TED2005
Scott McCloud: The visual magic of comics
Skot Meklaud o stripovima
Filmed:
Readability: 4.2
1,211,621 views
U ovom izuzetnom prikazu magije stripova, Scott McCloud transformiše format prezentacije u iskustvo nalik stripu, koje leti kroz dečije fascinacije i ideje o budućnosti koje naše oči mogu da čuju i dodirnu.
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,
0
0
1000
Od svih pet čula,
00:19
vision is the one that I appreciate the most,
1
1000
3000
čulo vida je ono koje najviše cenim,
00:22
and it's the one that I can least take for granted.
2
4000
3000
i najmanje uzimam zdravo za gotovo.
00:25
I think this is partially due to my father, who was blind.
3
7000
3000
Mislim da je ovo delom zbog mog oca, koji je bio slep.
00:29
It was a fact that he didn't make much of a fuss about, usually.
4
11000
2000
To je bila činjenica oko koje on obično nije pravio mnogo buke.
00:31
One time in Nova Scotia,
5
13000
1000
Jednom kada smo išli u Novu Škotsku,
00:32
when we went to see a total eclipse of the sun --
6
14000
2000
da vidimo totalno pomračenje Sunca --
00:35
yeah, same one as in the Carly Simon song,
7
17000
2000
da, isto ono koje se pominje u pesmi Karli Sajmon,
00:37
which may or may not refer
8
19000
2000
koje se možda, a možda i ne, odnosi na
00:39
to James Taylor, Warren Beatty or Mick Jagger; we're not really sure.
9
21000
3000
Džejmsa Tejlora, Vorena Bitija ili Mika Džegera, nismo sigurni.
00:42
They handed out these dark plastic viewers
10
24000
3000
Delili su one tamne plastične folije
00:45
that allowed us to look directly at the sun
11
27000
2000
koje su nam omogućavale da gledamo direktno u sunce
00:47
without damaging our eyes.
12
29000
1000
a da pritom ne oštetimo oči.
00:49
But Dad got really scared:
13
31000
1000
Ali otac se veoma uplašio:
00:50
he didn't want us doing that.
14
32000
1000
nije želeo da to uradimo.
00:52
He wanted us instead to use these cheap cardboard viewers
15
34000
3000
Umesto toga, hteo je da koristimo one jeftine kartonske okvire
00:55
so that there was no chance at all that our eyes would be damaged.
16
37000
3000
tako da nije bilo šanse da nam se oštete oči.
00:59
I thought this was a little strange at the time.
17
41000
1000
U to vreme mi je to bilo pomalo čudno.
01:01
What I didn't know at the time
18
43000
1000
Ono što tada nisam znao
01:02
was that my father had actually been born with perfect eyesight.
19
44000
2000
je da je moj otac zapravo rođen sa perfektnim vidom.
01:05
When he and his sister Martha were just very little,
20
47000
2000
Kada su on i njegova sestra Marta bili veoma mali,
01:07
their mom took them out to see a total eclipse --
21
49000
3000
njihova mama ih je povela napolje da vide totalno pomračenje --
01:10
or actually, a solar eclipse --
22
52000
1000
odnosno pomračenje sunca --
01:11
and not long after that,
23
53000
1000
i ne zadugo posle toga,
01:12
both of them started losing their eyesight.
24
54000
3000
oboje su počeli da gube vid.
01:16
Decades later,
25
58000
1000
Decenijama kasnije,
01:17
it turned out that the source of their blindness
26
59000
2000
ispostavilo se da je uzrok njihovog gubitka vida
01:19
was most likely some sort of bacterial infection.
27
61000
3000
najverovatnije bila neka vrsta bakterijske infekcije.
01:22
As near as we can tell,
28
64000
1000
Koliko možemo da zaključimo,
01:23
it had nothing whatsoever to do with that solar eclipse,
29
65000
4000
to nije imalo apsolutno nikakve veze sa pomračenjem sunca,
01:27
but by then my grandmother had already gone to her grave
30
69000
2000
ali do tada je moja baka već otišla na onaj svet
01:29
thinking it was her fault.
31
71000
1000
misleći da je to bila njena krivica.
01:32
So, Dad graduated Harvard in 1946,
32
74000
3000
Tako da je otac diplomirao na Harvardu 1946.
01:35
married my mom,
33
77000
1000
oženio se mojom majkom,
01:36
and bought a house in Lexington, Massachusetts,
34
78000
3000
i kupio kuću u Leksingtonu, u Masačusetsu,
01:39
where the first shots were fired against the British in 1775,
35
81000
4000
gde su ispaljeni prvi hici protiv Britanaca u 1775.,
01:43
although we didn't actually hit any of them until Concord.
36
85000
2000
iako nismo pogodili ni jednog od njih pre Konkorda.
01:45
He got a job working for Raytheon,
37
87000
2000
Zaposlio se u Rejtionu,
01:47
designing guidance systems,
38
89000
2000
projektujući sisteme za navođenje,
01:49
which was part of the Route 128 high-tech axis in those days --
39
91000
3000
koji je bio deo Rute 128, tehnološke ose u to doba --
01:52
so the equivalent of Silicone Valley in the '70s.
40
94000
3000
ekvivalenta Silikonske Doline iz '70-ih.
01:55
Dad wasn't a real militaristic kind of guy;
41
97000
3000
Tata nije bio pravi vojnički tip,
01:58
he just really felt bad that he wasn't able to fight in World War II
42
100000
3000
samo mu je bilo stvarno žao što nije mogao da se bori u Drugom svetskom ratu
02:01
on account of his handicap,
43
103000
1000
zbog svog hendikepa,
02:02
although they did let him get through
44
104000
2000
iako su mu dozvolili da prođe
02:04
the several-hour-long army physical exam
45
106000
4000
višečasovni vojni test fizičke spremnosti
02:08
before they got to the very last test,
46
110000
1000
pre nego što su došli do poslednjeg testa,
02:09
which was for vision.
