Smelfies, and other experiments in synthetic biology | Ani Liu

73,235 views ใƒป 2017-03-17

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
What if our plants
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ืžื” ืื ื”ืฆืžื—ื™ื ืฉืœื ื•
00:14
could sense the toxicity levels in the soil
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ื”ื™ื• ืžืกื•ื’ืœื™ื ืœื—ื•ืฉ ืืช ืจืžื•ืช ื”ืจืขื™ืœื•ืช ืฉืœ ื”ืื“ืžื”
00:17
and express that toxicity through the color of its leaves?
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ื•ืœื‘ื˜ื ืื•ืชืŸ ื‘ืืžืฆืขื•ืช ืฆื‘ืขื™ ื”ืขืœื™ื ืฉืœื”ื?
00:21
What if those plants could also remove those toxins from the soil?
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ืžื” ืื ื”ืฆืžื—ื™ื ื”ืืœื” ื™ื›ืœื• ื’ื ืœืกืœืง ืืช ื”ืจืขืœื™ื ื”ืืœื” ืžื”ืื“ืžื”?
00:26
Instead, what if those plants
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ืื• ืžื” ืื ื”ืฆืžื—ื™ื ื™ื›ืœื• ืœื’ื“ืœ ืืช ื”ืืจื™ื–ื•ืช ืฉืœื”ื,
00:28
grew their own packaging,
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00:30
or were designed to only be harvested
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ืื• ื”ื™ื• ืžื”ื•ื ื“ืกื™ื ืœื”ื™ืงืฆืจ
00:32
by their owners' own patented machines?
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ืจืง ื‘ืžื›ื•ื ื•ืช ืžื•ื’ื ื•ืช ื”ืคื˜ื ื˜ ืฉืœ ื‘ืขืœื™ื”ื?
00:35
What happens when biological design
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ืžื” ืงื•ืจื” ื›ืฉืžืื—ื•ืจื™ ื”ืขื™ืฆื•ื‘ ื‘ื™ื•ืœื•ื’ื™
00:37
is driven by the motivations of mass-produced commodities?
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ืขื•ืžื“ืช ื”ืžื•ื˜ื™ื‘ืฆื™ื” ืœื™ื™ืฆื•ืจ ื”ืžื•ื ื™ ืฉืœ ืžื•ืฆืจื™ื?
00:40
What kind of world would that be?
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ืื™ื–ื” ืžื™ืŸ ืขื•ืœื ื™ื”ื™ื” ื–ื”?
00:43
My name is Ani, and I'm a designer and researcher at MIT Media Lab,
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ืฉืžื™ ืื ื™, ื•ืื ื™ ืžืขืฆื‘ืช ื•ื—ื•ืงืจืช ื‘ืžืขื‘ื“ืช ื”ืชืงืฉื•ืจืช ืฉืœ ืื-ืื™ื™-ื˜ื™,
00:47
where I'm part of a relatively new and unique group called Design Fiction,
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ื›ื—ืœืง ืžืงื‘ื•ืฆื” ื™ื™ื—ื•ื“ื™ืช ื•ื—ื“ืฉื”-ื™ื—ืกื™ืช ื‘ืฉื "ืขื™ืฆื•ื‘ ื‘ื“ื™ื•ื ื™",
00:51
where we're wedged somewhere between science fiction and science fact.
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ืฉืชืงื•ืขื” ืื™ืคืฉื”ื• ื‘ื™ืŸ ืžื“ืข ื‘ื“ื™ื•ื ื™ ืœืžื“ืข ืขื•ื‘ื“ืชื™.
00:55
And at MIT, I am lucky enough to rub shoulders with scientists
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ื‘ืื-ืื™ื™-ื˜ื™ ื”ืชืžื–ืœ ืžื–ืœื™ ืœืขื‘ื•ื“ ืฆื“ ื‘ืฆื“ ืขื ืžื“ืขื ื™ื
00:59
studying all kinds of cutting edge fields
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ืฉื—ื•ืงืจื™ื ื›ืœ ืžื™ื ื™ ืชื—ื•ืžื™ื ื—ื“ืฉื ื™ื™ื
01:01
like synthetic neurobiology,
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ื›ืžื• ื ื•ื™ืจื•ื‘ื™ื•ืœื•ื’ื™ื” ืกื™ื ืชื˜ื™ืช,
01:03
artificial intelligence, artificial life
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ืชื‘ื•ื ื” ืžืœืื›ื•ืชื™ืช, ื—ื™ื™ื ืžืœืื›ื•ืชื™ื™ื
01:05
and everything in between.
