James Patten: The best computer interface? Maybe ... your hands

112,664 views ใƒป 2014-04-24

TED


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

ืžืชืจื’ื: Ido Dekkers ืžื‘ืงืจ: Tal Dekkers
00:12
A computer is an incredibly powerful means
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ืžื—ืฉื‘ ื”ื•ื ื“ืจืš ืžืžืฉ ื—ื–ืงื”
00:15
of creative expression,
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ืœื”ื‘ืขื” ื™ืฆื™ืจืชื™ืช,
00:17
but for the most part,
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ืื‘ืœ ื‘ืจื•ื‘ ื”ืžืงืจื™ื,
00:18
that expression is confined to the screens
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ื”ื”ื‘ืขื” ืžื•ื’ื‘ืœืช ืœืžืกื›ื™ื
00:20
of our laptops and mobile phones.
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ืฉืœ ื”ืœืคื˜ื•ืคื™ื ื•ื”ืกืœื•ืœืจื™ื ืฉืœื ื•.
00:23
And I'd like to tell you a story about
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ื•ื”ื™ื™ืชื™ ืจื•ืฆื” ืœืกืคืจ ืœื›ื ืกื™ืคื•ืจ ืขืœ
00:25
bringing this power of the computer
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ืœื”ื‘ื™ื ืืช ื”ื›ื•ื— ืฉืœ ื”ืžื—ืฉื‘
00:27
to move things around and interact with us
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ืœื”ื–ื™ื– ื“ื‘ืจื™ื ื•ืœืชืงืฉืจ ืื™ืชื ื•
00:29
off of the screen and into the physical world
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ืžื—ื•ืฅ ืœืžืกืš ื•ืœืชื•ืš ื”ืขื•ืœื ื”ืคื™ื–ื™
00:32
in which we live.
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ื‘ื• ืื ื• ื—ื™ื™ื.
00:33
A few years ago, I got a call from
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ืœืคื ื™ ื›ืžื” ืฉื ื™ื, ืงื™ื‘ืœืชื™ ืฉื™ื—ื”
00:35
a luxury fashion store called Barneys New York,
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ืžื—ื ื•ืช ืื•ืคื ืช ื™ื•ืงืจื” ืฉื ืงืจืืช ื‘ืืจื ื™ืก ื‘ื ื™ื• ื™ื•ืจืง,
00:37
and the next thing I knew,
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ื•ื”ื“ื‘ืจ ื”ื‘ื ืฉืงืจื”,
00:39
I was designing storefront kinetic sculptures
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ื–ื” ืฉืขื™ืฆื‘ืชื™ ืคืกืœื™ื ืงื™ื ื˜ื™ื™ื ืœืงื“ืžืช ื”ื—ื ื•ืช
00:41
for their window displays.
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ืขื‘ื•ืจ ื—ืœื•ื ื•ืช ื”ืจืื•ื•ื” ืฉืœื”ื.
00:43
This one's called "The Chase."
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ื–ื” ื ืงืจื "ื”ืžืจื“ืฃ."
00:44
There are two pairs of shoes,
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ื™ืฉ ืฉื ื™ ื–ื•ื’ื•ืช ื ืขืœื™ื™ื,
00:46
a man's pair and a woman's pair,
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ื–ื•ื’ ืฉืœ ื’ื‘ืจื™ื ื•ื–ื•ื’ ืฉืœ ื ืฉื™ื,
00:47
and they play out this slow, tense chase
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ื•ื”ื ืžืฉื—ืงื™ื ื‘ืžืจื“ืฃ ื”ืื™ื˜ื™ ื•ื”ืžืชื•ื— ื”ื–ื”
00:50
around the window
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ืกื‘ื™ื‘ ื”ื—ืœื•ืŸ
00:51
in which the man scoots up behind the woman
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ื‘ื• ื”ื’ื‘ืจ ืจื•ื“ืฃ ืื—ืจื™ ื”ืื™ืฉื”
00:54
and gets in her personal space,
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ื•ื ื›ื ืก ืœืžืจื—ื‘ ื”ืื™ืฉื™ ืฉืœื”,
00:55
and then she moves away.
