What cameras see that our eyes don't - Bill Shribman

380,106 views ใƒป 2013-04-10

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

00:00
Translator: Andrea McDonough Reviewer: Bedirhan Cinar
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ืชืจื’ื•ื: Ido Dekkers ืขืจื™ื›ื”: Sigal Tifferet
00:14
The human eye is one of the most powerful machines
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ื”ืขื™ืŸ ื”ืื ื•ืฉื™ืช ื”ื™ื ืื—ื“ ื”ืžื›ืฉื™ืจื™ื ื”ื—ื–ืงื™ื ื‘ื™ื•ืชืจ
00:17
on the planet.
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ืขืœ ืคื ื™ ื›ื“ื•ืจ ื”ืืจืฅ.
00:18
It's like a 500 megapixel camera
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ื–ื” ื›ืžื• ืžืฆืœืžืช 500 ืžื’ื” ืคื™ืงืกืœ
00:21
that can run in bright light,
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ืฉื™ื›ื•ืœื” ืœืขื‘ื•ื“ ื‘ืื•ืจ ื‘ื•ื”ืง,
00:23
in near darkness,
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ื›ืžืขื˜ ื‘ื—ื•ืฉืš,
00:24
and even under water, though not real well.
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ื•ืืคื™ืœื• ืžืชื—ืช ืœืžื™ื, ืœืžืจื•ืช ืฉืœื ืžืžืฉ ื˜ื•ื‘.
00:27
It communicates to our brains
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ื”ื™ื ืžืขื‘ื™ืจื” ืืœ ื”ืžื•ื—
00:28
so much about the world.
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ื›ืœ ื›ืš ื”ืจื‘ื” ืžื™ื“ืข ืขืœ ื”ืขื•ืœื.
00:30
Our eyes are how we find partners,
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ื”ืขื™ื™ื ื™ื™ื ืฉืœื ื• ื”ื ืื™ืš ืฉืื ื—ื ื• ืžื•ืฆืื™ื ื‘ื ื™ ื–ื•ื’,
00:33
how we understand the people around us,
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ืื™ืš ืฉืื ื—ื ื• ืžื‘ื™ื ื™ื ืืช ื”ืื ืฉื™ื ืกื‘ื™ื‘ื ื•,
00:34
how we read,
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ืื™ืš ืฉืื ื—ื ื• ืงื•ืจืื™ื,
00:36
and how we watch game shows on TV
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ืื™ืš ืฉืื ื—ื ื• ืฆื•ืคื™ื ื‘ืžืฉื—ืงื™ื ื‘ื˜ืœื•ื•ื™ื–ื™ื”
00:38
where people get knocked into cold water
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ืฉื ืื ืฉื™ื ืžื•ืฉืœื›ื™ื ืœืžื™ื ืงืจื™ื
00:39
by padded wrecking balls.
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ืขืœ ื™ื“ื™ ื›ื“ื•ืจ ื”ืจื™ืกื” ืจื›ื™ื.
00:41
Yup, the human eye is pretty neat,
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ื›ืŸ, ื”ืขื™ืŸ ื”ืื ื•ืฉื™ืช ื”ื™ื ื“ื™ ืžื’ื ื™ื‘ื”,
00:43
and we're lucky enough to have two of them.
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ื•ื™ืฉ ืœื ื• ืžื–ืœ ืฉื™ืฉ ืœื ื• ืฉืชื™ื™ื ืžื”ืŸ.
00:45
But, there are things that,
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ืื‘ืœ ื™ืฉ ื“ื‘ืจื™ื,
00:46
despite looking really hard,
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ืฉืœืžืจื•ืช ืฉืื ื—ื ื• ืžื‘ื™ื˜ื™ื ืžืžืฉ ื˜ื•ื‘,
00:48
we still can't quite see.
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ืื ื—ื ื• ืขื“ื™ื™ืŸ ืœื ื™ื›ื•ืœื™ื ืžืžืฉ ืœืจืื•ืช.
00:50
For example, you can watch a horse galloping,
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ืœื“ื•ื’ืžื”, ืืชื ื™ื›ื•ืœื™ื ืœืจืื•ืช ืกื•ืก ื“ื•ื”ืจ,
00:52
but your eyes can't keep up with its fast-moving hooves
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ืื‘ืœ ื”ืขื™ื™ื ื™ื ืฉืœื›ื ืœื ื™ื›ื•ืœื•ืช ืœืขืงื•ื‘ ืื—ืจื™ ื”ืคืจืกื•ืช ื”ืžื”ื™ืจื•ืช
00:54
enough to figure out whether all four feet
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ื•ืœื”ื‘ื™ืŸ ืื ื›ืœ ืืจื‘ืข ื”ืจื’ืœื™ื
00:56
are ever off the ground simultaneously.
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ืžื•ืจืžื•ืช ืžื”ืื“ืžื” ื‘ื• ื–ืžื ื™ืช.
01:00
For these types of questions, we need cameras.
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ืœืฉืืœื•ืช ืžื”ืกื•ื’ ื”ื–ื”, ืื ื—ื ื• ืฆืจื™ื›ื™ื ืžืฆืœืžื•ืช.