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ื•ื›ืœ ืžื” ืฉื‘ื™ื ื™ื”ื.
01:07
And across campus, there's truly brilliant scientists
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ื‘ืงืžืคื•ืก ืขืฆืžื• ื™ืฉ ืžื“ืขื ื™ื ื‘ืืžืช ืžื‘ืจื™ืงื™ื
01:11
asking questions like, "How can I make the world a better place?"
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ืฉืฉื•ืืœื™ื ืฉืืœื•ืช ื›ืžื•, "ืื™ืš ืื•ื›ืœ ืœืฉืคืจ ืืช ื”ืขื•ืœื?"
01:15
And part of what my group likes to ask is, "What is better?"
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ื•ื”ืฉืืœื•ืช ืฉืฉื•ืืœื™ื ื‘ืงื‘ื•ืฆื” ืฉืœื™ ื”ืŸ, "ืžื” ื˜ื•ื‘ ื™ื•ืชืจ?"
01:18
What is better for you, for me,
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ืžื” ื˜ื•ื‘ ื™ื•ืชืจ ื‘ืฉื‘ื™ืœื›ื, ื‘ืฉื‘ื™ืœื™,
01:20
for a white woman, a gay man,
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ื‘ืฉื‘ื™ืœ ืื™ืฉื” ืœื‘ื ื”, ื’ื‘ืจ ื”ื•ืžื•ืกืงืกื•ืืœื™,
01:22
a veteran, a child with a prosthetic?
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ื—ื™ื™ืœ ืžืฉื•ื—ืจืจ, ื™ืœื“ ืขื ื’ืฃ ืžืœืื›ื•ืชื™ืช?
01:24
Technology is never neutral.
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ื”ื˜ื›ื ื•ืœื•ื’ื™ื” ืœืขื•ืœื ืื™ื ื ื” ื ื™ื™ื˜ืจืœื™ืช.
01:26
It frames a reality
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ื”ื™ื ื™ื•ืฆืจืช ืžืฆื™ืื•ืช
01:28
and reflects a context.
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ื•ืžืฉืงืคืช ื”ืงืฉืจ.
01:30
Can you imagine what it would say about the work-life balance at your office
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ืืชื ืžืชืืจื™ื ืœืขืฆืžื›ื ืžื” ื”ื™ืชื” ื”ืžืฉืžืขื•ืช ืžื‘ื—ื™ื ืช ื”ืื™ื–ื•ืŸ ื—ื™ื™ื-ืขื‘ื•ื“ื” ื‘ืžืฉืจื“ ืฉืœื›ื
01:34
if these were standard issue on the first day?
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ืื ื–ื” ื”ื™ื” ืžื•ื ืคืง ืœื›ื ื›ื‘ืจ ื‘ื™ื•ื ื”ืจืืฉื•ืŸ?
01:36
(Laughter)
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(ืฆื—ื•ืง)
01:37
I believe it's the role of artists and designers
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ืื ื™ ืžืืžื™ื ื” ืฉืชืคืงื™ื“ื ืฉืœ ืืžื ื™ื ื•ืžืขืฆื‘ื™ื
01:40
to raise critical questions.
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ื”ื•ื ืœื”ืขืœื•ืช ืฉืืœื•ืช ืงืจื™ื˜ื™ื•ืช.
01:42
Art is how you can see and feel the future,
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ื”ืืžื ื•ืช ื”ื™ื ื”ืื•ืคืŸ ืฉื‘ื• ืจื•ืื™ื ื•ื—ืฉื™ื ืืช ื”ืขืชื™ื“,
01:44
and today is an exciting time to be a designer,
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ื•ื›ื™ื•ื ื–ื”ื• ื–ืžืŸ ืžืœื”ื™ื‘ ืœืขืกื•ืง ื‘ืขื™ืฆื•ื‘,
01:47
for all the new tools becoming accessible.
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ืขื ื›ืœ ื”ื›ืœื™ื ื”ื—ื“ืฉื™ื ืฉื ืขืฉื™ื ื ื’ื™ืฉื™ื.
01:49
For instance, synthetic biology
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ืœืžืฉืœ, ื‘ื™ื•ืœื•ื’ื™ื” ืžืœืื›ื•ืชื™ืช
01:50
seeks to write biology as a design problem.
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ืฉื•ืืคืช ืœืชืืจ ืืช ื”ื‘ื™ื•ืœื•ื’ื™ื” ื›ื‘ืขื™ื™ื” ืขื™ืฆื•ื‘ื™ืช.
