TED@Merck KGaA, Darmstadt, Germany
Renzo Vitale: What should electric cars sound like?
Renco Vitale (Renzo Vitale): Kako bi električni automobili trebalo da zvuče?
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Električna vozila su ekstremno tiha, nude dobrodošlu tišinu u našim gradovima.
Ali takođe donose nove opasnosti, imajući u vidu da lako mogu da se prišunjaju pešacima koji to ne slute. Kakav zvuk treba da prave da bi ljudi bili bezbedni? Steknite uvid kako budućnost može da zvuči dok akustični inženjer i muzičar Renco Vitale pokazuje kako je iskomponovao glas za električne automobile.
Renzo Vitale - Sound geneticist, musician, acoustic engineer
Renzo Vitale explores the narrative between music, science and human perception -- envisioning sonic spaces for music to evolve, for cities to sing, for people to transcend. Full bio
Renzo Vitale explores the narrative between music, science and human perception -- envisioning sonic spaces for music to evolve, for cities to sing, for people to transcend. Full bio
Double-click the English transcript below to play the video.
00:13
Let's start with silence.
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Počnimo tišinom.
00:23
Silence is one of the most
precious conditions for humans,
precious conditions for humans,
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Tišina je jedno
od najdragocenijih stanja čoveka
od najdragocenijih stanja čoveka
00:27
because it allows us to feel
the depth of our presence.
the depth of our presence.
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jer nam dozvoljava
da osetimo dubinu našeg prisustva.
da osetimo dubinu našeg prisustva.
00:32
This is one of the reasons
why the advent of electric cars
why the advent of electric cars
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Ovo je jedan od razloga zašto je
dolazak električnih automobila
dolazak električnih automobila
00:35
has generated lots
of enthusiasm among people.
of enthusiasm among people.
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stvorio mnogo entuzijazma među ljudima.
00:38
For the first time, we could associate
the concept of cars
the concept of cars
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Po prvi put, možemo da povežemo
koncept automobila
koncept automobila
00:43
with the experience of silence.
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sa iskustvom tišine.
00:45
Cars can finally be quiet:
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Kola konačno mogu biti tiha:
00:48
peace in the streets,
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mir na ulicama
00:50
a silent revolution in the cities.
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tiha revolucija u gradovima.
00:56
(Hum)
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(Zujanje)
01:05
But silence can also be a problem.
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Ali tišina može biti i problem.
01:08
The absence of sound, in fact,
when it comes to cars,
when it comes to cars,
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Odsustvo zvuka, zapravo,
kada pričamo o kolima,
kada pričamo o kolima,
01:12
it can be quite dangerous.
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može biti prilično opasno.
01:14
Think of blind people,
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Pomislite na slepe ljude,
01:16
who can't see a car which is approaching.
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koji ne mogu da vide
auto koji se približava.
auto koji se približava.
01:20
And now, if it's electric,
they can't even hear it.
they can't even hear it.
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A sad, ako je električni,
ne mogu ni da ga čuju.
ne mogu ni da ga čuju.
01:24
Or think of every one of us
as we are walking around the city,
as we are walking around the city,
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Ili pomislite na svakoga od nas
dok se krećemo po gradu,
dok se krećemo po gradu,
01:27
we are absorbed in our thoughts,
and we detach from the surroundings.
and we detach from the surroundings.
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uvučeni smo u naše misli,
i odvojeni smo od naše okoline.
i odvojeni smo od naše okoline.
01:32
In these situations, sound can become
our precious companion.
our precious companion.
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U ovakvim situacijama,
zvuk može da bude dragocen.
zvuk može da bude dragocen.
01:38
Sound is one of the most
wonderful gifts of our universe.
wonderful gifts of our universe.
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Zvuk je jedan od predivnih
poklona našeg univerzuma.
poklona našeg univerzuma.
01:43
Sound is emotion
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Zvuk je emocija
01:45
and sound is sublime,
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i zvuk je uzvišen,
01:48
and when it comes to cars,
sound is also information.
sound is also information.
