Psychedelic Science | Fabian Oefner | TED Talks

214,646 views ใƒป 2013-10-03

TED


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

ืžืชืจื’ื: Shlomo Adam ืžื‘ืงืจ: Ido Dekkers
00:12
An image is worth more than a thousand words,
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ืชืžื•ื ื” ืฉื•ื•ื” ื™ื•ืชืจ ืžืืœืฃ ืžืœื™ื,
00:16
so I'm going to start my talk
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ืœื›ืŸ ืืชื—ื™ืœ ืืช ื”ืจืฆืืชื™
00:18
by stop talking and show you a few images
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ื‘ื›ืš ืฉืืคืกื™ืง ืœื“ื‘ืจ ื•ืืจืื” ืœื›ื ื›ืžื” ืชืžื•ื ื•ืช
00:21
that I recently captured.
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ืฉืฆื™ืœืžืชื™ ืœืื—ืจื•ื ื”.
00:42
So by now, my talk is already 6,000 words long,
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ื”ื”ืจืฆืื” ืฉืœื™ ื”ื™ื ื›ื‘ืจ ื‘ืื•ืจืš 6,000 ืžืœื™ื,
00:46
and I feel like I should stop here.
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ื•ื ืจืื” ืœื™ ืฉื›ื“ืื™ ืฉืืกื™ื™ื.
00:48
(Laughter)
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[ืฆื—ื•ืง]
00:51
At the same time, I probably owe you
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ืžืฆื“ ืฉื ื™, ื ืจืื” ืœื™ ืฉืื ื™ ื—ื™ื™ื‘ ืœื›ื
00:53
some explanation
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ื”ืกื‘ืจ ื›ืœืฉื”ื•
00:54
about the images that you just saw.
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ืœื’ื‘ื™ ื”ืชืžื•ื ื•ืช ืฉื–ื” ืขืชื” ืจืื™ืชื.
00:57
What I am trying to do as a photographer,
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ืžื” ืฉืื ื™ ืžื ืกื” ืœืขืฉื•ืช, ื›ืฆืœื,
00:59
as an artist, is to bring the world
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ื›ืืžืŸ, ื”ื•ื ืœื—ื‘ืจ ื‘ื™ืŸ ืขื•ืœืžื•ืช
01:02
of art and science together.
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ื”ืืžื ื•ืช ื•ื”ืžื“ืข:
01:05
Whether it is an image of a soap bubble
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ื‘ื™ืŸ ืื ืžื“ื•ื‘ืจ ื‘ืฆื™ืœื•ื ืฉืœ ื‘ื•ืขืช ืกื‘ื•ืŸ
01:08
captured at the very moment where it's bursting,
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ืฉื ืœื›ื“ื” ื‘ืขื™ืŸ ื”ืžืฆืœืžื” ื‘ืจื’ืข ื”ืชืคื•ืฆืฆื•ืชื”,
01:10
as you can see in this image,
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ื›ืคื™ ืฉืืชื ืจื•ืื™ื ื‘ืชืžื•ื ื” ื”ื–ื•,
01:13
whether it's a universe made of tiny little beads
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ื‘ื™ืŸ ืื ื–ื”ื• ื™ืงื•ื ืขืฉื•ื™ ืžืคื ื™ื ื™ื ื–ืขืจืขืจื•ืช
01:16
of oil paint,
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ืฉืœ ืฆื‘ืข ืฉืžืŸ,
01:18
strange liquids that behave in very peculiar ways,
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ื ื•ื–ืœื™ื ืžืฉื•ื ื™ื ืฉืžืชื ื”ื’ื™ื ื‘ืฆื•ืจื•ืช ืžื•ื–ืจื•ืช,
01:22
or paint that is modeled by centrifugal forces,
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ืื• ืฆื‘ืข ืฉืžืขื•ืฆื‘ ื‘ื™ื“ื™ ื›ื•ื—ื•ืช ืฆื ื˜ืจื™ืคื•ื’ืœื™ื™ื -
01:27
I'm always trying to link those two fields together.
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ืื ื™ ืชืžื™ื“ ืžื ืกื” ืœืงืฉืจ ื‘ื™ืŸ ืฉื ื™ ื”ืชื—ื•ืžื™ื ื”ืืœื”.
01:31
What I find very intriguing about those two
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ืžื” ืฉืžืกืงืจืŸ ืื•ืชื™ ื‘ืฉื ื™ื”ื,
01:33
is that they both look at the same thing:
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ื”ื•ื ืฉืฉื ื™ื”ื ืžืชื™ื™ื—ืกื™ื ืœืื•ืชื• ื ื•ืฉื:
01:36
They are a response to their surroundings.
