0:00:00.000,0:00:03.000 So I am a surgeon who studies creativity, 0:00:03.000,0:00:06.000 and I have never had a patient tell me 0:00:06.000,0:00:09.000 that "I really want you to be creative during surgery," 0:00:09.000,0:00:12.000 and so I guess there's a little bit of irony to it. 0:00:12.000,0:00:15.000 I will say though that, after having done surgery a lot, 0:00:15.000,0:00:17.000 it's somewhat similar to playing a musical instrument. 0:00:17.000,0:00:20.000 And for me, this sort of deep and enduring fascination with sound 0:00:20.000,0:00:22.000 is what led me to both be a surgeon 0:00:22.000,0:00:24.000 and also to study the science of sound, particularly music. 0:00:24.000,0:00:26.000 And so I'm going to try to talk to you over the next few minutes 0:00:26.000,0:00:28.000 about my career 0:00:28.000,0:00:30.000 in terms of how I'm able to actually try to study music 0:00:30.000,0:00:32.000 and really try to grapple with all these questions 0:00:32.000,0:00:35.000 of how the brain is able to be creative. 0:00:35.000,0:00:37.000 I've done most of this work at Johns Hopkins University, 0:00:37.000,0:00:39.000 but also at the National Institute of Health where I was previously. 0:00:39.000,0:00:41.000 I'm going to go over some science experiments 0:00:41.000,0:00:43.000 and try to cover three musical experiments. 0:00:43.000,0:00:45.000 I'm going to start off by playing a video for you. 0:00:45.000,0:00:48.000 And this video is a video of Keith Jarrett, who's a well-known jazz improviser 0:00:48.000,0:00:51.000 and probably the most well-known, iconic example 0:00:51.000,0:00:53.000 of someone who takes improvisation to a really higher level. 0:00:53.000,0:00:55.000 And he'll improvise entire concerts 0:00:55.000,0:00:57.000 off the top of his head, 0:00:57.000,0:00:59.000 and he'll never play it exactly the same way again, 0:00:59.000,0:01:01.000 and so, as a form of intense creativity, 0:01:01.000,0:01:03.000 I think this is a great example. 0:01:03.000,0:01:05.000 And so why don't we go and click the video. 0:01:06.000,0:01:10.000 (Music) 0:02:02.000,0:02:05.000 It's really a remarkable, awesome thing that happens there. 0:02:05.000,0:02:07.000 I've always -- just as a listener, as just a fan -- 0:02:07.000,0:02:09.000 I listen to that, and I'm just astounded. 0:02:09.000,0:02:11.000 I think -- how can this possibly be? 0:02:11.000,0:02:13.000 How can the brain generate that much information, 0:02:13.000,0:02:15.000 that much music, spontaneously? 0:02:15.000,0:02:18.000 And so I set out with this concept, scientifically, 0:02:18.000,0:02:21.000 that artistic creativity, it's magical, but it's not magic, 0:02:21.000,0:02:23.000 meaning that it's a product of the brain. 0:02:23.000,0:02:26.000 There's not too many brain-dead people creating art. 0:02:26.000,0:02:28.000 And so with this notion that artistic creativity 0:02:28.000,0:02:30.000 is in fact a neurologic product, 0:02:30.000,0:02:33.000 I took this thesis that we could study it 0:02:33.000,0:02:36.000 just like we study any other complex neurologic process. 0:02:36.000,0:02:38.000 And I think there's some sub-questions there that I put there. 0:02:38.000,0:02:40.000 Is it truly possible to study creativity scientifically? 0:02:40.000,0:02:42.000 And I think that's a good question. 0:02:42.000,0:02:45.000 And I'll tell you that most scientific studies of music, 0:02:45.000,0:02:47.000 they're very dense, 0:02:47.000,0:02:50.000 and when you actually go through them, it's very hard to recognize the music in it. 0:02:50.000,0:02:52.000 In fact, they seem to be very unmusical entirely 0:02:52.000,0:02:54.000 and to miss the whole point of the music. 