演讲MP3+双语文稿:电动汽车的声音应该是什么样?
听力课堂TED音频栏目主要包括TED演讲的音频MP3及中英双语文稿，供各位英语爱好者学习使用。本文主要内容为演讲MP3+双语文稿:电动汽车的声音应该是什么样?，希望你会喜欢！
【演讲者及介绍】Renzo Vitale
Renzo Vitale——声音学家，音乐家，声学工程师，探索音乐、科学和人类感知之间的故事。
【演讲主题】电动汽车的声音应该是什么样?
【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.
让我们从安静开始。安静是人类一种最珍贵的环境，因为这会让我们感到我们存在的深度。这也是电动车的出现在人们中间引起极大的热情的一个原因。第一次，我们可以把汽车的概念和安静的体验联系起来。汽车终于可以安静下来了。街道的安宁，一场城市的安静革命。
00:57
（Hum）
（安静的发动机声音）
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.
但安静也可能成为问题。事实上，当汽车没有声音后，可能会非常危险。想想盲人，当车开过来时看不见车。现在，如果是电动车，他们连听都听不到。或者想想我们每一个人，当我们漫步在城市时，我们陷入在自己的思绪中，没有注意到周遭的环境。在这些场景中，声音可以成为我们宝贵的伙伴。
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.
声音是我们宇宙中一件最为神奇的礼物。声音是情感，声音是绝妙的，当涉及到车时，声音也是信息。为了保护行人并给驾驶员提供声音反馈，世界各国的政府都出台了一些规定，规定电动车必须有声音。特别是，它们要求在特定频段的最低声级达到 汽车30公里时速时的声噪。超过这个速度，汽车的自然噪声 被认为是足够的。
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.
这些规定引起了城市里喜欢声音的人和害怕有太多噪声的人 的不同反应。然而，我不认为这是汽车的噪音。我更愿意视其为汽车的声音。这是我最大的挑战之一，同时也是我最大的特权。
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.
我设计电动车的声音。我们都知道内燃机的声音，我们其实也知道电动发动机的声音。想想电车轨道。它一移动，它产生这种上升的高频音高，我们称之为“口哨声”。然而，如果我们放大这个声音，我们仍然无法达到法规的要求。所以我们需要创作新的声音。
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.
那么我们该怎么做？在很多城市，交通已经足够混乱了，我们不需要更多的混乱。但21世纪的街道是一个很好的充满了转瞬即逝，交叉目的和混乱的研究案例。并且这个场景提供了很好的机会去开发新的解决方案来减少这种混乱。
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.
我构思了一个新的方法，试图通过引入和谐来减少混乱。因为很多人不知道电动车听起来什么样，首先，我得去定义一个新的声音世界，这种不属于我们先前的体验，但为未来提供一个参考的东西。通过与一个小团队的合作，我们创造了许多能够传递情感的声音纹理。就像画家的色彩一样，我们能够链接感觉和频率，这样当车驶近某个人时，我们可以感到情感，这，除了满足法律要求外，也传达了这辆汽车的性格和身份。
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.
我这个范式称为“声音基因”。通过声音基因学，我首先定义了声音的审美空间，同时，我寻找新的，创新的方法来生产我们不知道的声音场景，声音场景能让我们抽象世界的音景，让它们摸得着，看得见。声音基因基于三个步骤。第一个是声音有机体的定义，第二个是声音变化的描述，第三个是声音基因的组成。对声音有机体的描述是基于我所创作的每一个声音都应该具有的一组特性。
05:51
[Sound is moving.]
[移动的声音]
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.
我把声音转换成一个小实体，比如汽车的声音，音乐运动的力量，所以声音可以这样移动。
06:04
[Sound is acting.]
[声音是运动]
06:06
And just like a dancer on a stage, soundwill project trajectories of sound in the air.
跟舞台上的舞者一样，声音会在空气中投射出声音的轨迹。
06:14
[Sound is memory.]
[声音是记忆]
06:16
And it's not just about the sound of a car.It's the memory of my father coming back home.
声音不仅是汽车的声音。它也是我父亲到家的回忆。
06:24
[Sound is hypnotizing.]
[声音是催眠]
06:25
And sound has the power to create anunexpected sense of wonder, which hypnotizes. And ultimately,
声音能够创造意外的惊奇感，使人昏昏欲睡。并且最终，
06:35
[Sound is superhuman.]
[声音是超人]
06:37
sound goes beyond the human condition,because it allows us to transcend. As a second step, we define the sonicvariations.
声音超越了人类状态，因为它能让我们超越。第二步，我们定义了声音的变化。
06:49
[Identity prism]
[身份棱镜]
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.
就跟人类一样，不同的身体产生不同的声音，不同的汽车外形也有不同的声学行为，这取决于几何和材料。所以我们必须知道，首先，这辆车是如何通过声学特性把声音传播出去的。就像一个单一的声音可以产生不同的音调和音高，同时，在我定义的8个空间内，我们制作了不同的声音变化。其中有一些，对我而言，非常重要，比如“远见”“优雅”、“动感”、“拥抱”的概念。一旦我们定义了这两个方面，我们就有了我们所说的声音棱镜，这有点像汽车的声波身份证。
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.
作为第三步，我们进入了声音设计的世界，在这里，声音基因被合成，一个新的原型被制造出来。现在让我给你们看另一个例子我是如何把声场转换成旋律的。
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.
把我想象成舞台上的小提琴手。如果我开始拉小提琴，我会产生一个声场，在这个大厅里传播，在某种程度上，这个声场会撞到侧壁，散落到各处。这就是它的样子。前段时间，我捕捉到了几种声音撞击侧壁的方式。去年，我被巴伐利亚广播交响乐团邀请来创作他们要演奏的铃声。其中一个，我有个想法从这个声场开始。我选取了一个部分，我把它叠加在舞台上音乐家的分布上，然后通过三个参数跟踪声场的绽放： 时间，响度和频率。然后我写下了每个声音的梯度，你们可以看到，例如，这首曲子将以弦乐部分的轻柔演奏开始，然后随着铜管乐器的演奏，木管乐器也会加入进来，然后旋律将以竖琴和钢琴在最高音域演奏结束。
09:35
Let's listen how it sounded like.
让我们听听这个声音的样子。
09:40
（Ethereal music）
[纯音乐]
09:56
（Music ends）
[音乐结束]
10:00
So this is the sound of my alarm clock,actually, in the morning.
所以这其实是我早晨闹钟的声音。
10:03
（Laughter）
（笑声）
10:06
And now let's go back to electric cars. Andlet's listen to the first example that I showed you.
现在让我们回到电动汽车。让我们听听我为你们展示的第一个例子。
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.
现在我想向你们展示，基于电动汽车声音基因的的潜在声音会是什么样。
10:40
（Ethereal music）
[纯音乐]
10:44
（Pitch rises with acceleration）
[音调随加速度增加]
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.
汽车象征着时间、距离和旅程，象征着出发和归来，充满期待和冒险。但同时，也是智力和复杂性，是人类的直觉和成就。声音必须颂扬这一切。
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.
我把汽车看作活的生物也是高度复杂的表演艺术装置。我们通过声音基因学想象的声音让我们不仅可以庆祝这种复杂性同时也让世界变得更加优雅和安全。
11:42
Thank you.
谢谢。
11:43
（Applause）
（掌声）
