men far blev meget bange:
00:50
he didn't want us doing that.
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Han ville ikke have os til at bruge dem.
00:52
He wanted us instead to use these cheap cardboard viewers
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I stedet ville han have os til at bruge de her billige papbriller
00:55
so that there was no chance at all that our eyes would be damaged.
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så der ikke var nogen sandsynlighed for, at vores øjne kunne komme til skade.
00:59
I thought this was a little strange at the time.
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Jeg syntes det var en lille smule mærkeligt.
01:01
What I didn't know at the time
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Hvad jeg ikke vidste på det tidspunkt
01:02
was that my father had actually been born with perfect eyesight.
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var at min far faktisk var blevet født med perfekt syn.
01:05
When he and his sister Martha were just very little,
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Da han og hans søster Martha var meget små
01:07
their mom took them out to see a total eclipse --
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havde deres mor taget dem med ud var at se en formørkelse,
01:10
or actually, a solar eclipse --
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eller, en solformørkelse
01:11
and not long after that,
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og kort tid efter det
01:12
both of them started losing their eyesight.
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begyndte de begge at miste deres syn.
01:16
Decades later,
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Årtier senere
01:17
it turned out that the source of their blindness
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viste det sig, at kilden til deres blindhed
01:19
was most likely some sort of bacterial infection.
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sandsynligvis har været en slags bakteriel infektion.
01:22
As near as we can tell,
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Så vidt vides
01:23
it had nothing whatsoever to do with that solar eclipse,
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havde det overhovedet intet at gøre med den solformørkelse,
01:27
but by then my grandmother had already gone to her grave
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men på det tidspunkt var min bedstemor allerede blevet begravet
01:29
thinking it was her fault.
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i troen at det var hendes skyld.
01:32
So, Dad graduated Harvard in 1946,
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Så min var blev færdig med sine Harvard studier i 1946,
01:35
married my mom,
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blev gift med min mor,
01:36
and bought a house in Lexington, Massachusetts,
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og købte et hus i Lexington, Massachussetts,
01:39
where the first shots were fired against the British in 1775,
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hvor de første skud blev affyret mod briterne i 1775,
01:43
although we didn't actually hit any of them until Concord.
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selvom vi ikke ramte nogen af dem før slaget ved Concord.
01:45
He got a job working for Raytheon,
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Han blev ansat til at arbejde for Raytheon
01:47
designing guidance systems,
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hvor han designede guidance-systemer,
01:49
which was part of the Route 128 high-tech axis in those days --
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hvilket var en del af det højteknologiske omdrejningspunkt, der på det tidspunkt drejede var Rute 128
01:52
so the equivalent of Silicone Valley in the '70s.
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Så det var hvad der svarer til 70'ernes Silicone Valley.
01:55
Dad wasn't a real militaristic kind of guy;
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Far var egentlig ikke militaristisk;
01:58
he just really felt bad that he wasn't able to fight in World War II
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Han havde bare rigtig dårlig samvittighed over, at han ikke kunne slås med under Anden Verdenskrig
02:01
on account of his handicap,
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på grund af hans handicap,
02:02
although they did let him get through
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Selvom de dog trak ham igennem
02:04
the several-hour-long army physical exam
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den timelange fysiske hærundersøgelse
02:08
before they got to the very last test,
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før de kom til den allersidste test,
02:09
which was for vision.
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som var en synstest.
02:10
(Laughter)
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(Latter)
02:14
So, Dad started racking up all of these patents
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Så far samlede en masse patenter sammen
02:17
and gaining a reputation as a blind genius, rocket scientist, inventor.
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og fik hurtigt ry for at være en blind geniraketvidenskabsmandsopfinder
02:20
But to us he was just Dad,
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Men for os var han bare far,
02:21
and our home life was pretty normal.
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og vores liv derhjemme var meget normale.
02:25
As a kid, I watched a lot of television
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Som barn så jeg meget fjernsyn
02:27
and had lots of nerdy hobbies
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og havde mange nørdede hobbyer
02:29
like mineralogy and microbiology and the space program
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som mineralogi og mikrobiologi og rumprogrammer
02:32
and a little bit of politics.
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og en lille smule politik.
02:33
I played a lot of chess.
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Jeg spillede meget skak.
02:35
But at the age of 14,
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Men da jeg var 14,
02:36
a friend of mine got me interested in comic books,
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præsenterede en ven mig for tegneserier,
02:37
and I decided that was what I wanted to do for a living.
