Shilo Shiv Suleman: Using tech to enable dreaming

52,837 views ใƒป 2012-02-22

TED


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

ืžืชืจื’ื: Ido Dekkers ืžื‘ืงืจ: Eran Givoni
00:15
My story begins right here actually in Rajasthan
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ื”ืกื™ืคื•ืจ ืฉืœื™ ืžืชื—ื™ืœ ืžืžืฉ ืคื” ืœืžืขืฉื” ื‘ืจื’'ื”ืกื˜ืŸ
00:18
about two years ago.
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ื‘ืขืจืš ืœืคื ื™ ืฉื ืชื™ื™ื.
00:20
I was in the desert, under the starry skies
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ื”ื™ื™ืชื™ ื‘ืžื“ื‘ืจ, ืžืชื—ืช ืœืฉืžื™ื ื–ืจื•ืขื™ ื›ื•ื›ื‘ื™ื
00:23
with the Sufi singer Mukhtiar Ali.
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ืขื ื”ื–ืžืจืช ื”ืกื•ืคื™ืช ืžื•ื—ื˜ื™ืืจ ืขืœื™.
00:25
And we were in conversation
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ื•ื”ื™ื™ื ื• ื‘ืฉื™ื—ื”
00:27
about how nothing had changed
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ืขืœ ืื™ืš ืฉืฉื•ื ื“ื‘ืจ ืœื ื”ืฉืชื ื”
00:29
since the time of the ancient Indian epic "The Mahabharata."
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ืžืื– ื”ืกื™ืคื•ืจ ื”ื”ื•ื“ื™ ื”ืขืชื™ืง "ื”ืžื”ื‘ื”ืจื˜ื”."
00:32
So back in the day, when us Indians wanted to travel
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ืื– ื‘ื–ืžื ื•, ื›ืฉืื ื• ื”ื”ื•ื“ื™ื ืจืฆื™ื ื• ืœื˜ื™ื™ืœ
00:35
we'd jump into a chariot and we'd zoom across the sky.
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ื”ื™ื™ื ื• ืงื•ืคืฆื™ื ืขืœ ื›ืจื›ืจื” ื•ื”ื™ื™ื ื• ื˜ืกื™ื ื‘ืฉืžื™ื™ื.
00:38
Now we do the same with airplanes.
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ืขื›ืฉื™ื• ืื ื—ื ื• ืขื•ืฉื™ื ืื•ืชื• ื”ื“ื‘ืจ ืขื ืžื˜ื•ืกื™ื.
00:41
Back then,
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ื‘ื–ืžื ื•,
00:43
when Arjuna, the great Indian warrior prince,
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ืขื ืืจื’'ื•ื ื”, ื”ื ืกื™ืš ื”ื”ื•ื“ื™ ื”ืœื•ื—ื ื”ื’ื“ื•ืœ,
00:45
when he was thirsty, he'd take out a bow,
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ื›ืฉื”ื•ื ื”ื™ื” ืฆืžื, ื”ื•ื ื”ื™ื” ืœื•ืงื— ืงืฉืช,
00:47
he'd shoot it into the ground and water would come out.
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ื”ื•ื ื”ื™ื” ื™ื•ืจื” ืœืื“ืžื” ื•ืžื™ื ื”ื™ื• ื™ื•ืฆืื™ื.
00:50
Now we do the same
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ืขื›ืฉื™ื• ืื ื—ื ื• ืขื•ืฉื™ื ืื•ืชื• ื”ื“ื‘ืจ
00:52
with drills and machines.
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ืขื ืžืงื“ื—ื™ื ื•ืžื›ื•ื ื•ืช.
00:54
The conclusion that we came to
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ื”ืžืกืงื ื” ืฉื”ื’ืขื ื• ืืœื™ื”
00:56
was that magic had been replaced
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ื”ื™ืชื” ืฉืงืกื ื”ื•ื—ืœืฃ
00:58
by machinery.
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ื‘ืžื›ื•ื ื•ืช.
01:00
And this made me really sad.
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ื•ื–ื” ืขืฉื” ืื•ืชื™ ืžืื•ื“ ืขืฆื•ื‘ื”.
01:03
I found myself becoming a little bit of a technophobe.
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ืžืฆืืชื™ ืืช ืขืฆืžื™ ื ืขืฉื™ืช ืžืขื˜ ื˜ื›ื ื•ืคื•ื‘ื™ืช.
01:06
I was terrified by this idea
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ื”ื™ื™ืชื™ ืžื‘ื•ืขื•ืชืช ืžื”ืจืขื™ื•ืŸ
01:08
that I would lose the ability
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ืฉืืื‘ื“ ืืช ื”ื™ื›ื•ืœืช
01:10
to enjoy and appreciate the sunset
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ืœื”ื ื•ืช ื•ืœื”ืขืจื™ืš ืืช ื”ืฉืงื™ืขื”
01:12
without having my camera on me, without tweeting it to my friends.