01:53
And through these developments,
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ื•ื‘ืขื–ืจืช ื”ืคื™ืชื•ื—ื™ื ื”ืืœื”,
01:55
my lab asks, what are the roles and responsibilities
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ื”ืžืขื‘ื“ื” ืฉืœื™ ืฉื•ืืœืช, ืžื”ื ื”ืชืคืงื™ื“ื™ื ื•ืชื—ื•ืžื™ ื”ืื—ืจื™ื•ืช
01:58
of an artist, designer, scientist or businessman?
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ืฉืœ ืืžืŸ, ืžืขืฆื‘, ืžื“ืขืŸ ืื• ืื™ืฉ-ืขืกืงื™ื?
02:02
What are the implications
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ืžื”ืŸ ื”ื”ืฉืœื›ื•ืช
02:04
of synthetic biology, genetic engineering,
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ืฉืœ ื‘ื™ื•ืœื•ื’ื™ื” ืกื™ื ืชื˜ื™ืช, ื”ื ื“ืกื” ื’ื ื˜ื™ืช,
02:07
and how are they shaping our notions of what it means to be a human?
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ื•ืื™ืš ื”ืŸ ืžืขืฆื‘ื•ืช ืืช ืจืขื™ื•ื ื•ืชื™ื ื• ื‘ืฉืืœื” ืžื” ื–ื” ืœื”ื™ื•ืช ืื ื•ืฉื™?
02:11
What are the implications of this on society, on evolution
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ืžื”ืŸ ื”ื”ืฉืœื›ื•ืช ืฉืœื”ืŸ ืขืœ ื”ื—ื‘ืจื”, ืขืœ ื”ืื‘ื•ืœื•ืฆื™ื”
02:14
and what are the stakes in this game?
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ื•ืžื”ื ื”ืกื™ื›ื•ื ื™ื ื‘ืžืฉื—ืง ื”ื–ื”?
02:17
My own speculative design research at the current moment
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ื›ืจื’ืข, ื”ืžื—ืงืจ ื”ืขื™ืฆื•ื‘ื™ ื”ืกืคืงื•ืœื˜ื™ื‘ื™ ืฉืœื™
02:20
plays with synthetic biology,
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ืžืฉืชืขืฉืข ื‘ื‘ื™ื•ืœื•ื’ื™ื” ืกื™ื ืชื˜ื™ืช,
02:22
but for more emotionally driven output.
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ืื‘ืœ ื›ื“ื™ ืœื™ื™ืฆืจ ืžืฉื”ื• ืขื ืžื˜ืขืŸ ืจื’ืฉื™ ื™ื•ืชืจ.
02:25
I'm obsessed with olfaction as a design space,
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ื™ืฉ ืœื™ ืื•ื‘ืกื™ื™ื” ืœื—ื•ืฉ ื”ืจื™ื— ื›ืžืจื—ื‘ ืขื™ืฆื•ื‘ื™,
02:28
and this project started with this idea
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ื•ื”ืžื™ื–ื ื”ื–ื” ื ืฉืขืŸ ืขืœ ื”ืจืขื™ื•ืŸ
02:30
of what if you could take a smell selfie, a smelfie?
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ืฉืœ ื”ืืคืฉืจื•ืช ืœืขืฉื•ืช ืกืœืคื™ ืจื™ื—.
02:34
(Laughter)
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(ืฆื—ื•ืง)
02:36
What if you could take your own natural body odor
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ืžื” ืื ื™ื›ื•ืœืชื ืœืงื—ืช ืืช ืจื™ื— ื”ื’ื•ืฃ ื”ื˜ื‘ืขื™ ืฉืœื›ื
02:38
and send it to a lover?
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ื•ืœืฉืœื•ื— ืื•ืชื• ืœืžืื”ื‘?
02:41
Funny enough, I found that this was a 19th century Austrian tradition,
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ื”ืžืฆื—ื™ืง ื”ื•ื ืฉื’ื™ืœื™ืชื™ ืฉื–ืืช ื”ื™ืชื” ืžืกื•ืจืช ืื•ืกื˜ืจื™ืช ื‘ืžืื” ื”-19:
02:44
where couples in courtship would keep a slice of apple
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ื–ื•ื’ื•ืช ื‘ืชื”ืœื™ืš ืฉืœ ื—ื™ื–ื•ืจ ื ื”ื’ื• ืœื”ื—ื–ื™ืง ืคืจื•ืกืช ืชืคื•ื—
02:47
crammed under their armpit during dances,
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ืžืชื—ืช ืœื‘ื™ืช ื”ืฉื—ื™ ื‘ื–ืžืŸ ื”ืจื™ืงื•ื“ื™ื,
02:50
and at the end of the evening,
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ื•ื‘ืกื•ืฃ ื”ืขืจื‘,
02:51
the girl would give the guy she most fancied her used fruit,
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ื”ื ืขืจื” ื”ื™ืชื” ืžื•ืกืจืช ืœื‘ื—ื•ืจ ืฉื”ื›ื™ ืžืฆื ื—ืŸ ื‘ืขื™ื ื™ื”
ืืช ื”ืคืจื™ ื”ืžืฉื•ืžืฉ ืฉืœื”,
02:55
and if the feeling was mutual,
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ื•ืื ื”ืจื’ืฉื•ืช ื”ื™ื• ื”ื“ื“ื™ื™ื,
02:57
he would wolf down that stinky apple.