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og jeg besluttede at det var det jeg ville leve af som voksen.
02:41
So, here's my dad:
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Så der er min far:
02:42
he's a scientist, he's an engineer and he's a military contractor.
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Han er videnskabsmand, han er ingeniør og han er militærentreprenør.
02:48
So, he has four kids, right?
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Og han har fire børn;
02:51
One grows up to become a computer scientist,
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En vokser op og bliver datalog,
02:52
one grows up to join the Navy,
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en vokser op og melder sig ind i flåden
02:55
one grows up to become an engineer,
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og en vokser op og bliver ingeniør,
02:57
and then there's me:
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og så er der mig:
02:59
the comic book artist.
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tegneserietegneren.
03:01
(Laughter)
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(Latter)
03:04
Which, incidentally, makes me the opposite of Dean Kamen,
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Hvilket forøvrigt gør mig til det modsatte af Dean Kamen,
03:05
because I'm a comic book artist, son of an inventor,
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Fordi jeg er en tegneserietegner der er søn af en opfinder,
03:07
and he's an inventor, son of a comic book artist.
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og han er en opfinder, der er søn af en tegneserietegner.
03:10
(Laughter)
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(Latter)
03:11
Right, it's true.
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Det er sandt.
03:13
(Applause)
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(Klapsalve)
03:16
The funny thing is, Dad had a lot of faith in me.
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Det sjove ved det er, at far havde masser af tillid til mig.
03:18
He had faith in my abilities as a cartoonist,
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Han troede på mine evner som tegner,
03:21
even though he had no direct evidence that I was any good whatsoever:
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selvom han jo ikke havde noget direkte bevis på, om jeg var god eller ej:
03:24
everything he saw was just a blur.
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Alt hvad han kunne se var bare utydeligt.
03:26
Now, this gives a real meaning to the term "blind faith,"
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Det giver en ny betydning til udtrykket 'blind tillid,'
03:28
which doesn't have the same negative connotation for me that it does for other people.
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som ikke har de samme negative konnotationer for mig som det kan have for andre mennesker.
03:33
Now, faith in things which cannot be seen, which cannot be proved,
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Tillid til ting der ikke kan ses, der ikke kan bevises,
03:36
is not the sort of faith that I've ever really related to all that much.
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er ikke noget jeg har følt mig særlig forbundet med.
03:40
I tend to like science,
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Jeg kan godt lide videnskab,
03:41
where what we see
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hvor hvad vi ser
03:43
and can ascertain are the foundation of what we know.
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og kan fastslå er grundlaget for hvad vi ved.
03:47
But there's a middle ground, too.
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Men der er også et mellemleje
03:49
A middle ground tread by people like poor old Charles Babbage,
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Et mellemleje der bliver betrådt af folk som stakkels Charles Babbage,
03:52
and his steam-driven computers that were never built.
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og hans dampdrevne computere, der aldrig blev bygget.
03:56
Nobody really understood what it was that he had in mind,
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Der var aldrig rigtig nogen der forstod hvad han havde i tankerne,
03:58
except for Ada Lovelace,
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bortset fra Ada Lovelace,
04:02
and he went to his grave trying to pursue that dream.
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og han døde, mens han forsøgte at forfølge den drøm.
04:05
Vannevar Bush with his Memex --
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Vannevar Bush med Memex -
04:07
this idea of all of human knowledge at your fingertips --
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idéen om at have al menneskelig videnskab på fingerspidserne -
04:10
he had this vision.
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det var hans vision.
04:12
And I think a lot of people in his day
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Og jeg tror mange mennesker på hans tid
04:13
probably thought he was a bit of a kook.
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sikkert betragtede ham som lidt af en skør kugle.
04:15
And, yeah, we can look back in retrospect and say,
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Og ja, vi kan tage se tilbage i dag og sige,
04:17
yeah, ha-ha, you know -- it's all microfilm. But that's --
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Ja, ha-ha, du ved - det er alt sammen mikrofilm. Men det er-
04:21
that's not the point. He understood the shape of the future.
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det er ikke pointen. Han forstod hvordan fremtiden ville forme sig.
04:24
So did J.C.R. Licklider and his notions for computer-human interaction.
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Det gjorde J.C.R. Licklider også med hans ideer om computer-menneskelig interaktion.
04:28
Same thing: he understood the shape of the future,
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Det er det samme: han forstod hvordan fremtiden ville forme sig,
04:31
even though it was something that would
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selvom det var noget der først ville
04:34
only be implemented by people much later.