47
111000
1000
koji je bio test vida.
02:10
(Laughter)
48
112000
4000
(Smeh)
02:14
So, Dad started racking up all of these patents
49
116000
3000
Tako da je otac počeo da smišlja raznorazne patente
02:17
and gaining a reputation as a blind genius, rocket scientist, inventor.
50
119000
3000
i dobio reputaciju slepog genijalca, naučnika, pronalazača.
02:20
But to us he was just Dad,
51
122000
1000
Ali za nas je bio samo tata,
02:21
and our home life was pretty normal.
52
123000
4000
i život u našem domu je bio prilično normalan.
02:25
As a kid, I watched a lot of television
53
127000
2000
Kao mali, puno sam gledao televiziju
02:27
and had lots of nerdy hobbies
54
129000
2000
i imao dosta štreberskih hobija
02:29
like mineralogy and microbiology and the space program
55
131000
3000
kao što su mineralogija i mikrobiologija i svemirski program
02:32
and a little bit of politics.
56
134000
1000
i pomalo politika.
02:33
I played a lot of chess.
57
135000
2000
Puno sam igrao šah.
02:35
But at the age of 14,
58
137000
1000
Ali kada mi je bio 14 godina,
02:36
a friend of mine got me interested in comic books,
59
138000
1000
jedan moj drug me je zainteresovao za stripove,
02:37
and I decided that was what I wanted to do for a living.
60
139000
3000
i odlučio sam da je to ono što bih želeo da radim.
02:41
So, here's my dad:
61
143000
1000
Znači, evo mog oca:
02:42
he's a scientist, he's an engineer and he's a military contractor.
62
144000
5000
on je naučnik, inženjer i radi za vojsku.
02:48
So, he has four kids, right?
63
150000
3000
I on ima četvoro dece, je l' tako?
02:51
One grows up to become a computer scientist,
64
153000
1000
Jedno odraste i postane informatičar,
02:52
one grows up to join the Navy,
65
154000
2000
jedno odraste i ode u mornaricu,
02:55
one grows up to become an engineer,
66
157000
1000
jedno odraste i postane inženjer,
02:57
and then there's me:
67
159000
1000
i onda imate mene:
02:59
the comic book artist.
68
161000
2000
ctrač stripova.
03:01
(Laughter)
69
163000
3000
(Smeh)
03:04
Which, incidentally, makes me the opposite of Dean Kamen,
70
166000
1000
Što me, sasvim slučajno, čini suprotnim od Dina Kamena,
03:05
because I'm a comic book artist, son of an inventor,
71
167000
2000
jer sam crtač stripova, sin pronalazača,
03:07
and he's an inventor, son of a comic book artist.
72
169000
2000
dok je on pronalazač, sin crtača stripova.
03:10
(Laughter)
73
172000
1000
(Smeh)
03:11
Right, it's true.
74
173000
2000
Tako je.
03:13
(Applause)
75
175000
3000
(Aplauz)
03:16
The funny thing is, Dad had a lot of faith in me.
76
178000
2000
Interesantno je da je otac imao puno vere u mene.
03:18
He had faith in my abilities as a cartoonist,
77
180000
3000
Verovao je u moje sposobnosti kao crtača,
03:21
even though he had no direct evidence that I was any good whatsoever:
78
183000
3000
iako nije imao konkretnih dokaza da sam ja iole dobar u tome:
03:24
everything he saw was just a blur.
79
186000
2000
sve što je on video bilo je mutno.
03:26
Now, this gives a real meaning to the term "blind faith,"
80
188000
2000
To sad daje pravo značenje izrazu 'slepa vera',
03:28
which doesn't have the same negative connotation for me that it does for other people.
81
190000
4000
koji za mene nema onu negativnu konotaciju koju ima za druge ljude.
03:33
Now, faith in things which cannot be seen, which cannot be proved,
82
195000
3000
Vera u stvari koje su nevidljive, koje se ne mogu dokazati
03:36
is not the sort of faith that I've ever really related to all that much.
83
198000
4000
nije tip vere sa kojom sam ja ikada mogao previše da se poistovetim.
03:40
I tend to like science,
84
202000
1000
Ja ipak volim nauku,
03:41
where what we see
85
203000
2000
gde ono što vidimo
03:43
and can ascertain are the foundation of what we know.
86
205000
3000
i što možemo da potvrdimo predstavljaju osnovu onoga što znamo.
03:47
But there's a middle ground, too.
87
209000
2000
Ali postoji tu i zajednički imenitelj.
03:49
A middle ground tread by people like poor old Charles Babbage,
88
211000
3000
Njega čine ljudi poput sirotog Čarlsa Babadža,
03:52
and his steam-driven computers that were never built.
89
214000
4000
i njegovih računara na vodenu paru koji nikada nisu napravljeni.
03:56
Nobody really understood what it was that he had in mind,
90
218000
2000
Niko nije u potpunosti shvatao šta je on zamislio,
03:58
except for Ada Lovelace,
91
220000
3000
osim Ade Lavlejs,
04:02
and he went to his grave trying to pursue that dream.
92
224000
3000
i on je umro pokušavajući da ostvari taj san.
04:05
Vannevar Bush with his Memex --
93
227000
2000
Venavar Buš sa svojim Memeksom --
04:07
this idea of all of human knowledge at your fingertips --
94
229000
3000
ta ideja da se svo ljudsko znanje nađe na dohvat ruke --
04:10
he had this vision.
95
232000
2000
to je bila njegova ideja.
