TED2008
Tod Machover + Dan Ellsey: Inventing instruments that unlock new music
Tod Machover i Dan Ellsey sviraju novu muziku
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Tod Machover s MIT-ovog Media Lab-a se posvetio proširenju muzičkog izričaja na sve, od virtuoza do amatera, i u najrazličitijim oblicima, od opera do video igrica. On i skladatelj Dan Ellsey bacaju svijetlo na ono što će se dogoditi.
Tod Machover - Composer, inventor
At MIT's Media Lab, Tod Machover creates boundary-breaking new music, often using new instruments and music technologies he has invented. Full bioDan Ellsey - Musician
Dan Ellsey uses Hyperscore music software and a custom-tuned musical "hyperinstrument" to write, perform and conduct his music, and to help others learn how to compose. Full bio
At MIT's Media Lab, Tod Machover creates boundary-breaking new music, often using new instruments and music technologies he has invented. Full bioDan Ellsey - Musician
Dan Ellsey uses Hyperscore music software and a custom-tuned musical "hyperinstrument" to write, perform and conduct his music, and to help others learn how to compose. Full bio
Double-click the English transcript below to play the video.
00:18
The first idea I'd like to suggest is that we all
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Inicijalna ideja koju bih predložio je da mi svi
00:20
love music a great deal. It means a lot to us.
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jako volimo muziku. Puno nam znači.
00:23
But music is even more powerful if you don't just listen to it, but you make it yourself.
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Ali muzika je još moćnija ako je ne slušate, već je stvarate.
00:29
So, that's my first idea. And we all know about the Mozart effect --
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To je moja prva ideja. I svi znamo za Mozart efekt --
00:32
the idea that's been around for the last five to 10 years --
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ideju koja postoji proteklih pet do deset godina --
00:35
that just by listening to music or by playing music to your baby [in utero],
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da se samo slušajući ili svirajući muziku svom djetetu u trbuhu
00:39
that it'll raise our IQ points 10, 20, 30 percent.
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može povećati IQ za 10, 20, 30 posto.
00:43
Great idea, but it doesn't work at all.
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Sjajna ideja, ali ona uopće ne radi.
00:46
So, you can't just listen to music, you have to make it somehow.
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Dakle, ne možete samo slušati muziku, morate ju nekako i proizvoditi.
00:49
And I'd add to that, that it's not just making it,
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I dodao bih tome, kako nije stvar samo u proizvodnji,
00:53
but everybody, each of us, everybody in the world
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već svatko, svatko od nas, svatko na svijetu
00:55
has the power to create and be part of music in a very dynamic way,
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ima moć stvaranja i odluke da bude dio muzike na vrlo diamičan način,
00:59
and that's one of the main parts of my work.
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i to je jedan od najvažnijih dijelova mog posla.
01:01
So, with the MIT Media Lab, for quite a while now,
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S MIT-evim Media Lab-om već neko vrijeme,
01:03
we've been engaged in a field called active music.
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uključeni smo u područje zvano aktivna muzika.
01:05
What are all the possible ways that we can think of
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Koji su mogući načini za razmišljati o
01:07
to get everybody in the middle of a musical experience,
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tome da se svi privuku u središte glazbenog iskustva,
01:10
not just listening, but making music?
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ne samo slušanja, već rađenja muzike?
01:13
And we started by making instruments for some of the world's greatest performers --
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I krenuli smo s izradom instrumenata za neke velike izvođače --
01:16
we call these hyperinstruments -- for Yo-Yo Ma, Peter Gabriel, Prince,
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njih smo nazvali "Hiper instrumenti" -- za Yo-Yo Ma, Petera Gabriela, Princea,
01:19
orchestras, rock bands. Instruments where they're all kinds of sensors
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orkestre, rok grupe. Instrumente koji imaju ugrađene sve vrste senzora,
01:23
built right into the instrument, so the instrument knows how it's being played.
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tako da instrument zna kako se njime svira.
01:26
And just by changing the interpretation and the feeling,
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I samo kroz izmjenu interpretacije i osjećaja,
01:29
I can turn my cello into a voice, or into a whole orchestra,
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mogu pretvoriti svoj violončelo u glas, ili u cijeli orkestar,
01:32
or into something that nobody has ever heard before.
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ili u nešto što nitko nikada nije prije čuo.
01:35
When we started making these, I started thinking, why can't we make
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Kada smo ih započeli praviti, počeo sam razmišljati zašto ne bismo radili
01:37
wonderful instruments like that for everybody,
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takve prekrasne instrumente za sve,
01:39
people who aren't fantastic Yo-Yo Mas or Princes?
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ljude koji nisu fantastični poput Yo-Yo Ma ili Princea?
01:43
So, we've made a whole series of instruments.
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Tako smo napravili cijelu seriju instrumenata.
01:45
One of the largest collections is called the Brain Opera.
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Jedna od najvećih kolekcija se zove "Opera mozga".