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i kada govorimo o kolima,
zvuk je takođe informacija.
zvuk je takođe informacija.
01:53
In order to protect pedestrians
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Kako bi zaštitile pešake
01:55
and to give acoustic
feedback to the drivers,
feedback to the drivers,
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i dale akustičnu povratnu
informaciju vozačima,
informaciju vozačima,
01:58
governments around the world
have introduced several regulations
have introduced several regulations
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vlade širom sveta
su uvele nekoliko propisa
su uvele nekoliko propisa
02:02
which prescribe the presence of a sound
for electric vehicles.
for electric vehicles.
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koji opisuju prisustvo zvuka
kod električnih vozila.
kod električnih vozila.
02:07
In particular, they require
minimum sound levels
minimum sound levels
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Konkretno, oni zahtevaju
minimalnu jačinu zvuka
minimalnu jačinu zvuka
02:11
at specific frequency bands
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određenih frekvencija
02:13
up to the speed of 30 kilometers per hour.
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do brzine od 30 kilometara na sat.
02:17
Besides this speed,
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Osim ove brzine,
02:19
the natural noise of the car
is considered as sufficient.
is considered as sufficient.
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prirodna buka kola se smatra dovoljnom.
02:24
These regulations
have generated different reactions
have generated different reactions
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Ovi propisi su izazvali različite reakcije
02:28
among those who favor sounds
and those who fear the presence
and those who fear the presence
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među onima koji su naklonjeni zvuku
i onih koji se plaše prisustva
i onih koji se plaše prisustva
02:32
of too much noise in the city.
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prevelike buke u gradu.
02:35
However, I don't see it
as the noise of the car.
as the noise of the car.
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Međutim, ja to ne vidim kao buku kola.
02:41
I rather see it as the voice of the car.
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To radije vidim kao glas kola.
02:46
And this is one of my biggest challenges,
and privileges, at the same time.
and privileges, at the same time.
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I to je jedan od mojih najvećih izazova,
i privilegija, u isto vreme.
i privilegija, u isto vreme.
02:50
I design the voice of electric cars.
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Ja dizajniram glas električnih automobila.
02:55
We all know how a combustion
engine sounds like,
engine sounds like,
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Svi znamo kako motor
sa unutrašnjim sagorevanjem zvuči,
sa unutrašnjim sagorevanjem zvuči,
02:59
and we do actually also know
how an electric engine sounds like.
how an electric engine sounds like.
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i mi zapravo znamo
kako električni motor zvuči.
kako električni motor zvuči.
03:03
Think of the electric tramway.
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Pomislite na električni tramvaj.
03:05
As soon as it moves,
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Onog trenutka kada se pomeri,
03:06
it creates this ascending
high-frequency pitch sound,
high-frequency pitch sound,
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stvara uzlazni zvuk visoke frekvencije.
03:10
which we called "whistling" sound.
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koji zovemo "zviždanje".
03:13
However, if we would
just amplify this sound,
just amplify this sound,
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Međutim, ako bismo samo pojačali ovaj zvuk
03:17
we would still not be able to fulfill
the legal requirements.
the legal requirements.
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i dalje ne bismo mogli da ispunimo
zakonske propise.
zakonske propise.
03:21
That's also why we need
to compose new sound.
to compose new sound.
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To je takođe zašto moramo
da iskomponujemo novi zvuk.
da iskomponujemo novi zvuk.
03:25
So how do we go after it?
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Dakle kako to da uradimo?
03:29
In many cities, the traffic
is already very chaotic,
is already very chaotic,
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U mnogim gradovima saobraćaj
je već veoma haotičan
je već veoma haotičan
03:32
and we don't need more chaos.
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i ne treba nam još haosa.
03:35
But the streets of the 21st century
are a great case study
are a great case study
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Ali ulice 21. veka su sjajna
studija slučaja
studija slučaja
03:40
teeming with transience,
cross purposes and disarray.
cross purposes and disarray.