04:12
And I think a lot of people in his day
96
234000
1000
I mislim da su mnogi u njegovo vreme
04:13
probably thought he was a bit of a kook.
97
235000
2000
verovatno smatrali da je bio pomalo čudak.
04:15
And, yeah, we can look back in retrospect and say,
98
237000
2000
I da, možemo pogledati unazad i reći,
04:17
yeah, ha-ha, you know -- it's all microfilm. But that's --
99
239000
4000
da, nja-nja, jeste -- to je sve na mikrofilmu. Ali nije --
04:21
that's not the point. He understood the shape of the future.
100
243000
3000
nije u tome poenta. On je razumeo kako će budućnost izgledati.
04:24
So did J.C.R. Licklider and his notions for computer-human interaction.
101
246000
4000
Kao i J.C.R. Liklajder i njegove predstave o interakciji između kompjutera i ljudi.
04:28
Same thing: he understood the shape of the future,
102
250000
3000
Ista stvar: on je razumeo kako će budućnost izgledati,
04:31
even though it was something that would
103
253000
3000
iako je to bilo nešto
04:34
only be implemented by people much later.
104
256000
3000
što će ljudi primeniti mnogo kasnije.
04:37
Or Paul Baran, and his vision for packet switching.
105
259000
3000
Ili Pol Baron i njegova ideja za preusmeravanje paketa informacija.
04:40
Hardly anybody listened to him in his day.
106
262000
2000
Jedva da ga je iko slušao u njegovo vreme.
04:43
Or even the people who actually pulled it off,
107
265000
2000
Pa čak ni ljudi koji su kasnije to zapravo izveli,
04:45
the people at Bolt, Beranek and Newman in Boston,
108
267000
3000
ljudi u Bolt, Beranek i Njumanu u Bostonu,
04:48
who just would sketch out these structures
109
270000
2000
koji su jednostavno skicirali tu strukturu
04:50
of what would eventually become a worldwide network,
110
272000
3000
nečega što će na kraju postati svetska mreža,
04:53
and sketching things on the back of napkins and on note papers
111
275000
4000
i skicirali stvari na salvetama i listovima iz beležnice
04:57
and arguing over dinner at Howard Johnson's --
112
279000
2000
i svađali se uz večeru u Hauard Džonsonu
04:59
on Route 128 in Lexington, Massachusetts,
113
281000
2000
na Ruti 128 u Leksingtonu u Masačusetsu,
05:01
just two miles from where I was studying the Queen's Gambit Deferred
114
283000
3000
samo dve milje od mesta na kome sam ja proučavao kraljičin gambit
05:04
and listening to Gladys Knight & the Pips
115
286000
2000
i slušao Gledis Najt i Pipse
05:06
singing "Midnight Train to Georgia," while --
116
288000
2000
koji su pevali "Midnight Train to Georgia" --
05:08
(Laughter)
117
290000
1000
(Smeh)
05:09
-- in my dad's big easy chair, you know?
118
291000
3000
-- i to u očevoj velikoj fotelji, znate?
05:12
So, three types of vision, right?
119
294000
2000
Tako da, postoje tri načina gledanja, je l' tako?
05:14
Vision based on what one cannot see:
120
296000
3000
Vizija bazirana na onome što neko ne može da vidi:
05:17
the vision of that unseen and unknowable.
121
299000
3000
slika nevidljivog i nepojmljivog.
05:20
The vision of that which has already been proven or can be ascertained.
122
302000
3000
Zatim vizija onoga što je već dokazano ili može biti potvrđeno.
05:23
And this third kind
123
305000
2000
I postoji ova treća vrsta
05:26
of vision, of something which
124
308000
2000
vizija nečega što
05:28
can be, which may be,
125
310000
1000
može biti, ili bi moglo biti,
05:30
based on knowledge, but is as yet unproven.
126
312000
3000
bazirano na znanju, ali i dalje nije dokazano.
05:33
Now, we've seen a lot of examples of people who are pursuing that sort of vision in science,
127
315000
5000
E sad, videli smo mnogo primera ljudi koji su sledili ovaj tip vizije u nauci,
05:38
but I think it's also true in the arts, it's true in politics,
128
320000
2000
ali smatram da ih ima i u umetnosti, i u politici,
05:40
it's even true in personal endeavors.
129
322000
3000
pa čak i u našim ličnim nastojanjima.
05:43
What it comes down to, really, is four basic principles:
130
325000
2000
U suštini, to se sve svodi na četiri osnovna principa:
05:45
learn from everyone,
131
327000
2000
uči od svakoga
05:47
follow no one,
132
329000
2000
nemoj slediti nikoga,
05:49
watch for patterns,
133
331000
2000
obrati pažnju na obrasce,
05:51
and work like hell.
134
333000
1000
i radi kao lud.
05:52
I think these are the four principles that go into this.
135
334000
3000
Mislim da su to četiri principa koji su sadržani u ovome.
05:55
And it's that third one, especially,
136
337000
2000
I to naročito ovaj treći,
05:57
where visions of the future
137
339000
2000
u kome vizije budućnosti
05:59
begin to manifest themselves.
138
341000
2000
počinju da se manifestuju.
06:01
What's interesting is that this particular way of looking at the world,
139
343000
2000
Ono što je zanimljivo je da je ovaj način posmatranja sveta,
06:04
is, I think, only one of four different ways
140
346000
2000
po mom mišljenju, samo jedan od četiri različita načina
06:06
that manifest themselves in different fields of endeavor.
141
348000
2000
koji se manifestuju u različitim poljima ljudskog delovanja.
06:08
In comics, I know that
142
350000
2000
U stripu se, po mom mišljenju,
06:10
it results in sort of a formalist attitude
143
352000
3000
on izražava u formalističkom pristupu
06:13
towards trying to understand how it works.