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blive indført af folk meget senere.
04:37
Or Paul Baran, and his vision for packet switching.
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Eller Paul Baran, og hans idé om 'packet switching'.
04:40
Hardly anybody listened to him in his day.
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Næsten ingen lyttede til ham dengang.
04:43
Or even the people who actually pulled it off,
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Og selv de mennesker det faktisk lykkedes for,
04:45
the people at Bolt, Beranek and Newman in Boston,
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folkene på Bolt, Beranek og Newman i Boston,
04:48
who just would sketch out these structures
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der bare skulle optegne de strukturerne
04:50
of what would eventually become a worldwide network,
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for hvad der ville blive et verdensomspændende netværk
04:53
and sketching things on the back of napkins and on note papers
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og tegne ting på bagsiderne af servietter og på notepapir
04:57
and arguing over dinner at Howard Johnson's --
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og skændes under middagen hjemme hos Howard Johnson
04:59
on Route 128 in Lexington, Massachusetts,
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på Rute 128 i Lexington, Massachussets,
05:01
just two miles from where I was studying the Queen's Gambit Deferred
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bare tre kilometer fra hvor jeg studerede berømte skakåbninger
05:04
and listening to Gladys Knight & the Pips
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og lyttede til Gladys Knight & the Pips
05:06
singing "Midnight Train to Georgia," while --
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der sang "Midnight Train to Georgia," mens -
05:08
(Laughter)
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(Latter)
05:09
-- in my dad's big easy chair, you know?
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jeg sad i min fars store, komfortable stol
05:12
So, three types of vision, right?
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Så lad os sige der er tre typer syn:
05:14
Vision based on what one cannot see:
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Syn baseret på hvad man ikke kan se:
05:17
the vision of that unseen and unknowable.
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Syn på hvad der er uset og der ikke kan vides.
05:20
The vision of that which has already been proven or can be ascertained.
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Synet af hvad der allerede er blevet enten bevist eller kan fastslås.
05:23
And this third kind
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Og så er der den tredje slags
05:26
of vision, of something which
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syn, som er noget
05:28
can be, which may be,
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der kan være, der måske er,
05:30
based on knowledge, but is as yet unproven.
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det er baseret på viden, men er stadig ikke bevist.
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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Vi har set en masse eksempler på folk der forfølger den type syn inden for videnskaben,
05:38
but I think it's also true in the arts, it's true in politics,
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men jeg tror også det er sandt inden for kunst, inden for politik
05:40
it's even true in personal endeavors.
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og endda også i personlig stræben.
05:43
What it comes down to, really, is four basic principles:
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Hvad det kan koges ned til, er fire grundlæggende principper:
05:45
learn from everyone,
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Lær af alle,
05:47
follow no one,
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Følg ingen,
05:49
watch for patterns,
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Led efter mønstre
05:51
and work like hell.
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og arbejd røven ud af bukserne.
05:52
I think these are the four principles that go into this.
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Jeg tror det er de fire principper der er altafgørende her.
05:55
And it's that third one, especially,
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Og det gælder især den tredje,
05:57
where visions of the future
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hvor visioner om fremtiden
05:59
begin to manifest themselves.
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begynder at tage form.
06:01
What's interesting is that this particular way of looking at the world,
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Det spændende ved det her er, at dette særlige syn på verden
06:04
is, I think, only one of four different ways
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bare er én ud af fire forskellige veje,
06:06
that manifest themselves in different fields of endeavor.
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der er synlige indenfor forskellige indsatsområder.
06:08
In comics, I know that
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I tegneserier ved jeg at
06:10
it results in sort of a formalist attitude
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det ender ud med en formalistisk indgang
06:13
towards trying to understand how it works.
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hvor man prøver at forstå hvordan det virker.
06:15
Then there's another, more classical, attitude
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Så er der en anden, mere klassisk tilgang
06:18
which embraces beauty and craft.
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der omfavner skønhed og håndværk.
06:20
Another one which believes in the pure transparency of content.
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En anden forholder sig til indholdets gennemskuelighed.
06:24
And then another
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Og en anden igen
06:26
which emphasizes the authenticity of human experience --
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lægger vægt på autenticiteten af menneskelig erfaring
06:28
and honesty, and rawness.
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og ærlighed, og råhed.
06:30
These are four very different ways of looking at the world. I even gave them names.