0:02:54.000,0:02:56.000 And so it brings the second question: 0:02:56.000,0:02:58.000 Why should scientists study creativity? 0:02:58.000,0:03:00.000 Maybe we're not the right people to do it. 0:03:00.000,0:03:02.000 Well it may be, 0:03:02.000,0:03:04.000 but I will say that, from a scientific perspective -- 0:03:04.000,0:03:06.000 we talked a lot about innovation today -- 0:03:06.000,0:03:08.000 the science of innovation, 0:03:08.000,0:03:10.000 how much we understand about how the brain is able to innovate 0:03:10.000,0:03:12.000 is in its infancy, 0:03:12.000,0:03:15.000 and truly, we know very little about how we are able to be creative. 0:03:15.000,0:03:17.000 And so I think that we're going to see 0:03:17.000,0:03:19.000 over the next 10, 20, 30 years 0:03:19.000,0:03:22.000 a real science of creativity that's burgeoning and is going to flourish. 0:03:22.000,0:03:24.000 Because we now have new methods that can enable us 0:03:24.000,0:03:26.000 to take this process of something like this, 0:03:26.000,0:03:28.000 complex jazz improvisation, and study it rigorously. 0:03:28.000,0:03:30.000 And so it gets down to the brain. 0:03:30.000,0:03:32.000 And so all of us have this remarkable brain, 0:03:32.000,0:03:35.000 which is poorly understood to say the least. 0:03:35.000,0:03:37.000 I think that neuroscientists 0:03:37.000,0:03:39.000 have many more questions than answers, 0:03:39.000,0:03:41.000 and I myself, I'm not going to give you many answers today, 0:03:41.000,0:03:43.000 just ask a lot of questions. 0:03:43.000,0:03:45.000 And fundamentally that's what I do in my lab. 0:03:45.000,0:03:47.000 I ask questions about what is this brain doing to enable us to do this. 0:03:47.000,0:03:50.000 This is the main method that I use. This is called functional MRI. 0:03:50.000,0:03:53.000 If you've been in an MRI scanner, it's very much the same, 0:03:53.000,0:03:55.000 but this one is outfitted in a special way 0:03:55.000,0:03:57.000 to not just take pictures of your brain, 0:03:57.000,0:04:00.000 but to also take pictures of active areas of the brain. 0:04:00.000,0:04:02.000 Now the way that's done is by the following. 0:04:02.000,0:04:04.000 There's something called BOLD imaging, 0:04:04.000,0:04:06.000 which is Blood Oxygen Level Dependent imaging. 0:04:06.000,0:04:08.000 Now when you're in an fMRI scanner, 0:04:08.000,0:04:10.000 you're in a big magnet 0:04:10.000,0:04:12.000 that's aligning your molecules in certain areas. 0:04:12.000,0:04:15.000 When an area of the brain is active, meaning a neural area is active, 0:04:15.000,0:04:18.000 it gets blood flow shunted to that area. 0:04:18.000,0:04:20.000 That blood flow causes an increase 0:04:20.000,0:04:22.000 in local blood to that area 0:04:22.000,0:04:25.000 with a deoxyhemoglobin change in concentration. 0:04:25.000,0:04:27.000 Deoxyhemoglobin can be detected by MRI, 0:04:27.000,0:04:29.000 whereas oxyhemoglobin can't. 0:04:29.000,0:04:31.000 So through this method of inference -- 0:04:31.000,0:04:33.000 and we're measuring blood flow, not neural activity -- 0:04:33.000,0:04:35.000 we say that an area of the brain that's getting more blood 0:04:35.000,0:04:37.000 was active during a particular task, 0:04:37.000,0:04:39.000 and that's the crux of how fMRI works. 