01:48
It's a whole orchestra of about 100 instruments,
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To je cijeli orkestar od 100 instrumenata,
01:50
all designed for anybody to play using natural skill.
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koji su dizajnirani tako da ih svatko može svirati koristeći prirodne vještine.
01:53
So, you can play a video game, drive through a piece of music,
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Tako možete igrati video igricu, voziti se kroz glazbeni komad,
01:56
use your body gesture to control huge masses of sound,
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koristiti pokrete tijela za kontrolu velike količine zvukova,
01:59
touch a special surface to make melodies, use your voice to make a whole aura.
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dodirivati posebne površine za stvaranje melodija, koristiti svoj glas za cijelu auru.
02:04
And when we make the Brain Opera, we invite the public to come in,
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I kada radimo "Operu mozga", pozovemo publiku da nam se pridruži
02:06
to try these instruments and then collaborate with us
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kako bi isprobali te instrumente i surađivali s nama
02:09
to help make each performance of the Brain Opera.
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i pomogli nam izvesti svaku "Operu mozga".
02:10
We toured that for a long time. It is now permanently in Vienna,
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S time smo obilazili razna mjesta jako dugo. Sada se stalno nalazi u Beču,
02:13
where we built a museum around it.
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gdje smo sagradili muzej oko toga.
02:15
And that led to something which you probably do know.
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I to nas je dovelo do nečega što vjerojatno znate.
02:18
Guitar Hero came out of our lab,
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Guitar Hero je izašao iz našeg laboratorija,
02:19
and my two teenage daughters and most of the students at the MIT Media Lab
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i moje dvije kćerke adolescentice i većina studenata MIT Media Lab-a
02:22
are proof that if you make the right kind of interface,
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su dokaz da ako napravite pravi oblik sučelja,
02:25
people are really interested in being in the middle of a piece of music,
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ljudi su stvarno zainteresirani biti u središtu glazbenog komada
02:29
and playing it over and over and over again.
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i svirati sve više i više.
02:32
So, the model works, but it's only the tip of the iceberg,
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Dakle, model radi, ali to je tek vrh ledenog brijega
02:35
because my second idea is that it's not enough just to want
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jer moja druga ideja je kako nije dovoljno samo željeti
02:38
to make music in something like Guitar Hero.
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stvarati glazbu na nečemu poput Guitar Hero-a.
02:41
And music is very fun, but it's also transformative.
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A muzika je jako zabavna, ali je i transformativna.
02:44
It's very, very important.
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To je jako, jako važno.
02:45
Music can change your life, more than almost anything.
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Glazba vam može promijeniti život, više od bilo čega drugoga.
02:48
It can change the way you communicate with others,
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Može promijeniti način na koji komunicirate s drugima,
02:50
it can change your body, it can change your mind. So, we're trying
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može vam promijeniti tijelo, može vam promijeniti um. Tako mi pokušavamo
02:53
to go to the next step of how you build on top of something like Guitar Hero.
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otići korak dalje i izgraditi nešto povrh nečega kao Guitar Hero.
02:57
We are very involved in education. We have a long-term project
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Jako smo uključeni u edukaciju. Imamo dugoročni projekt
03:00
called Toy Symphony, where we make all kinds of instruments that are also addictive,
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koji se zove "Simfonija igračaka" gdje radimo sve vrste instrumenata koji su također i ovisni,
03:04
but for little kids, so the kids will fall in love with making music,
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ali za malu djecu, tako će se djeca zaljubiti u skladanje muzike,
03:08
want to spend their time doing it, and then will demand to know how it works,
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htjeti će provesti više vremena radeći to, i onda će htjeti znati kako to radi,
03:11
how to make more, how to create. So, we make squeezy instruments,
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kako raditi više toga, kako stvarati. Tako radimo stiskave instrumente,
03:14
like these Music Shapers that measure the electricity in your fingers,
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poput ovih Muzičkih oblikovatelja koji mjere elektricitet u vašim prstima,
03:18
Beatbugs that let you tap in rhythms -- they gather your rhythm,
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Taktnih buba koji vam dozvoljavaju da lupkate ritam -- one skupljaju vaš ritam,
03:21
and like hot potato, you send your rhythm to your friends,
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i poput vrućeg krumpira, šaljete svoj ritam prijateljima
03:23
who then have to imitate or respond to what your doing --
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koji onda moraju imitirati ili odgovoriti na ono što radite --
03:26
and a software package called Hyperscore, which lets anybody use lines and color
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a softverski paket "Hipernote", koji dozvoljava svakome korištenje linija i boja
03:30
to make quite sophisticated music. Extremely easy to use, but once you use it,
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za stvaranje prilično profinjene muzike. Ekstremno jednostavan za korištenje, ali jednom kada krenete,
03:34
you can go quite deep -- music in any style. And then, by pressing a button,
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možete ići prilično duboko -- muzički u bilo kojem stilu. I onda dodirom na gumb
03:38
it turns into music notation so that live musicians can play your pieces.
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pretvara to u muzičke note tako da glazbenik može svirati ono što ste skladali.
