演講MP3+雙語(yǔ)文稿:電動(dòng)汽車(chē)的聲音應(yīng)該是什么樣?

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聽(tīng)力課堂TED音頻欄目主要包括TED演講的音頻MP3及中英雙語(yǔ)文稿，供各位英語(yǔ)愛(ài)好者學(xué)習(xí)使用。本文主要內(nèi)容為演講MP3+雙語(yǔ)文稿:電動(dòng)汽車(chē)的聲音應(yīng)該是什么樣?，希望你會(huì)喜歡！

【演講者及介紹】Renzo Vitale

Renzo Vitale——聲音學(xué)家，音樂(lè)家，聲學(xué)工程師，探索音樂(lè)、科學(xué)和人類(lèi)感知之間的故事。

【演講主題】電動(dòng)汽車(chē)的聲音應(yīng)該是什么樣?

【中英文字幕】

Translation by psjmz mz. Reviewed by Homer Li.

00:13

Let's start with silence. Silence is one ofthe most precious conditions for humans, because it allows us to feel the depthof our presence. This is one of the reasons why the advent of electric cars hasgenerated lots of enthusiasm among people. For the first time, we couldassociate the concept of cars with the experience of silence. Cars can finallybe quiet: peace in the streets, a silent in the cities.

讓我們從安靜開(kāi)始。安靜是人類(lèi)一種最珍貴的環(huán)境，因?yàn)檫@會(huì)讓我們感到我們存在的深度。這也是電動(dòng)車(chē)的出現(xiàn)在人們中間引起極大的熱情的一個(gè)原因。第一次，我們可以把汽車(chē)的概念和安靜的體驗(yàn)聯(lián)系起來(lái)。汽車(chē)終于可以安靜下來(lái)了。街道的安寧，一場(chǎng)城市的安靜革命。

00:57

（Hum）

（安靜的發(fā)動(dòng)機(jī)聲音）

01:06

But silence can also be a problem. Theabsence of sound, in fact, when it comes to cars, it can be quite dangerous.Think of blind people, who can't see a car which is approaching. And now, ifit's electric, they can't even hear it. Or think of every one of us as we arewalking around the city, we are absorbed in our thoughts, and we detach fromthe surroundings. In these situations, sound can become our precious companion.

但安靜也可能成為問(wèn)題。事實(shí)上，當(dāng)汽車(chē)沒(méi)有聲音后，可能會(huì)非常危險(xiǎn)。想想盲人，當(dāng)車(chē)開(kāi)過(guò)來(lái)時(shí)看不見(jiàn)車(chē)。現(xiàn)在，如果是電動(dòng)車(chē)，他們連聽(tīng)都聽(tīng)不到。或者想想我們每一個(gè)人，當(dāng)我們漫步在城市時(shí)，我們陷入在自己的思緒中，沒(méi)有注意到周遭的環(huán)境。在這些場(chǎng)景中，聲音可以成為我們寶貴的伙伴。

01:39

Sound is one of the most wonderful gifts ofour universe. Sound is emotion and sound is sublime, and when it comes to cars,sound is also information. In order to protect pedestrians and to give acousticfeedback to the drivers, governments around the world have introduced severalregulations which prescribe the presence of a sound for electric vehicles. Inparticular, they require minimum sound levels at specific frequency bands up tothe speed of 30 kilometers per hour. Besides this speed, the natural noise ofthe car is considered as sufficient.

聲音是我們宇宙中一件最為神奇的禮物。聲音是情感，聲音是絕妙的，當(dāng)涉及到車(chē)時(shí)，聲音也是信息。為了保護(hù)行人并給駕駛員提供聲音反饋，世界各國(guó)的政府都出臺(tái)了一些規(guī)定，規(guī)定電動(dòng)車(chē)必須有聲音。特別是，它們要求在特定頻段的最低聲級(jí)達(dá)到 汽車(chē)30公里時(shí)速時(shí)的聲噪。超過(guò)這個(gè)速度，汽車(chē)的自然噪聲 被認(rèn)為是足夠的。

02:25

These regulations have generated differentreactions among those who favor sounds and those who fear the presence of toomuch noise in the city. However, I don't see it as the noise of the car. Irather see it as the voice of the car. And this is one of my biggestchallenges, and privileges, at the same time.