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Her er der fire forskellige måder man kan anse verden på. Jeg har endda givet dem navne.
06:32
The classicist, the animist, and formalist and iconoclast.
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Den klassicistiske, den animistiske, den formalistiske og den ikonoklastiske.
06:36
Interestingly, it seemed to correspond more or less
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Interessant er det, at det mere eller mindre svarer til
06:37
to Jung's four subdivisions of human thought.
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Jungs fire underinddelinger af menneskelig tanke.
06:42
And they reflect a dichotomy of art and delight
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Og de afspejler en dikotomi mellem kunst og fornøjelse
06:44
on left and the right;
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på venstre og højre;
06:46
tradition and revolution on the top and the bottom.
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tradition og revolution i toppen og bunden
06:48
And if you go on the diagonal, you get content and form --
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og hvis du ser på det diagonalt, får du indhold og form -
06:50
and then beauty and truth.
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og så skønhed og sandhed.
06:52
And it probably applies just as much
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og det kan sikkert i lige så høj grad overføres
06:53
to music and to movies and to fine art,
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til musik, film og kunst,
06:56
which has nothing whatsoever to do with vision at all,
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hvilket som sådan ikke har noget at gøre med syn,
06:59
or for that matter, nothing to do with our conference theme of
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eller for den sags skyld temaet for konferencen -
07:02
"Inspired by Nature" --
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"Inspired by Nature"-
07:03
except to the extent of the fable of the frog
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medmindre man beslutter sig for at inddrage fablen om frøen
07:06
who gives the ride to the scorpion on his back to get across the river
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der giver skorpionen et lift på sin ryg, så den kan komme over floden
07:09
because the scorpion promises not to sting him,
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fordi skorpionen lover ikke at stikke ham.
07:11
but then the scorpion does sting him anyway and they both die,
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Men så stikker skorpionen ham alligevel, og de dør begge to.
07:13
but not before the frog asks him why and the scorpion says,
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Men først spørger frøen ham hvorfor, og skorpionen svarer,
07:16
"Because it's my nature" --
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"Fordi det er min natur"-
07:17
in that sense, yes.
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I den forstand, jo.
07:19
(Laughter)
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(Latter)
07:21
So --
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Så-
07:23
so this was my nature. The thing was, I saw
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Så det her var min natur. Sagen er, at jeg kunne se,
07:26
that the route that I took to discovering
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at den vej jeg tog for at finde
07:28
this focus in my work
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fokus i mit arbejde
07:31
and who I was,
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og for at finde ud af, hvem jeg var,
07:33
I saw it as just this road to discovery.
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Jeg så, at det var min vej til erkendelsen.
07:35
Actually, it was just me embracing my nature,
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Faktisk var det bare mig, der omfavnede min natur,
07:37
which means
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hvilket betyder,
07:39
that I didn't actually fall that far from the tree after all.
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at jeg trods alt ikke faldt særlig langt fra stammen
07:44
So what does a "scientific mind"
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Så hvad betyder "et videnskabeligt sind"
07:46
do in the arts?
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i kunstverden?
07:49
Well, I started making comics,
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Tja jeg begyndte at lave tegneserier,
07:50
but I also started trying to understand them, almost immediately.
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men jeg begyndte også at prøve på at forstå dem, næsten med det samme.
07:52
And one of the most important things about comics, I discovered,
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Og en af de vigtigste ting jeg fandt ud af med tegneserier er,
07:55
was that comics are a visual medium,
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at tegneserier er et visuelt medium,
07:57
but they try to embrace all of the senses within it.
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men de forsøger af omfatte samtlige sanser.
08:01
So, the different elements of comics, like pictures and words,
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Så de forskellige elementer i tegneserier, som billeder og ord,
08:05
and the different symbols and everything in between
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og de forskellige symboler og alt derimellem,
08:08
that comics presents
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som tegneserier udgør,
08:09
are all funneled through the single conduit of vision.
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bliver alle transporteret gennem synet som den eneste kanal.
08:11
So you have things like resemblance,
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Så du har ting som lighed,
08:13
where something which resembles the physical world can be abstracted
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hvor noget der ligner den fysiske verden kan gøres abstrakt
08:16
in a couple of different directions:
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i forskellige retninger:
08:18
abstracted from resemblance,
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Det kan fjernes fra lighed,
08:20
but still retaining the complete meaning,
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hvor det stadig bevarer sin betydning
08:22
or abstracted away from both resemblance and meaning towards the picture plan.