03:44
We've had good enough, really, very powerful effects with kids
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Imali smo prilično dobrih, stvarno, jako snažnih utjecaja na djecu
03:47
around the world, and now people of all ages, using Hyperscore.
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širom svijeta i sada ljudi svih godina koriste "Hipernotu".
03:50
So, we've gotten more and more interested in using these kinds of creative activities
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Postajali smo sve zainteresiraniji za korištenje tih kreativnih aktivnosti
03:54
in a much broader context, for all kinds of people
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u puno širem kontekstu, za sve vrste ljudi
03:56
who don't usually have the opportunity to make music.
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koji obično nemaju priliku stvarati muziku.
03:59
So, one of the growing fields that we're working on
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Jedno od rastućih polja na kojem radimo
04:00
at the Media Lab right now is music, mind and health.
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u Media Labu upravo sada je muzika, um i zdravlje.
04:03
A lot of you have probably seen Oliver Sacks' wonderful new book called
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Većina vas je vrlo vjerojatno vidjela prekrasnu novu knjiu Olivera Sacksa pod naslovom
04:06
"Musicophilia". It's on sale in the bookstore. It's a great book.
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"Muzikofilija". Na rasprodaji je u knjižarama. To je sjajna knjiga.
04:10
If you haven't seen it, it's worth reading. He's a pianist himself,
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Ako je niste vidjeli, vrijedi je pročitati. On je pijanist,
04:12
and he details his whole career of looking at and observing
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i detaljno piše o cijeloj svojoj karijeri gledanja i promatranja
04:16
incredibly powerful effects that music has had on peoples' lives in unusual situations.
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nevjerojatno snažnog utjecaja kojeg muzika ima na ljudske živote u neobičnim situacijama.
04:21
So we know, for instance, that music is almost always the last thing
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Sada znamo, na primjer, kako je muzika gotovo uvijek zadnja stvar
04:24
that people with advanced Alzheimer's can still respond to.
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na koju ljudi s uznapredovalim Alzheimerom mogu odgovoriti.
04:28
Maybe many of you have noticed this with loved ones,
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Možda su mnogi od vas to primjetili sa svojim voljenima,
04:30
you can find somebody who can't recognize their face in the mirror,
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postoje ljudi koji ne mogu prepoznati vlastiti odraz u ogledalu,
04:32
or can't tell anyone in their family, but you can still find a shard of music
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ili ne prepoznaju nikoga iz obitelji, ali mogu još uvijek pronaći komadić pjesme
04:35
that that person will jump out of the chair and start singing. And with that
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koji će ih podići iz stolice i natjerati da plešu. I s time
04:39
you can bring back parts of people's memories and personalities.
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možete vratiti nazad komadiće ljudskih sjećanja i osobnosti.
04:41
Music is the best way to restore speech to people who have lost it through strokes,
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Muzika je najbolji način za vraćanje govora ljudima koji su to izgubili nakon udara,
04:45
movement to people with Parkinson's disease.
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ili kretanja ljudima s Parkinsonovom bolesti.
04:47
It's very powerful for depression, schizophrenia, many, many things.
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Jako je moćna kod depresije, šizofrenije, puno puno stvari.
04:51
So, we're working on understanding those underlying principles
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Tako sada radimo na razumjevanju tih suptilnih principa
04:53
and then building activities which will let music really improve people's health.
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i onda izgradnje aktivnosti koji će dozvoliti muzici da poboljša ljudsko zdravlje.
04:57
And we do this in many ways. We work with many different hospitals.
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I radimo to na puno načina. Radimo s puno različitih bolnica.
05:00
One of them is right near Boston, called Tewksbury Hospital.
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Jedna od njih je odmah pored Bostona, bolnica "Tewksbury".
05:03
It's a long-term state hospital, where several years ago
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To je dugogodišnja javna bolnica gdje smo prije nekoliko godina,
05:05
we started working with Hyperscore and patients with physical and mental disabilities.
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krenuli raditi s "Hipernotom" i pacijentima s fizičkim i mentalnim poteškoćama.
05:09
This has become a central part of the treatment at Tewksbury hospital,
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To je postao središnji dio liječenja u bolnici Tewksbury,
05:13
so everybody there clamors to work on musical activities.
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tako da svi tamo zahtjevaju rad na muzičkim aktivnostima.
05:17
It's the activity that seems to accelerate people's treatment the most
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To je aktivnost koja, čini se, najviše ubrzava oporavak.
05:21
and it also brings the entire hospital together as a kind of musical community.
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I također stvara od cijele bolnice neki oblik skladne muzičke zajednice.
05:25
I wanted to show you a quick video of some of this work before I go on.
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Želio bih vam prikazati kratki video nekih od tih aktivnosti prije nego što nastavim.
06:10
Video: They're manipulating each other's rhythms.
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Video: Oni manipuliraju s ritmovima jedni drugih.