144
355000
2000
koji pokušava da shvati kako nešto funkcioniše.
06:15
Then there's another, more classical, attitude
145
357000
3000
Onda tu je drugi, klasičniji stav
06:18
which embraces beauty and craft.
146
360000
2000
koji pre svega ceni lepotu i veštinu.
06:20
Another one which believes in the pure transparency of content.
147
362000
4000
Onda sledeći, koji veruje u čistu transparentnost sadržaja.
06:24
And then another
148
366000
2000
I još jedan
06:26
which emphasizes the authenticity of human experience --
149
368000
2000
koji naglašava autentičnost ljudskog iskustva --
06:28
and honesty, and rawness.
150
370000
2000
i iskrenost i sirovost.
06:30
These are four very different ways of looking at the world. I even gave them names.
151
372000
2000
Ovo su četiri veoma različita načina gledanja na svet. Čak sam im dao i nazive.
06:32
The classicist, the animist, and formalist and iconoclast.
152
374000
4000
Klasičan, animistički, i formalistički i ikonoklastični.
06:36
Interestingly, it seemed to correspond more or less
153
378000
1000
Zanimljivo je da to manje-više odgovara
06:37
to Jung's four subdivisions of human thought.
154
379000
3000
Jungovskoj podeli ljudske misli.
06:42
And they reflect a dichotomy of art and delight
155
384000
2000
I oni izražavaju dualizam umetnosti i života
06:44
on left and the right;
156
386000
2000
po vertikali;
06:46
tradition and revolution on the top and the bottom.
157
388000
2000
tradicije i revolucije po horizontali.
06:48
And if you go on the diagonal, you get content and form --
158
390000
2000
A ako posmatrate po dijagonali, imate sadržaj i formu --
06:50
and then beauty and truth.
159
392000
2000
i onda lepotu i istinu.
06:52
And it probably applies just as much
160
394000
1000
I ovo se verovatno isto tako može primeniti
06:53
to music and to movies and to fine art,
161
395000
3000
na muziku i film i lepe umetnosti,
06:56
which has nothing whatsoever to do with vision at all,
162
398000
3000
što nema baš nikakve veze sa vizijom,
06:59
or for that matter, nothing to do with our conference theme of
163
401000
3000
ili, kad smo već kod toga, sa temom naše konferencije
07:02
"Inspired by Nature" --
164
404000
1000
'Inspirisano prirodom' --
07:03
except to the extent of the fable of the frog
165
405000
3000
osim ako to primenite na basnu o žabi
07:06
who gives the ride to the scorpion on his back to get across the river
166
408000
3000
koja pristane da na leđima prenese škorpiju preko reke
07:09
because the scorpion promises not to sting him,
167
411000
2000
jer je škorpija obećala da je neće ubosti,
07:11
but then the scorpion does sting him anyway and they both die,
168
413000
2000
ali onda je ipak ubode i obe uginu
07:13
but not before the frog asks him why and the scorpion says,
169
415000
3000
ali pre toga žaba upita zašto i škorpija kaže:
07:16
"Because it's my nature" --
170
418000
1000
'Zato što je to moja priroda' --
07:17
in that sense, yes.
171
419000
2000
u tom smislu, da.
07:19
(Laughter)
172
421000
2000
(Smeh)
07:21
So --
173
423000
1000
Tako da--
07:23
so this was my nature. The thing was, I saw
174
425000
3000
ovo je bila moja priroda. Stvar je u tome, da sam ja video
07:26
that the route that I took to discovering
175
428000
2000
da je taj put kojim sam krenuo ka pronalaženju
07:28
this focus in my work
176
430000
3000
tog fokusa u mom radu
07:31
and who I was,
177
433000
2000
i toga ko sam,
07:33
I saw it as just this road to discovery.
178
435000
2000
video sam to samo kao put ka spoznaji.
07:35
Actually, it was just me embracing my nature,
179
437000
2000
U stvari, ja sam samo prihvatao svoju prirodu
07:37
which means
180
439000
2000
što znači
07:39
that I didn't actually fall that far from the tree after all.
181
441000
3000
da u suštini i nisam pao tako daleko od 'klade'.
07:44
So what does a "scientific mind"
182
446000
2000
I šta zapravo traži 'naučnički um'
07:46
do in the arts?
183
448000
2000
u umetnosti?
07:49
Well, I started making comics,
184
451000
1000
Pa, počeo sam da pravim stripove,
07:50
but I also started trying to understand them, almost immediately.
185
452000
2000
ali sam takođe počeo i da pokušavam da ih razumem, skoro odmah.
07:52
And one of the most important things about comics, I discovered,
186
454000
3000
I otkrio sam da je jedna od najvažnijih stvari u vezi sa stripovima
07:55
was that comics are a visual medium,
187
457000
2000
to da je strip vizuelni medij,
07:57
but they try to embrace all of the senses within it.
188
459000
4000
ali trudi se da time obuhvati sva čula.
08:01
So, the different elements of comics, like pictures and words,
189
463000
4000
Tako da različiti elementi stripa, kao što su slike i reči,
08:05
and the different symbols and everything in between
190
467000
3000
i različiti simboli i sve ono što se nalazi između
08:08
that comics presents
191
470000
1000
što vam prikazuje strip
08:09
are all funneled through the single conduit of vision.
192
471000
2000
svi protiču kroz jedinstven kanal - čulo vida.