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ื•ืื– ื”ื™ื ืžืชืจื—ืงืช.
00:57
Each of the shoes has magnets in it,
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ื‘ื›ืœ ืื—ืช ืžื”ื ืขืœื™ื™ื ื™ืฉ ืžื’ื ื˜,
00:59
and there are magnets underneath the table
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ื•ื™ืฉ ืžื’ื ื˜ื™ื ืžืชื—ืช ืœืฉื•ืœื—ืŸ
01:01
that move the shoes around.
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ืฉืžื ื™ืขื™ื ืืช ื”ื ืขืœื™ื™ื.
01:03
My friend Andy Cavatorta was building
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ื”ื—ื‘ืจ ืฉืœื™ ืื ื“ื™ ืงื•ื•ื˜ื•ืจื” ื‘ื ื”
01:05
a robotic harp for Bjork's Biophilia tour
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ื ื‘ืœ ืจื•ื‘ื•ื˜ื™ ืœืžืกืข ื”ื”ื•ืคืขื•ืช ื‘ื™ื•ืคื™ืœื™ื” ืฉืœ ื‘ื™ื•ืจืง
01:08
and I wound up building the electronics
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ื•ืžืฆื ืืช ืขืฆืžื• ื‘ื•ื ื” ืืช ื”ืืœืงื˜ืจื•ื ื™ืงื”
01:11
and motion control software
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ื•ืืช ืชื•ื›ื ืช ืžืขืจื›ืช ื”ืชื ื•ืขื”
01:13
to make the harps move and play music.
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ื›ื“ื™ ืœื’ืจื•ื ืœื ื‘ืœื™ื ืœื ื•ืข ื•ืœื ื’ืŸ.
01:15
The harp has four separate pendulums,
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ืœื ื‘ืœ ื™ืฉ ืืจื‘ืข ืžื˜ื•ื˜ืœื•ืช ืฉื•ื ื•ืช,
01:17
and each pendulum has 11 strings,
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ื•ืœื›ืœ ืžื˜ื•ื˜ืœืช ื™ืฉ 11 ืžื™ืชืจื™ื,
01:20
so the harp swings on its axis and also rotates
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ืื– ื”ื ื‘ืœ ืžืกืชื•ื‘ื‘ ืกื‘ื™ื‘ ืฆื™ืจื• ื•ื’ื ืžืกืชื•ื‘ื‘
01:22
in order to play different musical notes,
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ื›ื“ื™ ืœื ื’ืŸ ืชื•ื™ื ืžื•ื–ื™ืงืœื™ื™ื ืฉื•ื ื™ื,
01:24
and the harps are all networked together
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ื•ื”ื ื‘ืœื™ื ื›ื•ืœื ืžืจื•ืฉืชื™ื ื™ื—ื“
01:26
so that they can play the right notes
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ื›ืš ืฉื”ื ื™ื•ื›ืœื• ืœื ื’ืŸ ืืช ื”ืชื•ื™ื ื”ื ื›ื•ื ื™ื
01:28
at the right time in the music.
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ื‘ื–ืžืŸ ื”ื ื›ื•ืŸ ื‘ืžื ื’ื™ื ื”.
01:31
I built an interactive chemistry exhibit
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ืื ื™ ื‘ื ื™ืชื™ ืชืฆื•ื’ืช ื›ื™ืžื™ื” ืื™ื ื˜ืจืืงื˜ื™ื‘ื™ืช
01:33
at the Museum of Science and Industry in Chicago,
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ื‘ืžื•ื–ืื•ืŸ ื”ืžื“ืข ื•ื”ืชืขืฉื™ื” ื‘ืฉื™ืงื’ื•,
01:36
and this exhibit lets people use physical objects
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ื•ื”ืžื•ืฆื’ ื”ื–ื” ืžืืคืฉืจ ืœืื ืฉื™ื ืœื”ืฉืชืžืฉ ื‘ื—ืคืฆื™ื ืคื™ื–ื™ืงืœื™ื™ื
01:39
to grab chemical elements off of the periodic table
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ื›ื“ื™ ืœืชืคื•ืฉ ื™ืกื•ื“ื•ืช ื›ื™ืžื™ื™ื ืžื”ื˜ื‘ืœื” ื”ืžื—ื–ื•ืจื™ืช
01:42
and bring them together to cause
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ื•ืœืงืจื‘ ืื•ืชื ื›ื“ื™ ืœื’ืจื•ื
01:43
chemical reactions to happen.