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prepune prolaznosti,
raznih svrha i nereda.
raznih svrha i nereda.
03:45
And this landscape
offers a great opportunity
offers a great opportunity
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I ovaj pejzaž pruža sjajnu priliku
03:48
for developing new solutions
on how to reduce this chaos.
on how to reduce this chaos.
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za razvoj novih rešenja
kako da smanjimo ovaj haos.
kako da smanjimo ovaj haos.
03:54
I have conceived a new approach
that tries to reduce the chaos
that tries to reduce the chaos
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Smislio sam novi pristup
koji pokušava da smanji haos
koji pokušava da smanji haos
03:59
by introducing harmony.
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uvođenjem harmonije.
04:02
Since many people don't know
how an electric car could sound like,
how an electric car could sound like,
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Pošto dosta ljudi ne zna kako
električna kola treba da zvuče
električna kola treba da zvuče
04:07
I have to define, first of all,
a new sound world,
a new sound world,
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ja sam definisao, kao prvo,
novi svet zvuka,
novi svet zvuka,
04:11
something that doesn't belong
to our previous experience
to our previous experience
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nešto što ne pripada
našim prethodnim iskustvima
našim prethodnim iskustvima
04:15
but creates a reference for the future.
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ali stvara preporuku za budućnost.
04:19
Together with a small team,
we create lots of sonic textures
we create lots of sonic textures
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Zajedno sa malim timom,
stvorili smo dosta zvučnih tekstura
stvorili smo dosta zvučnih tekstura
04:23
that are able to transmit emotion.
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koje mogu da prenesu emociju.
04:28
Just like a painter with colors,
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Baš kao slikar sa bojama,
04:30
we are able to connect
feelings and frequencies
feelings and frequencies
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možemo da povežemo
osećanja i frekvencije
osećanja i frekvencije
04:34
so that whenever one is approaching a car,
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tako da kad god nam se približavaju kola
04:37
we can feel an emotion
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možemo da osetimo emociju.
04:39
which, besides fulfilling
the legal requirements,
the legal requirements,
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koja, pored što ispunjava
zakonske propise,
zakonske propise,
04:43
speaks also about the character
and the identity of the car.
and the identity of the car.
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govori o karakteru i identitetu vozila.
04:49
I call this paradigm "sound genetics."
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Ovu paradigmu nazivam "genetika zvuka".
04:54
With sound genetics, I define,
first of all, an aesthetic space of sound,
first of all, an aesthetic space of sound,
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Sa genetikom zvuka, definišem,
kao prvo, estetski prostor zvuka,
kao prvo, estetski prostor zvuka,
05:00
and at the same time,
I search for new, innovative methods
I search for new, innovative methods
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i u isto vreme sam u potrazi za novim,
inovativnim metodama
inovativnim metodama
05:04
for generating soundscapes
that we don't know,
that we don't know,
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za stvaranje zvučnog pejzaža,
kog ne znamo,
kog ne znamo,
05:08
soundscapes that allow us
to envision abstract worlds,
to envision abstract worlds,
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zvučnog pejzaža, koji nam omogućava
da zamislimo apstraktne svetove,
da zamislimo apstraktne svetove,
05:14
to make them tangible and audible.
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da ga učinimo opipljivim i čujnim.
05:18
Sound genetics is based on three steps.
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Genetika zvuka je bazirana na tri koraka.
05:22
The first one is the definition
of a sonic organism,
of a sonic organism,
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Prvi je definicija zvučnog organizma,
05:27
the second one is a description
of sonic variations,
of sonic variations,
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drugi je opis zvučnih varijacija,
05:31
and the third one
is the composition of sound genes.
is the composition of sound genes.
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i treći je kompozicija zvučnih gena.
05:38
The description of a sonic organism
is based on a cluster of properties
is based on a cluster of properties
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Opis zvučnog organizma
je baziran na grupi svojstava
je baziran na grupi svojstava
05:44
that every sound
that I compose should have.
that I compose should have.