08:11
So you have things like resemblance,
193
473000
2000
Tako da imate stvari kao što je sličnost,
08:13
where something which resembles the physical world can be abstracted
194
475000
3000
gde nešto što liči na fizičku stvarnost može biti apstrahovano
08:16
in a couple of different directions:
195
478000
2000
u nekoliko različitih pravaca:
08:18
abstracted from resemblance,
196
480000
2000
apstrahovano iz sličnosti,
08:20
but still retaining the complete meaning,
197
482000
2000
ali i dalje zadržavajući svoje puno značenje,
08:22
or abstracted away from both resemblance and meaning towards the picture plan.
198
484000
4000
ili kao apstrakcija koja se udaljava i od sličnosti i od značenja i pretvara u sliku.
08:26
Put all these three together, and you have a nice little map
199
488000
2000
Kada sve ovo uzmete u obzir, dobijete lepu malu mapu
08:28
of the entire boundary of visual iconography
200
490000
3000
celokupnog obuhvata vizuelne ikonografije
08:31
which comics can embrace.
201
493000
2000
koju stripovi mogu da prikažu.
08:33
And if you move to the right you also get language,
202
495000
3000
I ako krenete dalje na desno, imate jezik,
08:36
because that's abstracting even further from resemblance,
203
498000
3000
što je apstrakcija još dalja od sličnosti,
08:39
but still maintaining meaning.
204
501000
2000
koja, međutim, i dalje zadržava značenje.
08:42
Vision is called upon to represent sound
205
504000
2000
Slika je angažovana da predstavlja zvuk
08:44
and to understand the common properties of those two
206
506000
3000
da pojasni zajedničke karakteristike ta dva
08:47
and their common heritage, as well.
207
509000
2000
kao i njihovo zajedničko nasleđe.
08:49
Also, to try to represent the texture of sound
208
511000
3000
Takođe, treba da predstavi teksturu zvuka;
08:52
to capture its essential character through visuals.
209
514000
4000
i da vizuelno prikaže njegov osnovni karakter.
08:57
And there's also a balance
210
519000
2000
Onda, tu je takođe i ravnoteža
08:59
between the visible and the invisible in comics.
211
521000
2000
između vidljivog i nevidljivog u stripovima.
09:02
Comics is a kind of call and response
212
524000
2000
Strip je na neki način i pitanje i odgovor
09:04
in which the artist gives you
213
526000
1000
gde vam umetnik daje
09:05
something to see within the panels,
214
527000
1000
nešto da vidite u okviru prozora,
09:06
and then gives you something to imagine between the panels.
215
528000
4000
i onda vam da nešto da zamislite između njih.
09:11
Also, another sense
216
533000
2000
Takođe, postoji još jedan pojam
09:13
which comics' vision represents, and that's time.
217
535000
3000
koje stripovsko 'oko' predstavlja, a to je vreme.
09:17
Sequence is a very important aspect of comics.
218
539000
3000
Ritam je veoma važan aspekt stripa.
09:21
Comics presents a kind of temporal map.
219
543000
2000
Strip predstavlja neku vrstu vremenske mape.
09:24
And this temporal map was something that energizes modern comics,
220
546000
3000
I ta vremenska mapa je ono što daje energiju modernom stripu,
09:27
but I was wondering if perhaps it also energizes
221
549000
3000
ali ja sam se zapitao da li možda daje energiju
09:30
other sorts of forms,
222
552000
2000
i drugim formama,
09:32
and I found some in history.
223
554000
1000
i pronašao sam neke u istoriji.
09:34
And you can see this same principle operating
224
556000
3000
I možete ovde videti ovaj isti princip kako se primenjuje
09:37
in these ancient versions of the same idea.
225
559000
3000
u ovim antičkim verzijama iste ideje.
09:40
What's happening is, the art form is colliding
226
562000
2000
Ono što se zapravo dešava je to da se umetnička forma sudara
09:42
with the given technology,
227
564000
1000
sa tehnologijom koja joj je na raspolaganju,
09:43
whether it's paint on stone, like the Tomb of the Scribe in ancient Egypt,
228
565000
4000
bilo da je to boja na kamenu, kao grobnica u starom Egiptu,
09:47
or a bas-relief sculpture rising up a stone column,
229
569000
2000
ili plitki reljef koji se uzdiže po kamenom stubu,
09:50
or a 200-foot-long embroidery,
230
572000
2000
ili vez dugačak 60 metara,
09:52
or painted deerskin and tree bark
231
574000
2000
ili oslikana jelenska koža i kora drveta
09:54
running across 88 accordion-folded pages.
232
576000
3000
koja se prostire na 88 naizmenično presavijenih stranica.
09:57
What's interesting is, once you hit print --
233
579000
2000
Ono što je interesantno je da, jednom kada počnete da ga štampate -
09:59
and this is from 1450, by the way --
234
581000
2000
inače, ovo je iz 1450. gorine, samo da napomenem --
10:01
all of the artifacts of modern comics start to present themselves:
235
583000
2000
sve karakteristike modernog stripa počnu bivati vidljive:
10:03
rectilinear panel arrangements,
236
585000
2000
pravougaoni linearni raspored panela,
10:05
simple line drawings without tone
237
587000
2000
jednostavni linearni crteži bez tona
10:07
and a left-to-right reading sequence.
238
589000
3000
i redosled čitanja sa leva na desno.
10:11
And within 100 years,
239
593000
1000
I već 100 godina posle toga,
10:12
you already start to see word balloons and captions,
240
594000
3000
već počinjete da viđate balone sa tekstom i scene,
10:16
and it's really just a hop, skip and a jump from here to here.
241
598000
2000
i u stvari samo je korak od ovoga do ovoga.
10:19
So I wrote a book about this in '93,
242
601000
2000
Napisao sam knjigu o ovome u '93.
