Lucy McRae: How can technology transform the human body?

138,188 views ใƒป 2012-04-06

TED


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

ืžืชืจื’ื: Ido Dekkers ืžื‘ืงืจ: Sigal Tifferet
00:15
I call myself a body architect.
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ืื ื™ ืงื•ืจืืช ืœืขืฆืžื™ ืืจื›ื™ื˜ืงื˜ื™ืช ื’ื•ืฃ.
00:18
I trained in classical ballet
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ื”ืชืืžื ืชื™ ื‘ื‘ืœื˜ ืงืœืืกื™
00:19
and have a background in architecture and fashion.
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ื•ื™ืฉ ืœื™ ืจืงืข ื‘ืืจื›ื™ื˜ืงื˜ื•ืจื” ื•ืื•ืคื ื”.
00:22
As a body architect, I fascinate with the human body
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ื›ืืจื›ื™ื˜ืงื˜ื™ืช ื’ื•ืฃ, ืื ื™ ืžื•ืงืกืžืช ืžื”ื’ื•ืฃ ื”ืื ื•ืฉื™
00:25
and explore how I can transform it.
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ื•ื—ื•ืงืจืช ืื™ืš ืื ื™ ื™ื›ื•ืœื” ืœืฉื ื•ืช ืื•ืชื•.
00:28
I worked at Philips Electronics
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ืื ื™ ืขื•ื‘ื“ืช ืขื ืคื™ืœื™ืคืก
00:31
in the far-future design research lab,
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ื‘ืžืขื‘ื“ืช ื”ืžื—ืงืจ ืืจื•ืš ื”ื˜ื•ื•ื—,
00:33
looking 20 years into the future.
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ืžื‘ื™ื˜ื” 20 ืฉื ื” ืœืขืชื™ื“.
00:35
I explored the human skin, and how technology can transform the body.
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ืื ื™ ื—ื•ืงืจืช ืืช ืขื•ืจ ื”ืื“ื, ื•ืื™ืš ื˜ื›ื ื•ืœื•ื’ื™ื” ื™ื›ื•ืœื” ืœืฉื ื•ืช ืืช ื”ื’ื•ืฃ.
00:39
I worked on concepts like an electronic tattoo,
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ืื ื™ ืขื•ื‘ื“ืช ืขืœ ืจืขื™ื•ื ื•ืช ื›ืžื• ืงืขืงื•ืข ืืœืงื˜ืจื•ื ื™,
00:43
which is augmented by touch,
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ืฉืžืจื•ื‘ื“ ืขืœ ื™ื“ื™ ืžื’ืข,
00:45
or dresses that blushed and shivered with light.
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ืื• ืฉืžืœื•ืช ืฉืžืกืžื™ืงื•ืช ืื• ืจื•ืขื“ื•ืช ื‘ืื•ืจ.
00:48
I started my own experiments.
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ื”ืชื—ืœืชื™ ื ื™ืกื•ื™ื™ื ืžืฉืœ ืขืฆืžื™.
00:51
These were the low-tech approaches to the high-tech conversations I was having.
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ืืœื” ื”ื™ื• ื’ื™ืฉื•ืช ื”ืœื•ืื• ื˜ืง ืœืฉื™ื—ื•ืช ื”ื”ื™ ื˜ืง ืฉื”ื™ื• ืœื™.
00:55
These are Q-tips stuck to my roommate with wig glue.
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ืืœื• ืงื™ืกืžื™ ืื•ื–ื ื™ื™ื ืฉื“ื‘ื•ืงื™ื ืœืฉื•ืชืคืชื™ ืœื—ื“ืจ ืขื ื“ื‘ืง ืคืื•ืช.
00:59
(Laughter)
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(ืฆื—ื•ืง)
01:02
I started a collaboration with a friend of mine, Bart Hess --
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ื”ืชื—ืœืชื™ ืœืฉืชืฃ ืคืขื•ืœื” ืขื ื™ื“ื™ื“ ืฉืœื™, ื‘ืืจื˜ ื”ืก --
01:06
he doesn't normally look like this --
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ื”ื•ื ืœื ื ืจืื” ื›ื›ื” ื›ืจื’ื™ืœ --
01:08
and we used ourselves as models.
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ื•ื”ืฉืชืžืฉื ื• ื‘ืขืฆืžื ื• ื›ื“ื•ื’ืžื ื™ื.