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ืฉื ื™ื”ื ืžื”ื•ื•ื™ื ืชื’ื•ื‘ื” ืœืกื‘ื™ื‘ืชื.
01:39
And yet, they do it in a very different way.
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ืื‘ืœ ืขื•ืฉื™ื ื–ืืช ื‘ื“ืจื›ื™ื ืฉื•ื ื•ืช.
01:43
If you look at science on one hand,
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ืื ื ืกืชื›ืœ ืขืœ ื”ืžื“ืข, ืžืฆื“ ืื—ื“,
01:45
science is a very rational approach
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ื”ืžื“ืข ื”ื•ื ื’ื™ืฉื” ืจืฆื™ื•ื ืœื™ืช ืžืื“
01:48
to its surroundings,
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ืœืกื‘ื™ื‘ืชื•.
01:50
whereas art on the other hand
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ื‘ืขื•ื“ ืฉื”ืืžื ื•ืช, ืžืฆื“ ืฉื ื™,
01:52
is usually an emotional approach to its surroundings.
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ื”ื™ื ื‘ื“"ื› ื’ื™ืฉื” ืจื’ืฉื™ืช ืœืกื‘ื™ื‘ืชื”.
01:56
What I am trying to do is I'm trying
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ืžื” ืฉืื ื™ ืžื ืกื” ืœืขืฉื•ืช ื”ื•ื
01:58
to bring those two views into one
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ืœืื—ื“ ืืช ืฉืชื™ ื”ื”ืฉืงืคื•ืช ื”ืืœื”
02:01
so that my images both speak to the viewer's heart
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ื›ื“ื™ ืฉื”ืฆื™ืœื•ืžื™ื ืฉืœื™ ื™ื“ื‘ืจื• ืืœ ืœื™ื‘ื ืฉืœ ื”ืฆื•ืคื™ื
02:05
but also to the viewer's brain.
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ืื‘ืœ ื’ื ืืœ ืžื•ื—ื.
02:08
Let me demonstrate this based on three projects.
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ื”ื‘ื” ื•ืื“ื’ื™ื ื–ืืช ื‘ืขื–ืจืช ืฉืœื•ืฉื” ืžื™ื–ืžื™ื.
02:13
The first one has to do with making sound visible.
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ื”ืจืืฉื•ืŸ ืงืฉื•ืจ ื‘ื”ืคื™ื›ืช ืฆืœื™ืœ ืœื ืจืื”.
02:18
Now as you may know,
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ื›ืคื™ ืฉืืชื ื•ื“ืื™ ื™ื•ื“ืขื™ื,
02:19
sound travels in waves,
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ื”ืฆืœื™ืœ ื ืข ื‘ื’ืœื™ื,
02:21
so if you have a speaker,
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ื›ืš ืฉืื ื™ืฉ ืจืžืงื•ืœ,
02:24
a speaker actually does nothing else
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ื›ืœ ืžื” ืฉื”ืจืžืงื•ืœ ืขื•ืฉื”
02:26
than taking the audio signal,
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ื”ื•ื ืœืงื—ืช ืื•ืช ืฉืžืข,
02:28
transform it into a vibration,
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ืœื”ืคื•ืš ืื•ืชื• ืœืจื™ื˜ื•ื˜,
02:31
which is then transported through the air,
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ืฉืžื•ืขื‘ืจ ื“ืจืš ื”ืื•ื•ื™ืจ,
02:34
is captured by our ear,
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ื ืœื›ื“ ืข"ื™ ืื•ื–ื ื ื•
02:36
and transformed into an audio signal again.
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ื•ื”ื•ืคืš ื‘ื—ื–ืจื” ืœืื•ืช ืฉืžืข.
02:39
Now I was thinking,
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ืฉืืœืชื™ ืืช ืขืฆืžื™,
02:41
how can I make those sound waves visible?
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ืื™ืš ืื•ื›ืœ ืœื”ืคื•ืš ื’ืœื™ ืงื•ืœ ืืœื” ืœื ืจืื™ื?
02:45
So I came up with the following setup.
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ืื– ื”ืžืฆืืชื™ ืืช ื”ืžืขืจื›ืช ื”ื‘ืื”:
02:48
I took a speaker, I placed a thin foil
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ืœืงื—ืชื™ ืจืžืงื•ืœ, ื”ื ื—ืชื™ ืจื“ื™ื“ ื“ืง
02:51
of plastic on top of that speaker,
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ืฉืœ ื ื™ื™ืœื•ืŸ ืขืœ ื’ื‘ื™ ื”ืจืžืงื•ืœ,
02:54
and then I added tiny little crystals
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ื•ื”ื•ืกืคืชื™ ื’ื‘ื™ืฉื™ื ื–ืขื™ืจื™ื
02:56
on top of that speaker.
