聽力原文如下
<code>1.So I am a surgeon who studies creativity, and I have never had a patient tell me that "I really want you to be creative during surgery,"
我是一個研究創造力的手術醫生， 從來沒病人跟我說 “我真希望你在手術時搞些創造。”
2.and so I guess there's a little bit of irony to it.
所以我想這也是有點諷刺的。
3.I will say though that, after having done surgery a lot, it's somewhat similar to playing a musical instrument.
我是說，做了那麼多手術後， 就跟演奏一種樂器一樣。
4.And for me, this sort of deep and enduring fascination with sound is what led me to both be a surgeon and also to study the science of sound, particularly music.
對我來說， 對聲音的持久而深切的痴迷 引導我成為一個手術醫生， 並研究聲學，特別是音樂的。
5.And so I'm going to try to talk to you over the next few minutes about my career in terms of how I'm able to actually try to study music
所以我想在隨後的幾分鐘裡 我來講一下我的職業 我是怎樣研究音樂
6.and really try to grapple with all these questions of how the brain is able to be creative.
怎樣研究大腦是如何進行創造 等問題的。
7.I've done most of this work at Johns Hopkins University, but also at the National Institute of Health where I was previously.
我的大部分的工作是在約翰斯霍普金斯大學進行的， 也有些是在我原先工作的國家健康研究所完成的。
8.I'm going to go over some science experiments and try to cover three musical experiments.
我在這裡給大家介紹一些科學實驗 包括三個音樂實驗。
9.I'm going to start off by playing a video for you.
我先給大家看一段錄像。
10.And this video is a video of Keith Jarrett, who's a well-known jazz improviser and probably the most well-known, iconic example of someone who takes improvisation to a really higher level.
這是基思·傑瑞特Keith Jarrett的一段錄像，他是著名的即興爵士作曲家， 估計他也是能將即興創造昇華到非常高超境界 的最著名，最有代表性的人物。
11.And he'll improvise entire concerts off the top of his head, and he'll never play it exactly the same way again, and so, as a form of intense creativity,
他可以即興表演一場音樂會 音樂就在他的大腦裡即興產生， 他不會再用同樣的手法演奏第二次。 所以，這是一種創作強度很高的一種形勢，
12.I think this is a great example.
我覺得這是一個很好的例子。
13.And so why don't we go and click the video.
我們為什麼還不點擊這視頻看看。
14.(Music) It's really a remarkable, awesome thing that happens there.
(音樂) 這真是很神奇，精彩的即興音樂。
15.I've always -- just as a listener, as just a fan -- I listen to that, and I'm just astounded.
我是他的一個忠實的聽眾， 粉絲， 我聽到這些會感到很震驚。
16.I think -- how can this possibly be?
我想：這怎麼可能？
17.How can the brain generate that much information, that much music, spontaneously?
大腦怎麼可能產生這麼大量的信息， 同時爆發出這麼多音樂？
18.And so I set out with this concept, scientifically, that artistic creativity, it's magical, but it's not magic, meaning that it's a product of the brain.
所以我從這個概念出發，科學地認為 藝術創作，是神奇的，但不是魔術。 它是大腦的產物。
19.There's not too many brain-dead people creating art.
很少有不動腦子的人創作藝術。
20.And so with this notion that artistic creativity is in fact a neurologic product, I took this thesis that we could study it just like we study any other complex neurologic process.
所以藝術創作的產生 事實上是神經的產物， 我開始了這個研究課題 就象研究其他複雜神經過程一樣。
21.And I think there's some sub-questions there that I put there.
我想我提出了一些潛在的問題。
22.Is it truly possible to study creativity scientifically?
我們是否能科學地研究創作力？
23.And I think that's a good question.
我覺得這是一個很好的問題。
24.And I'll tell you that most scientific studies of music, they're very dense, and when you actually go through them, it's very hard to recognize the music in it.
我想告訴你大多數的音樂科學研究 都很高深莫測。 你很難在那些研究材料中發現音樂。
25.In fact, they seem to be very unmusical entirely and to miss the whole point of the music.