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eller fjernes fra både lighed og betydning, mod billedplanet
08:26
Put all these three together, and you have a nice little map
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Hvis du lægger alle de tre ting sammen har du et lille kort
08:28
of the entire boundary of visual iconography
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over den grænse for visuel ikonografi
08:31
which comics can embrace.
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som tegneserier kan omfavne.
08:33
And if you move to the right you also get language,
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Og hvis du flytter dig til højre får du også sprog,
08:36
because that's abstracting even further from resemblance,
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for der bliver det fjernet endnu mere fra lighed,
08:39
but still maintaining meaning.
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men bevarer stadig mening.
08:42
Vision is called upon to represent sound
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Syn bliver påkaldt som repræsentation for lyd
08:44
and to understand the common properties of those two
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og for bedre at forstå de tos fælles egenskaber
08:47
and their common heritage, as well.
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samt deres fælles ophav.
08:49
Also, to try to represent the texture of sound
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Også for at repræsentere lydes tekstlighed
08:52
to capture its essential character through visuals.
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- at fange deres grundlæggende træk gennem det visuelle.
08:57
And there's also a balance
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Og der er også en balance
08:59
between the visible and the invisible in comics.
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mellem det synlige og det usynlige i tegneserier.
09:02
Comics is a kind of call and response
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Tegneserier er en slags 'Call and response'
09:04
in which the artist gives you
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hvor kunstneren giver dig
09:05
something to see within the panels,
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noget du kan se i panelerne,
09:06
and then gives you something to imagine between the panels.
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og derefter giver dig noget du kan forestille dig mellem panelerne.
09:11
Also, another sense
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Der er også en anden sans
09:13
which comics' vision represents, and that's time.
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som synet repræsenterer i tegneserier, og det er tid.
09:17
Sequence is a very important aspect of comics.
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Rækkefølge er et vigtigt aspekt i tegneserier.
09:21
Comics presents a kind of temporal map.
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Tegneserier udgør et slags tidsligt kort.
09:24
And this temporal map was something that energizes modern comics,
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Og dette tidslige kort var noget der bragt energi til moderne tegneserier.
09:27
but I was wondering if perhaps it also energizes
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Men jeg tænker på, om det måske også giver energi til
09:30
other sorts of forms,
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andre ting,
09:32
and I found some in history.
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og jeg fandt nogle i verdenshistorien.
09:34
And you can see this same principle operating
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Her kan I se, at det fungerer ud fra samme princip
09:37
in these ancient versions of the same idea.
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I de her antikke versioner af den samme idé.
09:40
What's happening is, the art form is colliding
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Hvad der sker er, at kunstformen støder sammen
09:42
with the given technology,
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med den anvendte teknologi,
09:43
whether it's paint on stone, like the Tomb of the Scribe in ancient Egypt,
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uanset om det er maling eller sten, som i denne her grav fra det gamle Ægypten.
09:47
or a bas-relief sculpture rising up a stone column,
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eller en bundrelief-skulptur, der kommer ud af en stensøjle
09:50
or a 200-foot-long embroidery,
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eller et 60 meter langt broderi,
09:52
or painted deerskin and tree bark
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eller malet hjorteskin og træbark
09:54
running across 88 accordion-folded pages.
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der strækker sig over 88 harmonikafoldede sider.
09:57
What's interesting is, once you hit print --
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Det spændende er, at så snart det skal trykkes -
09:59
and this is from 1450, by the way --
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og det her er forresten fra 1450 -
10:01
all of the artifacts of modern comics start to present themselves:
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dukker alle de kendetegn op, som vi kan genkende fra moderne tegneserier:
10:03
rectilinear panel arrangements,
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retlinjet panelopsætning,
10:05
simple line drawings without tone
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simple linjer uden farvetonation
10:07
and a left-to-right reading sequence.
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og en læserækkefølge der går fra venstre mod højre.
10:11
And within 100 years,
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Og inden for 100 år
10:12
you already start to see word balloons and captions,
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begynder man allerede at se talebobler og billedtekst,
10:16
and it's really just a hop, skip and a jump from here to here.
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og det er bare en spytklat at komme herfra til her.
10:19
So I wrote a book about this in '93,
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Så jeg skrev en bog om det i '93,
10:21
but as I was finishing the book,
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men da jeg var ved at blive færdig med bogen
10:23
I had to do a little bit of typesetting,
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blev jeg nødt til at arbejde lidt med opsætningen
10:24
and I was tired of going to my local copy shop to do it,
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og jeg var træt af at være nødt til at bruge den lokale kopiforretning,
10:26
so I bought a computer.
