Ted演講：想聽音樂,一定要親臨現(xiàn)場!
音樂產(chǎn)業(yè)常常在數(shù)碼時代舉步維艱。在這個有趣的演講中，Ryan Holladay告訴我們，他為什么要嘗試他所說的“位置感知型音樂”。完成這個編程和音樂上的壯舉需要上百個地理標記過的音樂片段，而這些片段只有在聽眾親臨現(xiàn)場時才會播放。以下是演講全文。
Ryan Holladay:To Hear This Music you have to be there literally
萊恩·哈雷德: 想聽音樂，一定要親臨現(xiàn)場!
For any of you who have visited or lived in New York City, these shots might start to look familiar. This is Central Park, one of the most beautifully designed public spaces in America. But to anyone who hasn't visited, these images can't really fully convey. To really understand Central Park, you have to physically be there. Well, the same is true of the music, which my brother and I composed and mapped specifically for Central Park.
如果你曾經(jīng)去過或者居住在紐約， 也許會對這些畫面感到熟悉 這是“中央公園” 全美設計最美的 公共區(qū)域之一 然而對沒去過那里的人來說 這些畫面很難觸動他們 如果你想真正了解中央公園 就必須親身前往 當然了，音樂也一樣 這些專門為中央公園創(chuàng)作的片段 是由我的弟弟和我一起作曲并配圖完成的
I'd like to talk to you today a little bit about the work that my brother Hays and I are doing --That's us there. That's both of us actually — specifically about a concept that we've been developing over the last few years, this idea of location-aware music.
今天我想與大家分享一些 我弟弟海斯和我一直在做的工作— 這就是我們。實際上這是我們兩個人— 準確地說，這是我倆多年來 創(chuàng)造并發(fā)展的一個概念 稱為“位置感知型音樂”
Now, my brother and I, we're musicians and music producers. We've been working together since, well, since we were kids, really. But recently, we've become more and more interested in projects where art and technology intersect, from creating sight-specific audioand video installation to engineering interactive concerts.
我弟弟和我是音樂家 同時也是音樂制作人 從童年開始， 我們就在一起工作 可最近，我們對一些項目越來越感興趣 這些項目里， 藝術和科技相互交叉 內(nèi)容從創(chuàng)作特定圖畫的影音， 設定視頻裝置 延伸到策劃互動型音樂會
But today I want to focus on this concept of composition for physical space.
然而今天，我想要重點談的是 為物理空間作曲的概念
But before I go too much further into that, let me tell you a little bit about how we got startedwith this idea. My brother and I were living in New York City when the artists Christo and Jeanne-Claude did their temporary installation, The Gates, in Central Park. Hundreds of these brightly-colored sculptures decorated the park for a number of weeks, and unlike work that's exhibited in a more neutral space, like on the walls of a gallery or a museum, this was work that was really in dialogue with this place, and in a lot of ways, The Gates was really a celebration of Frederick Olmsted's incredible design. This was an experience that stayed with us for a long time, and years later, my brother and I moved back to Washington, D.C.,and we started to ask the question, would it be possible, in the same way that The Gatesresponded to the physical layout of the park, to compose music for a landscape? Which brought us to this.
不過在更深入這個話題之前 我想大致談談我們是如何產(chǎn)生 這個想法的. 我弟弟和我住在紐約市的時候 藝術家克里斯托和讓娜-克勞德夫婦 在中央公園搭建了 臨時展品《門》 上千座艷麗的雕塑 裝飾了公園，長達數(shù)周 與陳列在更為普通的空間中的 展品不同 它們并不在畫廊或博物館的墻上 而是與環(huán)境 進行著對話 從很多角度看， 《門》稱得上是對 弗萊德里克 歐姆斯泰德非凡設計的致敬 這段經(jīng)歷一直跟隨著我們 多年以后 我和弟弟搬回了華盛頓特區(qū) 我們開始問這樣一個問題： 有沒有可能， 就像《門》 呼應了公園的布局一樣， 也可以創(chuàng)作呼應自然風景的音樂呢? 這種想法給了我們這個作品
On Memorial Day, we released "The National Mall," a location-aware album released exclusively as a mobile app that uses the device's built-in GPS functionality to sonically map the entire park in our hometown of Washington, D.C. Hundreds of musical segmentsare geo-tagged throughout the entire park so that as a listener traverses the landscape, a musical score is actually unfolding around them. So this is not a playlist or a list of songsintended for the park, but rather an array of distinct melodies and rhythms that fit together like pieces of a puzzle and blend seamlessly based on a listener's chosen trajectory. So think of this as a choose-your-own-adventure of an album.