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ื”ื•ื ื”ื™ื” ื˜ื•ืจืฃ ืืช ื”ืชืคื•ื— ื”ืžืกืจื™ื— ื”ื–ื”.
02:59
(Laughter)
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(ืฆื—ื•ืง)
03:03
Famously, Napoleon wrote many love letters to Josephine,
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ื™ื“ื•ืข ืฉื ืคื•ืœื™ืื•ืŸ ื›ืชื‘ ื”ืจื‘ื” ืžื›ืชื‘ื™ ืื”ื‘ื” ืœื–'ื•ื–ืคื™ืŸ,
03:06
but perhaps amongst the most memorable is this brief and urgent note:
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ืื‘ืœ ืื•ืœื™ ื”ื›ื™ ื‘ืœืชื™-ื ืฉื›ื—ืช ื”ื™ื ื”ื”ืขืจื” ื”ืงืฆืจื” ื•ื”ื“ื—ื•ืคื”:
03:11
"Home in three days. Don't bathe."
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"ืื’ื™ืข ื‘ืขื•ื“ ืฉืœื•ืฉื” ื™ืžื™ื. ืืœ ืชืชืจื—ืฆื™."
03:13
(Laughter)
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(ืฆื—ื•ืง)
03:15
Both Napoleon and Josephine adored violets.
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ื ืคื•ืœื™ืื•ืŸ ื•ื–'ื•ื–ืคื™ืŸ ืื”ื‘ื• ืžืื“ ืกื™ื’ืœื™ื•ืช.
03:19
Josephine wore violet-scented perfume,
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ื–'ื•ื–ืคื™ืŸ ื”ืฉืชืžืฉื” ื‘ื‘ื•ืฉื ื‘ื ื™ื—ื•ื— ืกื™ื’ืœื™ื•ืช ,
03:21
carried violets on their wedding day,
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ื ืฉืื” ืกื™ื’ืœื™ื•ืช ื‘ื™ื•ื ื ื™ืฉื•ืื™ื”,
03:23
and Napoleon sent her a bouquet of violets
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ื•ื ืคื•ืœื™ืื•ืŸ ืฉืœื— ืœื” ื–ืจ ืกื™ื’ืœื™ื•ืช ืžื™ื“ื™ ืฉื ื”, ื‘ื™ื•ื ื”ื ื™ืฉื•ืื™ืŸ.
03:25
every year on their anniversary.
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03:26
When Josephine passed away,
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ื›ืฉื–'ื•ื–ืคื™ืŸ ื ืคื˜ืจื”,
03:28
he planted violets at her grave,
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ื”ื•ื ืฉืชืœ ืกื™ื’ืœื™ื•ืช ืœื™ื“ ืงื‘ืจื”,
03:29
and just before his exile,
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ื•ืžืžืฉ ืœืคื ื™ ืฉื™ืฆื ืœื’ืœื•ืช,
03:31
he went back to that tomb site,
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ื—ื–ืจ ืืœ ื”ืงื‘ืจ,
03:33
picked some of those flowers, entombed them in a locket
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ืงื˜ืฃ ื›ืžื” ืžื”ืคืจื—ื™ื ื”ืืœื”, ื˜ืžืŸ ืื•ืชื ื‘ืชืœื™ื•ืŸ ืžืฉื›ื™ืช
03:36
and wore them until the day he died.
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ืฉืื•ืชื• ืขื ื“ ืขื“ ืœื™ื•ื ืžื•ืชื•.
03:38
And I found this so moving,
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ื•ื‘ืขื™ื ื™ ื–ื” ื›ื” ืžืจื’ืฉ,
03:39
I thought, could I engineer that violet to smell just like Josephine?