06:12
It's a real experience, not only to learn how to play and listen to rhythms,
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To je stvarno iskustvo, iz kojeg ne samo da učite kako proizvoditi i slušati ritam,
06:16
but to train your musical memory and playing music in a group.
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već trenirate vlastitu muzičku memoriju i svirate u grupi.
06:21
To get their hands on music, to shape it themselves, change it,
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Svojim rukama oblikujete glazbu, mjenjate ju,
06:25
to experiment with it, to make their own music.
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eksperimentirate s njom, činite ju svojom.
06:27
So Hyperscore lets you start from scratch very quickly.
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Tako vam "Hipernota" omogućuje da krenete jako brzo od ničega.
06:38
Everybody can experience music in a profound way,
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Svatko može osjetiti muziku na dubok način,
06:40
we just have to make different tools.
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samo moramo napraviti različite alate.
06:59
The third idea I want to share with you is that music, paradoxically,
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Treća ideja koju bih želio s vama podijeliti jest da je muzika paradoksalno,
07:05
I think even more than words, is one of the very best ways we have
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mislim više od riječi, jedan od najboljih načina koje imamo
07:08
of showing who we really are. I love giving talks, although
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za prikazivanje onoga što stvarno jesmo. Volim držati govore, premda
07:12
strangely I feel more nervous giving talks than playing music.
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se čudom osjećam bitno nervozijim dok držim govore nego kada stvaram muziku.
07:14
If I were here playing cello, or playing on a synth, or sharing my music with you,
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Kada bih ovdje svirao violončelo, ili sintisajzer, ili dijelio muziku s vama,
07:17
I'd be able to show things about myself that I can't tell you in words,
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mogao bih pokazati stvari o sebi koje ne mogu pretvoriti u riječi,
07:22
more personal things, perhaps deeper things.
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osobnije stvari, možda dublje stvari.
07:25
I think that's true for many of us, and I want to give you two examples
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Mislim kako je to točno za mnoge od nas, i htio bih vam dati dva primjera
07:28
of how music is one of the most powerful interfaces we have,
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kako je muzika jedno od najmoćnijih sučelja koje imamo
07:31
from ourselves to the outside world.
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od nas prema vanjskom svijetu.
07:33
The first is a really crazy project that we're building right now, called
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Prvo je stvarno ludi projekt koji stvaramo sada pod imenom
07:37
Death and the Powers. And it's a big opera,
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"Smrt i moći". I to je velika opera,
07:39
one of the larger opera projects going on in the world right now.
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jedan od većih opernih projekata koji se događaju u svijetu danas.
07:43
And it's about a man, rich, successful, powerful, who wants to live forever.
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I radi se o čovjeku, bogatom, uspješnom, moćnom, koji želi živjeti vječno.
07:48
So, he figures out a way to download himself into his environment,
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Tako on spozna način putem kojeg se može prebaciti u svoje okruženje,
07:50
actually into a series of books.
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u stvari u seriju knjiga.
07:53
So this guy wants to live forever, he downloads himself into his environment.
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Tako taj čovjek želi živjeti zauvijek, prebaci sebe u svoje okruženje.
07:56
The main singer disappears at the beginning of the opera
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Glavni pjevač nestane početkom opere
08:00
and the entire stage becomes the main character. It becomes his legacy.
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i cijela pozornica postane glavni lik. Postaje njegova ostavština.
08:04
And the opera is about what we can share, what we can pass on to others,
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I opera je o tome što možemo podijeliti, što možemo prenijeti drugima,
08:07
to the people we love, and what we can't.
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ljudima koje volimo, i ono što ne možemo.
08:09
Every object in the opera comes alive and is a gigantic music instrument,
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Svaki objekt u operi oživi i postane gigantski muzički instrument,
08:13
like this chandelier. It takes up the whole stage. It looks like a chandelier,
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poput ovog lustera. On zauzima cijelu pozornicu. Izgleda poput lustera,
08:16
but it's actually a robotic music instrument.
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ali je u stvari robotizirani muzički instrument.
08:18
So, as you can see in this prototype, gigantic piano strings,
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Tako, kao što možete vidjeti kod ovog prototipa, gigantskih žica klavira,
08:22
each string is controlled with a little robotic element --
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svaka žica je kontrolirana s jednim malim robotiziranim elementom --
08:25
either little bows that stroke the strings, propellers that tickle the strings,
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bilo da je to mašna koja udara žicu, propeler koji golica žicu,
08:30
acoustic signals that vibrate the strings. We also have an army of robots on stage.
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ili akustični signal koji vibrira žicu. Također imamo vojsku robota na pozornici.
08:35
These robots are the kind of the intermediary between the main character, Simon Powers,
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Ti roboti su neki oblik posrednika između glavnog lika, Simona Powersa,
08:39
and his family. There are a whole series of them, kind of like a Greek chorus.
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i njegove obitelji. Postoji cijela serija njih, poput grčkog zbora.