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ื‘ืœื™ ื”ืžืฆืœืžื” ืขืœื™, ื‘ืœื™ ืœืฆื™ื™ืฅ ืœื—ื‘ืจื™ื ืขืœ ื–ื”.
01:15
And it felt like technology
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ื•ื–ื” ื”ืจื’ื™ืฉ ื›ืื™ืœื• ื”ื˜ื›ื ื•ืœื•ื’ื™ื”
01:17
should enable magic, not kill it.
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ืฆืจื™ื›ื” ืœืืคืฉืจ ืงืกื, ืœื ืœื”ืจื•ื’ ืื•ืชื•.
01:19
When I was a little girl,
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ื›ืฉื”ื™ื™ืชื™ ื™ืœื“ื” ืงื˜ื ื”,
01:21
my grandfather gave me his little silver pocket watch.
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ืกื‘ื™ ื ืชืŸ ืœื™ ืืช ืฉืขื•ืŸ ื”ื›ื™ืก ื”ืงื˜ืŸ ื•ื”ื›ืกื•ืฃ ืฉืœื•.
01:24
And this piece of 50-year-old technology
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ื•ื”ืคื™ืกื” ื”ื–ื• ืฉืœ ื˜ื›ื ื•ืœื•ื’ื™ื” ื‘ืช 50 ืฉื ื”
01:27
became the most magical thing to me.
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ื”ืคื›ื” ืœื“ื‘ืจ ื”ืงืกื•ื ื‘ื™ื•ืชืจ ื‘ืฉื‘ื™ืœื™.
01:29
It became a gilded gateway
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ื”ื™ื ื”ืคื›ื” ืœืžืคืœื˜ ืžื•ื–ื”ื‘
01:31
into a world full of pirates and shipwrecks
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ืœืขื•ืœื ืžืœื ืคื™ืจื˜ื™ื ื•ืกืคื™ื ื•ืช ื˜ืจื•ืคื•ืช
01:34
and images in my imagination.
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ื•ืชืžื•ื ื•ืช ื‘ื“ืžื™ื•ืŸ ืฉืœื™.
01:37
So I felt like our cellphones
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ืื– ื”ืจื’ืฉืชื™ ื›ืื™ืœื• ื”ื˜ืœืคื•ื ื™ื ื”ืกืœื•ืœืจื™ื™ื ืฉืœื ื•
01:39
and our fancy watches and our cameras
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ื•ื”ืฉืขื•ื ื™ื ื”ืžืชื•ื—ื›ืžื™ื ืฉืœื ื• ื•ื”ืžืฆืœืžื•ืช ืฉืœื ื•
01:41
had stopped us from dreaming.
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ืขืฆืจื• ืื•ืชื ื• ืžืœื—ืœื•ื.
01:43
They stopped us from being inspired.
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ื”ื ืขืฆืจื• ืืช ื”ื”ืฉืจืื” ืฉืœื ื•.
01:45
And so I jumped in, I jumped into this world of technology,
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ืื– ืงืคืฆืชื™ ืคื ื™ืžื”, ืงืคืฆืชื™ ืœืขื•ืœื ื”ื˜ื›ื ื•ืœื•ื’ื™ื” ื”ื–ื”,
01:48
to see how I could use it to enable magic
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ื›ื“ื™ ืœืจืื•ืช ืื™ืš ื”ื•ื ื™ื›ื•ืœ ืœืืคืฉืจ ืงืกื
01:50
as opposed to kill it.
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ื‘ื ื™ื’ื•ื“ ืœืœื”ืจื•ื’ ืื•ืชื•.
01:52
I've been illustrating books since I was 16.
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ืื™ื™ืจืชื™ ืกืคืจื™ื ืžืื– ืฉื”ื™ื™ืชื™ ื‘ืช 16.
01:54
And so when I saw the iPad,
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ืื– ื›ืฉืจืื™ืชื™ ืืช ื”ืื™ื™ืคื“,
01:56
I saw it as a storytelling device
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ืจืื™ืชื™ ืื•ืชื• ื›ืžื›ืฉื™ืจ ืกื™ืคื•ืจ ืกื™ืคื•ืจื™ื
01:58
that could connect readers all over the world.
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ืฉื™ื›ื•ืœ ืœื—ื‘ืจ ืงื•ืจืื™ื ืžืกื‘ื™ื‘ ืœืขื•ืœื.
02:01
It can know how we're holding it.
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ื”ื•ื ื™ื›ื•ืœ ืœื“ืขืช ืื™ืš ืืชื ืžื—ื–ื™ืงื™ื ืื•ืชื•.
02:04
It can know where we are.
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ื”ื•ื ื™ื›ื•ืœ ืœื“ืขืช ืื™ืคื” ืื ื—ื ื•.
