TED演讲：当 AI 学会了你的声音
字幕摘录
| 时间 | 英文 | 中文 |
|---|---|---|
| 0:34 | Hi, my name's Holly and I'm an artist. | 嗨 我叫霍莉 我是个艺术家 |
| 0:37 | That was my voice, but I didn't sing that clip. | 那是我的声音 但我没唱那段 |
| 0:40 | I trained an AI on my own voice, | 我用自己的声音训练了人工智能 |
| 0:42 | and now she can sing anything in multiple languages. | 现在她可以用多种语言唱歌 |
| 0:46 | Her name is Holly Plus, | 她叫霍莉・普利 |
| 0:48 | and you just heard her perform | 你刚刚听到她的表演 |
| 0:50 | El Cante de la Sabilla, | 萨比利亚角 |
| 0:52 | which is a traditional song arranged by Maria Arnall in Catalan. | 这首歌是玛丽亚·阿纳尔在加泰罗尼亚安排的传统歌曲. |
| 0:56 | Not a language that I speak, | 不是我说的语言, |
| 0:58 | and not a vocal tradition that I've trained in. | 而不是我训练过的声乐传统 |
展开字幕全文（119 条）
| 序号 | 英文 | 中文 |
|---|---|---|
| 1 | Hi, my name's Holly and I'm an artist. | 嗨 我叫霍莉 我是个艺术家 |
| 2 | That was my voice, but I didn't sing that clip. | 那是我的声音 但我没唱那段 |
| 3 | I trained an AI on my own voice, | 我用自己的声音训练了人工智能 |
| 4 | and now she can sing anything in multiple languages. | 现在她可以用多种语言唱歌 |
| 5 | Her name is Holly Plus, | 她叫霍莉・普利 |
| 6 | and you just heard her perform | 你刚刚听到她的表演 |
| 7 | El Cante de la Sabilla, | 萨比利亚角 |
| 8 | which is a traditional song arranged by Maria Arnall in Catalan. | 这首歌是玛丽亚·阿纳尔在加泰罗尼亚安排的传统歌曲. |
| 9 | Not a language that I speak, | 不是我说的语言, |
| 10 | and not a vocal tradition that I've trained in. | 而不是我训练过的声乐传统 |
| 11 | Those melismatic runs are really difficult to hit. | 这些感人的跑步很难被击中 |
| 12 | 为了告诉你Holly Plus的全程, | |
| 13 | I'll also play an example in German. | 我也会用德语做个榜样 |
| 14 | This is Mack the Knife by Brecht. | 这是布莱希特的《小刀》 |
| 15 | And the halve fish ... | 还有一半的鱼... |
| 16 | Of course, Holly Plus can also perform my own music, | 当然,Holly Plus也可以表演我自己的音乐 |
| 17 | so here's an excerpt from my own song, Frontier. | 这是我自己的歌"Frontier"的节录 |
| 18 | Love, listen to what the silver say, | 亲爱的,听银子怎么说 |
| 19 | their world is long gone. | 他们的世界早已消失 |
| 20 | Holly Plus使用一种叫做tibre转移的过程, | |
| 21 | where the timbre, or sound quality of one sound, | 在那里,阴沉,或一个声音的音质, |
| 22 | may be mapped onto the performance of another. | 可能会被映射到另一个的性能。 |
| 23 | Timbre transfer is done by creating a machine-learning model of a sound. | Timbre传输是通过创建声音的机器学习模型完成的. |
| 24 | In this case, it's my voice. | 在这种情况下,这是我的声音。 |
| 25 | So I recorded a wide variety of phrases in my entire vocal range. | 因此,我记录了 各种各样的短语 在我的整个声域。 |
| 26 | To be clear, this version of Holly Plus is reading notes from a score. | 要清楚的是,这个版本的Holly Plus正在读一个分数的音符. |
| 27 | So I'll also play you an example of her singing in Spanish, | 我也会用西班牙语给你唱个歌 |
| 28 | 和贝萨姆·穆科,由Velázquez著. | |
| 29 | ["Besame Mucho"] | ["与木昭同"] |
| 30 | Thank you. | 谢谢 |
| 31 | I can't speak Spanish, by the way, so ... | 我不能说西班牙语,顺便说一句,所以... |
| 32 | Teaching an AI the sonic properties of one sound | 教人工智能一个声音的音质 |
| 33 | in order to generate an entirely new sound | 为了产生全新的声音 |
| 34 | is what I like to call spawning. | 我喜欢叫产卵 |
| 35 | Spawning is what allows Holly Plus to create a wide range of vocals | 让Holly Plus能创造出广泛的声乐 |
| 36 | that I didn't sing from a set of recorded phrases that I did sing. | 我并没有从我唱过的一首诗里唱歌 |
| 37 | I like to think of spawning as a kind of 21st-century corollary | 我喜欢把产卵当作21世纪的必然结果 |
| 38 | to the musical tradition of sampling, | 在音乐传统 采样, |
| 39 | which had a really big impact on both music and intellectual property. | 这对音乐和知识产权都有很大的影响 |
| 40 | But I think spawning is far more exciting and potentially really weird. | 但我认为产卵更刺激 并且可能很怪异 |
| 41 | So for example, with sampling, | 比如说,通过取样, |
| 42 | usually you copy and remix a recording by someone else | 通常你复制和重新混合 录音由别人 |
| 43 | to create something new. | 创造新的东西。 |
| 44 | But with spawning, you can perform as someone else | 但有了产卵,你就能当别人 |
| 45 | based on trained information about them. | 根据经过培训的有关他们的信息。 |
| 46 | And as an artist, this is making me rethink my own past work, | 作为一个艺术家,这让我重新思考 我过去的工作, |
| 47 | as not only my archive but potentially also I, myself, | 不仅是我的档案 也可能是我,我自己, |
| 48 | could become reanimated with AI. | 可以重新获得AI的活力. |