08:43
They observe the action. We've designed these square robots that we're testing right now
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Oni promatraju akciju. Dizajnirali smo te kockaste robote koje upravo testiramo
08:48
at MIT called OperaBots. These OperaBots follow my music.
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na MIT-u i zovemo ih "Operaboti". Ti operaboti prate moju muziku.
08:51
They follow the characters. They're smart enough, we hope,
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Oni prate znakove. Dovoljno su pametni, nadamo se,
08:54
not to bump into each other. They go off on their own.
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da se ne sudaraju jedni s drugima. Oni se kreću slobodno.
08:57
And then they can also, when you snap, line up exactly the way you'd like to.
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I mogu se također, kada pucnete prstima, poredati točno kako želite.
09:03
Even though they're cubes, they actually have a lot of personality.
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Premda su kocke, oni u stvari imaju osobnost.
09:12
The largest set piece in the opera is called The System. It's a series of books.
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Najveći postavljeni komad u operi se zove "Sustav". To je niz knjiga.
09:16
Every single book is robotic, so they all move, they all make sound,
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Svaka knjiga je robot, tako da se svi kreću, svi proizvode zvuk,
09:20
and when you put them all together, they turn into these walls,
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i kada ih stavite zajedno, pretvore se u te zidove
09:24
which have the gesture and the personality of Simon Powers. So he's disappeared,
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koji imaju geste i osobnost Simona Powersa. Dakle on je nestao,
09:29
but the whole physical environment becomes this person.
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ali cijelo fizičko okruženje postaje ta osoba.
09:32
This is how he's chosen to represent himself.
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To je način na koji je on odlučio predstaviti se.
09:35
The books also have high-packed LEDs on the spines. So it's all display.
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Knjige također imaju veliki broj gusto poredanih LED dioda na koricama. Tako da sve predstavljaju ekran.
09:42
And here's the great baritone James Maddalena as he enters The System.
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A ovdje je veliki bariton James Maddalena dok ulazi u sustav.
09:46
This is a sneak preview.
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Ovo je mala pretpremijera.
10:11
This premieres in Monaco -- it's in September 2009. If by any chance you can't make it,
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Ova premijera će biti u Monaku, u rujnu 2009. Ako nekim slučajem ne možete doći,
10:16
another idea with this project -- here's this guy building his legacy
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još jedna ideja s ovim projektom. Tu je taj čovjek koji gradi svoju ostavštinu
10:19
through this very unusual form, through music and through the environment.
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s ovom neuobičajenom formom, kroz muziku i kroz okruženje.
10:23
But we're also making this available both online and in public spaces,
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Ali omogućiti ćemo pristup ovome on-line i na javnim prostorima
10:27
as a way of each of us to use music and images from our lives
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na način na koji svatko od nas koristi muziku i slike naših života
10:31
to make our own legacy or to make a legacy of someone we love.
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kako bismo stvorili našu ostavštinu ili ostavštinu nekoga koga volimo.
10:34
So instead of being grand opera, this opera will turn into what we're
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Umjesto da bude grandiozna opera, ova opera će se pretvoriti u nešto o ćemu
10:37
thinking of as personal opera.
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razmišljamo kao o osobnoj operi.
10:39
And, if you're going to make a personal opera, what about a personal instrument?
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I ako ćete napraviti osobnu operu, što je s osobnim instrumentom?
10:41
Everything I've shown you so far -- whether it's a hyper-cello for Yo-Yo Ma
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Sve što sam vam pokazao do sada -- bilo da je hiper violončelo za Yo-Yo Ma
10:44
or squeezy toy for a child -- the instruments stayed the same and are valuable
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ili stiskava igračka za djecu -- instrumenti ostaju isti i vrijedni su
10:49
for a certain class of person: a virtuoso, a child.
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za određenu vrstu osobe, ili virtuoza, ili djeteta.
10:52
But what if I could make an instrument that could be adapted
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Ali što ako mogu napraviti instrument koji će se prilagoditi
10:55
to the way I personally behave, to the way my hands work,
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načinu na koji se osoba ponaša, načinu na koji moje ruke rade,
10:59
to what I do very skillfully, perhaps, to what I don't do so skillfully?
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onome što radim vješto, možda, onome što ne radim toliko vješto?
11:02
I think that this is the future of interface, it's the future of music, the future of instruments.
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Mislim kako je to budućnost sučelja, to je budućnost muzike, budućnost instrumenata.
11:07
And I'd like now to invite two very special people on the stage,
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I sada bih volio pozvati dvoje posebnih ljudi na pozornicu,
11:10
so that I can give you an example of what personal instruments might be like.
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kako bih vam mogao pokazati kakav bi osobni instrument mogao biti.
11:16
So, can you give a hand to Adam Boulanger, Ph.D. student from
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Molim vas pljesak za Adama Boulangera doktorskog studenta iz
11:21
the MIT Media Lab, and Dan Ellsey. Dan,
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MITovog Laba i Dana Ellseya. Dan,
11:28
thanks to TED and to Bombardier Flexjet, Dan is here with us today
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je zahvaljujući TEDu i Bombardier Flexjetu, ovdje s nama danas,
11:35
all the way from Tewksbury. He's a resident at Tewksbury Hospital.