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koje svaki zvuk
koji iskomponujem treba da ima.
koji iskomponujem treba da ima.
05:50
[Sound is moving.]
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[Zvuk je pokret.]
05:52
I transfer to a small sound entity,
such as the sound of a car,
such as the sound of a car,
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Prenosim u mali zvučni entitet,
kao što je zvuk kola,
kao što je zvuk kola,
05:58
the power of the motion of music,
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moć pokreta muzike,
06:01
so that sound can move so.
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tako da zvuk može pomeriti.
06:04
[Sound is acting.]
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[Zvuk je gluma.]
06:05
And just like a dancer on a stage,
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Baš kao plesač na bini,
06:07
sound will project trajectories
of sound in the air.
of sound in the air.
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zvuk će projektovati putanje
zvuka u vazduhu.
zvuka u vazduhu.
06:14
[Sound is memory.]
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[Zvuk je sećanje.]
06:15
And it's not just about
the sound of a car.
the sound of a car.
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I to nije samo u vezi sa zvukom kola.
06:18
It's the memory of my father
coming back home.
coming back home.
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To je sećanje kako se moj otac vraća kući.
06:23
[Sound is hypnotizing.]
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[Zvuk hipnotiše.]
06:25
And sound has the power to create
an unexpected sense of wonder,
an unexpected sense of wonder,
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I zvuk ima moć da stvori
neočekivan osećaj zapitanosti,
neočekivan osećaj zapitanosti,
06:30
which hypnotizes.
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koji hipnotiše.
06:34
And ultimately,
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I na kraju,
06:35
[Sound is superhuman.]
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[Zvuk je nadčovek.]
06:36
sound goes beyond the human condition,
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zvuk prevazilazi ljudsko stanje,
06:38
because it allows us to transcend.
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jer nam dozvoljava da nadmašimo sebe.
06:44
As a second step,
we define the sonic variations.
we define the sonic variations.
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Kao drugi korak,
definišemo zvučne varijacije.
definišemo zvučne varijacije.
06:49
[Identity prism]
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[Prizma identiteta]
06:50
Just like humans, where different bodies
generate different voices,
generate different voices,
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Baš kao ljudi, gde različita tela
stvaraju različite glasove,
stvaraju različite glasove,
06:54
also different car shapes
have a different acoustic behavior
have a different acoustic behavior
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tako i različiti oblici kola
imaju različito akustično ponašanje
imaju različito akustično ponašanje
06:59
which depends on
the geometry and the materials.
the geometry and the materials.
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koje zavisi od geometrije i materijala.
07:03
So we have to know, first of all,
how this car propagates the sound outside
how this car propagates the sound outside
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Dakle moramo da znamo, kao prvo,
kako ova kola šire zvuk spolja
kako ova kola šire zvuk spolja
07:10
by means of acoustic measurements.
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pomoću akustičnih merenja.
07:13
And just like a single voice is able
to produce different tones and timbres,
to produce different tones and timbres,
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Baš kao što jedan glas može da proizvede
različite tonove i boje zvuka,
različite tonove i boje zvuka,
07:19
at the same time, we produce
different sonic variations
different sonic variations
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u isto vreme, mi proizvodimo
različite zvučne varijacije
različite zvučne varijacije
07:22
within a space
of eight words that I defined.
of eight words that I defined.
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u prostoru od osam reči
koje sam definisao.
koje sam definisao.
07:28
And some of them are,
to me, really important,
to me, really important,
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I neke od njih su, meni, veoma bitne,
07:30
such as the concept of "visionary,"
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kao što je "vizionarski",
07:33
of "elegance,"
of "dynamic," of "embracing."
of "dynamic," of "embracing."
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"elegantno", "dinamično", "obgrliti".
07:39
And once we have defined
these two aspects,
these two aspects,
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I kada smo definisali ova dva aspekta,
07:42
we have what I call the identity prism,
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dobijemo nešto, što nazivam
prizma identiteta,
prizma identiteta,
07:46
which is something like
the sonic identity card of a car.
the sonic identity card of a car.