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ืชื’ื•ื‘ื•ืช ื›ื™ืžื™ื•ืช.
01:45
And the museum noticed that people
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ื•ื”ืžื•ื–ืื•ืŸ ื”ื‘ื—ื™ืŸ ืฉืื ืฉื™ื
01:47
were spending a lot of time with this exhibit,
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ื‘ื™ืœื• ื”ืจื‘ื” ื–ืžืŸ ืขื ื”ืžื•ืฆื’ ื”ื–ื”,
01:49
and a researcher from a science education center
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ื•ื—ื•ืงืจื™ื ืžืžืจื›ื– ื”ื—ื™ื ื•ืš ื”ืžื“ืขื™
01:52
in Australia decided to study this exhibit
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ื‘ืื•ืกื˜ืจืœื™ื” ื”ื—ืœื™ื˜ื• ืœื—ืงื•ืจ ืืช ื”ืžื•ืฆื’ ื”ื–ื”
01:55
and try to figure out what was going on.
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ื•ืœื ืกื•ืช ืœื”ื‘ื™ืŸ ืžื” ืงื•ืจื” ืคื”.
01:57
And she found that the physical objects
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ื•ื”ื™ื ืžืฆืื” ืฉื”ื—ืคืฆื™ื ื”ืคื™ืกื™ื™ื
02:00
that people were using were helping people
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ืฉืื ืฉื™ื ื”ืฉืชืžืฉื• ื‘ื”ื ืขื–ืจื• ืœืื ืฉื™ื
02:01
understand how to use the exhibit,
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ืœื”ื‘ื™ืŸ ืื™ืš ืœื”ืฉืชืžืฉ ื‘ืžื•ืฆื’,
02:03
and were helping people learn in a social way.
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ื•ืขื–ืจื• ืœืื ืฉื™ื ืœืœืžื•ื“ ื‘ื“ืจืš ื—ื‘ืจืชื™ืช.
02:06
And when you think about it, this makes a lot of sense,
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ื•ื›ืฉืืชื ื—ื•ืฉื‘ื™ื ืขืœ ื–ื”, ื–ื” ืžืื•ื“ ื”ื’ื™ื•ื ื™,
02:09
that using specialized physical objects
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ืฉืฉื™ืžื•ืฉ ื‘ืขืฆืžื™ื ืคื™ืกื™ื™ื ืžื•ืชืืžื™ื
02:11
would help people use an interface more easily.
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ื™ืขื–ืจื• ืœืื ืฉื™ื ืœื”ืฉืชืžืฉ ื‘ืžืžืฉืง ื™ื•ืชืจ ื‘ืงืœื•ืช.
02:14
I mean, our hands and our minds are optimized
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ืื ื™ ืžืชื›ื•ื•ืŸ, ื”ื™ื“ื™ื™ื ืฉืœื ื• ื•ื”ืžื•ื— ืฉืœื ื• ืžื•ืชืืžื™ื
02:17
to think about and interact with tangible objects.
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ืœื—ืฉื•ื‘ ื•ืœืชืงืฉืจ ืขื ืขืฆืžื™ื ืžื•ื—ืฉื™ื™ื.