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ืขืœ ืื•ืชื• ืจืžืงื•ืœ.
02:58
And now, if I would play a sound through that speaker,
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ื›ืขืช, ืื ืืฉืžื™ืข ืฆืœื™ืœ ื“ืจืš ื”ืจืžืงื•ืœ ื”ื–ื”,
03:01
it would cause the crystals to move up and down.
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ืื’ืจื•ื ืœื’ื‘ื™ืฉื™ื ื”ืืœื” ืœืขืœื•ืช ื•ืœืจื“ืช.
03:05
Now this happens very fast,
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ื–ื” ืงื•ืจื” ืžื”ืจ ืžืื“,
03:07
in the blink of an eye,
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ื›ื”ืจืฃ ืขื™ืŸ,
03:09
so, together with LG, we captured this motion
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ืื– ื™ื—ื“ ืขื ืืœ-ื’'ื™, ืœื›ื“ื ื• ืืช ื”ืชื ื•ืขื” ื”ื–ื•
03:13
with a camera that is able
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ื‘ืขื–ืจืช ืžืฆืœืžื” ืฉืžืกื•ื’ืœืช
03:15
to capture more than 3,000 frames per second.
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ืœืœื›ื•ื“ ืžืขืœ 3,000 ืฆื™ืœื•ืžื™ื ื‘ืฉื ื™ื”.
03:18
Let me show you what this looks like.
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ืืจืื” ืœื›ื ืื™ืš ื–ื” ื ืจืื”.
03:22
(Music: "Teardrop" by Massive Attack)
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[ืžื•ืกื™ืงื”: "ื“ืžืขื”" ืžืืช ืžืืกื™ื‘ ืื˜ืืง]
04:03
(Applause)
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[ืžื—ื™ืื•ืช ื›ืคื™ื™ื]
04:08
Thank you very much.
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ืชื•ื“ื” ืจื‘ื” ืœื›ื.
04:09
I agree, it looks pretty amazing.
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ืื ื™ ืžืกื›ื™ื ืื™ืชื›ื. ื–ื” ื ืจืื” ืžื“ื”ื™ื ืœืžื“ื™.
04:13
But I have to tell you a funny story.
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ืื‘ืœ ืขืœื™ ืœืกืคืจ ืœื›ื ืžืฉื”ื• ืžืฆื—ื™ืง.
04:15
I got an indoor sunburn doing this
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ื—ื˜ืคืชื™ ื›ื•ื•ื™ื™ืช ืฉืžืฉ ื‘ืชื•ืš ื”ื‘ื™ืช
04:18
while shooting in Los Angeles.
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ื›ืฉืฆื™ืœืžืชื™ ื‘ืœื•ืก-ืื ื’'ืœืก.
04:20
Now in Los Angeles, you could get a decent sunburn
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ื‘ืœื•ืก-ืื ื’'ืœืก ืืคืฉืจ ืœื—ื˜ื•ืฃ ื›ื•ื•ื™ื™ืช ืฉืžืฉ ื”ื’ื•ื ื”
04:22
just on any of the beaches,
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ื‘ื›ืœ ืื—ื“ ืžื—ื•ืคื™ ื”ืจื—ืฆื”.
04:24
but I got mine indoors,
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ืื‘ืœ ืื ื™ ื ืฉืจืคืชื™ ื‘ื‘ื™ืช,
04:26
and what happened is that,
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ื•ืžื” ืฉืงืจื” ื”ื•ื,
04:27
if you're shooting at 3,000 frames per second,
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ืฉืื ืžืฆืœืžื™ื 3,000 ืฆื™ืœื•ืžื™ื ื‘ืฉื ื™ื”,
04:30
you need to have a silly amount of light, lots of lights.
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ื ื—ื•ืฆื” ื›ืžื•ืช ืžื˜ื•ืžื˜ืžืช ืฉืœ ืื•ืจ, ื”ืžื•ืŸ ืชืื•ืจื”.