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što predstavlja zvučnu ličnu kartu kola.
07:53
And as a third step,
we enter the world of the sound design,
we enter the world of the sound design,
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I kao treći korak,
ulazimo u svet dizajniranja zvuka,
ulazimo u svet dizajniranja zvuka,
07:59
where the sound genes are composed
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gde se zvučni geni stvaraju
08:01
and a new archetype is conceived.
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i novi arhetipovi začinju.
08:05
Now let me show you another example
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Dozvolite mi da vam pokažem sledeći primer
08:08
of how I transform
a sound field into a melody.
a sound field into a melody.
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kako sam pretvorio
zvučno polje u melodiju.
zvučno polje u melodiju.
08:13
Think that I am a violin player on stage.
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Zamislite da sam violinista na bini.
08:16
If I would start to play the violin,
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Ako bih počeo da sviram violinu,
08:18
I would generate a sound field
which would propagate in this hall,
which would propagate in this hall,
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stvorio bih zvučno polje
koje bi se širilo u ovoj dvorani,
koje bi se širilo u ovoj dvorani,
08:22
and at some point, the sound field
would hit the side walls
would hit the side walls
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i u jednom trenutku zvučno polje
bi udarilo bočne zidove
bi udarilo bočne zidove
08:26
and would be scattered all over the place.
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i rasulo bi se po prostoru.
08:29
And this is how it looked like.
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I ovako bi to izgledalo.
08:31
Some time ago, I captured
several ways of sound to hit side walls.
several ways of sound to hit side walls.
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Pre nekog vremena, zabeležio sam više
načina na koji zvuk udara zidove.
načina na koji zvuk udara zidove.
08:38
And last year, I was asked
by the Bavarian Radio Symphony Orchestra
by the Bavarian Radio Symphony Orchestra
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I prošle godine, Bavarski radijski
simfonijski orkestar me je upitao
simfonijski orkestar me je upitao
08:42
to compose ringtones
that they were going to play.
that they were going to play.
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da iskomponujem zvuk
koji će oni odsvirati.
koji će oni odsvirati.
08:46
So one of them, I had the idea
to start from this sound field.
to start from this sound field.
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Za jedan od njih, imao sam ideju
da krenem od ovog zvučnog polja.
da krenem od ovog zvučnog polja.
08:51
I took a section,
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Uzeo sam deo,
08:53
I superimposed the section
over the distribution
over the distribution
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postavio sam ga preko raspodele
08:56
of the musicians onstage,
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muzičara na bini,
08:58
and then I followed
the blooming of the sound field
the blooming of the sound field
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i onda pratio cvetanje zvučnog polja
09:01
by means of three parameters:
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pomoću tri paramera:
09:04
time, intensity and frequency.
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vreme, jačina i frekvencija.
09:06
Then I wrote down all the gradients
for each instrument,
for each instrument,
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Onda sam zapisao sve gradijente
svakog instrumentra,
svakog instrumentra,
09:11
and as you can see, for instance,
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i kao što možemo da vidimo, na primer,
09:13
the piece will start with
the string section playing very softly,
the string section playing very softly,
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deo će početi nežno sa gudačkim delom,
09:17
and then it's going to have a crescendo
as the brasses, the woods will jump in,
as the brasses, the woods will jump in,
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a zatim će imati krešendo
kako se duvačka sekcija uključuje,
kako se duvačka sekcija uključuje,
09:23
and the melody will end
with a harp and a piano
with a harp and a piano
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i melodija će se završiti
harfom i klavirom
harfom i klavirom
09:27
playing on the highest range.
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koji sviraju na najvišem dometu.
09:34
Let's listen how it sounded like.
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Poslišajmo kako je zvučalo.
09:39
(Ethereal music)
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(Eterična muzika)
09:56
(Music ends)
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(Kraj muzike)
09:59
So this is the sound of my alarm clock,
actually, in the morning.
actually, in the morning.