02:20
Think about which you find easier to use,
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ื—ืฉื‘ื• ืขืœ ืžื” ืืชื ืžื•ืฆืื™ื ืงืœ ื™ื•ืชืจ ืœืฉื™ืžื•ืฉ,
02:22
a physical keyboard or an onscreen keyboard
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ืžืงืœื“ืช ืคื™ืกื™ืช ืื• ืžืงืœื“ืช ืขืœ ื”ืžืกืš
02:25
like on a phone?
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ื›ืžื• ื‘ื˜ืœืคื•ืŸ?
02:27
But the thing that struck me
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ืื‘ืœ ื”ืขื ื™ื™ืŸ ืฉื”ืคืชื™ืข ืื•ืชื™
02:28
about all of these different projects
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ื‘ื ื•ื’ืข ืœื›ืœ ื”ืคืจื•ื™ื™ืงื˜ื™ื ื”ืฉื•ื ื™ื ื”ืืœื”
02:30
is that they really had to be built from scratch,
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ื–ื” ืฉื”ื ื‘ืืžืช ื”ื™ื• ืฆืจื™ื›ื™ื ืœื”ื™ื‘ื ื•ืช ืžื›ืœื•ื,
02:33
down to the level of the electronics
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ืขื“ ืœืจืžื” ืฉืœ ืืœืงื˜ืจื•ื ื™ืงื”
02:35
and the printed circuit boards and
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ื•ื”ืžืขื’ืœื™ื ื”ืžื•ื“ืคืกื™ื
02:36
all the mechanisms all the way up to the software.
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ื•ื›ืœ ื”ืžื›ื ื™ืงื” ื›ืœ ื”ื“ืจืš ืขื“ ืœืชื•ื›ื ื”.
02:39
I wanted to create something
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ืจืฆื™ืชื™ ืœื™ืฆื•ืจ ืžืฉื”ื•
02:40
where we could move objects under computer control
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ืฉืื•ื›ืœ ืœื”ื–ื™ื– ืขืฆืžื™ื ืชื—ืช ืฉืœื™ื˜ื” ืžืžื•ื—ืฉื‘ืช
02:44
and create interactions around that idea
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ื•ืœื™ืฆื•ืจ ื™ื—ืกื™ ื’ื•ืžืœื™ืŸ ืกื‘ื™ื‘ ื”ืจืขื™ื•ืŸ ื”ื–ื”
02:46
without having to go through this process
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ื‘ืœื™ ืœืขื‘ื•ืจ ืืช ื”ืชื”ืœื™ืš ื”ื–ื”
02:48
of building something from scratch
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ืฉืœ ืœื‘ื ื•ืช ืžืฉื”ื• ืžื”ื”ืชื—ืœื”
02:49
every single time.
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ื›ืœ ืคืขื.
02:51
So my first attempt at this
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ืื– ื”ื ืกื™ื•ืŸ ื”ืจืืฉื•ืŸ ืฉืœื™ ื‘ื–ื”
02:53
was at the MIT Media Lab
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ื”ื™ื” ื‘ืžืขื‘ื“ื•ืช ื”ืžื“ื™ื” ืฉืœ MIT
02:55
with Professor Hiroshi Ishii,
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ืขื ืคืจื•ืคืกื•ืจ ื”ื™ืจื•ืฉื™ ืื™ืฉื™,
02:56
and we built this array of
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ื•ื‘ื ื™ื ื• ืืช ื”ืžืขืจืš ื”ื–ื” ืฉืœ
02:58
512 different electromagnets,
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512 ืืœืงื˜ืจื•ืžื’ื ื˜ื™ื ืฉื•ื ื™ื,
03:00
and together they were able to move objects around
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ื•ื™ื—ื“ ื”ื ื”ื™ื• ืžืกื•ื’ืœื™ื ืœื”ื ื™ืข ืื•ื‘ื™ื™ืงื˜ื™ื
03:03
on top of their surface.
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ืขืœ ื’ื‘ื™ ื”ืžืฉื˜ื— ืฉืœื”ื.