0:04:39.000,0:04:41.000 And it's been used since the '90s 0:04:41.000,0:04:44.000 to study really complex processes. 0:04:44.000,0:04:46.000 Now I'm going to review a study that I did, 0:04:46.000,0:04:48.000 which was jazz in an fMRI scanner. 0:04:48.000,0:04:50.000 And this was done with a colleague of mine, Alan Braun, at the NIH. 0:04:50.000,0:04:53.000 This is a short video of how we did this project. 0:04:53.000,0:04:55.000 (Video) Charles Limb: This is a plastic MIDI piano keyboard 0:04:55.000,0:04:57.000 that we use for the jazz experiments. 0:04:57.000,0:04:59.000 And it's a 35-key keyboard 0:04:59.000,0:05:01.000 that is designed to fit both inside the scanner, 0:05:01.000,0:05:03.000 be magnetically safe, 0:05:03.000,0:05:05.000 have minimal interference 0:05:05.000,0:05:07.000 that would contribute to any artifact 0:05:07.000,0:05:10.000 and have this cushion so that it can rest on the players' legs 0:05:10.000,0:05:13.000 while they're lying down in the scanner, playing on their back. 0:05:13.000,0:05:16.000 And it works like this -- this doesn't actually produce any sound. 0:05:16.000,0:05:18.000 It sends out what's called a MIDI signal -- 0:05:18.000,0:05:20.000 or a Musical Instrument Digital Interface -- 0:05:20.000,0:05:23.000 through these wires into the box and then the computer, 0:05:23.000,0:05:26.000 which then trigger high-quality piano samples like this. 0:05:26.000,0:05:29.000 (Music) 0:05:32.000,0:05:52.000 (Music) 0:05:54.000,0:05:56.000 CL: Okay, so it works. 0:05:56.000,0:05:58.000 And so through this piano keyboard, 0:05:58.000,0:06:00.000 we now have the means to take a musical process and study it. 0:06:00.000,0:06:03.000 So what do you do now that you have this cool piano keyboard? 0:06:03.000,0:06:05.000 You can't just sort of -- "It's great we've got this keyboard." 0:06:05.000,0:06:07.000 We actually have to come up with a scientific experiment. 0:06:07.000,0:06:10.000 And so the experiment really rests on the following: 0:06:11.000,0:06:14.000 What happens in the brain during something that's memorized and over-learned, 0:06:14.000,0:06:16.000 and what happens in the brain during something 0:06:16.000,0:06:18.000 that is spontaneously generated, or improvised, 0:06:18.000,0:06:20.000 in a way that's matched motorically 0:06:20.000,0:06:23.000 and in terms of lower-level sensory motor features? 0:06:23.000,0:06:26.000 And so, I have here what we call the "paradigms." 0:06:26.000,0:06:29.000 There's a scale paradigm, which is just playing a scale up and down, memorized. 0:06:29.000,0:06:31.000 And then there's improvising on a scale -- 0:06:31.000,0:06:33.000 quarter notes, metronome, right hand -- 0:06:33.000,0:06:35.000 scientifically very safe, 0:06:35.000,0:06:37.000 but musically really boring. 0:06:37.000,0:06:39.000 And then there's the bottom one, which is called the jazz paradigm. 0:06:39.000,0:06:41.000 And so what we did was we brought professional jazz players to the NIH, 0:06:41.000,0:06:44.000 and we had them memorize this piece of music on the left, the lower-left -- 0:06:44.000,0:06:46.000 which is what you heard me playing -- 0:06:46.000,0:06:49.000 and then we had them improvise to the same exact chord changes. 0:06:49.000,0:06:51.000 And if you can hit that lower-right sound icon, 0:06:51.000,0:06:53.000 that's an example of what was recorded in the scanner. 0:06:53.000,0:06:58.000 (Music) 0:07:21.000,0:07:23.000 So in the end, it's not the most natural environment, 0:07:23.000,0:07:25.000 but they're able to play real music. 