陣亡將士紀念日那天，我們發(fā)行了《華盛頓廣場》 一張基于地理位置的專輯 這是一個獨特的移動軟件 它能使用移動設備中得GPS功能 讓人在公園的不同區(qū)域聽到不同的音樂 在我們的家鄉(xiāng)華盛頓特區(qū)都能實現(xiàn) 上千條音樂片段 對整個公園進行了地理標記 這樣當聽眾穿行在景點中 一份樂譜便在他們身邊緩緩展開 因此，這并不是一個以公園為主題的 播放列表 而是一系列獨特的旋律 和拼圖一樣， 天衣無縫地吻合在一起 一切都是根據(jù)聽眾選擇的路徑進行的所以請將它當做 一張“任你探索”的專輯
Let's take a closer look. Let's look at one example here. So using the app, as you make your way towards the grounds surrounding the Washington Monument, you hear the sounds of instruments warming up, which then gives way to the sound of a mellotron spelling out a very simple melody. This is then joined by the sound of sweeping violins. Keep walking, and a full choir joins in, until you finally reach the top of the hill and you're hearing the sound of drums and fireworks and all sorts of musical craziness, as if all of these sounds are radiating out from this giant obelisk that punctuates the center of the park. But were you to walk in the opposite direction, this entire sequence happens in reverse. And were you to actually exit the perimeter of the park, the music would fade to silence, and the play button would disappear.
讓我們進一步了解 請看這個例子 當你使用這個軟件 走進華盛頓紀念碑周圍的小路 走進華盛頓紀念碑周圍的小路 會聽見樂器的聲音活躍起來 接著由電子琴接上， 奏出一段簡單的旋律然后加入小提琴的泛音 一直走下去，和聲也加入了 等到你到達國會山頂 會聽見鼓聲和煙花以及各種音樂華彩 就好像它們正從公園中心的 巨大紀念碑 向外輻射開來 但是如果你朝相反的方向走 整個音樂順序就會反過來 如果你離開公園的地界 音樂就會減弱到無聲 “播放”鍵也會消失不見
We're sometimes contacted by people in other parts of the world who can't travel to the United States, but would like to hear this record. Well, unlike a normal album, we haven't been able to accommodate this request. When they ask for a C.D. or an MP3 version, we just can't make that happen, and the reason is because this isn't a promotional app or a game to promote or accompany the release of a traditional record. In this case, the app is the work itself, and the architecture of the landscape is intrinsic to the listening experience.
一些無法來美國旅行的外國人， 有時會和我們聯(lián)絡 希望聽聽這些音樂 但是，這和傳統(tǒng)的唱片不一樣 我們還無法滿足他們的要求 當他們想要一張CD或者MP3的版本時 我們真的無法做到 因為這并不是 一個試用版 也不是某個游戲的宣傳版， 或者傳統(tǒng)唱片的試聽小樣 對這個產(chǎn)品來說，這個軟件就是它本身 而景觀是什么樣子，取決于欣賞的過程 而景觀是什么樣子，取決于欣賞的過程
Six months later, we did a location-aware album for Central Park, a park that is over two times the size of the National Mall, with music spanning from the Sheep's Meadow to the Ramble to the Reservoir.
六個月之后，我們?yōu)橹醒牍珗@ 做了一個地理感知的唱片 中央公園比兩個華盛頓廣場還大從“綿羊草坪”到“游蕩“再到”水庫湖“， 都充滿了音樂
Currently, my brother and I are working on projects all over the country, but last spring we started a project, here actually at Stanford's Experimental Media Art Department, where we're creating our largest location-aware album to date, one that will span the entirety of Highway 1 here on the Pacific Coast.
如今我和弟弟一起 在全國各地開展創(chuàng)作 上個春天我們進行了一個項目 就在這里，斯坦福大學的 實驗媒體藝術系 我們創(chuàng)作著迄今最大的一個地理感知專輯 它將跨越整個西海岸的 一號公路
But what we're doing, integrating GPS with music, is really just one idea. But it speaks to a larger vision for a music industry that's sometimes struggled to find its footing in this digital age, that they begin to see these new technologies not simply as ways of adding bells and whistles to an existing model, but to dream up entirely new ways for people to interact withand experience music.
然而所有這些，將GPS技術和音樂結(jié)合的工作 僅僅是一種理念 但它給音樂產(chǎn)業(yè)帶來一個新愿景 有時候傳統(tǒng)音樂很難在數(shù)碼時代 找到立足之地 (通過地理感知音樂)人們開始看到這些新技術 不僅僅能為音樂加上 鈴聲和口哨聲 而是能開辟一番新天地 讓人們能夠與音樂互動 并感知它們。
Thank you.
謝謝大家。
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