10:21
but as I was finishing the book,
243
603000
2000
ali dok sam završavao knjigu,
10:23
I had to do a little bit of typesetting,
244
605000
1000
morao sam malo da radim na prelomu,
10:24
and I was tired of going to my local copy shop to do it,
245
606000
2000
i dosadilo mi je sa svaki put idem u svoju lokalnu kopirnicu da to radim,
10:26
so I bought a computer.
246
608000
2000
pa sam kupio računar.
10:29
And it was just a little thing -- it wasn't good for much except text entry --
247
611000
3000
I to je bila samo mala stvar - bio je dobar samo za unošenje teksta i nizašta drugo --
10:32
but my father had told me about Moore's Law,
248
614000
3000
ali otac mi je nekada pričao o Murovom zakonu,
10:35
about Moore's Law back in the '70s, and I knew what was coming.
249
617000
3000
o Murovom zakonu davnih '70-ih, i znao sam šta dolazi.
10:39
And so, I kept my eyes peeled
250
621000
2000
Tako da sam držao otvorene oči
10:41
to see if the sort of changes that happened
251
623000
2000
da vidim da li će se one promene koje su se dogodile
10:43
when we went from pre-print comics to print comics
252
625000
3000
kada smo prešli sa pre-štampanih stripova na štampane stripove
10:46
would happen when we went beyond, to post-print comics.
253
628000
3000
dogoditi i kada budemo prešli u novu oblast, u post-štampane stripove.
10:49
So, one of the first things that were proposed
254
631000
2000
Jedna od prvih stvari koja je bila predložena
10:51
was that we could mix the visuals of comics
255
633000
2000
je da možemo da kombinujemo vizuelni aspekt stripova
10:53
with the sound, motion and interactivity
256
635000
2000
sa zvukom, pokretom i interaktivnošću
10:55
of the CD-ROMs that were being made in those days.
257
637000
2000
CD-ROM-ova koji su se proizvodili u to vreme.
10:57
This was even before the Web.
258
639000
2000
Ovo je bilo i pre interneta.
10:59
And one of the first things they did was,
259
641000
1000
I jedna od prvih stvari koje su uradili bila je,
11:00
they tried to take the comics page as-is
260
642000
2000
da probaju da naprave stranice stripa kao što su ranije bile,
11:02
and transplant it to monitors,
261
644000
1000
i prebace ih na monitore,
11:03
which was a classic McLuhanesque mistake
262
645000
2000
što je bila klasična MekLuaneskna greška
11:06
of appropriating the shape of the previous technology
263
648000
3000
prisvajanja forme koju je koristila prethodna tehnologija
11:09
as the content of the new technology.
264
651000
2000
kako bi se stvorio sadržaj za novu tehnologiju.
11:11
And so, what they would do is,
265
653000
1000
I tako, ono što bi oni uradili je
11:12
they'd have these comic pages that resemble print comics pages,
266
654000
2000
da uzmu stranice stripa koje liče na štampane stranice stripa,
11:14
and they would introduce all this sound and motion.
267
656000
3000
i uvodili bi zvuk i pokret.
11:18
The problem was, that if you go with this idea --
268
660000
2000
Problem je u tome da, ukoliko se vratite ideji --
11:20
this basic idea that space equals time in comics --
269
662000
3000
osnovnoj ideji da je prostor isto što i vreme u stripu --
11:23
what happens is that when you introduce sound and motion,
270
665000
2000
šta će se desiti kada uvedete zvuk i pokret,
11:25
which are temporal phenomena that can only be represented through time,
271
667000
4000
koji su vremenski fenomeni i mogu se prikazati samo kroz vreme,
11:29
then they break with that continuity of presentation.
272
671000
5000
onda oni prekidaju kontinuitet prezentacije.
11:35
Interactivity was another thing.
273
677000
1000
Interakcija je bila nešto drugo.
11:36
There were hypertext comics.
274
678000
1000
Postojali su stripovi u hipertekstu.
11:37
But the thing about hypertext
275
679000
1000
Ali ono što je problem sa hipertekstom
11:38
is that everything in hypertext is either here, not here or connected to here;
276
680000
3000
je da je sve u hipertekstu ili ovde, ili nije ovde ili je povezano sa nečim ovde;
11:41
it's profoundly non-spatial.
277
683000
2000
on je suštinski ne-prostoran.
11:43
The distance from Abraham Lincoln to a Lincoln penny,
278
685000
3000
Rastojanje od Abrahama Linkolna do Linkolnovog penija,
11:46
the Penny Marshall to the Marshall Plan
279
688000
2000
Peni Maršal do Maršal Plana
11:48
to "Plan 9" to nine lives:
280
690000
1000
do ''Plana 9'' do devet života:
11:49
it's all the same.
281
691000
2000
sve je to isto.
11:51
(Laughter)
282
693000
1000
(Smeh)
11:52
And -- but in comics, in comics,
283
694000
2000
Međutim, u stripu, u stripu,
11:55
every aspect of the work, every element of the work
284
697000
2000
svaki njegov aspekt, svaki njegov element
11:58
has a spatial relationship to every other element at all times.
285
700000
3000
ima prostorni odnos sa bilo kojim drugim elementom u svakom trenutku.
12:01
So the question was:
286
703000
1000
Tako da je osnovno pitanje bilo:
12:02
was there any way to preserve that spatial relationship
287
704000
3000
postoji li način da se taj prostorni odnos sačuva,
12:05
while still taking advantage of all of the things
288
707000
2000
a da se istovremeno iskoriste sve prednosti
12:07
that digital had to offer us?
289
709000
2000
koje digitalna tehnologija može da nam ponudi?
12:09
And I found my personal answer for this
290
711000
2000
I pronašao sam svoj lični odgovor na ovo pitanje
12:11
in those ancient comics that I was showing you.
291
713000
2000
u onim prastarim stripovima koje sam vam pokazivao.