0:07:25.000,0:07:27.000 And I've listened to that solo 200 times, 0:07:27.000,0:07:29.000 and I still like it. 0:07:29.000,0:07:31.000 And the musicians, they were comfortable in the end. 0:07:31.000,0:07:33.000 And so we first measured the number of notes. 0:07:33.000,0:07:35.000 Were they in fact just playing a lot more notes when they were improvising? 0:07:35.000,0:07:37.000 That was not what was going on. 0:07:37.000,0:07:39.000 And then we looked at the brain activity. 0:07:39.000,0:07:41.000 I'm going to try to condense this for you. 0:07:41.000,0:07:44.000 These are contrast maps that are showing subtractions 0:07:44.000,0:07:46.000 between what changes when you're improvising 0:07:46.000,0:07:48.000 versus when you're doing something memorized. 0:07:48.000,0:07:50.000 In red is an area that active in the prefrontal cortex, 0:07:50.000,0:07:52.000 the frontal lobe of the brain, 0:07:52.000,0:07:54.000 and in blue is this area that was deactivated. 0:07:54.000,0:07:56.000 And so we had this focal area called the medial prefrontal cortex 0:07:56.000,0:07:58.000 that went way up in activity. 0:07:58.000,0:08:01.000 We had this broad patch of area called the lateral prefrontal cortex 0:08:01.000,0:08:04.000 that went way down in activity, and I'll summarize that for you here. 0:08:04.000,0:08:06.000 Now these are multifunctional areas of the brain. 0:08:06.000,0:08:09.000 As I like to say, these are not the "jazz areas" of the brain. 0:08:09.000,0:08:11.000 They do a whole host of things 0:08:11.000,0:08:13.000 that have to do with self-reflection, 0:08:13.000,0:08:15.000 introspection, working memory and so forth. 0:08:15.000,0:08:18.000 Really, consciousness is seated in the frontal lobe. 0:08:18.000,0:08:20.000 But we have this combination 0:08:20.000,0:08:23.000 of an area that's thought to be involved in self-monitoring, turning off, 0:08:23.000,0:08:25.000 and this area that's thought to be autobiographical, 0:08:25.000,0:08:27.000 or self-expressive, turning on. 0:08:27.000,0:08:29.000 And we think, at least in this preliminary -- 0:08:29.000,0:08:31.000 it's one study; it's probably wrong, 0:08:31.000,0:08:33.000 but it's one study -- 0:08:33.000,0:08:36.000 we think that at least a reasonable hypothesis 0:08:36.000,0:08:38.000 is that, to be creative, 0:08:38.000,0:08:40.000 you have to have this weird dissociation in your frontal lobe. 0:08:40.000,0:08:42.000 One area turns on, and a big area shuts off, 0:08:42.000,0:08:45.000 so that you're not inhibited, so that you're willing to make mistakes, 0:08:45.000,0:08:47.000 so that you're not constantly shutting down 0:08:47.000,0:08:50.000 all of these new generative impulses. 0:08:50.000,0:08:53.000 Now a lot of people know that music is not always a solo activity -- 0:08:53.000,0:08:55.000 sometimes it's done communicatively. 0:08:55.000,0:08:57.000 And so the next question was: 0:08:57.000,0:08:59.000 What happens when musicians are trading back and forth, 0:08:59.000,0:09:01.000 something called "trading fours," 0:09:01.000,0:09:03.000 which is something they do normally in a jazz experiment? 0:09:03.000,0:09:05.000 So this is a twelve-bar blues. 0:09:05.000,0:09:07.000 And I've broken it down into four-bar groups here, 0:09:07.000,0:09:09.000 so you would know how you would trade. 0:09:09.000,0:09:11.000 Now what we did was we brought a musician into the scanner -- same way -- 0:09:11.000,0:09:13.000 had them memorize this melody 0:09:13.000,0:09:15.000 and then had another musician out in the control room 0:09:15.000,0:09:18.000 trading back and forth interactively. 