01:11
We transformed our apartments into our laboratories,
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ื”ืคื›ื ื• ืืช ื”ื“ื™ืจื•ืช ืฉืœื ื• ืœืžืขื‘ื“ื•ืช,
01:14
and worked in a very spontaneous and immediate way.
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ื•ืขื‘ื“ื ื• ื‘ื“ืจืš ืžืื•ื“ ืกืคื•ื ื˜ื ื™ืช ื•ืžื™ื™ื“ื™ืช.
01:17
We were creating
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ื™ืฆืจื ื•
01:20
visual imagery provoking human evolution.
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ืžื•ืฆื’ื™ื ื•ื™ื–ื•ืืœื™ื™ื ืฉืžื’ืจื™ื ืืช ื”ืื‘ื•ืœื•ืฆื™ื” ื”ืื ื•ืฉื™ืช.
01:22
Whilst I was at Philips, we discussed this idea of a maybe technology,
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ื›ืฉื”ื™ื™ืชื™ ื‘ืคื™ืœื™ืคืก, ื“ื ื• ื‘ืจืขื™ื•ืŸ ื”ื–ื” ืฉืœ ืื•ืœื™ ื˜ื›ื ื•ืœื•ื’ื™ื”,
01:27
something that wasn't either switched on or off, but in between.
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ืžืฉื”ื• ืฉืœื ื”ื™ื” ื“ืœื•ืง ืื• ืžื›ื•ื‘ื”, ืืœt ื‘ื™ื ื”ื.
01:30
A maybe that could take the form of a gas or a liquid.
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ืื•ืœื™ ืฉื™ื•ื›ืœ ืœืงื—ืช ืืช ื”ืฆื•ืจื” ืฉืœ ื’ื– ืื• ื ื•ื–ืœ.
01:33
And I became obsessed with this idea of blurring the perimeter of the body,
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ื•ื ื”ื™ื™ืชื™ ืื•ื‘ืกืกื™ื‘ื™ืช ืขื ื”ืจืขื™ื•ืŸ ืฉืœ ื˜ื™ืฉื˜ื•ืฉ ื”ืชื—ื•ื ืฉืœ ื”ื’ื•ืฃ,
01:37
so you couldn't see where the skin ended and the near environment started.
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ื›ืš ืฉืœื ืชื•ื›ืœื• ืœืจืื•ืช ื”ื™ื›ืŸ ื”ืขื•ืจ ืฉืœื›ื ื ื’ืžืจ ื•ื”ืกื‘ื™ื‘ื” ื”ืžื™ื™ื“ื™ืช ืžืชื—ื™ืœื”.
01:41
I set up my studio in the red-light district
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ื”ืงืžืชื™ ืืช ื”ืกื˜ื•ื“ื™ื• ืฉืœื™ ื‘ืจื•ื‘ืข ื”ืื•ืจื•ืช ื”ืื“ื•ืžื™ื
01:44
and obsessively wrapped myself in plumbing tubing,
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ื•ืขื˜ืคืชื™ ืืช ืขืฆืžื™ ื‘ืื•ื‘ืกืกื™ื‘ื™ื•ืช ื‘ืฆื™ื ื•ืจื•ืช ืžื™ื,
01:47
and found a way to redefine the skin
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ื•ืžืฆืืชื™ ื“ืจืš ืœื”ื’ื“ื™ืจ ืžื—ื“ืฉ ืืช ื”ืขื•ืจ
01:50
and create this dynamic textile.
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ื•ืœื™ืฆื•ืจ ืืช ื”ื˜ืงืกื˜ื™ืœ ื”ื“ื™ื ืžื™ ื”ื–ื”.
01:52
I was introduced to Robyn, the Swedish pop star,
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ื”ื•ืฆื’ืชื™ ืœืจื•ื‘ื™ืŸ, ื›ื•ื›ื‘ืช ื”ืคื•ืค ื”ืฉื•ื•ื“ื™ืช,
01:57
and she was also exploring
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ื•ื”ื™ื ื’ื ื—ืงืจื”
01:59
how technology coexists with raw human emotion.
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ืื™ืš ื˜ื›ื ื•ืœื•ื’ื™ื” ืžืชืงื™ื™ืžืช ื‘ื™ื—ื“ ืขื ืจื’ืฉื•ืช ืื ื•ืฉื™ื™ื ื‘ืกื™ืกื™ื™ื.