03:04
But the problem with this
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ืื‘ืœ ื”ื‘ืขื™ื” ืขื ื–ื”
03:06
was that these magnets
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ื”ื™ืชื” ืฉื”ืžื’ื ื˜ื™ื ื”ืืœื”
03:08
cost over 10,000 dollars.
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ืขืœื• ื™ื•ืชืจ ืž 10,000 ื“ื•ืœืจ.
03:10
Although each one was pretty small,
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ืœืžืจื• ืฉื›ืœ ืื—ื“ ืžื”ื ื”ื•ื ื“ื™ ืงื˜ืŸ,
03:11
altogether they weighed so much
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ื™ื—ื“ ื”ื ืฉื•ืงืœื™ื ื›ืœ ื›ืš ื”ืจื‘ื”
03:13
that the table that they were on
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ืฉื”ืฉื•ืœื—ืŸ ืฉื”ื ื”ื™ื• ืขืœื™ื•
03:14
started to sag.
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ื”ืชื—ื™ืœ ืœื”ืชืขืงื.
03:16
So I wanted to build something
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ืื– ืจืฆื™ืชื™ ืœื‘ื ื•ืช ืžืฉื”ื•
03:17
where you could have this kind of interaction
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ื‘ื• ื ื•ื›ืœ ืœืงื‘ืœ ืืช ืื•ืชื• ืกื•ื’ ืฉืœ ื™ื›ื•ืœื•ืช
03:19
on any tabletop surface.
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ืขืœ ื›ืœ ืžืฉื˜ื— ืฉืœ ืฉื•ืœื—ืŸ.
03:21
So to explore this idea,
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ืื– ื›ื“ื™ ืœื—ืงื•ืจ ืืช ื”ืจืขื™ื•ืŸ ื”ื–ื”,
03:24
I built an army of small robots,
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ื‘ื ื™ืชื™ ืฆื‘ื ืฉืœ ืจื•ื‘ื•ื˜ื™ื ืงื˜ื ื™ื,
03:26
and each of these robots has what are called omni wheels.
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ื•ื›ืœ ืื—ื“ ืžื”ืจื•ื‘ื•ื˜ื™ื ื”ื™ื” ืžื” ืฉื ืงืจื ื’ืœื’ืœื™ ืื•ืžื ื™.
03:28
They're these special wheels
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ื”ื ืกื•ื’ ืžื™ื•ื—ื“ ืฉืœ ื’ืœื’ืœื™ื
03:30
that can move equally easily in all directions,
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ืฉื™ื›ื•ืœื™ื ืœื ื•ืข ื‘ืื•ืชื” ืงืœื•ืช ืœื›ืœ ื”ื›ื™ื•ื•ื ื™ื,
03:32
and when you couple these robots
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ื•ื›ืฉืžื—ื‘ืจื™ื ืืช ื”ืจื•ื‘ื•ื˜ื™ื
03:35
with a video projector,
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ืขื ืžืงืจืŸ ื•ื™ื“ืื•,
03:37
you have these physical tools
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ื™ืฉ ืœื›ื ื›ืœื™ ืคื™ืกื™
03:39
for interacting with digital information.
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ืœืชืงืฉืจ ืขื ืžื™ื“ืข ื“ื™ื’ื™ื˜ืœื™.
03:42
So here's an example of what I mean.
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ืื– ื”ื ื” ื“ื•ื’ืžื” ืœืžื” ืื ื™ ืžืชื›ื•ื•ืŸ.
03:43
This is a video editing application
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ื–ื” ืืคืœื™ืงืฆื™ื™ืช ืขืจื™ื›ืช ื•ื™ื“ืื•
03:45
where all of the controls
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ื‘ื” ื›ืœ ื”ื‘ืงืจื™ื
03:47
for manipulating the video are physical.
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ืœืขืจื™ื›ืช ื”ื•ื™ื“ืื• ื”ื ืคื™ืกื™ื™ื.