01:03
About 150 years ago,
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ื‘ืขืจืš ืœืคื ื™ 150 ืฉื ื”,
01:05
the photographer Eadweard Muybridge used one
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ื”ืฆืœื ืื“ื•ืืจื“ ืžื•ื™ื‘ืจื™ื“ื’' ื”ืฉืชืžืฉ ื‘ืื—ืช
01:07
to solve the galloping horse mystery.
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ื›ื“ื™ ืœืคืชื•ืจ ืืช ืชืขืœื•ืžืช ื”ืกื•ืก ื”ื“ื•ื”ืจ.
01:10
Using careful photography,
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ืขืœ ื™ื“ื™ ืฉื™ืžื•ืฉ ื‘ืฆื™ืœื•ื ื–ื”ื™ืจ,
01:11
Muybridge proved that at certain points as it gallops,
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ืžื•ื™ื‘ืจื™ื“ื’' ื”ื•ื›ื™ื— ืฉื‘ื ืงื•ื“ื•ืช ืžืกื•ื™ื™ืžื•ืช ืฉืœ ื”ื“ื”ื™ืจื”,
01:14
a horse really is flying.
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ื”ืกื•ืก ื‘ืืžืช ืขืฃ.
01:17
"Look, ma! No hooves!"
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"ืชืจืื™ ืื™ืžื! ื‘ืœื™ ื˜ืœืคื™ื™ื!"
01:19
Since then, photography has found its way
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ืžืื–, ื”ืฆื™ืœื•ื ืžืฆื ืืช ื“ืจื›ื•
01:22
into all aspects of math and science.
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ืœื›ืœ ื”ื™ื‘ื˜ื™ ื”ืžืชืžื˜ื™ืงื” ื•ื”ืžื“ืข.
01:25
It enhances our understanding of a world
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ื”ื•ื ืžืกื™ื™ืข ืœื ื• ืœื”ื‘ื™ืŸ ืขื•ืœื
01:28
we thought we could already see,
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ืฉื—ืฉื‘ื ื• ืฉืื ื—ื ื• ืจื•ืื™ื,
01:29
but it's one which we really need help
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ืื‘ืœ ื ื–ืงืงื ื• ืœืขื–ืจื”
01:31
to see a little better.
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ื›ื“ื™ ืœืจืื•ืช ืงืฆืช ื™ื•ืชืจ ื˜ื•ื‘.
01:33
It's not always a matter of the world
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ื–ื” ืœื ืจืง ืฉื”ืขื•ืœื
01:35
moving by too quickly for our eyes to process.
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ื–ื– ืžื”ืจ ืžื“ื™ ื›ื“ื™ ืฉืขื™ื ื™ื ื• ื™ืจืื• ืืช ื”ืชื”ืœื™ืš.
01:38
Sometimes cameras can help us see matter or movements
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ืœืคืขืžื™ื ืžืฆืœืžื•ืช ื™ื›ื•ืœื•ืช ืœืขื–ื•ืจ ืœื ื• ืœืจืื•ืช ื—ื•ืžืจ ืื• ืชื ื•ืขื”
01:41
that are too small for the naked eye.
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ืฉื”ื ืงื˜ื ื™ื ืžื“ื™ ืœืขื™ืŸ ื‘ืœืชื™ ืžื–ื•ื™ื ืช.
01:44
Botanists use multiple photographs
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ื‘ื•ื˜ื ืื™ื ืžืฉืชืžืฉื™ื ื‘ืชืžื•ื ื•ืช ืžืจื•ื‘ื•ืช
01:46
to show the life cycle of plants
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ื›ื“ื™ ืœื”ืจืื•ืช ืืช ืžื”ืœืš ื”ื—ื™ื™ื ืฉืœ ืฆืžื—ื™ื
01:48
and how flowers turn over the course of a few hours
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ื•ืื™ืš ืคืจื—ื™ื ืžืกืชื•ื‘ื‘ื™ื ื‘ืžื”ืœืš ื›ืžื” ืฉืขื•ืช
01:50
to follow the sun in what is called phototropism,
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ื‘ืžืขืงื‘ ืื—ืจื™ ื”ืฉืžืฉ ื‘ืžื” ืฉื ืงืจื ืคื•ื˜ื•ื˜ืจื•ืคื™ื–ื,
01:54
growing towards the light.
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ื’ื“ื™ืœื” ืœื›ื™ื•ื•ืŸ ื”ืฉืžืฉ.
01:56
Mathematicians have used photos
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ืžืชืžื˜ื™ืงืื™ื ื”ืฉืชืžืฉื• ื‘ืชืžื•ื ื•ืช
01:58
to look at where in the twists and turns of a whip
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ื›ื“ื™ ืœื”ื‘ื™ื˜ ื”ื™ื›ืŸ ื‘ืคื™ืชื•ืœื™ื ื•ื‘ืคื ื™ื•ืช ืฉืœ ืฉื•ื˜
02:00
the crack sound comes
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ืฆืœื™ืœ ื”ื ืงื™ืฉื” ืžื’ื™ืข
02:02
when the whip is breaking the sound barrier.