0:09:18.000,0:09:20.000 So this is a musician, Mike Pope, 0:09:20.000,0:09:23.000 one of the world's best bassists and a fantastic piano player. 0:09:28.000,0:09:30.000 So he's now playing the piece 0:09:30.000,0:09:32.000 that we just saw 0:09:32.000,0:09:34.000 just a little better than I wrote it. 0:09:34.000,0:09:36.000 (Video) CL: Mike, come on in. Mike Pope: May the force be with you. 0:09:36.000,0:09:38.000 Nurse: Nothing's in your pockets, right Mike? 0:09:38.000,0:09:41.000 MP: Nope. Nothing's in my pockets. Nurse: Okay. 0:09:50.000,0:09:52.000 CL: You have to have the right attitude to agree to it. 0:09:52.000,0:09:54.000 (Laughter) 0:09:54.000,0:09:56.000 It's kind of fun actually. 0:09:56.000,0:09:59.000 And so now we're playing back and forth. 0:09:59.000,0:10:02.000 He's in there. You can see his legs up there. 0:10:03.000,0:10:06.000 And then I'm in the control room here, playing back and forth. 0:10:06.000,0:10:09.000 (Music) 0:10:18.000,0:10:21.000 (Video) Mike Pope: This is a pretty good representation 0:10:21.000,0:10:23.000 of what it's like. 0:10:23.000,0:10:25.000 And it's good that it's not too quick. 0:10:25.000,0:10:27.000 The fact that we do it over and over again 0:10:27.000,0:10:30.000 lets you acclimate to your surroundings. 0:10:31.000,0:10:34.000 So the hardest thing for me was the kinesthetic thing, 0:10:34.000,0:10:36.000 of looking at my hands 0:10:36.000,0:10:38.000 through two mirrors, 0:10:38.000,0:10:40.000 laying on my back 0:10:40.000,0:10:42.000 and not able to move at all except for my hand. 0:10:42.000,0:10:44.000 That was challenging. 0:10:44.000,0:10:46.000 But again, 0:10:46.000,0:10:49.000 there were moments, for sure, 0:10:49.000,0:10:51.000 there were moments 0:10:51.000,0:10:55.000 of real, honest-to-God musical interplay, for sure. 0:10:55.000,0:10:57.000 CL: At this point, I'll take a few moments. 0:10:57.000,0:10:59.000 And so what you're seeing here -- 0:10:59.000,0:11:01.000 and I'm doing a cardinal sin in science, 0:11:01.000,0:11:03.000 which is to show you preliminary data. 0:11:03.000,0:11:05.000 This is one subject's data. 0:11:05.000,0:11:07.000 This is, in fact, Mike Pope's data. 0:11:07.000,0:11:09.000 So what am I showing you here? 0:11:09.000,0:11:12.000 When he was trading fours with me, improvising versus memorized, 0:11:12.000,0:11:15.000 his language areas lit up, his Broca's area, 0:11:15.000,0:11:17.000 which is inferior frontal gyrus on the left. 0:11:17.000,0:11:19.000 He actually had it also homologous on the right. 0:11:19.000,0:11:22.000 This is an area thought to be involved in expressive communication. 0:11:22.000,0:11:24.000 This whole notion that music is a language -- 0:11:24.000,0:11:27.000 well maybe there's a neurologic basis to it in fact after all, 0:11:27.000,0:11:30.000 and we can see it when two musicians are having a musical conversation. 0:11:30.000,0:11:32.000 And so we've done this actually on eight subjects now, 0:11:32.000,0:11:34.000 and we're just getting all the data together, 0:11:34.000,0:11:36.000 so hopefully we'll have something to say about it meaningfully. 0:11:36.000,0:11:39.000 Now when I think about improvisation and the language, well what's next? 0:11:39.000,0:11:41.000 Rap, of course, rap -- 0:11:41.000,0:11:43.000 free-style. 0:11:43.000,0:11:45.000 And so I've always been fascinated by free-style. 