事實上， 它們完全是非音樂的 完全喪失了音樂性。
26.And so it brings the second question: Why should scientists study creativity?
這就帶來了第二個問題： 為什麼科學家研究創造力？
27.Maybe we're not the right people to do it.
也許我們不是解答這問題的合適人選。
28.Well it may be, but I will say that, from a scientific perspective -- we talked a lot about innovation today -- the science of innovation,
也可能是， 但是我要說的是， 從科學的觀點出發 我們今天談論了很多有關發明創造的話題-- 科學發明，
29.how much we understand about how the brain is able to innovate is in its infancy, and truly, we know very little about how we are able to be creative.
我們對大腦是如何創造的瞭解 才剛起步。 其實，我們對我們是怎樣創造的知之甚少。
30.And so I think that we're going to see over the next 10, 20, 30 years a real science of creativity that's burgeoning and is going to flourish.
所以我們會在 今後的10，20，30年間看見 一個真正現實的科學創造力會從興起走向繁榮。
31.Because we now have new methods that can enable us to take this process of something like this, complex jazz improvisation, and study it rigorously.
我們現在有了新的手法幫助我們 將向這樣的一個過程過渡， 一個複雜的即興爵士樂創造的過程，並嚴格地分析研究它。
32.And so it gets down to the brain.
所以說到大腦，
33.And so all of us have this remarkable brain, which is poorly understood to say the least.
我們所有的人都有一個非凡的大腦， 至少現在來說，我們對它的瞭解是非常有限的。
34.I think that neuroscientists have many more questions than answers, and I myself, I'm not going to give you many answers today, just ask a lot of questions.
我想神經學家 的問題比答案要多。 而我今天也沒辦法給你很多答案， 只能提出很多問題。
35.And fundamentally that's what I do in my lab.
這也是基本上我在實驗室做的事情。
36.I ask questions about what is this brain doing to enable us to do this.
我追問到底大腦做了什麼使得我們能做這些事情。
37.This is the main method that I use. This is called functional MRI.
這是我用的主要方法，這是功能性的核磁共振成像。
38.If you've been in an MRI scanner, it's very much the same, but this one is outfitted in a special way to not just take pictures of your brain,
如果你用過核磁共振成像掃描儀，它們是一樣的， 但是這個有特殊的配備 所以它不只是給你的大腦拍照，
39.but to also take pictures of active areas of the brain.
而且給大腦活躍的區域拍照。
40.Now the way that's done is by the following.
整個完成的過程如下，
41.There's something called BOLD imaging, which is Blood Oxygen Level Dependent imaging.
這是叫做BOLD成像， 它代表血液氧氣水平成像。
42.Now when you're in an fMRI scanner, you're in a big magnet that's aligning your molecules in certain areas.
現在如果你在功能性核磁共振掃描儀中， 你在一個大磁場裡 這是和你的一些特別區域的分子對應。
43.When an area of the brain is active, meaning a neural area is active, it gets blood flow shunted to that area.
當大腦活躍時，也就是神經區域活躍時， 血液會往那個區域流動。
44.That blood flow causes an increase in local blood to that area with a deoxyhemoglobin change in concentration.
血液流動會導致那個 區域的血液增加 導致脫氧血紅蛋白的濃度發生變化。
45.Deoxyhemoglobin can be detected by MRI, whereas oxyhemoglobin can't.
核磁共振掃描儀可以探測脫氧血紅蛋白， 但不能探測氧合血紅蛋白。
46.So through this method of inference -- and we're measuring blood flow, not neural activity -- we say that an area of the brain that's getting more blood
所以用這種手法來推理 我們測量血液的流動，不是神經的活動。 我們可以說大腦的某個部分得到了更多的血液，
47.was active during a particular task, and that's the crux of how fMRI works.
這個部分在人做某些事情時特別活躍。 這就是功能磁共振成像的關鍵。
48.And it's been used since the '90s to study really complex processes.