12:14
Each of them has a single unbroken reading line,
292
716000
3000
Svaki od njih ima jedinstvenu neprekidnu liniju čitanja,
12:17
whether it's going zigzag across the walls
293
719000
2000
bilo da se prostire cik-cak preko zidova,
12:19
or spiraling up a column
294
721000
2000
ili se spiralno penje uz stub
12:21
or just straight left to right, or even going in a backwards zigzag
295
723000
3000
ili ide pravo sa leva na desno, ili čak ide cik-cak unazad
12:24
across those 88 accordion-folded pages.
296
726000
2000
preko onih 88 presavijenih strana.
12:26
The same thing is happening, and that is that the basic idea
297
728000
2000
Ista stvar se dešava i ta osnovna ideja
12:29
that as you move through space you move through time
298
731000
2000
da se, krećući se kroz prostor, krećete kroz vreme
12:31
is being carried out without any compromise,
299
733000
2000
se ovde sprovodi bez ikakvog kompromisa,
12:33
but there were compromises when print hit.
300
735000
3000
ali do kompromisa je došlo kada su se počeli štampati.
12:36
Adjacent spaces were no longer adjacent moments,
301
738000
3000
Prostori koji se nadovezuju više nisu trenuci koji se nadovezuju,
12:39
so the basic idea of comics was being broken again and again
302
741000
3000
tako da je osnovna ideja stripa bila izlomljena iznova i iznova
12:42
and again and again.
303
744000
1000
i iznova i iznova.
12:43
And I thought, O.K., well,
304
745000
1000
I ja sam pomislio, OK, dobro,
12:44
if that's true, is there any way,
305
746000
2000
ako je to istina, postoji li ikakav način da,
12:47
when we go beyond today's print,
306
749000
2000
kada prevaziđemo današnju štampu,
12:49
to somehow bring that back?
307
751000
2000
nekako povratimo to?
12:52
Now, the monitor
308
754000
2000
E sad, ekran
12:55
is just as limited as the page, technically, right?
309
757000
2000
je u suštini isto tako ograničen kao i list papira, zar ne?
12:57
It's a different shape, but other than that
310
759000
2000
Drugačijeg je oblika, ali osim toga,
12:59
it's the same basic limitation.
311
761000
2000
podjednako je ograničen.
13:01
But that's only if you look at the monitor as a page,
312
763000
3000
Ali to je samo ako posmatrate ekran kao stranicu,
13:05
but not if you look at the monitor as a window.
313
767000
2000
a ne ako ga posmatrate kao prozor.
13:08
And that's what I proposed: that perhaps we could create these comics
314
770000
2000
I to je ono što sam ja predložio: da možda možemo da stvorimo ove stripove
13:10
on an infinite canvas:
315
772000
1000
na beskonačnom platnu:
13:12
along the X axis and the Y axis and staircases.
316
774000
4000
po x osi i y osi i stepenicama.
13:17
We could do circular narratives that were literally circular.
317
779000
2000
Možemo praviti kružnu naraciju, koja ja u pravom smislu te reči kružna.
13:19
We could do a turn in a story that was literally a turn.
318
781000
3000
Možemo napraviti zaokret u priči koji je bukvalno zaokret.
13:23
Parallel narratives could be literally parallel.
319
785000
2000
Paralelne radnje mogu biti zaista paralelne.
13:27
X, Y and also Z.
320
789000
2000
X, Y, kao i Z.
13:30
So I had all these notions. This was back in the late '90s,
321
792000
2000
Tako da sam imao sve te zamisli. To je bilo još u kasnim '90.,
13:32
and other people in my business thought I was pretty crazy,
322
794000
3000
i ostali ljudi u mom poslu su mislili da sam prilično lud,
13:36
but a lot of people then went on and actually did it.
323
798000
2000
ali dosta ljudi je onda krenulo i zaista to primenilo.
13:38
I'm going to show you a couple now.
324
800000
2000
Sada ću vam pokazati nekoliko primera.
13:41
This was an early collage comic by a fellow named Jason Lex.
325
803000
3000
Ovo je rani kolaž strip koji je uradio momak po imenu Džejson Leks.
13:48
And notice what's going on here.
326
810000
2000
I pogledajte šta se ovde dešava.
13:50
What I'm searching for is a durable mutation --
327
812000
2000
Ono što ja tražim je trajna mutacija --
13:52
that's what all of us are searching for.
328
814000
2000
to je ono što mi svi tražimo.
13:54
As media head into this new era,
329
816000
2000
Dok mediji ulaze u ovu novu eru,
13:56
we are looking for mutations
330
818000
3000
mi tražimo promene
13:59
that are durable, that have some sort of staying power.
331
821000
4000
koje su trajne, koje imaju održivost.
14:03
Now, we're taking this basic idea of presenting comics in a visual medium,
332
825000
4000
Uzeli smo sad osnovnu ideju prikazivanja stripa kao vizuelnog medija,
14:07
and then we're carrying it through all the way from beginning to end.
333
829000
3000
i istrajali u njoj od početka do kraja.
14:10
That's that entire comic you just saw
334
832000
2000
Ovo što ste upravo videli je ceo strip
14:12
is up on the screen right now.
335
834000
2000
upravo sada na ekranu.
14:14
But even though we're only experiencing it one piece at a time,
336
836000
3000
Međutim, iako ga doživljavamo samo deo po deo,
14:17
that's just where the technology is right now.
337
839000
2000
to je samo zbog nivoa na kome se tehnologija trenutno nalazi.
14:19
As the technology evolves,
338
841000
2000
Kako tehnologija bude evoluirala,
14:21
as you get full immersive displays and whatnot,
339
843000
3000
kako se budu pojavljivali puni sveobuhvatni displeji i ko zna šta sve,
14:24
this sort of thing will only grow.