0:11:45.000,0:11:47.000 And let's go ahead and play this video here. 0:11:47.000,0:11:49.000 (Video) Mos Def: ♫ ... brown skin I be, standing five-ten I be ♫ 0:11:49.000,0:11:52.000 ♫ Rockin' it when I be, in your vicinity ♫ 0:11:52.000,0:11:54.000 ♫ Whole-style synergy, recognize symmetry ♫ 0:11:54.000,0:11:57.000 ♫ Go and try to injure me, broke 'em down chemically ♫ 0:11:57.000,0:11:59.000 ♫ Ain't the number 10 MC, talk about how been I be ♫ 0:11:59.000,0:12:02.000 ♫ Styled it like Kennedy, late like a 10 to three ♫ 0:12:02.000,0:12:05.000 ♫ When I say when I be, girls say bend that key cut ♫ 0:12:05.000,0:12:07.000 CL: And so there's a lot of analogy 0:12:07.000,0:12:09.000 between what takes place in free-style rap and jazz. 0:12:09.000,0:12:11.000 There are, in fact, a lot of correlations between the two forms of music 0:12:11.000,0:12:13.000 I think in different time periods. 0:12:13.000,0:12:15.000 In a lot a ways, rap serves the same social function 0:12:15.000,0:12:17.000 that jazz used to serve. 0:12:17.000,0:12:19.000 So how do you study rap scientifically? 0:12:19.000,0:12:21.000 And my colleagues kind of think I'm crazy, 0:12:21.000,0:12:23.000 but I think it's very viable. 0:12:23.000,0:12:25.000 And so this is what you do: you have a free-style artist 0:12:25.000,0:12:27.000 come in and memorize a rap that you write for them, 0:12:27.000,0:12:29.000 that they've never heard before, 0:12:29.000,0:12:31.000 and then you have them free-style. 0:12:31.000,0:12:33.000 So I told my lab members that I would rap for TED, 0:12:33.000,0:12:35.000 and they said, "No, you won't." 0:12:35.000,0:12:37.000 And then I thought -- 0:12:37.000,0:12:43.000 (Applause) 0:12:43.000,0:12:45.000 But here's the thing. 0:12:45.000,0:12:48.000 With this big screen, you can all rap with me. Okay? 0:12:48.000,0:12:50.000 So what we had them do 0:12:50.000,0:12:52.000 was memorize this lower-left sound icon, please. 0:12:52.000,0:12:55.000 This is the control condition. This is what they memorized. 0:12:55.000,0:12:57.000 Computer: ♫ Memory, thump. ♫ 0:12:57.000,0:13:00.000 CL: ♫ Thump of the beat in a known repeat ♫ 0:13:00.000,0:13:03.000 ♫ Rhythm and rhyme, they make me complete ♫ 0:13:03.000,0:13:05.000 ♫ The climb is sublime when I'm on the mic ♫ 0:13:05.000,0:13:08.000 ♫ Spittin' rhymes that hit you like a lightning strike ♫ 0:13:08.000,0:13:10.000 ♫ I search for the truth in this eternal quest ♫ 0:13:10.000,0:13:13.000 ♫ My passion's not fashion, you can see how I'm dressed ♫ 0:13:13.000,0:13:16.000 ♫ Psychopathic words in my head appear ♫ 0:13:16.000,0:13:19.000 ♫ Whisper these lyrics only I can hear ♫ 0:13:19.000,0:13:21.000 ♫ The art of discovering and that which is hovering ♫ 0:13:21.000,0:13:24.000 ♫ Inside the mind of those unconfined ♫ 0:13:24.000,0:13:27.000 ♫ All of these words keep pouring out like rain ♫ 0:13:27.000,0:13:30.000 ♫ I need a mad scientist to check my brain ♫ 0:13:30.000,0:13:39.000 (Applause) 0:13:39.000,0:13:42.000 I guarantee you that will never happen again. 0:13:42.000,0:13:44.000 (Laughter) 0:13:44.000,0:13:46.000 So now, what's great about these free-stylers, 0:13:46.000,0:13:48.000 they will get cued different words. 0:13:48.000,0:13:50.000 They don't know what's coming, but they'll hear something off the cuff. 0:13:50.000,0:13:52.000 Go ahead and hit that right sound icon. 0:13:52.000,0:13:55.000 They are going to be cued these three square words: "like," "not" and "head." 0:13:55.000,0:13:57.000 He doesn't know what's coming. 