這從90年代就被使用 用來研究複雜的過程。
49.Now I'm going to review a study that I did, which was jazz in an fMRI scanner.
現在我來介紹我做的一個研究 是關於爵士的功能磁共振成像。
50.And this was done with a colleague of mine, Alan Braun, at the NIH.
這是我和我的同事阿蘭·布朗Alan Braun一起在國家健康研究所做的。
51.This is a short video of how we did this project.
這是我們如果做這個實驗的一段錄像。
52.(Video) Charles Limb: This is a plastic MIDI piano keyboard that we use for the jazz experiments.
(錄像)查爾斯·林普Charles Limb: 這是一個塑料的MIDI琴鍵鍵盤 我們用它來做爵士實驗。
53.And it's a 35-key keyboard that is designed to fit both inside the scanner, be magnetically safe, have minimal interference that would contribute to any artifact
它有35個鍵 是為了可以在掃描儀中使用而設計的， 它保證磁控安全， 並將可能造成影響的人為干擾 減到最小，
54.and have this cushion so that it can rest on the players' legs while they're lying down in the scanner, playing on their back.
這個墊子可以放在演奏者的腿上， 他們在掃描儀中，他們是躺著彈琴的。
55.And it works like this -- this doesn't actually produce any sound.
這是像這樣工作的，它並不產生聲音。
56.It sends out what's called a MIDI signal -- or a Musical Instrument Digital Interface -- through these wires into the box and then the computer,
它傳遞所謂的MIDI信號 也稱為樂器數字界面， 通過這個電線傳到盒子和計算機中，
57.which then trigger high-quality piano samples like this.
然後產生了象這樣高質量鋼琴聲。
58.(Music) (Music) CL: Okay, so it works.
(音樂) (音樂) CL：好的， 它是這樣工作的。
59.And so through this piano keyboard, we now have the means to take a musical process and study it.
所以通過鋼琴的琴鍵， 我們可以有辦法記錄音樂的過程來進行研究。
60.So what do you do now that you have this cool piano keyboard?
所以你有了這個很酷的鋼琴琴鍵後幹什麼呢？
61.You can't just sort of -- "It's great we've got this keyboard."
你不能說：“太好了，我們有了鍵盤了。”
62.We actually have to come up with a scientific experiment.
我們得想出真正的科學實驗。
63.And so the experiment really rests on the following: What happens in the brain during something that's memorized and over-learned, and what happens in the brain during something
實驗其實是由以下的內容組成的。 大腦在人們靠記憶演奏熟知的音樂時是怎樣反應的？ 大腦在演奏者自發和即興創作
64.that is spontaneously generated, or improvised, in a way that's matched motorically and in terms of lower-level sensory motor features?
時又是如何反應的？ 從某個角度來說這與肌肉運動相匹配 並符合低級感知運動的特徵嗎？
65.And so, I have here what we call the "paradigms."
我這裡有一段範例。
66.There's a scale paradigm, which is just playing a scale up and down, memorized.
這是一段音階範例， 只需要跟了音階上下， 記住就行。
67.And then there's improvising on a scale -- quarter notes, metronome, right hand -- scientifically very safe, but musically really boring.
而這是對這段音階的即興發揮， 4分音符， 節拍器和右手， 科學上來說很妥當， 但是從音樂上來說很單調。
68.And then there's the bottom one, which is called the jazz paradigm.
底下的這個，叫做爵士範例。
69.And so what we did was we brought professional jazz players to the NIH, and we had them memorize this piece of music on the left, the lower-left --
我們把專業的爵士樂演奏者請到國家健康研究中心， 我們讓他們記住左邊的這段音樂，左下
70.which is what you heard me playing -- and then we had them improvise to the same exact chord changes.
就是你聽到我彈的這段， 然後我們讓他們用同樣的和音來即興發揮。
71.And if you can hit that lower-right sound icon, that's an example of what was recorded in the scanner.