04:35
So we had this speaker set up,
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ืื– ื”ื›ื ื• ืืช ื”ืจืžืงื•ืœ ื”ื–ื”,
04:37
and we had the camera facing it,
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ื”ืฆื‘ื ื• ืžื•ืœื• ืžืฆืœืžื”,
04:39
and lots of lights pointing at the speaker,
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ื•ื”ืžื•ืŸ ืชืื•ืจื” ืฉื›ื•ื•ื ื” ืืœ ื”ืจืžืงื•ืœ,
04:42
and I would set up the speaker,
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ื•ืื ื™ ื”ื™ื™ืชื™ ืžื›ื™ืŸ ืืช ื”ืจืžืงื•ืœ,
04:44
put the tiny little crystals on top of that speaker,
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ืžื ื™ื— ืืช ื”ื’ื‘ื™ืฉื™ื ื”ืงื˜ื ื™ื ืขืœ ื”ืจืžืงื•ืœ,
04:47
and we would do this over and over again,
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ื•ื—ื–ืจื ื• ืขืœ ื–ื” ืฉื•ื‘ ื•ืฉื•ื‘,
04:49
and it was until midday that I realized
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ืขื“ ืฉื‘ืืžืฆืข ื”ื™ื•ื ืงืœื˜ืชื™
04:52
that I had a completely red face
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ืฉื”ืคื ื™ื ืฉืœื™ ืื“ื•ืžื•ืช ืœื’ืžืจื™
04:55
because of the lights pointing at the speaker.
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ื‘ื’ืœืœ ื”ืื•ืจื•ืช ืฉื”ื™ื• ืžื›ื•ื•ื ื™ื ืืœ ื”ืจืžืงื•ืœ.
04:58
What was so funny about it was that
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ืžื” ืฉื”ื™ื” ื›"ื› ืžืฆื—ื™ืง ื‘ื–ื”
05:00
the speaker was only coming from the right side,
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ืฉื”ืจืžืงื•ืœ ืฆื•ืœื ืจืง ืžืฆื™ื“ื• ื”ื™ืžื ื™,
05:03
so the right side of my face was completely red
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ืื– ืฆื“ ื™ืžื™ืŸ ืฉืœ ื”ืคื ื™ื ืฉืœื™ ื”ื™ื” ืื“ื•ื ืœื’ืžืจื™
05:06
and I looked like the Phantom of the Opera
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ื•ื ืจืื™ืชื™ ื›ืžื• ืคื ื˜ื•ื ื”ืื•ืคืจื”
05:08
for the rest of the week.
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ื‘ืžืฉืš ื›ืœ ืฉืืจ ื”ืฉื‘ื•ืข.
05:11
Let me now turn to another project
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ื›ืขืช ืืคื ื” ืœืžื™ื–ื ื ื•ืกืฃ
05:13
which involves less harmful substances.
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ืฉื”ื™ื• ืžืขื•ืจื‘ื™ื ื‘ื• ื—ื•ืžืจื™ื ืคื—ื•ืช ืžื–ื™ืงื™ื.
05:19
Has anyone of you heard of ferrofluid?
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ืžื™ืฉื”ื• ืžื›ื ืฉืžืข ืขืœ ื ื•ื–ืœ ืžื’ื ื˜ื™?
05:23
Ah, some of you have. Excellent.
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ืื”, ื™ืฉ ื›ืžื” ืฉืฉืžืขื•. ืžืฆื•ื™ืŸ.
05:26
Should I skip that part?
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ืฉืื“ืœื’ ืขืœ ื”ื—ืœืง ื”ื–ื”?
05:27
(Laughter)
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[ืฆื—ื•ืง]
05:29
Ferrofluid has a very strange behavior.
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ืœื ื•ื–ืœ ืžื’ื ื˜ื™ ื™ืฉ ื”ืชื ื”ื’ื•ืช ืžืฉื•ื ื” ืžืื“.
05:32
It's a liquid that is completely black.
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ื–ื”ื• ื ื•ื–ืœ ืฉื—ื•ืจ ืœื’ืžืจื™.
05:34
It's got an oily consistency.
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ื™ืฉ ืœื• ืฆืžื™ื’ื•ืช ืฉืžื ื•ื ื™ืช.
05:37
And it's got tiny little particles of metal in it,
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ื•ื”ื•ื ืžื›ื™ืœ ื—ืœืงื™ืงื™ ืžืชื›ืช ื–ืขื™ืจื™ื,
05:40
which makes it magnetic.
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ืฉื”ื•ืคื›ื™ื ืื•ืชื• ืœืžื’ื ื˜ื™.
05:43
So if I now put this liquid into a magnetic field,
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ืื ืื ื™ ืžื ื™ื— ืืช ื”ื ื•ื–ืœ ื”ื–ื” ื‘ืฉื“ื” ืžื’ื ื˜ื™,
05:46
it would change its appearance.