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Ovo je, zapravo, zvuk mog alarma ujutru.
10:03
(Laughter)
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(Smeh)
10:05
And now let's go back to electric cars.
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Vratimo se nazad na električne automobile.
10:09
And let's listen to the first example
that I showed you.
that I showed you.
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Poslušajmo prvi primer
koji sam vam pokazao.
koji sam vam pokazao.
10:20
(Hum)
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(Zujanje)
10:28
And now I would like to show you
how a potential sound,
how a potential sound,
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Sada bih želeo da vam pokažem
kako bi potencijalni zvuk,
kako bi potencijalni zvuk,
10:33
based on the sound genetics
for electric cars, could sound like.
for electric cars, could sound like.
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baziran na genetici zvuka
za električne automobile, mogao da zvuči.
za električne automobile, mogao da zvuči.
10:39
(Ethereal music)
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(Eterična muzika)
10:43
(Pitch rises with acceleration)
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(Visina tona raste sa ubrzanjem)
10:52
Cars are a metaphor of time,
distance and journey,
distance and journey,
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Kola su metafora vremena,
udaljenosti i putovanja,
udaljenosti i putovanja,
10:59
of setting out and returning,
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odlaska i povratka,
11:02
of anticipation and adventure,
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iščekivanja i avanture,
11:05
but, at the same time,
of intelligence and complexity,
of intelligence and complexity,
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ali, u isto vreme,
inteligencije i složenosti,
inteligencije i složenosti,
11:10
of human intuition and accomplishment.
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ljudske intuicije i dostignuća.
11:13
And the sound has to glorify all that.
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I zvuk treba da veliča sve to.
11:17
I see cars both as living creatures
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Ja vidim kola podjednako kao živa bića
11:21
and as highly complex
performative art installations.
performative art installations.
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i visoko složenu umetničku instalaciju.
11:27
The sounds that we envision
through sound genetics
through sound genetics
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Zvukovi koje smo mi zamislili
kroz genetiku zvuka
kroz genetiku zvuka
11:31
allow us not only
to celebrate this complexity
to celebrate this complexity
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dozvoljavaju nam ne samo
da slavimo ovu složenost,
da slavimo ovu složenost,
11:36
but also to make the world
a more elegant and safe space.
a more elegant and safe space.
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nego isto tako da učinimo svet
elegantnijim i bezbednijim mestom.
elegantnijim i bezbednijim mestom.
11:42
Thank you.
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Hvala vam.
11:43
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Renzo Vitale - Sound geneticist, musician, acoustic engineerRenzo Vitale explores the narrative between music, science and human perception -- envisioning sonic spaces for music to evolve, for cities to sing, for people to transcend.
Why you should listen
Renzo Vitale is an Italian pianist, composer, sound designer, acoustic engineer and artist. His creative process involves an interrogation of the relation between music, science and human perception.
As a musician, Vitale has composed a wide spectrum of works ranging from dance theater to performative installation pieces and virtual reality experiences. His solo works focus on vulnerable states of human condition, such as the sublimity of emotional gravities and the irrational nature of disorders. As a scientist, his research encompasses architectural acoustics, psychoacoustics, vehicle acoustics and music communication.
Vitale holds a PhD in Acoustics from RWTH Aachen University, two master's degrees in electronic engineering and in piano performance as well as further studies in electronic music, composition and conducting. Previously he has been a research scholar at the Institute of Technical Acoustics in Aachen, Pratt Institute in New York and KTH in Stockholm.
In 2015, Vitale joined the Research and Innovation Center of BMW Group as a Noise, Vibration and Harshness (NVH) engineer. Since 2017 he designs the sounds of electric vehicles. He conceived a new generation of sounds through a novel approach that he calls "sound genetics," which defines the aesthetic space of sounds in order to generate soundscapes to enable us to envision abstract worlds and make them tangible and audible.
Renzo Vitale | Speaker | TED.com