如果你能按右下角的按鈕， 這就是掃描儀錄下的例子。
72.(Music) So in the end, it's not the most natural environment, but they're able to play real music.
(音樂) 說到底，這並不是最自然的環境， 但是他們能彈奏真的音樂。
73.And I've listened to that solo 200 times, and I still like it.
我已經聽了這段獨奏200遍了， 我還是喜歡它。
74.And the musicians, they were comfortable in the end.
音樂家們最後也感到挺舒適。
75.And so we first measured the number of notes.
我們首先測量音符數量。
76.Were they in fact just playing a lot more notes when they were improvising?
他們在即興創作時會演奏很多音符嗎？
77.That was not what was going on.
結果不是這樣。
78.And then we looked at the brain activity.
然後我們查看了大腦的活動。
79.I'm going to try to condense this for you.
我來把這個給你們壓縮在一起。
80.These are contrast maps that are showing subtractions between what changes when you're improvising versus when you're doing something memorized.
這些對比圖展示了大腦在 在你做即興創作時 和你在做熟記的事情時的不同。
81.In red is an area that active in the prefrontal cortex, the frontal lobe of the brain, and in blue is this area that was deactivated.
左前頭葉外皮的一個活躍地區呈紅色， 這是在大腦的前葉。 藍色的地區是不活躍地區。
82.And so we had this focal area called the medial prefrontal cortex that went way up in activity.
所以我們看到這個前額皮質一側是一個焦點 活躍程度很高。
83.We had this broad patch of area called the lateral prefrontal cortex that went way down in activity, and I'll summarize that for you here.
我們可以看到這前額皮質的這一側一大塊 活躍程度很低， 我在這裡為你們總結一下。
84.Now these are multifunctional areas of the brain.
這是大腦的多功能區域。
85.As I like to say, these are not the "jazz areas" of the brain.
像我說的那樣， 這不是大腦的爵士部分。
86.They do a whole host of things that have to do with self-reflection, introspection, working memory and so forth.
它們擔當了很多的事情 包括自省， 內省， 工作記憶等。
87.Really, consciousness is seated in the frontal lobe.
人的意識其實是處於大腦前葉。
88.But we have this combination of an area that's thought to be involved in self-monitoring, turning off, and this area that's thought to be autobiographical,
但是我們發現這些聯繫在一起的 主管自我控制的區域關閉了， 而這個代表自傳
89.or self-expressive, turning on.
自我表達的區域活躍起來。
90.And we think, at least in this preliminary -- it's one study; it's probably wrong, but it's one study -- we think that at least a reasonable hypothesis
所以我們想，至少初步是這麼想， 這只是一個研究， 可能是錯誤的。 但是這是一個研究成果。 我想至少是一個合理的解說
91.is that, to be creative, you have to have this weird dissociation in your frontal lobe.
就是， 要有創造力， 你需要跟你的大腦前葉達成這種奇怪的分離。
92.One area turns on, and a big area shuts off, so that you're not inhibited, so that you're willing to make mistakes, so that you're not constantly shutting down
一個區域打開了，一個大的區域關閉了， 因此你會感到不受侷限的， 你願意犯錯， 而不是老是去停止嘗試
93.all of these new generative impulses.
所有新創造的衝動。
94.Now a lot of people know that music is not always a solo activity -- sometimes it's done communicatively.
很多人都知道音樂不總是一個單獨的活動， 有的時候它是通過溝通合作完成的。
95.And so the next question was: What happens when musicians are trading back and forth, something called "trading fours,"
所以下面的一個問題是： 當音樂家們互相彈奏音樂時大腦是怎樣活動的呢？ 有種手法叫四小節交換，
96.which is something they do normally in a jazz experiment?
這是種在爵士樂中常用的方法嗎？
97.So this is a twelve-bar blues.
這是一個12小節的爵士。
98.And I've broken it down into four-bar groups here, so you would know how you would trade.