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skroz iz Tewksburya. On je rezident u bolnici Tewksbury.
11:39
This is by far the farthest he's strayed from Tewksbury Hospital, I can tell you that,
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Ovo je daleko najviše što je ostao izvan bolnice Tewksbury, to vam mogu reći,
11:43
because he's motivated to meet with you today and show you his own music.
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jer je motiviran time da vas danas upozna i pokaže vam svoju muziku.
11:48
So, first of all, Dan, do you want to say hi to everyone and tell everyone who you are?
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Dakle prije svega, Dan, želiš li pozdraviti sve i reći svima tko si?
11:57
Dan Ellsey: Hello. My name is Dan Ellsey. I am 34 years old and I have cerebral palsy.
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Dan Ellsey: Bok. Moje ime je Dan Ellsey. Imam 34 godine i imam cerebralnu paralizu.
12:05
I have always loved music and I am excited to be able to conduct
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Oduvijek sam volio muziku i jako sam uzbuđen što mogu izvesti
12:11
my own music with this new software.
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svoju vlastitu muziku s novim softverom.
12:15
Tod Machover: And we're really excited to have you here, really Dan. (Applause)
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Tod Machover: I jako smo uzbuđeni što si s nama ovdje, stvarno Dan. (Pljesak)
12:26
So we met Dan about three years ago, three and a half years ago,
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Sreli smo Dana prije tri godine, tri i pol godine,
12:29
when we started working at Tewksbury. Everybody we met there was fantastic,
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kada smo počeli raditi u Tewksburyu. Svi koje smo tamo sreli su sjajni,
12:34
did fantastic music. Dan had never made music before, and it turned out
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rade sjajnu muziku. Pokazalo se kako Dan prije toga nikada nije skladao
12:39
he was really fantastic at it. He's a born composer.
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i bio je sjajan u tome. On je rođeni kompozitor.
12:46
He's very shy, too.
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Također je jako sramežljiv.
12:49
So, turned out he's a fantastic composer, and over the last few years has been
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Ispalo je da je sjajan skladatelj i kroz proteklih nekoliko godina on je
12:53
a constant collaborator of ours. He has made many, many pieces.
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naš stalni suradnik. Napravio je jako, jako puno skladbi.
12:56
He makes his own CDs. Actually, he is quite well known in the Boston area --
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Radi svoj vlastiti CD. U stvari, on je prilično poznat na području Bostona,
12:59
mentors people at the hospital and children, locally, in how to make their own music.
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mentorira ljude u bolnici i lokalnu djecu u tome kako napraviti vlastitu muziku.
13:03
And I'll let Adam tell you. So, Adam is a Ph.D. student at MIT, an expert in music
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I pustiti ću Adama da vam kaže više. Adam je doktorski student
13:08
technology and medicine. And Adam and Dan have become close collaborators.
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tehnologije i medicine. I Adam i Dan su postali bliski suradnici.
13:13
What Adam's been working on for this last period is not only how to have Dan
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Ono na čemu Adam u posljednje vrijeme radi nije samo kako pomoći Danu
13:17
be able easily to make his own pieces,
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da lakše sklada vlastita djela,
13:20
but how he can perform his piece using this kind of personal instrument.
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već kako on može izvesti svoja djela koristeći tu vrstu osobnog instrumenta.
13:23
So, you want to say a little bit about how you guys work?
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Dakle, hoćeš li malo reći o tome kako vas dvojica radite?
13:25
Adam Boulanger: Yes. So, Tod and I entered into a discussion
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Adam Boulanger: Da. Dakle, Tod i ja smo ušli u diskusiju
13:28
following the Tewksbury work and it was really about how Dan is an expressive
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prateći rad u Tewksburyu i to je bilo u stvari o tome kako je Dan ekspresivna,
13:32
person, and he's an intelligent and creative person. And it's in his face,
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inteligentna i kreativna osoba. I to se vidi na njegovom licu,
13:37
it's in his breathing, it's in his eyes. How come he can't perform
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na načinu na koji diše, u njegovim očima. Kako to da on ne može izvoditi
13:40
one of his pieces of music? That's our responsibility, and it doesn't make sense.
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jedno od svojih muzičkih djela? To je naša odgovornost i to nema smisla.
13:44
So we started developing a technology that will allow him with nuance,
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Tako smo krenuli razvijati tehnologiju koja će mu omogućiti s nijansama,
13:47
with precision, with control, and despite his physical disability, to be able to do that,
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s preciznošću, s kontrolom i unatoč fizičkoj nesposobnosti, da bude moguć to napraviti,
13:52
to be able to perform his piece of music.
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da bude u mogućnosti izvesti svoje muzičke djelo.
13:55
So, the process and the technology --
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Proces i tehnologija,
13:57
basically, first we needed an engineering solution. So, you know,
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u osnovi, prvo smo trebali inžinjersko riješenje. Znate,
14:00
we have a FireWire camera, it looked at an infrared pointer.