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så jeg købte en computer.
10:29
And it was just a little thing -- it wasn't good for much except text entry --
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Og det var bare en lille en - den kunne ikke så meget udover tekstbehandling.
10:32
but my father had told me about Moore's Law,
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Men min far havde fortalt mig om Moore's lov,
10:35
about Moore's Law back in the '70s, and I knew what was coming.
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om Moore's lov tilbage i 70'erne, og jeg vidste hvad der nu var på vej.
10:39
And so, I kept my eyes peeled
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Og så holdt jeg øjnene åbne
10:41
to see if the sort of changes that happened
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for at se, om de ændringer der var sket
10:43
when we went from pre-print comics to print comics
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da vi gik fra ikke trykte tegneserier til trykte tegneserier
10:46
would happen when we went beyond, to post-print comics.
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ville ske, hvis vi fortsatte mod posttryk-tegneserier.
10:49
So, one of the first things that were proposed
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Så en af de første ting der blev foreslået var,
10:51
was that we could mix the visuals of comics
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at vi kunne blande det visuelle fra tegneserier
10:53
with the sound, motion and interactivity
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med lyd, bevægelse og interaktivitet
10:55
of the CD-ROMs that were being made in those days.
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fra CD-ROM'erne som blev lavet dengang.
10:57
This was even before the Web.
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Det var selv før internettet.
10:59
And one of the first things they did was,
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Og en af de første ting de gjorde var,
11:00
they tried to take the comics page as-is
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at de forsøgte at tage tegneseriesiden som den så ud
11:02
and transplant it to monitors,
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og overføre den til en skærm,
11:03
which was a classic McLuhanesque mistake
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hvilket var en klassisk McLuhansk fejltagelse,
11:06
of appropriating the shape of the previous technology
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hvor man anvender form fra den tidligere teknologi
11:09
as the content of the new technology.
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som indholdet for den nye teknologi.
11:11
And so, what they would do is,
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Hvad de derfor gjorde var,
11:12
they'd have these comic pages that resemble print comics pages,
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at de ville have de her tegneseriesider som så ud ligesom trykte tegneseriesider.
11:14
and they would introduce all this sound and motion.
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og de ville indføre forskelligt lyd og bevægelse.
11:18
The problem was, that if you go with this idea --
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Problemet var, at hvis du følger den idé -
11:20
this basic idea that space equals time in comics --
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den simple idé at rum er lig med tid i tegneserier,
11:23
what happens is that when you introduce sound and motion,
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hvad der sker er, at når du så introducerer lyd og bevægelse,
11:25
which are temporal phenomena that can only be represented through time,
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som er tidlige fænomener, der kun kan repræsenteres gennem tid,
11:29
then they break with that continuity of presentation.
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så bryder de med præsentationens kontinuitet
11:35
Interactivity was another thing.
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Interaktivitet var en anden ting.
11:36
There were hypertext comics.
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Der var hypertekst-tegneserier.
11:37
But the thing about hypertext
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Men problemet med hypertekst er,
11:38
is that everything in hypertext is either here, not here or connected to here;
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at alt ved hypertekst enten er her, ikke er her eller er forbundet hertil.
11:41
it's profoundly non-spatial.
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Det er iboende ikke-rummeligt.
11:43
The distance from Abraham Lincoln to a Lincoln penny,
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Afstanden fra Abraham Lincoln til en Lincoln penny-mønt,
11:46
the Penny Marshall to the Marshall Plan
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Fra Penny Marshall til Marshall Planen
11:48
to "Plan 9" to nine lives:
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fra "Plan 9" til ni liv:
11:49
it's all the same.
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Det er altsammen det samme.
11:51
(Laughter)
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(Latter)
11:52
And -- but in comics, in comics,
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Og - men i tegneserier, i tegneserier
11:55
every aspect of the work, every element of the work
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har hvert arbejdsaspekt, hvert element
11:58
has a spatial relationship to every other element at all times.
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et rummeligt forhold til alle andre elementer på alle tidspunkter.
12:01
So the question was:
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Så spørgsmålet var:
12:02
was there any way to preserve that spatial relationship
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Var det overhovedet muligt at bevare det rummelige forhold
12:05
while still taking advantage of all of the things
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mens man stadig gjorde brug af alle de ting
12:07
that digital had to offer us?