這裡我把它分成四小節一組， 所以你知道怎麼切換。
99.Now what we did was we brought a musician into the scanner -- same way -- had them memorize this melody and then had another musician out in the control room
我們用同樣的辦法把一個音樂人安排到掃描儀中， 讓他記住這段旋律 然後讓另一個演奏者在控制室
100.trading back and forth interactively.
跟他前後交互演奏。
101.So this is a musician, Mike Pope, one of the world's best bassists and a fantastic piano player.
這是那個音樂家，邁克·蒲柏Mike Pope， 世界上最好的貝斯手， 一個奇妙的鋼琴手。
102.So he's now playing the piece that we just saw just a little better than I wrote it.
他現在在彈的這一段 我們要看見的這一段 只不過他彈得音樂比我寫的音樂要好點。
103.(Video) CL: Mike, come on in. Mike Pope: May the force be with you.
(視頻) CL：邁克Mile, 請進。 ( 男人：願力量與你同在。)
104.Nurse: Nothing's in your pockets, right Mike?
護士：你口袋裡沒其他東西吧，邁克Mike?
105.MP: Nope. Nothing's in my pockets. Nurse: Okay.
邁克·蒲柏Mike Pope: 沒有， 我口袋裡沒東西。(護士：好的。)
106.CL: You have to have the right attitude to agree to it.
CL：你答應做這個實驗時需要有正確的態度。
107.(Laughter) It's kind of fun actually.
(笑聲) 這其實挺好玩的。
108.And so now we're playing back and forth.
現在我們開始互相交互彈奏。
109.He's in there. You can see his legs up there.
他在裡面， 你可以看見他的腿在那兒。
110.And then I'm in the control room here, playing back and forth.
而我在控制室， 我們彈來彈去。
111.(Music) (Video) Mike Pope: This is a pretty good representation of what it's like.
(音樂) (視頻)邁克·蒲柏Mike Pope:這很好的代表了 演奏的狀態。
112.And it's good that it's not too quick.
而且曲子不是太快，這很好。
113.The fact that we do it over and over again lets you acclimate to your surroundings.
我們之所以一遍又一遍地實驗 是為了讓你熟悉新的環境。
114.So the hardest thing for me was the kinesthetic thing, of looking at my hands through two mirrors, laying on my back and not able to move at all except for my hand.
那個頭套對我來說，讓我有點行動不便， 我通過兩邊的鏡子 看見我的手， 我仰面躺著 除了手我完全不能動。
115.That was challenging.
這是很有挑戰性的。
116.But again, there were moments, for sure, there were moments of real, honest-to-God musical interplay, for sure.
但是再說了， 有些時刻，真的， 有一些時刻 你會感到絕對發自內心地，誠摯地與音樂交流，真的。
117.CL: At this point, I'll take a few moments.
CL：到此， 我來回顧一下。
118.And so what you're seeing here -- and I'm doing a cardinal sin in science, which is to show you preliminary data.
你們到底看到了什麼， 而我在犯科學之大忌， 給你們展示初步的數據。
119.This is one subject's data.
這只是一個實驗的數據。
120.This is, in fact, Mike Pope's data.
這是，事實上，邁克·蒲柏Mike Pope的數據。
121.So what am I showing you here?
所以我在這裡給你看的是什麼呢？
122.When he was trading fours with me, improvising versus memorized, his language areas lit up, his Broca's area, which is inferior frontal gyrus on the left.
當他在跟我交換四小節的演奏時， 靠的是即興不是記憶， 他的語言部分亮了起來，他的布洛卡區域 就是他左腦的前方下面的腦回。
123.He actually had it also homologous on the right.
其實他右腦邊的同源也有同樣的表現。
124.This is an area thought to be involved in expressive communication.
這個區域被認為是有關於表達和交流的。
125.This whole notion that music is a language -- well maybe there's a neurologic basis to it in fact after all, and we can see it when two musicians are having a musical conversation.
音樂是語言的想法， 說到底大概是具有神經學基礎的， 我們可以通過兩個音樂人的音樂交流看到這結論。
126.And so we've done this actually on eight subjects now, and we're just getting all the data together, so hopefully we'll have something to say about it meaningfully.