02:02
And she talked about how technology with these new feathers,
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ื•ื”ื™ื ื“ื™ื‘ืจื” ืขืœ ืื™ืš ื”ื˜ื›ื ื•ืœื•ื’ื™ื” ืขื ื”ื ื•ืฆื•ืช ื”ื—ื“ืฉื•ืช ื”ืืœื”,
02:05
this new face paint, this punk, the way that we identify with the world,
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ืฆื‘ืข ื”ืคื ื™ื ื”ื—ื“ืฉ ื”ื–ื”, ื”ืคืื ืง ื”ื–ื”, ื”ื“ืจืš ื‘ื” ืื ื—ื ื• ืžื–ื“ื”ื™ื ืขื ื”ืขื•ืœื,
02:08
and we made this music video.
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ื•ื™ืฆืจื ื• ืืช ืงืœื™ืค ื”ืžื•ื–ื™ืงื” ื”ื–ื”.
02:10
I'm fascinated with the idea
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ืื ื™ ืžื•ืงืกืžืช ืžื”ืจืขื™ื•ืŸ
02:13
of what happens when you merge biology with technology,
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ืฉืœ ืžื” ืฉืงื•ืจื” ื›ืฉืืชื ืžืื—ื“ื™ื ื‘ื™ื•ืœื•ื’ื™ื” ื•ื˜ื›ื ื•ืœื•ื’ื™ื”,
02:16
and I remember reading about this idea of being able to reprogram
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ื•ืื ื™ ื–ื•ื›ืจืช ืฉืงืจืืชื™ ืขืœ ื”ืจืขื™ื•ืŸ ื”ื–ื” ืฉืœ ืœื”ื™ื•ืช ืžืกื•ื’ืœื™ื ืœืชื›ื ืช ืžื—ื“ืฉ
02:20
biology, in the future, away from disease and aging.
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ื‘ื™ื•ืœื•ื’ื™ื”, ื‘ืขืชื™ื“, ื”ืจื—ืง ืžืžื—ืœื•ืช ื•ื–ืงื ื”.
02:23
And I thought about this concept of,
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ื•ื—ืฉื‘ืชื™ ืขืœ ื”ืงื•ื ืกืคื˜ ืฉืœ,
02:25
imagine if we could reprogram
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ื“ืžื™ื™ื ื• ืื ื ื•ื›ืœ ืœืชื›ื ืช ืžื—ื“ืฉ
02:27
our own body odor, modify and biologically enhance it,
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ืืช ืจื™ื— ื”ื’ื•ืฃ ืฉืœื ื•, ืœืฉื ื•ืช ื•ืœื”ื’ื‘ื™ืจ ืื•ืชื• ื‘ื™ื•ืœื•ื’ื™ืช,
02:31
and how would that change the way that we communicate with each other?
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ื•ืื™ืš ื–ื” ื™ืฉื ื” ืืช ื”ื“ืจืš ืฉืื ื—ื ื• ืžืชืงืฉืจื™ื ืื—ื“ ืขื ื”ืฉื ื™?
02:34
Or the way that we attract sexual partners?
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ืื• ื”ื“ืจืš ื‘ื” ืื ื—ื ื• ืžื•ืฉื›ื™ื ืคืจื˜ื ืจื™ื ืžื™ื ื™ื™ื?
02:37
And would we revert back to being more like animals,
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ื•ื”ืื ื ื—ื–ื•ืจ ืœื”ื™ื•ืช ื™ื•ืชืจ ื›ืžื• ื—ื™ื•ืช,
02:39
more primal modes of communication?
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ืžื•ื“ืœื™ื ื™ื•ืชืจ ื—ื™ื™ืชื™ื™ื ืฉืœ ืชืงืฉื•ืจืช?
02:41
I worked with a synthetic biologist,
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ืขื‘ื“ืชื™ ืขื ื‘ื™ื•ืœื•ื’ ืกื™ื ื˜ื˜ื™,
02:44
and I created a swallowable perfume,
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ื•ื™ืฆืจืชื™ ื‘ื•ืฉื ืฉืืคืฉืจ ืœื‘ืœื•ืข,
02:47
which is a cosmetic pill that you eat
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ืฉื”ื•ื ื’ืœื•ืœื” ืงื•ืกืžื˜ื™ืช ืฉืืคืฉืจ ืœืื›ื•ืœ
02:50
and the fragrance comes out through the skin's surface when you perspire.
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ื•ื”ืจื™ื— ื™ื•ืฆื ื“ืจืš ื”ืขื•ืจ ื›ืฉืžื–ื™ืขื™ื.