這些規(guī)定引起了城市里喜歡聲音的人和害怕有太多噪聲的人 的不同反應(yīng)。然而，我不認(rèn)為這是汽車(chē)的噪音。我更愿意視其為汽車(chē)的聲音。這是我最大的挑戰(zhàn)之一，同時(shí)也是我最大的特權(quán)。

02:51

I design the voice of electric cars. We allknow how a combustion engine sounds like, and we do actually also know how anelectric engine sounds like. Think of the electric tramway. As soon as itmoves, it creates this ascending high-frequency pitch sound, which we called"whistling" sound. However, if we would just amplify this sound, wewould still not be able to fulfill the legal requirements. That's also why weneed to compose new sound.

我設(shè)計(jì)電動(dòng)車(chē)的聲音。我們都知道內(nèi)燃機(jī)的聲音，我們其實(shí)也知道電動(dòng)發(fā)動(dòng)機(jī)的聲音。想想電車(chē)軌道。它一移動(dòng)，它產(chǎn)生這種上升的高頻音高，我們稱(chēng)之為“口哨聲”。然而，如果我們放大這個(gè)聲音，我們?nèi)匀粺o(wú)法達(dá)到法規(guī)的要求。所以我們需要?jiǎng)?chuàng)作新的聲音。

03:26

So how do we go after it? In many cities,the traffic is already very chaotic, and we don't need more chaos. But thestreets of the 21st century are a great case study teeming with transience,cross purposes and disarray. And this landscape offers a great opportunity fordeveloping new solutions on how to reduce this chaos.

那么我們?cè)撛趺醋觯吭诤芏喑鞘?，交通已?jīng)足夠混亂了，我們不需要更多的混亂。但21世紀(jì)的街道是一個(gè)很好的充滿(mǎn)了轉(zhuǎn)瞬即逝，交叉目的和混亂的研究案例。并且這個(gè)場(chǎng)景提供了很好的機(jī)會(huì)去開(kāi)發(fā)新的解決方案來(lái)減少這種混亂。

03:55

I have conceived a new approach that triesto reduce the chaos by introducing harmony. Since many people don't know how anelectric car could sound like, I have to define, first of all, a new soundworld, something that doesn't belong to our previous experience but creates areference for the future. Together with a small team, we create lots of sonictextures that are able to transmit emotion. Just like a painter with colors, weare able to connect feelings and frequencies so that whenever one is approachinga car, we can feel an emotion which, besides fulfilling the legal requirements,speaks also about the character and the identity of the car.

我構(gòu)思了一個(gè)新的方法，試圖通過(guò)引入和諧來(lái)減少混亂。因?yàn)楹芏嗳瞬恢离妱?dòng)車(chē)聽(tīng)起來(lái)什么樣，首先，我得去定義一個(gè)新的聲音世界，這種不屬于我們先前的體驗(yàn)，但為未來(lái)提供一個(gè)參考的東西。通過(guò)與一個(gè)小團(tuán)隊(duì)的合作，我們創(chuàng)造了許多能夠傳遞情感的聲音紋理。就像畫(huà)家的色彩一樣，我們能夠鏈接感覺(jué)和頻率，這樣當(dāng)車(chē)駛近某個(gè)人時(shí)，我們可以感到情感，這，除了滿(mǎn)足法律要求外，也傳達(dá)了這輛汽車(chē)的性格和身份。

04:50

I call this paradigm "soundgenetics." With sound genetics, I define, first of all, an aesthetic spaceof sound, and at the same time, I search for new, innovative methods forgenerating soundscapes that we don't know, soundscapes that allow us toenvision abstract worlds, to make them tangible and audible. Sound genetics isbased on three steps. The first one is the definition of a sonic organism, thesecond one is a description of sonic variations, and the third one is thecomposition of sound genes. The description of a sonic organism is based on acluster of properties that every sound that I compose should have.