我們已經對8個對象做了類似的實驗， 我們收集了所有的數據。 希望我們可以能從中得出一些有意義的結論。
127.Now when I think about improvisation and the language, well what's next?
當我們說到即興和語言時，我們還會想到什麼呢？
128.Rap, of course, rap -- free-style.
說唱，當然， 說唱 自由式說唱。
129.And so I've always been fascinated by free-style.
我一直感到自由式說唱的形勢很奇妙。
130.And let's go ahead and play this video here.
讓我們在這裡放一段錄像。
131.(Video) Mos Def: ? ... brown skin I be, standing five-ten I be ?
(視頻)摩斯·戴夫Mos Def：? ... 我是粽皮膚，我有五英尺十英寸高... brown skin I be, standing five-ten I be ?
132.? Rockin' it when I be, in your vicinity ?
? 當我在你附近搖滾時Rockin' it when I be, in your vicinity ?
133.? Whole-style synergy, recognize symmetry ?
? 整體協同，相互認識Whole-style synergy, recognize symmetry ?
134.? Go and try to injure me, broke 'em down chemically ?
? 來吧試著傷害我，讓我傷心欲絕Go and try to injure me, broke 'em down chemically ?
135.? Ain't the number 10 MC, talk about how been I be ?
? 提及10 M.C.號碼，談到的正是我Ain't the number 10 M.C., talk about how been I be ?
136.? Styled it like Kennedy, late like a 10 to three ?
? 像肯尼迪的風格，在夜裡10點到3點Styled it like Kennedy, late like a 10 to three ?
137.? When I say when I be, girls say bend that key cut ?
? 當我說我自己時，女孩們隨聲附和When I say when I be, girls say bend that key cut ?
138.CL: And so there's a lot of analogy between what takes place in free-style rap and jazz.
CL: 所以自由式說唱和爵士樂之間 有很大的相似之處。
139.There are, in fact, a lot of correlations between the two forms of music I think in different time periods.
事實上，我覺得在不同的時代，這兩種音樂有很多相關的地方 。
140.In a lot a ways, rap serves the same social function that jazz used to serve.
在很多方面， 說唱實現了很多爵士曾經 擔當的社會功能。
141.So how do you study rap scientifically?
所以我們該怎樣科學地研究說唱呢？
142.And my colleagues kind of think I'm crazy, but I think it's very viable.
我同事覺得我很瘋狂， 但是我覺得這是可行的。
143.And so this is what you do: you have a free-style artist come in and memorize a rap that you write for them, that they've never heard before,
這是你要做的：你請一個自由說唱的藝術家來 記住你為他們寫好的說唱詞， 他們以前從來沒聽說過這種說唱詞，
144.and then you have them free-style.
然後你讓他們自由發揮。
145.So I told my lab members that I would rap for TED, and they said, "No, you won't."
我告訴我實驗室成員說我會在TED講臺說唱， 他們說：“不會吧，你不會真正說唱吧。”
146.And then I thought -- (Applause) But here's the thing.
然後我想-- (掌聲) 這說唱詞就在
147.With this big screen, you can all rap with me. Okay?
這大屏幕，你們可以跟我一起說唱，行嗎？
148.So what we had them do was memorize this lower-left sound icon, please.
所以我們讓他們做的是 請他們記住左下角的聲音記號。
149.This is the control condition. This is what they memorized.
這是控制的條件。這是他們記住的說唱。
150.Computer: ? Memory, thump. ?
計算機：? 記憶，即興說唱Memory, thump. ?
151.CL: ? Thump of the beat in a known repeat ?
CL: ?熟知一個重複節拍來動感說唱Thump of the beat in a known repeat ?
152.? Rhythm and rhyme, they make me complete ?
?節奏和韻律使我能完美說唱Rhythm and rhyme, they make me complete ?
153.? The climb is sublime when I'm on the mic ?
?當我即興說唱時，我就如同攀登上了高峰一樣興奮The climb is sublime when I'm on the mic ?