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imamo FireWire kamere, gledalo je u infracrveni pokazivač.
14:03
We went with the type of gesture metaphor that Dan was already used to
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Krenuli smo s tipom gestnih metafora na koje je već navikao
14:07
with his speaking controller.
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s njegovim kontrolorom govora.
14:11
And this was actually the least interesting part of the work, you know,
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I to je u stvari bio najmanje zanimljiv dio posla, znate,
14:14
the design process. We needed an input; we needed continuous tracking;
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proces dizajna. Trebali smo input, trebali smo stalno praćenje.
14:17
in the software, we look at the types of shapes he's making.
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Softver je pratio vrste gesta koje radi.
14:20
But, then was the really interesting aspect of the work, following the engineering part,
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Ali onda je slijedio stvrano interesantan aspekt posla koji je slijedio nakon inžinjerskog dijela,
14:24
where, basically, we're coding over Dan's shoulder at the hospital
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gdje smo u osnovi kodirali preko Danovog ramena u bolnici
14:27
extensively to figure out, you know, how does Dan move?
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intenzivno želeći spoznati, znate, način na koji se Dan miče?
14:30
What's useful to him as an expressive motion?
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Što je korisno za njega kao ekspresivan pokret?
14:32
You know, what's his metaphor for performance?
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Znate, koja je njegova metafora za izvedbu?
14:35
What types of things does he find
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Koje vrste stvari on pronalazi
14:37
important to control and convey in a piece of music?
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kao važne za kontrolu i prenošenje u muzičko djelo?
14:39
So all the parameter fitting, and really the technology
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Tako je svo baždarenje parametara i tehnologija,
14:43
was stretched at that point to fit just Dan.
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bilo usmjereno ka Danovim potrebama.
14:46
And, you know, I think this is a perspective shift. It's not that our technologies --
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I, znate, mislim kako je to važna promjena perspektive. Nije da su naše tehnologije,
14:52
they provide access, they allow us to create pieces of creative work.
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one omogućavaju pristup, one nam omogućavaju da stvaramo kreativna djela.
14:56
But what about expression? What about that moment when an artist delivers
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Ali što je s ekspresijom? Što je s trenutkom kada umjetnik stvara
14:59
that piece of work? You know, do our technologies allow us to express?
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taj djelić svog rada? Znate, dozvoljava li nam tehnologija da se izrazimo?
15:03
Do they provide structure for us to do that? And, you know, that's a personal relationship
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Osiguravaju li nam strukturu za to? I, znate, taj osobni odnos
15:07
to expression that is lacking in the technological sphere. So, you know,
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za izražavanjem koji manjka u tehnološkim sferama. Znate,
15:11
with Dan, we needed a new design process, a new engineering process
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s Danom smo trebali novi proces dizajna, novi inžinjerski proces
15:14
to sort of discover his movement and his path to expression that allow him to perform.
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kako bismo otkrili njegove pokrete i njegove načine izražavanja koji mu omogućuju da izvodi.
15:19
And so that's what we'll do today.
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I to je ono što ćemo napraviti danas.
15:21
TM: So let's do it. So Dan do you want to tell everyone
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TM: Idemo. Dan želiš li svima reći
15:23
about what you're going to play now?
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što ćeš sada izvesti?
15:31
DE: This is "My Eagle Song."
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DE: To je "Pjesma mog orla".
15:35
TM: So Dan is going to play a piece of his, called "My Eagle Song".
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TM: Dan će nam odsvirati svoje djelo koje se zove "Pjesma mog orla".
15:38
In fact, this is the score for Dan's piece,
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U stvari, to su note Danovog djela,
15:40
completely composed by Dan in Hyperscore.
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kompletno skladane od Dana u Hipernoti.
15:43
So he can use his infrared tracker to go directly into Hyperscore.
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Tako može iskoristiti taj infracrveni tragač kako bi direktno ušao u Hipernotu.
15:48
He's incredibly fast at it, too, faster than I am, in fact.
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Nevjerojatno je brz u tome, u stvari brži od mene.
15:51
(Laughter)
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(Smijeh)
15:55
TM: He's really modest, too.
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TM: On je također skroman.
15:58
So he can go in Hyperscore. You start out by making melodies and rhythms.
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Tako može ući u Hipernotu. Krene sa stvaranjem melodija i ritmova.
16:04
He can place those exactly where he wants.
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Može ih staviti točno tamo gdje želi.
16:06
Each one gets a color. He goes back into the composition window,
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Svaka dobije boju, ide nazad u skladateljski prozor,
16:09
draws the lines, places everything the way he wants to. Looking at the Hyperscore,
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crta linije, stavlja sve na način na koji želi. Gledajući na Hipernote,
16:14
you can see it also, you can see where the sections are,
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možete također vidjeti, možete vidjeti gdje su sekcije,
16:17
something might continue for a while, change, get really crazy and then end
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nešto se može nastaviti neko vrijeme, promijeniti, postati stvarno ludo i onda na kraju
16:22
up with a big bang at the end.