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det digitale kunne tilbyde os?
12:09
And I found my personal answer for this
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Og jeg fandt mit personlige svar på det
12:11
in those ancient comics that I was showing you.
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i de antikke tegneserier som jeg viste jer.
12:14
Each of them has a single unbroken reading line,
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Hver af dem har en ren, ubrudt læselinje,
12:17
whether it's going zigzag across the walls
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uanset om den kører i zigzag over væggen
12:19
or spiraling up a column
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eller op ad en søjle som en spiral
12:21
or just straight left to right, or even going in a backwards zigzag
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eller direkte fra venstre til højre, eller endda i bagvendt zigzag
12:24
across those 88 accordion-folded pages.
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over de 88 harmonikafoldede sider.
12:26
The same thing is happening, and that is that the basic idea
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Det samme sker, og det er, at den grundlæggende idé,
12:29
that as you move through space you move through time
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at når du bevæger dig gennem rummet bevæger du dig gennem tiden,
12:31
is being carried out without any compromise,
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bliver udført uden kompromis,
12:33
but there were compromises when print hit.
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men man indgik kompromiser, da trykket blev opfundet.
12:36
Adjacent spaces were no longer adjacent moments,
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Sidestillede rum var ikke længere sidestillede øjeblikke.
12:39
so the basic idea of comics was being broken again and again
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Så tegneseriens grundlæggende idé blev mast igen og igen
12:42
and again and again.
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og igen og igen.
12:43
And I thought, O.K., well,
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Og jeg tænkte: Ok,
12:44
if that's true, is there any way,
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hvis det passer, er der så en anden måde,
12:47
when we go beyond today's print,
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når vi bevæger os udover brugen af tryk i dag,
12:49
to somehow bring that back?
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hvorpå vi kan bringe det tilbage?
12:52
Now, the monitor
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Nu er skærmen
12:55
is just as limited as the page, technically, right?
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teknisk lige så begrænset som siden, ikke?
12:57
It's a different shape, but other than that
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Det er en anderledes form, men bortset fra det
12:59
it's the same basic limitation.
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er det den samme grundlæggende begrænsning.
13:01
But that's only if you look at the monitor as a page,
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Men det er kun hvis du kigger på skærmen som en side.
13:05
but not if you look at the monitor as a window.
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Men ikke hvis du kigger på skærmen som et vindue.
13:08
And that's what I proposed: that perhaps we could create these comics
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Og det er hvad jeg foreslog: at måske skulle vi bygge de her tegneserier
13:10
on an infinite canvas:
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ud fra et ubegrænset lærred
13:12
along the X axis and the Y axis and staircases.
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langs X-aksen og Y-aksen og trapper.
13:17
We could do circular narratives that were literally circular.
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Vi kunne lave cirkulære fortællinger, der bogstaveligt talt var cirkulære.
13:19
We could do a turn in a story that was literally a turn.
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Vi kunne lave et vendepunkt i historien der bogstaveligt talt var et vendepunkt.
13:23
Parallel narratives could be literally parallel.
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Parallelle historieforløb kunne bogstaveligt talt være parallelle.
13:27
X, Y and also Z.
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X, Y og Z, også.
13:30
So I had all these notions. This was back in the late '90s,
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Så jeg havde alle de her ideer. Det var tilbage i 90'erne,
13:32
and other people in my business thought I was pretty crazy,
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og andre folk i branchen syntes jeg var temmelig skør,
13:36
but a lot of people then went on and actually did it.
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men mange endte faktisk med at gøre lige præcis det her.
13:38
I'm going to show you a couple now.
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Jeg viser jer lige et par stykker.
13:41
This was an early collage comic by a fellow named Jason Lex.
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Det her var en tidlig collagetegneserie af en fyr ved navn Jason Lex.
13:48
And notice what's going on here.
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Læg mærke til hvad der sker her:
13:50
What I'm searching for is a durable mutation --
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Hvad jeg leder efter, er en holdbar afvigelse -
13:52
that's what all of us are searching for.
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Det er hvad vi allesammen leder efter.
13:54
As media head into this new era,
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Som medierne træder ind i den nye tid
13:56
we are looking for mutations
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leder vi efter afvigelser
13:59
that are durable, that have some sort of staying power.
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der er holdbare, der har styrken til at blive.
14:03
Now, we're taking this basic idea of presenting comics in a visual medium,
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Nu tager vi den grundlæggende idé om at fremlægge tegneserier i et visuelt medium
14:07
and then we're carrying it through all the way from beginning to end.
