Let's start with silence. Silence is one of the most precious conditions for humans,
让我们从沉默开始。沉默是人类最珍贵的状态之一，
because it allows us to feel the depth of our presence.
因为它能让我们深深的感知到自我的存在。
This is one of the reasons why the advent of electric cars has generated lots of enthusiasm among people.
这是电动车的出现引起人们极大热情的原因之一。
For the first time, we could associate the concept of cars with the experience of silence.
这也是第一次，我们能够将沉默的体验与汽车联系起来。
Cars can finally be quiet: peace in the streets, a silent revolution in the cities.
汽车终于安静下来了：安静的街道、城市里的无声革命。
But silence can also be a problem.
但是，沉默也是一个问题。
The absence of sound, in fact, when it comes to cars, it can be quite dangerous.
事实上，当汽车行驶过来的时候，声音的缺席可能是一个无声的危险。
Think of blind people, who can't see a car which is approaching.
比如盲人，看不到正在靠近的汽车。
And now, if it's electric, they can't even hear it.
现在，如果是电动汽车，他们甚至听不到行驶的汽车。
Or think of every one of us as we are walking around the city,
或者，当我们在城市里走时，想想我们每个人，
we are absorbed in our thoughts, and we detach from the surroundings.
我们全神贯注于我们的思想，我们脱离了周围的环境。
In these situations, sound can become our precious companion.
在这种情形下，声音是我们感知环境的助手。
Sound is one of the most wonderful gifts of our universe.
声音是宇宙给我们的最美妙的礼物之一。
Sound is emotion and sound is sublime, and when it comes to cars, sound is also information.
声音是一种崇高的情感，并且当汽车靠近的时候，声音也是一种信息。
In order to protect pedestrians and to give acoustic feedback to the drivers,
为了保护行人并向驾驶员提供声音反馈，
governments around the world have introduced several regulations
世界各国政府出台了几项法规，
which prescribe the presence of a sound for electric vehicles.
规定电动汽车要有发声装置。
In particular, they require minimum sound levels at specific frequency bands up to the speed of 30 kilometers per hour.
特别是，它们要求特定频段的最低声级达到每小时30公里。
Besides this speed, the natural noise of the car is considered as sufficient.
除此之外，汽车本身的噪音被认为是足够的。
These regulations have generated different reactions among those who favor sounds and those who fear the presence of too much noise in the city.
这些规定在喜欢声音的人和害怕城市噪音过大的人之间产生了不同的反应。
However, I don't see it as the noise of the car.
但是，我不认为这是汽车的噪音。
I rather see it as the voice of the car.
我宁愿把它看作是汽车的声音。
And this is one of my biggest challenges, and privileges, at the same time.
同时，这也是我最大的挑战和特权之一。
I design the voice of electric cars.
我设计了电动汽车的声音。
We all know how a combustion engine sounds like,
我们都知道内燃机的声音，
and we do actually also know how an electric engine sounds like. Think of the electric tramway.
实际上我们也知道电动发动机的声音。想想电车。
As soon as it moves, it creates this ascending high-frequency pitch sound, which we called "whistling" sound.
一旦它移动，就会产生这种上升的高频音高，我们称之为“吹口哨”的声音。
However, if we would just amplify this sound,
但是，如果我们只是放大这个声音，
we would still not be able to fulfill the legal requirements.
我们仍然无法满足法律要求。
That's also why we need to compose new sound.
这也是我们需要创作新声音的原因。
So how do we go after it?
那我们该怎么办呢？
In many cities, the traffic is already very chaotic, and we don't need more chaos.
在许多城市，交通已经非常混乱，我们不需要更多的混乱。
But the streets of the 21st century are a great case study teeming with transience, cross purposes and disarray.
但是，21世纪的街道是一个伟大的案例研究，充满了短暂、复杂和混乱。
And this landscape offers a great opportunity for developing new solutions on how to reduce this chaos.
而这一前景为如何减少这种混乱提供了一个很好的机会来开发新的解决方案。
I have conceived a new approach that tries to reduce the chaos by introducing harmony.
我构想了一种新的方法，试图通过引入和谐来减少混乱。
Since many people don't know how an electric car could sound like,
因为很多人不知道电动汽车的声音是怎样的，
I have to define, first of all, a new sound world,
我必须首先定义一个新的声音世界，
something that doesn't belong to our previous experience but creates a reference for the future.
一个不属于我们以前的经验，但为未来创造参考的东西。
Together with a small team, we create lots of sonic textures that are able to transmit emotion.
与一个小团队一起，我们创造了许多能够传递情感的声音纹理。
Just like a painter with colors,
就像一个有色彩的画家一样，
we are able to connect feelings and frequencies so that whenever one is approaching a car,
我们能够将感觉和频率联系起来，这样当一个人接近一辆车时，
we can feel an emotion which, besides fulfilling the legal requirements,
我们就可以感受到一种情感，这种情感除了满足法律要求外，
speaks also about the character and the identity of the car.
还涉及到汽车的特性和身份。
I call this paradigm "sound genetics."
我称这种范式为“声音遗传学”。
With sound genetics, I define, first of all, an aesthetic space of sound,
通过声音遗传学，我首先定义了一个声音的审美空间，
and at the same time, I search for new, innovative methods for generating soundscapes that we don't know,
同时，我寻找新的、创新的方法来生成我们不知道的声音片段，
soundscapes that allow us to envision abstract worlds, to make them tangible and audible.
这些片段允许我们想象抽象世界，使它们有形和可听。
Sound genetics is based on three steps.