03:49
So if we want to tweak the color,
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ืื– ืื ืื ื—ื ื• ืจื•ืฆื™ื ืœืฉื ื•ืช ืืช ื”ืฆื‘ืข,
03:51
we just enter the color mode,
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ืื ื—ื ื• ืคืฉื•ื˜ ืžื›ื ื™ืกื™ื ืื•ืชื” ืœืžืฆื‘ ืฆื‘ืข,
03:52
and then we get three different dials
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ื•ืื– ืื ื—ื ื• ืžืงื‘ืœื™ื ืฉืœื•ืฉ ื—ื•ื’ื•ืช ืฉื•ื ื•ืช
03:53
for tweaking the color,
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ืœืฉื™ื ื•ื™ ื”ืฆื‘ืข,
03:55
or if we want to adjust the audio,
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ืื• ืื ืื ื—ื ื• ืจื•ืฆื™ื ืœืฉื ื•ืช ืืช ื”ืื•ื“ื™ื•,
03:57
then we get two different dials for that, these physical objects.
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ืื– ืื ื—ื ื• ืžืงื‘ืœื™ื ืฉืชื™ ื—ื•ื’ื•ืช ืฉื•ื ื•ืช ืœื–ื”, ื”ืื•ื‘ื™ื™ืงื˜ื™ื ื”ืคื™ืกื™ื™ื ื”ืืœื”.
04:00
So here the left and right channel stay in sync,
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ืื– ืคื” ื”ืขืจื•ืฆื™ื ื”ืฉืžืœื™ ื•ื”ื™ืžื ื™ื ื ืฉืืจื™ื ืžืกื•ื ื›ืจื ื™ื,
04:03
but if we want to, we can override that
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ืื‘ืœ ืื ืื ื—ื ื• ืจื•ืฆื™ื, ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืขืงื•ืฃ ืืช ื–ื”
04:05
by grabbing both of them at the same time.
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ืขืœ ื™ื“ื™ ืชืคื™ืกืช ืฉื ื™ื™ื”ื ื‘ืื•ืชื• ื–ืžืŸ.
04:08
So the idea is that we get the speed
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ืื– ื”ืจืขื™ื•ืŸ ื”ื•ื ืฉืื ื—ื ื• ืžืงื‘ืœื™ื ืืช ื”ืžื”ื™ืจื•ืช
04:10
and efficiency benefits of using these physical dials
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ื•ื”ื™ืขื™ืœื•ืช ืฉืœ ืฉื™ืžื•ืฉ ื‘ืžืžืฉืงื™ื ื”ืคื™ืกื™ื™ื ื”ืืœื”
04:13
together with the flexibility and versatility
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ื™ื—ื“ ืขื ื”ื’ืžื™ืฉื•ืช ื•ื”ืจื‘ื’ื•ื ื™ื•ืช
04:16
of a system that's designed in software.
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ืฉืœ ืžืขืจื›ืช ืฉืžืชื•ื›ื ื ืช ื‘ืชื•ื›ื ื”.
04:19
And this is a mapping application
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ื•ื–ื” ืืคืœื™ืงืฆื™ื™ืช ืžื™ืคื•ื™
04:21
for disaster response.
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ืœืžืขื ื” ืœืืกื•ื ื•ืช.
04:23
So you have these physical objects
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ืื– ื™ืฉ ืœื”ื ืืช ื”ืื•ื‘ื™ื™ืงื˜ื™ื ื”ืคื™ืกื™ื™ื ื”ืืœื”
04:25
that represent police, fire and rescue,
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ืฉืžื™ื™ืฆื’ื™ื ืžืฉื˜ืจื”, ื—ื™ืœื•ืฅ ื•ื›ื™ื‘ื•ื™ ืืฉ,
04:27
and a dispatcher can grab them
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ื•ืžืฉืœื— ื™ื›ื•ืœ ืœืชืคื•ืก ืื•ืชื
04:29
and place them on the map
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ื•ืœื”ื ื™ื— ืื•ืชื ืขืœ ื”ืžืคื”
04:30
to tell those units where to go,
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ื›ื“ื™ ืœื”ื’ื™ื“ ืœื™ื—ื™ื“ื•ืช ื”ืืœื” ืœืืŸ ืœืœื›ืช.