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završiti velikim praskom.
16:25
So that's the way he made his piece, and as Adam says,
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To je način na koji je napravio svoje djelo, i kako Adam kaže,
16:28
we then figured out the best way to have him perform his piece.
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osmislili smo najbolji način za izvedbu njegova djela.
16:35
It's going to be looked at by this camera, analyze his movements,
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Pratiti će se ovom kamerom, analizirati će se pokreti,
16:38
it's going to let Dan bring out all the different aspects of his music that he wants to.
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omogućiti će Danu da izvede različite aspekte svojeg djela koje želi.
16:42
And you're also going to notice a visual on the screen.
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I također ćete primjetiti vizualne prikaze toga na ekranu.
16:45
We asked one of our students to look at what the camera is measuring.
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Zamolili smo jednog našeg studenta da prati što kamera mjeri.
16:51
But instead of making it very literal, showing you exactly
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Umjesto toga da to bude doslovno prikazano,
16:54
the camera tracing, we turned it into a graphic that shows you the basic
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praćenje kamere će se pretvoriti u grafiku koja vam prikazuje osnovne
16:59
movement, and shows the way it's being analyzed.
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kretnje, i pokazuje način na koji se analizira.
17:03
I think it gives an understanding of how we're picking out movement from what
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Mislim da vam to daje razumijevanje načina praćenja kretnji onoga što
17:07
Dan's doing, but I think it will also show you, if you look at that movement,
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Dan radi, ali ja mislim kako će vam to pokazati da su kretnje
17:11
that when Dan makes music, his motions are very purposeful, very precise,
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dok Dan stvara muziku, njegovi pokreti su jako svrsishodni, jako precizni,
17:18
very disciplined and they're also very beautiful.
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jako disciplinirani i oni su iznimno lijepi.
17:21
So, in hearing this piece, as I mentioned before, the most important thing is
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Dakle, slušajući ovo djelo, kao što sam spomenuo ranije, najvažnija stvar je
17:26
the music's great, and it'll show you who Dan is.
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da je muzika sjajna, i pokazati će vam tko je u stvari Dan.
17:29
So, are we ready Adam?
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Dakle, jesi li spreman Adame?
17:31
AB: Yeah.
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AB: Jesam.
17:33
TM: OK, now Dan will play his piece "My Eagle Song" for you.
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TM: OK, sada će Dan odsvirati svoje djelo "Pjesma mog orla" za vas.
20:01
(Applause)
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(Pljesak)
20:25
TM: Bravo.
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TM: Bravo.
20:27
(Applause)
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(Pljesak)
ABOUT THE SPEAKERS
Tod Machover - Composer, inventorAt MIT's Media Lab, Tod Machover creates boundary-breaking new music, often using new instruments and music technologies he has invented.
Why you should listen
Tod Machover is head of the MIT Media Lab's Hyperinstruments/Opera of the Future group. He has composed five operas and helped to develop many groundbeaking musical technologies -- including Hyperinstruments, a technology that augments musical expression for both virtuosi (from Yo-Yo Ma to Prince) and amateurs, and Hyperscore, software that allows anyone to create sophisticated, original music by using lines and colors. Many of Machover's principles about "active participation" in music are exemplified in Guitar Hero, which grew out of his lab.
Among his current projects is a new opera, Death and the Powers, complete with a musical chandelier, animatronic walls, and an army of robots. Death and the Powers premieres in Monaco in September 2009.
A recent focus of Machover's group has been on Music, Mind and Health, which marshals the power of music to promote well-being. Working with long-term patients at facilities such as Tewksbury Hospital, north of Boston, the group's goal is to develop personal musical activities that adapt to the particular skills and needs of each individual. In this way, the path to health becomes as rewarding as learning an instrument, composing a symphony, or premiering at Carnegie Hall.
Tod Machover | Speaker | TED.com
Dan Ellsey - Musician
Dan Ellsey uses Hyperscore music software and a custom-tuned musical "hyperinstrument" to write, perform and conduct his music, and to help others learn how to compose.
Why you should listen
A resident of Tewksbury Hospital in Massachusetts, Dan Ellsey has cerebral palsy and does not walk or speak. He does, however, write and play his own music, and mentor others, through a groundbreaking music system developed by MIT's Tod Machover and his team, including grad student Adam Boulanger. Working closely with this team, Ellsey helped to develop and fine-tune a head-mounted interface, tweaked to respond to his movements, that allows him to compose music and to conduct nuanced performances of his work. Hyperscore software helps Ellsey notate his musical ideas.
Ellsey's work has been performed at MIT, on the radio and at workshops around the Boston area. The Lowell Symphony Orchestra performed his piece "Our Musically" at a 2004 concert for residents of Tewksbury -- many of whom count Ellsey as a mentor in their own musical education.
Dan Ellsey | Speaker | TED.com