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ื”ื•ื ื™ืฉื ื” ืืช ืžืจืื”ื•.
05:49
Now I've got a live demonstration over here
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ื™ืฉ ืœื™ ื›ืืŸ ื”ื“ื’ืžื” ื—ื™ื”
05:53
to show this to you.
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ื›ื“ื™ ืœื”ืจืื•ืช ืœื›ื ืืช ื–ื”.
05:59
So I've got a camera pointing down at this plate,
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ื™ืฉ ืœื™ ืžืฆืœืžื” ืฉืžื›ื•ื•ื ืช ืืœ ื”ืœื•ื— ื”ื–ื”,
06:02
and underneath that plate, there is a magnet.
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ื•ืžืชื—ืช ืœืœื•ื— ื™ืฉื ื• ืžื’ื ื˜.
06:06
Now I'm going to add some of that ferrofluid
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ื›ืขืช ืื•ืกื™ืฃ ืžืขื˜ ื ื•ื–ืœ ืžื’ื ื˜ื™
06:09
to that magnet.
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ืืœ ื”ืžื’ื ื˜.
06:17
Let's just slightly move it to the right
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ื ื–ื™ื– ืืช ื–ื” ืžืขื˜ ื™ืžื™ื ื”
06:25
and maybe focus it a little bit more. Excellent.
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ื•ื ืชืžืงื“ ื™ื•ืชืจ. ืžืฆื•ื™ืŸ.
06:30
So what you can see now is that
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ืžื” ืฉืืชื ืจื•ืื™ื ืขื›ืฉื™ื•
06:32
the ferrofluid has formed spikes.
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ื”ื•ื ืฉื”ื ื•ื–ืœ ื”ืžื’ื ื˜ื™ ื™ืฆืจ ื‘ืœื™ื˜ื•ืช.
06:34
This is due to the attraction and the repulsion
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ื–ื” ื ื•ื‘ืข ืžื”ืžืฉื™ื›ื” ื•ื”ื“ื—ื™ื™ื”
06:38
of the individual particles inside the liquid.
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ืฉืœ ื”ื—ืœืงื™ืงื™ื ื”ื ืคืจื“ื™ื ืฉื‘ืชื•ืš ื”ื ื•ื–ืœ.
06:41
Now this looks already quite interesting,
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ื–ื” ื›ื‘ืจ ื ืจืื” ื“ื™ ืžืขื ื™ื™ืŸ,
06:43
but let me now add some watercolors to it.
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ืื‘ืœ ื›ืขืช ืื•ืกื™ืฃ ืœื–ื” ืงืฆืช ืฆื‘ืขื™ ืžื™ื.
06:47
Those are just standard watercolors
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ืืœื” ื”ื ืฆื‘ืขื™-ืžื™ื ืจื’ื™ืœื™ื
06:49
that you would paint with.
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ืฉืžืฆื™ื™ืจื™ื ื‘ื”ื.
06:51
You wouldn't paint with syringes,
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ืœื ืžืฆื™ื™ืจื™ื ื‘ืžื–ืจืงื™ื,
06:52
but it works just the same.
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ืื‘ืœ ื–ื” ืคื•ืขืœ ืื•ืชื• ื“ื‘ืจ.
07:10
So what happened now is,
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ืžื” ืฉืงื•ืจื” ื›ืขืช
07:12
when the watercolor was flowing into the structure,
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ื”ื•ื ืฉืฆื‘ืขื™ ื”ืžื™ื ื–ื•ืจืžื™ื ืœืชื•ืš ื”ืžื‘ื ื”,
07:16
the watercolors do not mix with the ferrofluid.
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ืฆื‘ืขื™ ื”ืžื™ื ืœื ืžืชืขืจื‘ื‘ื™ื ืขืœ ื”ื ื•ื–ืœ ื”ืžื’ื ื˜ื™.
07:19
That's because the ferrofluid itself
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ื›ื™ ื”ื ื•ื–ืœ ื”ืžื’ื ื˜ื™ ืขืฆืžื•
07:21
is hydrophobic.
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ื“ื•ื—ื” ืžื™ื.
07:24
That means it doesn't mix with the water.
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ื›ืœื•ืžืจ ืœื ืžืชืขืจื‘ื‘ ืขื ืžื™ื.