04:32
and then the position of the units on the map
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ื•ืื– ื”ืžื™ืงื•ื ืฉืœ ื”ื™ื—ื™ื“ื•ืช ืขืœ ื”ืžืคื”
04:34
gets synced up with the position
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ืžืกื•ื ื›ืจืŸ ืขื ื”ืžื™ืงื•ื
04:36
of those units in the real world.
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ืฉืœ ื”ื™ื—ื™ื“ื•ืช ื‘ืขื•ืœื ื”ืืžื™ืชื™.
04:40
This is a video chat application.
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ื–ื• ืืคืœื™ืงืฆื™ื™ืช ืฆ'ื˜ ื‘ื•ื™ื“ืื•.
04:42
It's amazing how much emotion you can convey
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ื–ื” ืžื“ื”ื™ื ื›ืžื” ืจื’ืฉื•ืช ืืชื ื™ื›ื•ืœื™ื ืœื”ืขื‘ื™ืจ
04:44
with just a few simple movements
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ืขื ืชื ื•ืขื•ืช ืคืฉื•ื˜ื•ืช
04:45
of a physical object.
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ืฉืœ ืื•ื‘ื™ื™ืงื˜ื™ื ืคื™ืกื™ื™ื.
04:48
With this interface, we open up a huge array of possibilities
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ืขื ื”ืžืžืฉืง ื”ื–ื”, ืื ื—ื ื• ืคื•ืชื—ื™ื ืžืขืจืš ืฉืœื ืฉืœ ืืคืฉืจื•ื™ื•ืช
04:51
in between traditional board games
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ื‘ื™ืŸ ืžืฉื—ืงื™ ื”ืฉื•ืœื—ืŸ ื”ืจื’ื™ืœื™ื
04:53
and arcade games,
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ื•ืžืฉื—ืงื™ ืืจืงื™ื™ื“,
04:54
where the physical possibilities of interaction
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ืฉื ื”ืืคืฉืจื•ื™ื•ืช ื”ืคื™ืกื™ื•ืช ืœืชืงืฉื•ืจืช
04:57
make so many different styles of play possible.
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ื”ื•ืคื›ื•ืช ื›ืœ ื›ืš ื”ืจื‘ื” ืกื’ื ื•ื ื•ืช ืžืฉื—ืง ืœืืคืฉืจื™ื™ื.
05:00
But one of the areas that I'm most excited
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ืื‘ืœ ืื—ื“ ื”ืชื—ื•ืžื™ื ืฉืื ื™ ื”ื›ื™ ื ืจื’ืฉ
05:03
about using this platform for
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ืœืฉื™ืžื•ืฉ ื‘ืคืœื˜ืคื•ืจืžื” ื”ื–ื•
05:05
is applying it to problems that are difficult
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ื”ื•ื ืœื™ื™ืฉื ืื•ืชื” ืœื‘ืขื™ื•ืช ืžืžืฉ ืงืฉื•ืช
05:07
for computers or people to solve alone.
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ืœืžื—ืฉื‘ื™ื ืื• ืื ืฉื™ื ืœืคืชื•ืจ ืœื‘ื“.
05:09
One example of those is protein folding.
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ื“ื•ื’ืžื” ืื—ืช ืœื–ื” ื”ื™ื ืงื™ืคื•ืœ ื—ืœื‘ื•ื ื™ื.
05:12
So here we have an interface
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ืื– ื›ืืŸ ื™ืฉ ืœื ื• ืžืžืฉืง
05:13
where we have physical handles onto a protein,
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ื‘ื• ื™ืฉ ืœื ื• ื™ื“ื™ื•ืช ืคื™ืกื™ื•ืช ืขืœ ื—ืœื‘ื•ืŸ,
05:17
and we can grab those handles
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ื•ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืชืคื•ืฉ ืืช ื”ื™ื“ื™ื•ืช ื”ืืœื•
05:19
and try to move the protein and try to fold it in different ways.