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og så tager vi det hele vejen fra begyndelse til slutning.
14:10
That's that entire comic you just saw
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Det er den tegneserier I lige har set.
14:12
is up on the screen right now.
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Den er oppe på skærmen nu.
14:14
But even though we're only experiencing it one piece at a time,
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Men selvom vi kun oplever den en del af gangen,
14:17
that's just where the technology is right now.
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er det bare der hvor teknologien er nu.
14:19
As the technology evolves,
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Som teknologien udvikler sig
14:21
as you get full immersive displays and whatnot,
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Og vi får alt omsluttende visninger og hvad der ellers er på vej,
14:24
this sort of thing will only grow.
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vil ting som den her bare vokse.
14:26
It will adapt. It will
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Den vil tilpasse sig. Den vil tilpasse sig
14:28
adapt to its environment:
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til sit miljø.
14:30
it's a durable mutation.
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Det er en holdbar afvigelse.
14:33
Here's another one I'll show you. This is by Drew Weing;
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Her er der en anden. Den er lavet af Drew Weing;
14:35
this is called,
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Den hedder
14:36
"Pup Contemplates the Heat Death of the Universe."
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"Hvalp Grunder over Universets Varmedød."
15:04
See what's going on here
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S, hvad der sker her
15:06
as we draw these stories on an infinite canvas
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som vi tegner historierne på et uendeligt lærred,
15:11
is you're creating a more pure expression
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er at der opstår et mere rent udtryk
15:15
of what this medium is all about.
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for hvad mediet handler om.
15:22
We'll go by this a little quickly -- you get the idea.
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Vi går lige hurtigt igennem - I forstår vist princippet.
15:24
I just want to get to the last panel.
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Jeg vil bare hen til det sidste panel.
15:32
(Laughter)
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(Latter)
15:35
There we go.
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Sådan.
15:38
(Laughter)
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(Latter)
15:43
(Laughter)
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(Latter)
15:49
Just one more.
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Bare ét til.
15:52
Talk about your infinite canvas.
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Her kan man vist tale om et uendeligt lærred.
15:55
It's by a guy named Daniel Merlin Goodbrey in Britain.
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Det er af en fyr der hedder Daniel Merlin Goodbrey fra Storbritannien.
15:58
Why is this important?
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Hvorfor er det her vigtigt?
16:01
I think this is important because media,
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Jeg synes det er vigtigt fordi medier,
16:04
all media,
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alle medier
16:06
provide us a window back into our world.
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giver os et vindue tilbage ind mod vores egen verden.
16:09
Now, it could be that motion pictures --
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Det kan godt være at film -
16:11
and eventually, virtual reality, or something equivalent to it --
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og i sidste ende virtuelle virkeligheder, eller det der svarer til det -
16:14
some sort of immersive display,
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andre former for immersive visninger,
16:16
is going to provide us with our most efficient escape from the world that we're in.
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kan give os den mest effektive flugt fra den verden vi lever i.
16:21
That's why most people turn to storytelling, is to escape.
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Derfor søger de fleste hen mod historiefortælling, for at flygte.
16:24
But media provides us with a window
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Men medierne giver os et vindue
16:27
back into the world that we live in.
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tilbage til den verden vi bor i.
16:31
And when media evolve
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Og når medierne udvikler sig,
16:34
so that the identity of the media becomes increasingly unique.
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så mediernes identitet i højere grad bliver unik.
16:39
Because what you're looking at is, you're looking at comics cubed:
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For hvad I ser på, er præcist tegneserier.
16:42
you're looking at comics that are more comics-like than they've ever been before.
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I ser på tegneserier der er mere tegneserieagtige end de nogensinde har været før.
16:46
When that happens, you provide people with multiple ways
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Når det sker, giver man folk mange forskellige muligheder
16:49
of re-entering the world through different windows,
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for at vende tilbage til verden gennem forskellige vinduer
16:53
and when you do that, it allows them to triangulate the world that they live in
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Og når man gør det, tillader det dem at forholde sig til den verden de bor i
16:56
and see its shape.
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og se dens konturer.
16:58
And that's why I think this is important.
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Og det er derfor jeg synes det her er vigtigt.
17:00
One of many reasons, but I've got to go now.
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En af mange grunde, men jeg bliver nødt til at gå nu.
17:02
Thank you for having me.
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Tak fordi jeg måtte fortælle for jer.
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