07:26
And at the same time, it tries to maintain its position
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ื‘ืžืงื‘ื™ืœ, ื”ื•ื ืžื ืกื” ืœืฉืžื•ืจ ืขืœ ืžื™ืงื•ืžื•
07:29
above the magnet,
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ืžืขืœ ื”ืžื’ื ื˜,
07:30
and therefore, it creates those amazing-looking
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ื•ืœื›ืŸ ื”ื•ื ื™ื•ืฆืจ ืืช ื”ืžืจืื” ื”ื ื”ื“ืจ ื”ื–ื”
07:33
structures of channels and tiny little ponds
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ืฉืœ ืžื‘ื ื” ื”ืชืขืœื•ืช ื•ื”ืฉืœื•ืœื™ื•ืช ื”ื–ืขื™ืจื•ืช ื”ืืœื”
07:37
of colorful water paint.
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ืฉืœ ืฆื‘ืขื™-ืžื™ื ืกืกื’ื•ื ื™ื™ื.
07:39
So that was the second project.
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ื–ื” ื”ื™ื” ื”ืžื™ื–ื ื”ืฉื ื™.
07:41
Let me now turn to the last project,
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ื•ื›ืขืช - ืœืžื™ื–ื ื”ืื—ืจื•ืŸ,
07:43
which involves
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ืฉื‘ื• ื”ืฉืชืžืฉืชื™
07:48
the national beverage of Scotland.
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ื‘ืžืฉืงื” ื”ืงืœ ื”ืœืื•ืžื™ ืฉืœ ืกืงื•ื˜ืœื ื“.
07:50
(Laughter)
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[ืฆื—ื•ืง]
07:53
This image, and also this one,
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ื”ืชืžื•ื ื” ื”ื–ื•, ื•ื’ื ื–ื•,
07:57
were made using whiskey.
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ื ืขืฉื• ื‘ืขื–ืจืช ื•ื™ืกืงื™.
08:00
Now you might ask yourself,
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ืื•ืœื™ ืืชื ืฉื•ืืœื™ื ืืช ืขืฆืžื›ื,
08:01
how did he do that?
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"ืื™ืš ื”ื•ื ืขืฉื” ืืช ื–ื”?
08:02
Did he drink half a bottle of whiskey
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"ื”ืื ื”ื•ื ืฉืชื” ื—ืฆื™ ื‘ืงื‘ื•ืง ื•ื™ืกืงื™
08:04
and then draw the hallucination he got
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"ื•ืื– ืฆื™ื™ืจ ืืช ื”ื”ื–ื™ื•ืช ืฉืจืื”,
08:07
from being drunk onto paper?
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"ื›ืฉื”ื™ื” ืฉืชื•ื™, ืขืœ ื”ื ื™ื™ืจ?"
08:11
I can assure you I was fully conscious
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ืื ื™ ืžื‘ื˜ื™ื— ืœื›ื ืฉื”ื™ื™ืชื™ ืคื™ื›ื— ืœื’ืžืจื™
08:13
while I was taking those pictures.
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ื›ืฉืฆื™ืœืžืชื™ ืืช ื”ืชืžื•ื ื•ืช ื”ืืœื”.
08:16
Now, whiskey contains 40 percent of alcohol,
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ื”ื•ื•ื™ืกืงื™ ืžื›ื™ืœ 40% ืืœื›ื•ื”ื•ืœ,
08:20
and alcohol has got some very interesting properties.
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ื•ืœืืœื›ื•ื”ื•ืœ ื™ืฉ ื›ืžื” ืชื›ื•ื ื•ืช ืžืขื ื™ื™ื ื•ืช ืžืื“.
08:24
Maybe you have experienced
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ืื•ืœื™ ื›ื‘ืจ ื”ืชื ืกื™ืชื
08:26
some of those properties before,
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ื‘ื›ืžื” ืžื”ืชื›ื•ื ื•ืช ื”ืืœื”,
08:28
but I am talking about the physical properties,
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ืื‘ืœ ืื ื™ ืžื“ื‘ืจ ืขื›ืฉื™ื• ืขืœ ื”ืชื›ื•ื ื•ืช ื”ืคื™ื–ื™ื•ืช,
08:31
not the other ones.
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ืœื ืขืœ ื”ืชื›ื•ื ื•ืช ื”ืื—ืจื•ืช.
08:33
So when I open the bottle, the alcohol molecules
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ื›ืฉืื ื™ ืคื•ืชื— ืืช ื”ื‘ืงื‘ื•ืง, ืžื•ืœืงื•ืœื•ืช ื”ืืœื›ื•ื”ื•ืœ
08:37
would spread in the air,
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ืžืชืคืฉื˜ื•ืช ื‘ืื•ื•ื™ืจ,
08:39
and that's because alcohol is a very volatile substance.