154.? Spittin' rhymes that hit you like a lightning strike ?
? 這押韻的即興表演就如同你被雷擊一樣Spittin' rhymes that hit you like a lightning strike ?
155.? I search for the truth in this eternal quest ?
?我在這永恆追尋中尋求真理I search for the truth in this eternal quest ?
156.? My passion's not fashion, you can see how I'm dressed ?
? 我的激情可不等同於我的時尚，大家可能看出我不怎麼打扮My passion's not fashion, you can see how I'm dressed ?
157.? Psychopathic words in my head appear ?
? 在我腦海中有些胡思亂語Psychopathic words, in my head appear ?
158.? Whisper these lyrics only I can hear ?
? 這些微妙的細語只有我能理解Whisper these lyrics only I can hear ?
159.? The art of discovering and that which is hovering ?
? 對藝術的探索我還在徘徊的路上The art of discovering and that which is hovering ?
160.? Inside the mind of those unconfined ?
? 在未知的內心深處Inside the mind of those unconfined ?
161.? All of these words keep pouring out like rain ?
? 所有這些輕聲細語像才思泉湧一樣不斷地迸出All of these words keep pouring out like rain ?
162.? I need a mad scientist to check my brain ?
?我需要一個瘋狂的科學家來了解我才思泉湧的大腦I need a mad scientist to check my brain ?
163.(Applause) I guarantee you that will never happen again.
(掌聲) 我向你們保證，這不會再發生了。
164.(Laughter) So now, what's great about these free-stylers, they will get cued different words.
(笑聲) 這些自由式說唱家的偉大之處是 你給他們不同的說唱詞，他們也能演繹。
165.They don't know what's coming, but they'll hear something off the cuff.
他們不知道你給他們什麼樣的說唱詞，但是他們聽了以後，會馬上即興發揮。
166.Go ahead and hit that right sound icon.
請按一下右邊那個聲音圖標。
167.They are going to be cued these three square words: "like," "not" and "head."
我們會給他們方框裡的這些詞'喜歡like', '不not','頭head'。
168.He doesn't know what's coming.
他們不知道接下來的詞會是什麼。
169.Free-styler: ? I'm like some kind of [unclear] ?
自由式說唱者：? 我有點像那些自由人士I'm like some kind of Freedom Beings ?
170.? [unclear] extraterrestrial, celestial scene ?
? 外星人，天文奇觀[unclear] extraterrestrial, celestial scene ?
171.? Back in the days, I used to sit in pyramids and meditate ?
? 回首往事，我曾坐在金字塔邊冥想Back in the days, I used to sit in pyramids and meditate ?
172.? With two microphones hovering over my head ?
? 在我頭上盤旋著2個麥克風With two microphones hovering over my head ?
173.? See if I could still listen, spittin' off the sound ?
? 看看我是否能聽到一些聲音，即興說唱See if I could still listen, spittin' off the sound ?
174.? See what you grinning ?
? 看著大家在嬉笑See what you grinning ?
175.? I teach the children in the back of the classroom ?
? 我在教室後面教學生I teach the children in the back of the classroom ?
176.? About the message of apocalyptical ?
? 有關啟示論的福音About the message of apocalyptical ?
177.? Not really though, 'cause I've got to keep it simple ?
? 不是說真的，因為我要使它變簡單Not really though, cuz I've got to keep it simple ?
178.? [unclear] instrumental ?
? 樂器[unclear] instrumental ?
179.? Detrimental playing Super Mario ?
? 打超級瑪利遊戲有害Detrimental playing Super Mario ?
180.? [unclear] boxes [unclear] hip hop ?
? 音樂盒子 嘻哈Hip Hop[unclear] boxes [unclear] hip hop ?
181.CL: So again, it's an incredible thing that's taking place.
CL: 令人難以置信的事情又發生了。
182.It's doing something that, neurologically, is remarkable.
從神經學角度來講，這些事情是有顯著意義的。
183.Whether or not you like the music is irrelevant.