| 49 | This also opens up the question | 这也是一个问题 |
| 50 | of how we deal with a collective human archive, | 我们如何处理一个集体的人类档案, |
| 51 | if we can reanimate old media. | 如果我们能重新激活旧媒体 |
| 52 | It opens up really big ethical and intellectual property questions | 它打开了真正的大 伦理和知识产权问题 |
| 53 | that require entirely new conceptual and legal frameworks. | 这需要全新的概念和法律框架。 |
| 54 | One way that I like to think about intellectual property, | 一种我喜欢思考知识产权的方式, |
| 55 | I call identity play. | 我称之为身份游戏。 |
| 56 | So rather than limiting the use of my voice, | 因此,与其限制使用我的声音, |
| 57 | I'm creating instruments to allow as many people as possible | 我在制造乐器 允许尽可能多的人 |
| 58 | to create music with me and even as me. | 与我一起创作音乐,甚至作为我。 |
| 59 | 所以我才制作Holly Plus的版本 | |
| 60 | freely available for anyone to use online. | 任何人都可以在网上免费使用。 |
| 61 | If I can allow people to play with my IP, | 如果我能允许别人玩我的IP |
| 62 | my digital identity, my intellectual property, | 我的数字身份 我的知识产权 |
| 63 | what might they come up with? | 他们想出什么办法? |
| 64 | Could someone else go on tour as me with my permission? | 其他人可以做我的巡演吗? |
| 65 | Could I be in a thousand different bands in multiple languages, | 我可以在一千个不同的乐队 在多种语言, |
| 66 | and what would that even sound like? | 这听起来像什么? |
| 67 | To be clear, musicians have been taught to be really protective over our IP, | 说清楚,音乐家们被教导 真正保护我们的IP, |
| 68 | and that's for really good reason. | 这是有很好的理由的。 |
| 69 | But I'm trying to think of ways | 但我在想办法 |
| 70 | to make this new capability mutually beneficial. | 使这种新能力互惠互利。 |
| 71 | So to allow people to use my voice, | 所以为了让人们用我的声音 |
| 72 | but still to maintain the ability to approve certain derivative works. | 但仍然保持批准某些衍生作品的能力. |
| 73 | So I invite you to consider, if given the opportunity, | 因此,我邀请你考虑,如果有机会, |
| 74 | who would you like to perform through? | 你想演谁? |
| 75 | And can you imagine someone else performing you? | 你能想象别人会演你吗? |
| 76 | With that in mind, | 考虑到这一点, |
| 77 | I'd like to invite the incredible musician Fyrr to the stage. | 我想邀请不可思议的音乐家费尔登台演出. |
| 78 | So today, Fyrr will be performing his own song, | 所以今天,菲尔将表演自己的歌曲, |
| 79 | Murky, | 穆尔基, |
| 80 | and with one microphone, you'll hear Fyrr's beautiful natural voice. | 用一个麦克风 你会听到菲瑞美丽的自然声音 |
| 81 | Fyrr's beautiful natural voice | Fyrr的美丽自然的声音 |
| 82 | And with this microphone, | 用这个麦克风, |
| 83 | 你会听到Holly Plus与Voxor Labs开发的现场版本. | |
| 84 | Take it away, Fyrr. | 把它拿走,菲尔。 |
| 85 | It gets so murky | 它变得如此阴暗 |
| 86 | Loving what you know | 喜欢你知道的 |
| 87 | But I, I keep on swimming | 但是,我,我继续游泳 |
| 88 | I'm swimming further up the road | 我要游到更远的地方 |
| 89 | See, the problem is, I don't know what to say | 问题是 我不知道该说什么 |
| 90 | When you come around, acting this way | 你来的时候,就这样 |
| 91 | And yes, the truth is | 是的,事实是 |
| 92 | I show you every day | 我每天都给你看 |
| 93 | Cause you love to stay | 因为你喜欢留下来 |
| 94 | And it gets so murky | 它变得如此阴暗 |
| 95 | Loving what you know | 喜欢你知道的 |
| 96 | But I, I keep on swimming | 但是,我,我继续游泳 |
| 97 | Further up the road | 再往前走一点 |
| 98 | And I've been calling out, calling out your name | 我一直在呼唤你的名字 |
| 99 | Deep down in my sleep | 在我深处的梦里 |
| 100 | And I even memorize your face | 我甚至记得你的脸 |
| 101 | So ain't no one leaving me | 所以没有人离开我 |
| 102 | And I'll just handle my best | 我会尽我所能 |
| 103 | And keep the train moving on | 火车继续开下去 |
| 104 | And you know what it is | 你知道这是什么 |
| 105 | It's just you that I'm choosing | 我选择的只有你 |
| 106 | Cause it gets so murky | 因为它变得如此阴暗 |
| 107 | Loving what you know | 喜欢你知道的 |
| 108 | And I, I keep on swimming | 而我,我继续游泳 |
| 109 | Further up the road | 再往前走一点 |
| 110 | And it gets so murky | 它变得如此阴暗 |
| 111 | Loving what you know | 喜欢你知道的 |
| 112 | And I, I keep on swimming | 而我,我继续游泳 |
| 113 | Further up the road | 再往前走一点 |
| 114 | Swimming, I'm swimming | 游泳,我在游泳 |
| 115 | Further up the road | 再往前走一点 |
| 116 | And I'll keep on swimming | 我会继续游泳 |
| 117 | Swimming further up the road | 游远一点 |
| 118 | Thank you! | 谢谢! |
| 119 | Thank you. | 谢谢 |
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