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ืขื“ ืฉื—ืฉื‘ืชื™ ืœืขืฆืžื™,
ื”ืื ืื•ื›ืœ ืœื”ื ื“ืก ืืช ื”ืกื™ื’ืœื™ืช ื›ืš ืฉืชืจื™ื— ื‘ื“ื™ื•ืง ื›ืžื• ื–'ื•ื–ืคื™ืŸ?
03:43
What if, for the rest of eternity,
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ืžื” ืื, ืœืขื•ืœื ื•ืขื“,
03:45
when you went to visit her site,
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ื›ืฉืชืœื›ื• ืœื‘ืงืจ ื‘ืงื‘ืจื”,
03:47
you could smell Josephine just as Napoleon loved her?
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ืชื•ื›ืœื• ืœื”ืจื™ื— ืืช ื–'ื•ื–ืคื™ืŸ ื‘ื“ื™ื•ืง ื›ืคื™ ืฉื ืคื•ืœื™ืื•ืŸ ืื”ื‘ ืื•ืชื”?
03:50
Could we engineer new ways of mourning,
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ื”ืื ื ื•ื›ืœ ืœื”ื ื“ืก ื“ืจื›ื™ื ื—ื“ืฉื•ืช ืœื”ืชืื‘ืœ,
03:52
new rituals for remembering?
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ืคื•ืœื—ื ื™ ื–ื›ืจื•ืŸ ื—ื“ืฉื™ื?
03:54
After all, we've engineered transgenic crops
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ืื—ืจื™ ื”ื›ืœ, ื›ื‘ืจ ื”ื ื“ืกื ื• ื’ื™ื“ื•ืœื™ื ื˜ืจื ืกื’ื ื™ื™ื
03:57
to be maximized for profit,
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ื›ื“ื™ ืœืžืจื‘ ืจื•ื•ื—ื™ื,
03:59
crops that stand up to transport,
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ื’ื™ื“ื•ืœื™ื ืฉื™ืขืžื“ื• ื‘ื”ื•ื‘ืœื”,
04:02
crops that have a long shelf life,
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ื‘ืขืœื™ ื—ื™ื™-ืžื“ืฃ ืืจื•ื›ื™ื,
04:03
crops that taste sugary sweet but resist pests,
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ื’ื™ื“ื•ืœื™ื ืฉื˜ืขืžื ืžืชื•ืง ื›ืกื•ื›ืจ ืื‘ืœ ื”ื ืขืžื™ื“ื™ื ืœืžื–ื™ืงื™ื,
04:06
sometimes at the expense of nutritional value.
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ืœืคืขืžื™ื, ืขืœ ื—ืฉื‘ื•ืŸ ื”ืขืจืš ื”ืชื–ื•ื ืชื™.
04:09
Can we harness these same technologies for an emotionally sensitive output?
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ื”ืื ื ื•ื›ืœ ืœืจืชื•ื ืื•ืชืŸ ื˜ื›ื ื•ืœื•ื’ื™ื•ืช ืœืžืขืŸ ืชื•ืฆืจืช ืจื’ื™ืฉื” ืœืจื’ืฉื•ืช?
04:14
So currently in my lab,
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ื›ื™ื•ื, ื‘ืžืขื‘ื“ื” ืฉืœื™,
04:15
I'm researching questions like, what makes a human smell like a human?
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ืื ื™ ื‘ื•ื—ื ืช ืฉืืœื•ืช ื›ืžื•, ืžื” ื’ื•ืจื ืœืื“ื ืœื”ืจื™ื— ื›ืžื• ืื“ื?
04:19
And it turns out it's fairly complicated.
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ื•ืžืกืชื‘ืจ ืฉื–ื” ืžื•ืจื›ื‘ ืœืžื“ื™.
04:21
Factors such as your diet, your medications, your lifestyle
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ื’ื•ืจืžื™ื ื›ืžื• ื“ื™ืื˜ื”, ืชืจื•ืคื•ืช, ืกื’ื ื•ืŸ ื—ื™ื™ื
04:25
all factor into the way you smell.
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ืชื•ืจืžื™ื ื›ื•ืœื ืœืจื™ื— ืฉืœื ื•.
04:27
And I found that our sweat is mostly odorless,
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ื’ื™ืœื™ืชื™ ืฉื”ื–ื™ืขื” ืฉืœื ื• ื”ื™ื ื‘ืจื•ื‘ื” ื—ืกืจืช ืจื™ื—,
04:29
but it's our bacteria and microbiome
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ืื‘ืœ ื”ื‘ืงื˜ืจื™ื•ืช ื•ื”ื—ื™ื™ื“ืงื™ื ืฉืœื ื•
04:31
that's responsible for your smells, your mood, your identity
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ื”ื ืฉืื—ืจืื™ื ืœืจื™ื—ื•ืช, ืœืžืฆื‘ ื”ืจื•ื—, ืœื–ื”ื•ืช
04:35
and so much beyond.
