Kruschef, I'm going to go to you, but I want to shift the focus here a little bit off teachers and students and more to the impact
Krupp works said, we can do it but we don't have the machines to forge two hemispheres.
Dunning-Kruger effect. And for people who don't know, the Dunning-Kruger effect is a a a a pretty
So Kruschef, I want to hear from you about what that experience was like, what challenges it presented, also maybe what opportunities it presented,
Paul Krugman would disagree. And Barack Obama would, too.
Robert Krulwich: So we were enjoying the extensively huge Green Room, which includes a pool.
Robert Krulwich: I'm Robert and this is-- Jad Abumrad: Jad.
Robert Krulwich: Jad. And this is Zoë.
Robert Krulwich: Yeah, so you wanna, I guess the first question is what's unusual about us?
Robert Krulwich: Yeah, we don't believe that you should see anything.
Robert Krulwich: Well, I just, as a footnote, if you were living in the center of the Brazilian jungle and had no sense of this kind of music,
Robert Krulwich: Fireflies are something that we have all loved as kids, right?
Robert Krulwich: It could be tens of thousands.
Robert Krulwich: Tree after tree, extending for literally miles along the rivers, all flashing in sync like a Christmas tree.
Robert Krulwich: This was done by John Buck.
Robert Krulwich: What if he said there's the occasional sound of a tricycle?
Robert Krulwich: My elbow, because it's closer to-- Jad Abumrad: It's closer to "words", right?
Robert Krulwich: So we're violating some rule that he set up.
Robert Krulwich: I am going to lose my bird.
Robert Krulwich: Well, these sounds are all software developed.
Robert Krulwich: So, Zoë, your music is also, as we're about to hear is a pile up of sounds also.
Robert Krulwich: Boy. Zoë Keating: Yeah. And so, I play Ariej and I record the sounds in real time into the computer
Robert Krulwich: And like Jad is trying to evoke something specific, but he's trying to invent a vocabulary, as he puts it, in the middle to find that specificity.
Robert Krulwich: You do?
Robert Krulwich: But you know you're in the right place when the shape is present in your mind, or is it like filling a container to get to a shape?
Robert Krulwich: Oh, don't even try to describe it.
Robert Krulwich: And you think they're totally right. Wrong?
Robert Krulwich: So now, for the very first time ever, is a composition that you have already played many times before.
Robert Krulwich: Oh, just go ahead.
Robert Krulwich: I was curious if you had if in the first iteration, you had made a mistake,
Robert Krulwich: Oh it does?
Robert Krulwich: And when it's at ten second, when you're having an OCD moment with the phrase, can you bury it?
Robert Krulwich: OK. Zoë Keating: Yeah, yeah I can.
Robert Krulwich: Yet there is something about what both of you do that you both play with time in an interesting way.
Robert Krulwich: I'm making a presumption about -- Jad Abumrad: I'll speak about what I find fascinating.
Robert Krulwich: To play, I mean.
Robert Krulwich: And your hand. I shouldn't really demote your hand.
Robert Krulwich: It's just the foot that's so interesting.
Robert Krulwich: OK.
Robert Krulwich: Your socks are slippery.
Robert Krulwich: Where do you shop for cello-foot, cello-feet shoes?
Robert Krulwich: So, what is it, the original intended use for the shoe that you use was jogging?
Robert Krulwich: Looking nice.
Robert Krulwich: OK. Question time.
Robert Krulwich: Let's see, you have to turn on the mic, there.
Robert Krulwich: The shoe salesman with her who sold her the thing will be along shortly, I think.
Robert Krulwich: I close my eyes when we were, actually.
Robert Krulwich: I do. I do it.
Robert Krulwich: We're not allowed to say them.
Robert Krulwich: There's also, I think-- male #2: Your name, the name of the foundation that funds you.