無論你是否喜歡音樂，
184.Creatively speaking, it's just a phenomenal thing.
僅從創造性的角度來說， 這也是非凡的。
185.This is a short video of how we actually do this in a scanner.
這一小段錄像記錄了我們怎樣用掃描儀的。
186.(Laughter) (Video) CL: We're here with Emmanuel.
(笑聲) (視頻) CL: 我們和伊曼紐爾Emmanuel在一起。
187.CL: That was recorded in the scanner, by the way.
CL：順便提一句， 這是從掃描儀裡記錄的。
188.(Video) CL: That's Emmanuel in the scanner.
(視頻) CL: 這是伊曼紐爾Emmanuel 在掃描儀中的視頻。
189.He's just memorized a rhyme for us.
他僅記住了一段韻律。
190.Emmanuel: ? Top of the beat with no repeat ?
伊曼紐爾Emmanuel: ? 最棒的動感說唱不需要重複Top of the beat with no repeat ?
191.? Rhythm and rhyme make me complete ?
? 節奏和韻律使我能完美地說唱Rhythm and rhyme make me complete ?
192.? Climb is sublime when I'm on the mic ?
? 當我即興說唱時，我就如同攀登上了高峰一樣興奮Climb is sublime when I'm on the mic ?
193.? Spittin' rhymes that'll hit you like a lightning strike ?
? 這押韻的即興表演就如同你被雷擊一樣Spittin' rhymes that'll hit you like a lightning strike ?
194.? I search for the truth in this eternal quest ?
? 我在這永恆追尋中尋求真理I search for the truth in this eternal quest ?
195.? I'm passing on fashion; you can see how I'm dressed ?
? 我的激情可不等同於我的時尚，大家可能看出我不怎麼打扮I'm passing on fashion; you can see how I'm dressed ?
196.CL: Okay. So I'm going to stop that there. So what do we see in his brain?
CL:好的， 就在這裡結束吧。你們看見他的大腦發生了什麼呢？
197.Well, this is actually four rappers' brains.
這其實是四個說唱家的大腦記錄。
198.And what we see, we do see language areas lighting up, but then -- eyes closed -- when you are free-styling versus memorizing, you've got major visual areas lighting up.
我們看見了什麼？我們看見了語言部分很活躍， 但是當他們閉了眼睛， 自由式發揮而不是單純記憶時， 你看見視覺區域也活躍起來。
199.You've got major cerebellar activity, which is involved in motor coordination.
你看見大量協調運動的小腦活動。
200.You have heightened brain activity when you're doing a comparable task, when that one task is creative and the other task is memorized.
如果將有創造性的活動和單純記憶的活動來比較 大腦活動在做創造性活動時更為活躍。
201.It's very preliminary, but I think it's kind of cool.
這還是很初步的研究， 但是我覺得很酷。
202.So just to conclude, we've got a lot of questions to ask, and like I said, we'll ask questions here, not answer them.
總之，我們還有很多問題可以引申。 正如我說的， 我們到這裡來是提出問題的， 而不是回答問題的。
203.But we want to get at the root of what is creative genius, neurologically, and I think, with these methods, we're getting close to being there.
但是我們想從神經學的角度來了解創造天才的真相。 我認為， 用這些手法，我們跟目標更接近了。
204.And I think hopefully in the next 10, 20 years you'll actually see real, meaningful studies that say science has to catch up to art,
我希望在今後的10，20年間， 你會看見真正有意義的研究， 它是說科學要追趕上藝術，
205.and maybe we're starting now to get there.
也許我們可以從現在開始追趕這個目標。
206.And so I want to thank you for your time. I appreciate it.
謝謝你們費時聽我的演講，我很感激。/<code>
結束語
如果您需要本期音頻相關的學習資料，可以留言或私信回覆關鍵字："20200324T10"，系統會自動回覆您下載地址(內容包括：視頻+音頻+文稿)，資料僅供個人學習使用。
分享到:
閱讀更多 咋就學不會 的文章