我這個(gè)范式稱(chēng)為“聲音基因”。通過(guò)聲音基因?qū)W，我首先定義了聲音的審美空間，同時(shí)，我尋找新的，創(chuàng)新的方法來(lái)生產(chǎn)我們不知道的聲音場(chǎng)景，聲音場(chǎng)景能讓我們抽象世界的音景，讓它們摸得著，看得見(jiàn)。聲音基因基于三個(gè)步驟。第一個(gè)是聲音有機(jī)體的定義，第二個(gè)是聲音變化的描述，第三個(gè)是聲音基因的組成。對(duì)聲音有機(jī)體的描述是基于我所創(chuàng)作的每一個(gè)聲音都應(yīng)該具有的一組特性。

05:51

[Sound is moving.]

[移動(dòng)的聲音]

05:52

I transfer to a small sound entity, such asthe sound of a car, the power of the motion of music, so that sound can moveso.

我把聲音轉(zhuǎn)換成一個(gè)小實(shí)體，比如汽車(chē)的聲音，音樂(lè)運(yùn)動(dòng)的力量，所以聲音可以這樣移動(dòng)。

06:04

[Sound is acting.]

[聲音是運(yùn)動(dòng)]

06:06

And just like a dancer on a stage, soundwill project trajectories of sound in the air.

跟舞臺(tái)上的舞者一樣，聲音會(huì)在空氣中投射出聲音的軌跡。

06:14

[Sound is memory.]

[聲音是記憶](méi)

06:16

And it's not just about the sound of a car.It's the memory of my father coming back home.

聲音不僅是汽車(chē)的聲音。它也是我父親到家的回憶。

06:24

[Sound is hypnotizing.]

[聲音是催眠]

06:25

And sound has the power to create anunexpected sense of wonder, which hypnotizes. And ultimately,

聲音能夠創(chuàng)造意外的驚奇感，使人昏昏欲睡。并且最終，

06:35

[Sound is superhuman.]

[聲音是超人]

06:37

sound goes beyond the human condition,because it allows us to transcend. As a second step, we define the sonicvariations.

聲音超越了人類(lèi)狀態(tài)，因?yàn)樗茏屛覀兂?。第二步，我們定義了聲音的變化。

06:49

[Identity prism]

[身份棱鏡]

06:51

Just like humans, where different bodiesgenerate different voices, also different car shapes have a different acousticbehavior which depends on the geometry and the materials. So we have to know,first of all, how this car propagates the sound outside by means of acousticmeasurements. And just like a single voice is able to produce different tonesand timbres, at the same time, we produce different sonic variations within aspace of eight words that I defined. And some of them are, to me, really important,such as the concept of "visionary," of "elegance," of"dynamic," of "embracing." And once we have defined thesetwo aspects, we have what I call the identity prism, which is something likethe sonic identity card of a car.

就跟人類(lèi)一樣，不同的身體產(chǎn)生不同的聲音，不同的汽車(chē)外形也有不同的聲學(xué)行為，這取決于幾何和材料。所以我們必須知道，首先，這輛車(chē)是如何通過(guò)聲學(xué)特性把聲音傳播出去的。就像一個(gè)單一的聲音可以產(chǎn)生不同的音調(diào)和音高，同時(shí)，在我定義的8個(gè)空間內(nèi)，我們制作了不同的聲音變化。其中有一些，對(duì)我而言，非常重要，比如“遠(yuǎn)見(jiàn)”“優(yōu)雅”、“動(dòng)感”、“擁抱”的概念。一旦我們定義了這兩個(gè)方面，我們就有了我們所說(shuō)的聲音棱鏡，這有點(diǎn)像汽車(chē)的聲波身份證。

07:53

And as a third step, we enter the world ofthe sound design, where the sound genes are composed and a new archetype isconceived. Now let me show you another example of how I transform a sound fieldinto a melody.