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ื•ืขื•ื“ ื”ืจื‘ื” ืžืขื‘ืจ ืœื›ืš.
04:37
And there's all kinds of molecules that you emit
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ื•ื™ืฉ ื›ืœ ืžื™ื ื™ ืžื•ืœืงื•ืœื•ืช ืฉืื ื• ืคื•ืœื˜ื™ื
04:39
but which we only perceive subconsciously.
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ืื‘ืœ ืื ื• ืงื•ืœื˜ื™ื ืื•ืชืŸ ื‘ืื•ืคืŸ ืชืช-ื”ื›ืจืชื™ ื‘ืœื‘ื“.
04:42
So I've been cataloging and collecting
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ืื– ืงื™ื˜ืœื’ืชื™ ื•ืืกืคืชื™
04:45
bacteria from different sites of my body.
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ื‘ืงื˜ืจื™ื•ืช ืžื—ืœืงื™ื ืฉื•ื ื™ื ื‘ื’ื•ืคื™.
04:47
After talking to a scientist, we thought,
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ืื—ืจื™ ืฉืฉื•ื—ื—ืชื™ ืขื ืžื“ืขืŸ, ื—ืฉื‘ื ื•
04:49
maybe the perfect concoction of Ani
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ืฉืžืจืงื—ืช ื”ืจื™ื—ื•ืช ื”ืžื•ืฉืœืžืช ืฉืœ ืื ื™
04:51
is like 10 percent collarbone, 30 percent underarm,
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ื”ื™ื ื›-10% ืขืฆื ื”ื‘ืจื™ื—, 30% ื‘ื™ืช ื”ืฉื—ื™,
04:55
40 percent bikini line and so forth,
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40% ืงื• ื”ื‘ื™ืงื™ื ื™ ื•ื›ืŸ ื”ืœืื”,
04:57
and occasionally I let researchers from other labs
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ื•ืžื™ื“ื™ ืคืขื ืื™ืคืฉืจืชื™ ืœื—ื•ืงืจื™ื ืžืžืขื‘ื“ื•ืช ืื—ืจื•ืช
05:00
take a sniff of my samples.
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ืœืจื—ืจื— ืืช ื”ื“ื’ื™ืžื•ืช ืฉืœื™.
05:02
And it's been interesting to hear how smell of the body
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ื”ื™ื” ืžืขื ื™ื™ืŸ ืœืฉืžื•ืข ืื™ืš ืจื™ื— ื”ื’ื•ืฃ
05:05
is perceived outside of the context of the body.
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ื ืชืคืฉ ืžื—ื•ืฅ ืœื”ืงืฉืจ ืฉืœ ื”ื’ื•ืฃ.
05:08
I've gotten feedback such as,
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ืงื™ื‘ืœืชื™ ืžืฉื•ื‘ื™ื ื›ืžื•,
05:09
smells like flowers, like chicken,
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"ืจื™ื— ืฉืœ ืคืจื—ื™ื", "ืจื™ื— ืฉืœ ืขื•ืฃ",
05:12
like cornflakes,
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"ืจื™ื— ืฉืœ ื“ื’ื ื™ ื‘ื•ืงืจ",
05:13
like beef carnitas.
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"ืจื™ื— ืฉืœ ืชื‘ืฉื™ืœ ื‘ืฉืจ ื‘ืงืจ".
05:15
(Laughter)
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(ืฆื—ื•ืง)
05:17
At the same time, I cultivate a set of carnivorous plants
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ื‘ืžืงื‘ื™ืœ, ื’ื™ื“ืœืชื™ ืžืกืคืจ ืฆืžื—ื™ื ื˜ื•ืจืคื™ื
05:20
for their ability to emit fleshlike odors to attract prey,
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ื‘ืฉืœ ื™ื›ื•ืœืชื ืœืคืœื•ื˜ ืจื™ื—ื•ืช ื‘ืฉืจื™ื™ื ื›ื“ื™ ืœืžืฉื•ืš ื˜ืจืฃ,
05:24
in an attempt to kind of create this symbiotic relationship
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ื‘ื ืกื™ื•ืŸ ืœื™ืฆื•ืจ ื™ื—ืกื™ื ืกื™ืžื‘ื™ื•ื˜ื™ื™ื
05:27
between my bacteria and this organism.