声音遗传学基于三个步骤。
The first one is the definition of a sonic organism,
第一个是声音生物的定义，
the second one is a description of sonic variations, and the third one is the composition of sound genes.
第二个是对声音变异的描述，第三个是声音基因的组成。

The description of a sonic organism is based on a cluster of properties that every sound that I compose should have.
声音生物的描述是基于我所创作的每一个声音都应该具有的一系列特性。
I transfer to a small sound entity,
我把声音转换成一个小实体，
such as the sound of a car, the power of the motion of music, so that sound can move so.
比如汽车的声音，音乐的动力，这样声音就可以运动了。
And just like a dancer on a stage, sound will project trajectories of sound in the air.
就像舞台上的舞者，声音会在空中投射声音的轨迹。
And it's not just about the sound of a car. It's the memory of my father coming back home.
不仅仅是汽车的声音，这是我父亲回家的记忆。
And sound has the power to create an unexpected sense of wonder, which hypnotizes.
声音有能力创造出一种意想不到的惊奇感，这种感觉会让人神魂颠倒。
And ultimately, sound goes beyond the human condition, because it allows us to transcend.
声音超越了人类的条件，因为它允许我们超越。
As a second step, we define the sonic variations.
作为第二步，我们定义了声波的变化。
Just like humans, where different bodies generate different voices,
就像人类一样，不同的身体产生不同的声音，
also different car shapes have a different acoustic behavior
不同的汽车形状也有不同的声学行为，
which depends on the geometry and the materials.
这取决于几何结构和材料。
So we have to know, first of all, how this car propagates the sound outside by means of acoustic measurements.
所以我们首先要知道，这辆车是如何通过声学测量把声音传播到外面的。
And just like a single voice is able to produce different tones and timbres,
就像一个声音能够产生不同的音调和音色一样，
at the same time, we produce different sonic variations within a space of eight words that I defined.
同时，我们在我定义的八个词的空间内产生不同的声音变化。
And some of them are, to me, really important,
其中一些对我来说是非常重要的，
such as the concept of "visionary," of "elegance," of "dynamic," of "embracing."
比如“远见卓识”、“优雅”、“动感”、“拥抱”等概念。
And once we have defined these two aspects, we have what I call the identity prism,
一旦我们定义了这两个方面，我们就有了我所说的“身份棱镜”，
which is something like the sonic identity card of a car.
它类似于汽车的声波身份证。
And as a third step, we enter the world of the sound design,
作为第三步，我们进入了声音设计的世界，
where the sound genes are composed and a new archetype is conceived.
在那里声音基因被组成，一个新的原型被构思出来。
Now let me show you another example of how I transform a sound field into a melody.
现在让我再给你们举一个例子，我是如何把声场变成旋律的。
Think that I am a violin player on stage.
我想我是台上的小提琴手。
If I would start to play the violin, I would generate a sound field which would propagate in this hall,
如果我开始拉小提琴，我会产生一个声场，它会在这个大厅里传播，
and at some point, the sound field would hit the side walls and would be scattered all over the place.
在某一点上，声场会撞击到侧墙，并分散到整个地方。
And this is how it looked like.
这就是它的样子。
Some time ago, I captured several ways of sound to hit side walls.
前一段时间，我捕捉到了几种敲击侧壁的声音。
And last year, I was asked by the Bavarian Radio Symphony Orchestra to compose ringtones that they were going to play.
去年，巴伐利亚广播交响乐团请我谱写他们要演奏的铃声。
So one of them, I had the idea to start from this sound field.
所以其中一个，我想从这个声场开始。
I took a section, I superimposed the section over the distribution of the musicians onstage,
我选了一段，把这段叠加在舞台上乐师的分布上，
and then I followed the blooming of the sound field by means of three parameters: time, intensity and frequency.
然后用时间、强度和频率三个参数来跟踪声场的绽放。
Then I wrote down all the gradients for each instrument,
然后我写下每种乐器的所有梯度，
and as you can see, for instance, the piece will start with the string section playing very softly,
你可以看到，例如，这首曲子将从弦乐部分开始演奏，非常轻柔，
and then it's going to have a crescendo as the brasses, the woods will jump in,
然后它将有一个高潮作为铜器，树林将跳进，
and the melody will end with a harp and a piano playing on the highest range.
旋律将以竖琴和钢琴在最高音域演奏结束。
Let's listen how it sounded like.
让我们一起听一下这个声音像什么。
So this is the sound of my alarm clock, actually, in the morning.
实际上，这是我早晨闹钟的声音。
And now let's go back to electric cars. And let's listen to the first example that I showed you.
现在让我们回到电动汽车。让我们听听我向你们展示的第一个例子。
And now I would like to show you how a potential sound,
现在我想告诉你们，一个潜在的声音，
based on the sound genetics for electric cars, could sound like.
基于电动汽车的声音遗传学，听起来是怎样的。
Cars are a metaphor of time, distance and journey,
汽车是时间、距离和旅程的象征，
of setting out and returning, of anticipation and adventure,
是出发和返回的象征，是预见和冒险的象征，
but, at the same time, of intelligence and complexity, of human intuition and accomplishment.
同时也是智慧和复杂性的象征，是人类直觉和成就的象征。
And the sound has to glorify all that.
而声音必须美化所有这些。
I see cars both as living creatures and as highly complex performative art installations.
我认为汽车既是生物，又是高度复杂的表演艺术装置。
The sounds that we envision through sound genetics allow us not only to celebrate this complexity
我们通过声音遗传学所设想的声音不仅能让我们庆祝这种复杂性，
but also to make the world a more elegant and safe space. Thank you.
而且能使世界变得更加优雅和安全。谢谢。