作為第三步，我們進(jìn)入了聲音設(shè)計(jì)的世界，在這里，聲音基因被合成，一個(gè)新的原型被制造出來(lái)?，F(xiàn)在讓我給你們看另一個(gè)例子我是如何把聲場(chǎng)轉(zhuǎn)換成旋律的。

08:14

Think that I am a violin player on stage.If I would start to play the violin, I would generate a sound field which wouldpropagate in this hall, and at some point, the sound field would hit the sidewalls and would be scattered all over the place. And this is how it lookedlike. Some time ago, I captured several ways of sound to hit side walls. Andlast year, I was asked by the Bavarian Radio Symphony Orchestra to composeringtones that they were going to play. So one of them, I had the idea to startfrom this sound field. I took a section, I superimposed the section over thedistribution of the musicians onstage, and then I followed the blooming of thesound field by means of three parameters: time, intensity and frequency. Then Iwrote down all the gradients for each instrument, and as you can see, forinstance, the piece will start with the string section playing very softly, andthen it's going to have a crescendo as the brasses, the woods will jump in, andthe melody will end with a harp and a piano playing on the highest range.

把我想象成舞臺(tái)上的小提琴手。如果我開(kāi)始拉小提琴，我會(huì)產(chǎn)生一個(gè)聲場(chǎng)，在這個(gè)大廳里傳播，在某種程度上，這個(gè)聲場(chǎng)會(huì)撞到側(cè)壁，散落到各處。這就是它的樣子。前段時(shí)間，我捕捉到了幾種聲音撞擊側(cè)壁的方式。去年，我被巴伐利亞廣播交響樂(lè)團(tuán)邀請(qǐng)來(lái)創(chuàng)作他們要演奏的鈴聲。其中一個(gè)，我有個(gè)想法從這個(gè)聲場(chǎng)開(kāi)始。我選取了一個(gè)部分，我把它疊加在舞臺(tái)上音樂(lè)家的分布上，然后通過(guò)三個(gè)參數(shù)跟蹤聲場(chǎng)的綻放： 時(shí)間，響度和頻率。然后我寫(xiě)下了每個(gè)聲音的梯度，你們可以看到，例如，這首曲子將以弦樂(lè)部分的輕柔演奏開(kāi)始，然后隨著銅管樂(lè)器的演奏，木管樂(lè)器也會(huì)加入進(jìn)來(lái)，然后旋律將以豎琴和鋼琴在最高音域演奏結(jié)束。

09:35

Let's listen how it sounded like.

讓我們聽(tīng)聽(tīng)這個(gè)聲音的樣子。

09:40

（Ethereal music）

[純音樂(lè)]

09:56

（Music ends）

[音樂(lè)結(jié)束]

10:00

So this is the sound of my alarm clock,actually, in the morning.

所以這其實(shí)是我早晨鬧鐘的聲音。

10:03

（Laughter）

（笑聲）

10:06

And now let's go back to electric cars. Andlet's listen to the first example that I showed you.

現(xiàn)在讓我們回到電動(dòng)汽車(chē)。讓我們聽(tīng)聽(tīng)我為你們展示的第一個(gè)例子。

10:20

（Hum）

[引擎音]

10:29

And now I would like to show you how apotential sound, based on the sound genetics for electric cars, could soundlike.

現(xiàn)在我想向你們展示，基于電動(dòng)汽車(chē)聲音基因的的潛在聲音會(huì)是什么樣。

10:40

（Ethereal music）

[純音樂(lè)]

10:44

（Pitch rises with acceleration）

[音調(diào)隨加速度增加]

10:53

Cars are a metaphor of time, distance andjourney, of setting out and returning, of anticipation and adventure, but, atthe same time, of intelligence and complexity, of human intuition andaccomplishment. And the sound has to glorify all that.

汽車(chē)象征著時(shí)間、距離和旅程，象征著出發(fā)和歸來(lái)，充滿(mǎn)期待和冒險(xiǎn)。但同時(shí)，也是智力和復(fù)雜性，是人類(lèi)的直覺(jué)和成就。聲音必須頌揚(yáng)這一切。

11:18

I see cars both as living creatures and ashighly complex performative art installations. The sounds that we envisionthrough sound genetics allow us not only to celebrate this complexity but alsoto make the world a more elegant and safe space.

我把汽車(chē)看作活的生物也是高度復(fù)雜的表演藝術(shù)裝置。我們通過(guò)聲音基因?qū)W想象的聲音讓我們不僅可以慶祝這種復(fù)雜性同時(shí)也讓世界變得更加優(yōu)雅和安全。

11:42

Thank you.

謝謝。

11:43

（Applause）

（掌聲）