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ื‘ื™ืŸ ื”ื‘ืงื˜ืจื™ื•ืช ืฉืœื™ ืœื‘ื™ืŸ ื”ืื•ืจื’ื ื™ื–ื ื”ื–ื”.
05:31
And as it so happens, I'm at MIT and I'm in a bar,
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ื•ืื– ืจืฆื” ื”ืžืงืจื”, ื•ื”ื™ื™ืชื™ ื‘ื‘ืจ ื‘ืื-ืื™ื™-ื˜ื™,
05:34
and I was talking to a scientist
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ื•ืฉื•ื—ื—ืชื™ ืขื ืžื“ืขืŸ ืื—ื“
05:36
who happens to be a chemist and a plant scientist,
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ืฉื”ื™ื” ื‘ืžืงืจื” ื›ื™ืžืื™ ื•ืžื“ืขืŸ ืฆืžื—ื™ื,
05:38
and I was telling him about my project,
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ื•ืกื™ืคืจืชื™ ืœื• ืขืœ ื”ืžื™ื–ื ืฉืœื™,
05:40
and he was like, "Well, this sounds like botany for lonely women."
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ื•ื”ื•ื ืืžืจ, "ื–ื” ื ืฉืžืข ื›ืžื• ื‘ื•ื˜ื ื™ืงื” ืœื ืฉื™ื ื‘ื•ื“ื“ื•ืช."
05:43
(Laughter)
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(ืฆื—ื•ืง)
05:46
Unperturbed, I said, "OK."
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ื‘ืœื™ ืœื—ื•ืฉ ืžื•ื˜ืจื“ืช, ืืžืจืชื™, "ื‘ืกื“ืจ,"
05:49
I challenged him.
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ื•ื”ืฆื‘ืชื™ ืœื• ืืชื’ืจ.
"ื”ืื ื ื•ื›ืœ ืœื”ื ื“ืก ืฆืžื— ืฉื™ืฉื™ื‘ ืœื™ ืื”ื‘ื”?"
05:51
"Can we engineer a plant that can love me back?"
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05:54
And for some reason, he was like, "Sure, why not?"
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ื•ืžืฉื•ื-ืžื” ื”ื•ื ืืžืจ, "ื‘ื˜ื—. ืœืžื” ืœื?"
05:57
So we started with, can we get a plant to grow towards me
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ืื– ื”ืชื—ืœื ื• ืœื‘ื“ื•ืง ืื ื ื•ื›ืœ ืœื’ืจื•ื ืœืฆืžื—
06:00
like I was the sun?
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ืœื’ื“ื•ืœ ืœืขื‘ืจื™, ื›ืื™ืœื• ืื ื™ ื”ืฉืžืฉ.
06:02
And so we're looking at mechanisms in plants such as phototropism,
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ื‘ื“ืงื ื• ืžื ื’ื ื•ื ื™ื ืฆืžื—ื™ื™ื ื›ืžื• ืคื•ื˜ื•ื˜ืจื•ืคื™ื–ื,
06:06
which causes the plant to grow towards the sun
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ืฉื’ื•ืจื ืœืฆืžื— ืœืฆืžื•ื— ืœื›ื™ื•ื•ืŸ ื”ืฉืžืฉ
06:08
by producing hormones like auxin,
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ื‘ืืžืฆืขื•ืช ื”ืคืงืช ื”ื•ืจืžื•ื ื™ื ื›ืžื• ืื•ืงืกื™ืŸ,
06:10
which causes cell elongation on the shady side.
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ืฉื’ื•ืจื ืœื”ืชืืจื›ื•ืช ื”ืชืื™ื ื‘ืฆื“ ื”ืžื•ืฆืœ.
06:13
And right now I'm creating a set of lipsticks
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ื›ื™ื•ื ืื ื™ ื™ื•ืฆืจืช ืžืขืจื›ืช ืฉืคืชื•ื ื™ื
06:15
that are infused with these chemicals
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ืฉืกืคื•ื’ื™ื ื‘ื›ื™ืžื™ืงืœื™ื ื”ืืœื”
ืฉืžืืคืฉืจื™ื ืœื™ ืื™ื ื˜ืจืืงืฆื™ื” ืขื ืฆืžื— ื‘ื—ืชื™ืžื•ืช ื”ื›ื™ืžื™ื•ืช ืฉืœื• --
06:17
that allow me to interact with a plant on its own chemical signatures --
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06:20
lipsticks that cause plants to grow where I kiss it,
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ืฉืคืชื•ื ื™ื ืฉื’ื•ืจืžื™ื ืœืฆืžื—ื™ื ืœืฆืžื•ื— ื‘ืžืงื•ืžื•ืช ืฉืื ื™ ืžื ืฉืงืช ืื•ืชื,
06:24
plants that blossom where I kiss the bloom.