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ื•ื–ื” ืžืฉื•ื ืฉื”ืืœื›ื•ื”ื•ืœ ื”ื•ื ื—ื•ืžืจ ื ื“ื™ืฃ ื‘ื™ื•ืชืจ.
08:43
And at the same time, alcohol is highly flammable.
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ื‘ื ื•ืกืฃ, ื”ืืœื›ื•ื”ื•ืœ ื”ื•ื ื’ื ื“ืœื™ืง ืžืื“.
08:47
And it was with those two properties
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ื•ื”ื•ื“ื•ืช ืœืฉืชื™ ื”ืชื›ื•ื ื•ืช ื”ืืœื”
08:49
that I was able to create the images
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ื™ื›ื•ืœืชื™ ืœื™ืฆื•ืจ ืืช ื”ืชืžื•ื ื•ืช ื”ืืœื”
08:52
that you're seeing right now.
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ืฉืืชื ืจื•ืื™ื ื›ืจื’ืข.
08:54
Let me demonstrate this over here.
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ืื“ื’ื™ื ืืช ื–ื” ื›ืืŸ.
09:04
And what I have here is an empty glass vessel.
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ื™ืฉ ืœื™ ื›ืืŸ ืžื™ื›ืœ ื–ื›ื•ื›ื™ืช ืจื™ืง.
09:08
It's got nothing in it.
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ืื™ืŸ ื‘ื• ื›ืœื•ื.
09:09
And now I'm going to fill it with oxygen
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ื•ื›ืขืช ืืžืœื ืื•ืชื• ื‘ื—ืžืฆืŸ
09:13
and whiskey.
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ื•ื‘ื•ื•ื™ืกืงื™.
09:31
Add some more.
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ืขื•ื“ ืงืฆืช.
09:38
Now we just wait for a few seconds
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ื›ืขืช ื ื—ื›ื” ื›ืžื” ืฉื ื™ื•ืช
09:40
for the molecules to spread inside the bottle.
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ื›ื“ื™ ืฉื”ืžื•ืœืงื•ืœื•ืช ืชืชืคืฉื˜ื ื” ื‘ืชื•ืš ื”ื‘ืงื‘ื•ืง.
09:43
And now, let's set that on fire.
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ื•ื›ืขืช, ืื“ืœื™ืง ืืช ื–ื”.
09:45
(Laughter)
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[ืฆื—ื•ืง]
10:03
So that's all that happens.
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ื–ื” ื›ืœ ืžื” ืฉืงื•ืจื”.
10:05
It goes really fast, and it's not that impressive.
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ื–ื” ืงื•ืจื” ืžืžืฉ ืžื”ืจ, ื•ื–ื” ืœื ื”ื›ื™ ืžืจืฉื™ื.
10:08
I could do it again to show it one more time,
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ืื ื™ ื™ื›ื•ืœ ืœื—ื–ื•ืจ ืขืœ ื›ืš ื›ื“ื™ ืœื”ืจืื•ืช ืœื›ื ืฉื•ื‘,
10:11
but some would argue that this is a complete waste
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ืื‘ืœ ื™ืฉ ืžื™ ืฉื™ื˜ืขื ื• ืฉื–ื” ื‘ื–ื‘ื•ื– ืžื•ื—ืœื˜
10:13
of the whiskey, and that I should rather drink it.
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ืฉืœ ื”ื•ื•ื™ืกืงื™, ื•ืžื•ื˜ื‘ ื”ื™ื” ืื™ืœื• ืฉืชื™ืชื™ ืืช ื–ื”.
10:17
But let me show you a slow motion
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ืื‘ืœ ื›ืขืช ืืจืื” ืœื›ื ืฆื™ืœื•ื ื‘ื”ื™ืœื•ืš ืื™ื˜ื™
10:19
in a completely darkened room
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ื‘ื—ื“ืจ ื—ืฉื•ืš ืœื’ืžืจื™
10:21
of what I just showed you in this live demonstration.
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ืฉืœ ืžื” ืฉื›ืจื’ืข ื”ืจืื™ืชื™ ืœื›ื ื‘ื”ื“ื’ืžื” ื”ื—ื™ื”.
10:33
So what happened is that the flame
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ืžื” ืฉืงื•ืจื” ื”ื•ื ืฉื”ืœื”ื‘ื”
10:36
traveled through the glass vessel from top to bottom,
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ืขื•ื‘ืจืช ื‘ืชื•ืš ืžื™ื›ืœ ื”ื–ื›ื•ื›ื™ืช ืžืœืžืขืœื” ืœืžื˜ื”,
10:40
burning the mix of the air molecules
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ื•ืฉื•ืจืคืช ืืช ื”ืชืขืจื•ื‘ืช ืฉืœ ืžื•ืœืงื•ืœื•ืช ื”ืื•ื•ื™ืจ
10:43
and the alcohol.