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ื›ืฉื”ืฉื•ื˜ ืฉื•ื‘ืจ ืืช ืžื”ื™ืจื•ืช ื”ืงื•ืœ.
02:04
Meteorologists and environmental scientists
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ืžื˜ืื•ืจื•ืœื•ื’ื™ื ื•ืžื“ืขื ื™ ืกื‘ื™ื‘ื”
02:07
show the growth of major hurricanes
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ืžืจืื™ื ื’ื™ื“ื•ืœ ืฉืœ ื”ื•ืจื™ืงื ื™ื
02:09
and the recession over the years
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ื•ื”ื ืกื™ื’ื” ื‘ืžื”ืœืš ื”ืฉื ื™ื
02:11
of many of the world's glaciers.
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ืฉืœ ืจื‘ื™ื ืžืงืจื—ื•ื ื™ ื”ืขื•ืœื.
02:13
Slow-motion film or high-speed photography
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ืฆื™ืœื•ื ื‘ืžื”ื™ืจื•ืช ืื™ื˜ื™ืช ืื• ื’ื‘ื•ื”ื”
02:15
have shown us the beating of a hummingbird's wings
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ื”ืจืื” ืืช ื ืคื ื•ืฃ ื›ื ืคื™ ื”ืฆื•ืคื™ืช
02:18
and the course of a bullet through its target.
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ื•ืืช ืžืขื‘ืจ ื›ื“ื•ืจ ื“ืจืš ื”ืžื˜ืจื” ืฉืœื•.
02:20
In one project, cadavers,
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ื‘ืคืจื•ื™ื™ืงื˜ ืื—ื“, ื’ื•ืคื•ืช,
02:23
that's dead bodies,
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ื–ื” ืื ืฉื™ื ืžืชื™ื,
02:24
were frozen and sliced into thousands of wafer-thin discs.
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ื”ื•ืงืคืื• ื•ื ื—ืชื›ื• ืœืืœืคื™ ืคืจื•ืกื•ืช ื“ืงื•ืช.
02:28
The discs were photographed
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ื”ื“ื™ืกืงื™ื ืฆื•ืœืžื•
02:29
to produced animated movies
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ื›ื“ื™ ืœื™ืฆื•ืจ ืกืจื˜ื™ื ืžื•ื ืคืฉื™ื
02:31
that allow a viewer to travel up and down the skeleton,
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ืฉืžืืคืฉืจื™ื ืœืฆื•ืคื” ืœื ื“ื•ื“ ื‘ืžืขืœื” ื•ื‘ืžื•ืจื“ ื”ืฉืœื“,
02:34
and into the flesh,
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ื•ืœืชื•ืš ื”ื‘ืฉืจ,
02:35
and through the bones,
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ื•ื“ืจืš ื”ืขืฆืžื•ืช,
02:37
and the veins,
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02:37
and,
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ื•ื”ื•ืจื™ื“ื™ื,
ื•,
02:39
perhaps I should have suggested
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ืื•ืœื™ ื”ื™ื™ืชื™ ืฆืจื™ืš ืœื”ืฆื™ืข
02:40
you don't watch this during dinner,
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ืฉืœื ืชืฆืคื• ื‘ื–ื” ื‘ื–ืžืŸ ืืจื•ื—ืช ื”ืขืจื‘,
02:42
my bad.
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ื˜ืขื•ืช ืฉืœื™.
02:43
In classrooms today, the camera,
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ื‘ื›ื™ืชื•ืช ื”ื™ื•ื, ื”ืžืฆืœืžื”,
02:45
now present in just about every phone and computer,
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ืฉืงื™ื™ืžืช ื›ืžืขื˜ ื‘ื›ืœ ืกืœื•ืœืจื™ ืื• ืžื—ืฉื‘,
02:48
allows the youngest scientists
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ืžืืคืฉืจืช ืœืžื“ืขื ื™ื ื”ืฆืขื™ืจื™ื ื‘ื™ื•ืชืจ
02:50
to observe the world around them,
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ืœื”ื‘ื—ื™ืŸ ื‘ืขื•ืœื ืกื‘ื™ื‘ื,
02:51
to document it,
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ืœืชืขื“ ืื•ืชื•,
02:52
and to share their findings online.
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ื•ืœืฉืชืฃ ืืช ื”ืžืžืฆืื™ื ืฉืœื”ื ื‘ืจืฉืช.
02:55
Whether it's the change of seasons
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ื‘ื™ืŸ ืื ื–ื” ืžืขื‘ืจ ื”ืขื•ื ื•ืช
02:56
or the growth of the germinating seed,
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ืื• ื’ื“ื™ืœื” ืฉืœ ื–ืจืขื™ื ืฉื ื‘ื˜ื•,
02:58
cameras are allowing us to see a beautiful world
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ืžืฆืœืžื•ืช ืžืืคืฉืจื•ืช ืœื ื• ืœืจืื•ืช ืืช ื”ืขื•ืœื ื”ื™ืคื”ืคื”
03:01
through new eyes.
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ื“ืจืš ืขื™ื ื™ื™ื ื—ื“ืฉื•ืช.
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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