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ืฆืžื—ื™ื ืฉืคื•ืจื—ื™ื ื›ืฉืื ื™ ืžื ืฉืงืช ืืช ื”ืคืจื™ื—ื”.
06:26
And through these projects,
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ื•ื‘ืืžืฆืขื•ืช ื”ืžื™ื–ืžื™ื ื”ืืœื”
06:29
I'm asking questions like,
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ืื ื™ ืฉื•ืืœืช ืฉืืœื•ืช ื›ืžื•,
06:31
how do we define nature?
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ืื™ืš ืื ื• ืžื’ื“ื™ืจื™ื "ื˜ื‘ืข"?
06:32
How do we define nature when we can reengineer its properties,
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ืื™ืš ืื ื• ืžื’ื“ื™ืจื™ื "ื˜ื‘ืข" ื›ืฉืื ื• ื™ื›ื•ืœื™ื ืœื”ื ื“ืก ืžื—ื“ืฉ ืืช ืชื›ื•ื ื•ืชื™ื•,
06:36
and when should we do it?
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ื•ืžืชื™ ืขืœื™ื ื• ืœืขืฉื•ืช ื–ืืช?
06:37
Should we do it for profit, for utility?
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ื”ืื ืœืฆืจื›ื™ ืจื•ื•ื—, ืœืฆืจื›ื™ื ืฉื™ืžื•ืฉื™ื™ื?
06:41
Can we do it for emotional ends?
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ื”ืื ื ื•ื›ืœ ืœืขืฉื•ืช ื–ืืช ืœืฆืจื›ื™ื ืจื’ืฉื™ื™ื?
06:43
Can biotechnology be used to create work as moving as music?
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ื”ืื ื ื™ืชืŸ ืœื”ืฉืชืžืฉ ื‘ื‘ื™ื•ื˜ื›ื ื•ืœื•ื’ื™ื” ืœื™ืฆื™ืจื•ืช ืžืจื’ืฉื•ืช ื›ืžื• ื‘ืžื•ืกื™ืงื”?
06:46
What are the thresholds between science
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ืžื”ื ื”ื’ื‘ื•ืœื•ืช ื‘ื™ืŸ ืžื“ืข
06:48
and its ability to shape our emotional landscape?
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ืœื‘ื™ืŸ ื™ื›ื•ืœืชื• ืœืขืฆื‘ ืืช ื”ื ื•ืฃ ื”ืจื’ืฉื™ ืฉืœื ื•?
06:52
It's a famous design mantra that form follows function.
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ืžื ื˜ืจืช ืขื™ืฆื•ื‘ ืžืคื•ืจืกืžืช ืื•ืžืจืช ืฉื”ืฆื•ืจื” ื›ืคื•ืคื” ืœืชืคืงื•ื“.
06:56
Well, now, wedged somewhere between science, design and art
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ืื– ื›ืขืช, ืžืžืงื•ืžื™ ืื™ืคืฉื”ื• ื‘ื™ืŸ ื”ืžื“ืข, ื”ืขื™ืฆื•ื‘ ื•ื”ืืžื ื•ืช
07:00
I get to ask,
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ืื ื™ ืฉื•ืืœืช,
07:01
what if fiction informs fact?
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ืžื” ืื ื”ื‘ื“ื™ื•ืŸ ืชื•ืจื ืœืขื•ื‘ื“ื”?
07:03
What kind of R&D lab would that look like
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ืื™ืš ืชื™ืจืื” ืžืขื‘ื“ืช ืžื—ืงืจ ื•ืคื™ืชื•ื— ื›ื–ืืช
07:05
and what kind of questions would we ask together?
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ื•ืื™ืœื• ืฉืืœื•ืช ื ืฉืืœ ื‘ื™ื—ื“?
07:07
We often look to technology as the answer,
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ืื ื• ืžืจื‘ื™ื ืœืจืื•ืช ื‘ื˜ื›ื ื•ืœื•ื’ื™ื” ืืช ื”ืชืฉื•ื‘ื”,
07:10
but as an artist and designer,
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ืื‘ืœ ื›ืืžื ื™ืช ื•ืžืขืฆื‘ืช,
07:11
I like to ask, but what is the question?
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ืื ื™ ืื•ื”ื‘ืช ืœืฉืื•ืœ, "ืžื”ื™ ื”ืฉืืœื”?"
07:14
Thank you.
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ืชื•ื“ื” ืœื›ื.
07:15
(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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