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ื•ืœื ืกื•ืช ืœื”ื ื™ืข ืืช ื”ื—ืœื‘ื•ืŸ ื•ืœื ืกื•ืช ืœืงืคืœ ืื•ืชื• ื‘ืฆื•ืจื•ืช ืฉื•ื ื•ืช.
05:22
And if we move it in a way that doesn't really make sense
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ื•ืื ืื ื—ื ื• ืžื–ื™ื–ื™ื ืื•ืชื• ื‘ื“ืจืš ืฉืœื ื”ื’ื™ื•ื ื™ืช
05:25
with the underlying molecular simulation,
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ืขื ื”ืกื™ืžื•ืœืฆื™ื” ื”ืžื•ืœืงื•ืœืจื™ืช ืฉืžืชื—ืช,
05:27
we get this physical feedback where we can
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ืื ื—ื ื• ืžืงื‘ืœื™ื ื—ื™ื•ื•ื™ ืคื™ืกื™ ืฉื ืื ื—ื ื• ื™ื›ื•ืœื™ื
05:29
actually feel these physical handles
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ืœืžืขืฉื” ืœื”ืจื’ื™ืฉ ืืช ื”ื™ื“ื™ื•ืช ื”ืคื™ืกื™ื•ืช ื”ืืœื”
05:31
pulling back against us.
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ืžื•ืฉื›ื•ืช ื ื’ื“ื ื•.
05:32
So feeling what's going on
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ืื– ืœื”ืจื’ื™ืฉ ืžื” ืงื•ืจื”
05:34
inside a molecular simulation
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ื‘ืชื•ืš ื”ื“ืžื™ื” ืžื•ืœืงื•ืœืจื™ืช
05:36
is a whole different level of interaction.
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ื–ื” ืจืžื” ืฉื•ื ื” ืœื’ืžืจื™ ืฉืœ ืชืงืฉื•ืจืช.
05:39
So we're just beginning to explore
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ืื– ืจืง ื”ืชื—ืœื ื• ืœื—ืงื•ืจ
05:42
what's possible when we use software
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ืžื” ืืคืฉืจื™ ื›ืฉืืชื ืžืฉืชืžืฉื™ื ื‘ืชื•ื›ื ื”
05:45
to control the movement
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ื›ื“ื™ ืœืฉืœื•ื˜ ื‘ืชื ื•ืขื”
05:46
of objects in our environment.
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ืฉืœ ืขืฆืžื™ื ื‘ืกื‘ื™ื‘ื” ืฉืœื ื•.
05:48
Maybe this is the computer of the future.
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ืื•ืœื™ ื–ื” ื”ืžื—ืฉื‘ ืฉืœ ื”ืขืชื™ื“.
05:51
There's no touchscreen.
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ืื™ืŸ ืžืกืš ืžื’ืข.
05:53
There's no technology visible at all.
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ืื™ืŸ ื˜ื›ื ื•ืœื•ื’ื™ื” ื’ืœื•ื™ื” ื‘ื›ืœืœ.
05:55
But when we want to have a video chat
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ืื‘ืœ ื›ืฉืื ื—ื ื• ืจื•ืฆื™ื ืœื ื”ืœ ืฉื™ื—ืช ื•ื™ื“ืื•
05:57
or play a game
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ืื• ืœืฉื—ืง ื‘ืžืฉื—ืง
05:58
or lay out the slides to our next TED Talk,
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ืื• ืœื”ื›ื™ืŸ ืฉืงื•ืคื™ื•ืช ืœื”ืจืฆืืช TED ื”ื‘ืื” ืฉืœื ื•,
06:01
the objects on the table come alive.
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ื”ืื•ื‘ื™ื™ืงื˜ื™ื ืฉืขืœ ื”ืฉื•ืœื—ืŸ ื™ืงื•ืžื• ืœื—ื™ื™ื.
06:03
Thank you.
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ืชื•ื“ื” ืœื›ื.
06:05
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
ื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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