340
846000
2000
ova ideja će samo rasti.
14:26
It will adapt. It will
341
848000
2000
Prilagođavaće se.
14:28
adapt to its environment:
342
850000
2000
Prilagođavaće se svom okruženju:
14:30
it's a durable mutation.
343
852000
2000
to je trajna mutacija.
14:33
Here's another one I'll show you. This is by Drew Weing;
344
855000
2000
Evo pokazaću vam još jedan. Ovaj je uradio Dru Vaing;
14:35
this is called,
345
857000
1000
ovaj se zove
14:36
"Pup Contemplates the Heat Death of the Universe."
346
858000
2000
''Kuca razmišlja o smrti svemira''
15:04
See what's going on here
347
886000
1000
Vidite šta se ovde dešava
15:06
as we draw these stories on an infinite canvas
348
888000
3000
dok iscrtavamo ove priče na neograničenom platnu
15:11
is you're creating a more pure expression
349
893000
3000
mi zapravo stvaramo čistiji izraz
15:15
of what this medium is all about.
350
897000
2000
onoga što je suština ovog medija.
15:22
We'll go by this a little quickly -- you get the idea.
351
904000
2000
Proćićemo ovo malo brže -- već ste shvatili ideju.
15:24
I just want to get to the last panel.
352
906000
2000
Hoću samo da dođem do poslednjeg panela.
15:32
(Laughter)
353
914000
3000
(Smeh)
15:35
There we go.
354
917000
1000
Evo ga.
15:38
(Laughter)
355
920000
2000
(Smeh)
15:43
(Laughter)
356
925000
3000
(Smeh)
15:49
Just one more.
357
931000
1000
Samo još jedan.
15:52
Talk about your infinite canvas.
358
934000
2000
Kad smo već kod beskonačnog platna.
15:55
It's by a guy named Daniel Merlin Goodbrey in Britain.
359
937000
2000
Ovo je uradio tip po imenu Daniel Merlin Gudbri iz Velike Britanije.
15:58
Why is this important?
360
940000
2000
Zašto je ovo tako važno?
16:01
I think this is important because media,
361
943000
2000
Mislim da je ovo važno jer mediji,
16:04
all media,
362
946000
1000
svi mediji,
16:06
provide us a window back into our world.
363
948000
3000
za nas predstavljaju prozor u naš svet.
16:09
Now, it could be that motion pictures --
364
951000
2000
Sad, može biti da će nam filmovi --
16:11
and eventually, virtual reality, or something equivalent to it --
365
953000
3000
i konačno, virtualna stvarnost, ili nešto ekvivalentno njoj --
16:14
some sort of immersive display,
366
956000
2000
neka vrsta sveobuhvatnog prikaza,
16:16
is going to provide us with our most efficient escape from the world that we're in.
367
958000
5000
omogućiti efikasniji beg iz sveta u kome smo.
16:21
That's why most people turn to storytelling, is to escape.
368
963000
3000
Zato se većina ljudi okreće pričanju priča, kako bi pobegla.
16:24
But media provides us with a window
369
966000
3000
Ali mediji nam stvaraju prozor
16:27
back into the world that we live in.
370
969000
3000
nazad u svet u kome živimo.
16:31
And when media evolve
371
973000
2000
I kada mediji evoluiraju
16:34
so that the identity of the media becomes increasingly unique.
372
976000
5000
tako da njihov identitet postane sve više jedinstven.
16:39
Because what you're looking at is, you're looking at comics cubed:
373
981000
3000
Jer ono što vidite su stripovi na kub:
16:42
you're looking at comics that are more comics-like than they've ever been before.
374
984000
3000
ovo što vidite su stripovi koji su više stripovski nego što su to ikada bili.
16:46
When that happens, you provide people with multiple ways
375
988000
3000
Kada se to dogodi, pružate ljudima više načina
16:49
of re-entering the world through different windows,
376
991000
3000
da ponovo uđu u svet kroz različite prozore,
16:53
and when you do that, it allows them to triangulate the world that they live in
377
995000
3000
i kada to uradite, omogućavate im da prouče svet u kome žive
16:56
and see its shape.
378
998000
2000
i sagledaju njegov oblik.
16:58
And that's why I think this is important.
379
1000000
2000
I zato mislim da je ovo značajno.
17:00
One of many reasons, but I've got to go now.
380
1002000
2000
Ovo je zapravo jedan od mnogo razloga, ali sada moram da idem.
17:02
Thank you for having me.
381
1004000
1000
Hvala vam na pažnji.
ABOUT THE SPEAKER
Scott McCloud - CartoonistScott McCloud is author of Understanding Comics, a comic book about comics. He's an evangelist for comics as a valid literary form (as more than pulp and kids' stuff) and his admiring fans include a laundry list of superstar cartoonists.
Why you should listen
If not for Scott McCloud, graphic novels and webcomics might be enjoying a more modest Renaissance. The flourishing of cartooning in the '90s and '00s, particularly comic-smithing on the web, can be traced back to his major writings on the comics form. The first, Understanding Comics, is translated into 13 languages, and along with Reinventing Comics and Making Comics, its playful and profound investigations are justly revered as something like the Poetics of sequential art.
McCloud coined the term "infinite canvas" -- for the new comics medium made possible by web browsers. He's an avid user of the medium: My Obsession With Chess was widely popular online, as was The Right Number. Back on the printed page, he wrote and illustrated Zot!, a colorful response to then-trendy grimness and gore in comic books. (He describes the book as "a cross between Peter Pan, Buck Rogers and Marshall McLuhan.")
He's the inventor of the game 5-Card Nancy.
Scott McCloud | Speaker | TED.com