0:13:57.000,0:13:59.000 Free-styler: ♫ I'm like some kind of [unclear] ♫ 0:13:59.000,0:14:02.000 ♫ [unclear] extraterrestrial, celestial scene ♫ 0:14:02.000,0:14:05.000 ♫ Back in the days, I used to sit in pyramids and meditate ♫ 0:14:05.000,0:14:08.000 ♫ With two microphones hovering over my head ♫ 0:14:08.000,0:14:11.000 ♫ See if I could still listen, spittin' off the sound ♫ 0:14:11.000,0:14:13.000 ♫ See what you grinning ♫ 0:14:13.000,0:14:15.000 ♫ I teach the children in the back of the classroom ♫ 0:14:15.000,0:14:18.000 ♫ About the message of apocalyptical ♫ 0:14:18.000,0:14:21.000 ♫ Not really though, 'cause I've got to keep it simple ♫ 0:14:21.000,0:14:23.000 ♫ [unclear] instrumental ♫ 0:14:23.000,0:14:26.000 ♫ Detrimental playing Super Mario ♫ 0:14:26.000,0:14:30.000 ♫ [unclear] boxes [unclear] hip hop ♫ 0:14:30.000,0:14:32.000 CL: So again, it's an incredible thing that's taking place. 0:14:32.000,0:14:34.000 It's doing something that, neurologically, is remarkable. 0:14:34.000,0:14:36.000 Whether or not you like the music is irrelevant. 0:14:36.000,0:14:38.000 Creatively speaking, it's just a phenomenal thing. 0:14:38.000,0:14:41.000 This is a short video of how we actually do this in a scanner. 0:14:41.000,0:14:44.000 (Laughter) 0:14:44.000,0:14:46.000 (Video) CL: We're here with Emmanuel. 0:14:46.000,0:14:48.000 CL: That was recorded in the scanner, by the way. 0:14:48.000,0:14:50.000 (Video) CL: That's Emmanuel in the scanner. 0:14:51.000,0:14:54.000 He's just memorized a rhyme for us. 0:14:57.000,0:15:00.000 Emmanuel: ♫ Top of the beat with no repeat ♫ 0:15:00.000,0:15:03.000 ♫ Rhythm and rhyme make me complete ♫ 0:15:03.000,0:15:06.000 ♫ Climb is sublime when I'm on the mic ♫ 0:15:06.000,0:15:08.000 ♫ Spittin' rhymes that'll hit you like a lightning strike ♫ 0:15:08.000,0:15:11.000 ♫ I search for the truth in this eternal quest ♫ 0:15:11.000,0:15:14.000 ♫ I'm passing on fashion; you can see how I'm dressed ♫ 0:15:14.000,0:15:17.000 CL: Okay. So I'm going to stop that there. So what do we see in his brain? 0:15:17.000,0:15:19.000 Well, this is actually four rappers' brains. 0:15:19.000,0:15:21.000 And what we see, we do see language areas lighting up, 0:15:21.000,0:15:23.000 but then -- eyes closed -- 0:15:23.000,0:15:26.000 when you are free-styling versus memorizing, 0:15:26.000,0:15:28.000 you've got major visual areas lighting up. 0:15:28.000,0:15:31.000 You've got major cerebellar activity, which is involved in motor coordination. 0:15:31.000,0:15:34.000 You have heightened brain activity when you're doing a comparable task, 0:15:34.000,0:15:37.000 when that one task is creative and the other task is memorized. 0:15:38.000,0:15:40.000 It's very preliminary, but I think it's kind of cool. 0:15:40.000,0:15:43.000 So just to conclude, we've got a lot of questions to ask, 0:15:43.000,0:15:46.000 and like I said, we'll ask questions here, not answer them. 0:15:46.000,0:15:49.000 But we want to get at the root of what is creative genius, neurologically, 0:15:49.000,0:15:52.000 and I think, with these methods, we're getting close to being there. 0:15:52.000,0:15:54.000 And I think hopefully in the next 10, 20 years 0:15:54.000,0:15:56.000 you'll actually see real, meaningful studies 0:15:56.000,0:16:00.000 that say science has to catch up to art, 0:16:00.000,0:16:02.000 and maybe we're starting now to get there. 0:16:02.000,0:16:04.000 And so I want to thank you for your time. I appreciate it. 0:16:04.000,0:16:09.000 (Applause)