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ื•ื”ืืœื›ื•ื”ื•ืœ.
10:45
So the images that you saw at the beginning,
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ืื– ื”ืชืžื•ื ื•ืช ืฉื”ืจืื™ืชื™ ืœื›ื ื‘ื”ืชื—ืœื”,
10:48
they are actually a flame stopped in time
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ื”ืŸ ื‘ืขืฆื ืœื”ื‘ื” ืฉื ืขืฆืจื” ื‘ื–ืžืŸ
10:52
while it is traveling through the bottle,
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ื‘ืขื•ื“ื” ืขื•ื‘ืจืช ื“ืจืš ื”ื‘ืงื‘ื•ืง,
10:54
and you have to imagine
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ื•ืขืœื™ื›ื ืœื“ืžื™ื™ืŸ
10:56
it was flipped around 180 degrees.
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ืฉื–ื” ื”ืคื•ืš ื‘-180 ืžืขืœื•ืช.
10:59
So that's how those images were made.
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ื›ืš ืฆื•ืœืžื• ื”ืชืžื•ื ื•ืช ื”ืืœื”.
11:01
(Applause)
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[ืžื—ื™ืื•ืช ื›ืคื™ื™ื]
11:06
Thank you.
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ืชื•ื“ื” ืœื›ื.
11:09
So, I have now showed you three projects,
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ืื– ื”ืจืื™ืชื™ ืœื›ื 3 ืžื™ื–ืžื™ื,
11:12
and you might ask yourself, what is it good for?
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ื•ืื•ืœื™ ืชืฉืืœื•, "ืœืžื” ื–ื” ื˜ื•ื‘?
11:14
What's the idea behind it?
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"ืžื” ื”ืจืขื™ื•ืŸ ืžืื—ื•ืจื™ ื–ื”?
11:16
Is it just a waste of whiskey?
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"ื”ืื ื–ื”ื• ืกืชื ื‘ื–ื‘ื•ื– ืฉืœ ื•ื™ืกืงื™?
11:17
Is it just some strange materials?
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"ื”ืื ืžื“ื•ื‘ืจ ื‘ืกืชื ื—ื•ืžืจื™ื ืžื•ื–ืจื™ื?"
11:21
Those three projects, they're based on very simple
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ืฉืœื•ืฉืช ื”ืžื™ื–ืžื™ื ื”ืืœื” ืžื‘ื•ืกืกื™ื
11:24
scientific phenomena,
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ืขืœ ืชื•ืคืขื•ืช ืžื“ืขื™ื•ืช ืคืฉื•ื˜ื•ืช ืžืื“,
11:26
such as magnetism, the sound waves,
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ื›ื’ื•ืŸ ืžื’ื ื˜ื™ื•ืช, ื’ืœื™-ืงื•ืœ,
11:29
or over here, the physical properties of a substance,
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ื•ื›ืืŸ - ื”ืชื›ื•ื ื•ืช ื”ืคื™ื–ื™ื•ืช ืฉืœ ื—ื•ืžืจ ื›ืœืฉื”ื•,
11:33
and what I'm trying to do
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ื•ืžื” ืฉืื ื™ ืžื ืกื” ืœืขืฉื•ืช
11:35
is I'm trying to use these phenomena
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ื”ื•ื ืœื”ืฉืชืžืฉ ื‘ืชื•ืคืขื•ืช ื”ืืœื”
11:38
and show them in a poetic and unseen way,
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ื•ืœื”ืฆื™ื’ ืื•ืชืŸ ื‘ืื•ืคืŸ ืคื•ืื˜ื™ ืฉื˜ืจื ื ืจืื”,
11:41
and therefore invite the viewer
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ื•ื‘ื›ืš ืœื”ื–ืžื™ืŸ ืืช ื”ืฆื•ืคื”
11:43
to pause for a moment
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ืœืขืฆื•ืจ ืœืจื’ืข
11:45
and think about all the beauty
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ื•ืœื—ืฉื•ื‘ ืขืœ ื›ืœ ื”ื™ื•ืคื™
11:48
that is constantly surrounding us.
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ืฉืžืงื™ืฃ ืื•ืชื ื• ืœืœื ื”ืจืฃ.
11:52
Thank you very much.
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ืชื•ื“ื” ืจื‘ื” ืœื›ื.
11:53
(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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