02:54
It completely blows apart the way that perfume is,
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ื–ื” ืœื’ืžืจื™ ืžืคืจืง ืืช ื”ื“ืจืš ื‘ื” ื‘ื•ืฉื ืขื•ื‘ื“ ืขื›ืฉื™ื•,
02:58
and provides a whole new format.
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ื•ืžืกืคืง ืคื•ืจืžื˜ ื—ื“ืฉ ืœื—ืœื•ื˜ื™ืŸ.
02:59
It's perfume coming from the inside out.
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ื–ื” ื‘ื•ืฉื ืฉื™ื•ืฆื ืžื‘ืคื ื™ื ื”ื—ื•ืฆื”.
03:02
It redefines the role of skin, and our bodies become an atomizer.
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ื–ื” ืžื’ื“ื™ืจ ืžื—ื“ืฉ ืืช ื”ืชืคืงื™ื“ ืฉืœ ื”ืขื•ืจ, ื•ื”ื’ื•ืฃ ืฉืœื ื• ื”ื•ืคืš ืœืžืจืกืก.
03:05
I've learned that there's no boundaries,
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ืœืžื“ืชื™ ืฉืื™ืŸ ื’ื‘ื•ืœื•ืช,
03:09
and if I look at the evolution of my work
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ื•ืื ืื ื™ ืžืกืชื›ืœืช ืขืœ ื”ืื‘ื•ืœื•ืฆื™ื” ืฉืœ ื”ืขื‘ื•ื“ื” ืฉืœื™
03:11
i can see threads and connections that make sense.
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ืื ื™ ื™ื›ื•ืœื” ืœืจืื•ืช ื—ื™ื‘ื•ืจื™ื ื•ืงื™ืฉื•ืจื™ื ื”ื’ื™ื•ื ื™ื™ื.
03:15
But when I look towards the future,
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ืื‘ืœ ื›ืฉืื ื™ ืžืกืชื›ืœืช ืœืขืชื™ื“,
03:17
the next project is completely unknown and wide open.
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ื”ืคืจื•ื™ื™ืงื˜ ื”ื‘ื ื”ื•ื ืœื—ืœื•ื˜ื™ืŸ ืœื ื™ื“ื•ืข ื•ืคืชื•ื— ืœื—ืœื•ื˜ื™ืŸ.
03:20
I feel like I have all these ideas existing embedded inside of me,
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ืื ื™ ืžืจื’ื™ืฉื” ื›ืื™ืœื• ื™ืฉ ืœื™ ืืช ื›ืœ ื”ืจืขื™ื•ื ื•ืช ื”ืืœื” ืžื•ื˜ืžืขื™ื ื‘ืชื•ื›ื™,
03:24
and it's these conversations and these experiences
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ื•ื”ื“ื™ื•ื ื™ื ื”ืืœื” ื•ื”ื—ื•ื•ื™ื•ืช ื”ืืœื”
03:27
that connect these ideas, and they kind of instinctively come out.
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ืฉืžื—ื‘ืจื™ื ืืช ื”ืจืขื™ื•ื ื•ืช ื”ืืœื”, ื•ื”ื ื™ื•ืฆืื™ื ื‘ืื•ืคืŸ ืื™ื ืกื˜ื™ืงื˜ื™ื‘ื™.
03:33
As a body architect,
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ื›ืืจื›ื™ื˜ืงื˜ื™ืช ื’ื•ืฃ,
03:35
I've created this limitless and boundless platform
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ื™ืฆืจืชื™ ืืช ื”ืคืœื˜ืคื•ืจืžื” ื”ื–ืืช ื—ืกืจืช ื”ื’ื‘ื•ืœื•ืช ื•ื”ื”ื’ื‘ืœื•ืช
03:37
for me to discover whatever I want.
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ื‘ืฉื‘ื™ืœ ืœื’ืœื•ืช ืžื” ืฉืืจืฆื”.
03:39
And I feel like I've just got started.
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ื•ืื ื™ ืžืจื’ื™ืฉื” ื›ืื™ืœื• ืจืง ื”ืชื—ืœืชื™.
03:42
So here's to another day at the office.
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ืื– ื ื‘ืจืš ืœืงืจืืช ืขื•ื“ ื™ื•ื ื‘ืžืฉืจื“.
03:45
(Laughter) (Applause)
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(ืฆื—ื•ืง)(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
03:48
Thank you!
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ืชื•ื“ื” ืœื›ื!
03:51
Thank you!
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ืชื•ื“ื” ืœื›ื!
ื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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