02:06
It brings together image and text
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ื”ื•ื ืžื‘ื™ื ื™ื—ื“ ืชืžื•ื ื” ื•ื˜ืงืกื˜
02:08
and animation and sound and touch.
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ื•ืื ื™ืžืฆื™ื•ืช ื•ืฆืœื™ืœื™ื ื•ืžื’ืข.
02:11
Storytelling is becoming
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ืกื™ืคื•ืจ ืกื™ืคื•ืจื™ื ื”ื•ืคืš
02:13
more and more multi-sensorial.
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ืœื™ื•ืชืจ ื•ื™ื•ืชืจ ืจื‘ ื—ื•ืฉื™.
02:15
But what are we doing with it?
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ืื‘ืœ ืžื” ืื ื—ื ื• ืขื•ืฉื™ื ืขื ื–ื”?
02:17
So I'm actually just going to go in and launch Khoya,
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ืื– ืื ื™ ืœืžืขืฉื” ืจืง ืืคืชื— ืืช ืงื•ื”ื™ื”,
02:20
an interactive app for the iPad.
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ืืคืœื™ืงืฆื™ื” ืื™ื ื˜ืจืืงื˜ื™ื‘ื™ืช ืœืื™ื™ืคื“.
02:24
So it says, "Place your fingers
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ืื– ื”ื™ื ืื•ืžืจืช, "ื”ื ื™ื—ื• ืืช ืืฆื‘ืขื•ืชื™ื›ื
02:26
upon each light."
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ืขื ื›ืœ ืื•ืจ."
02:28
And so --
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ื•ืื– --
02:31
(Music)
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(ืžื•ื–ื™ืงื”)
02:55
It says, "This box belongs to ... "
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ื”ื™ื ืื•ืžืจืช, "ื”ืงื•ืคืกื” ื”ื–ื• ืฉื™ื™ื›ืช ืœ...."
02:59
And so I type in my name.
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ืื– ืื ื™ ืžืงืœื™ื“ื” ืืช ืฉืžื™.
03:01
And actually I become a character in the book.
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ื•ืœืžืขืฉื” ืื ื™ ื”ื•ืคื›ืช ืœื“ืžื•ืช ื‘ืกืคืจ.
03:03
At various points, a little letter drops down to me --
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ื‘ื ืงื•ื“ื•ืช ืฉื•ื ื•ืช, ื•ืžื›ืชื‘ ืงื˜ืŸ ื™ื•ืจื“ ืืœื™ --
03:06
and the iPad knows where you live because of GPS --
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ื•ื”ืื™ื™ืคื“ ื™ื•ื“ืข ืื™ืคื” ืืชื ื’ืจื™ื ื‘ื’ืœืœ ื”GPS --
03:09
which is actually addressed to me.
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ืฉืœืžืขืฉื” ืžืžื•ืขืŸ ืืœื™.
03:11
The child in me is really excited
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ื”ื™ืœื“ื” ืฉื‘ื™ ืžืžืฉ ืžืชืจื’ืฉืช
03:13
by these kinds of possibilities.
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ืžื”ืืคืฉืจื•ื™ื•ืช ื”ืืœื”.
03:15
Now I've been talking a lot about magic.
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ืขื›ืฉื™ื• ื“ื™ื‘ืจืชื™ ื”ืจื‘ื” ืขืœ ืงืกื.
03:18
And I don't mean wizards and dragons,
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ื•ืื ื™ ืœื ืžืชื›ื•ื•ื ืช ืœืžื›ืฉืคื™ื ื•ื“ืจืงื•ื ื™ื,
03:21
I mean the kind of childhood magic,
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ืื ื™ ืžืชื›ื•ื•ื ืช ืœืงืกื ื™ืœื“ื•ืช,
03:23
those ideas that we all harbored as children.
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ื”ืจืขื™ื•ื ื•ืช ื”ืืœื” ืฉืœื›ื•ืœื ื• ื”ื™ื• ื›ื™ืœื“ื™ื.
03:26
This idea of fireflies in a jar, for some reason,
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ื”ืจืขื™ื•ืŸ ืฉืœ ื’ื—ืœื™ืœื™ื•ืช ื‘ืฆื ืฆื ืช, ืžืกื™ื‘ื” ื›ืœืฉื”ื™,
03:28
was always really exciting to me.
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ืชืžื™ื“ ื”ื™ื” ืžืจื’ืฉ ื‘ืฉื‘ื™ืœื™.
03:30
And so over here you need to tilt your iPad,
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ืื– ื›ืืŸ ืฆืจื™ืš ืœื”ื˜ื•ืช ืืช ื”ืื™ื™ืคื“ ืฉืœืš,
03:33
take the fireflies out.
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ืœื”ื•ืฆื™ื ืืช ื”ื’ื—ืœื™ืœื™ื•ืช.
03:35
And they actually illuminate your way through the rest of the book.
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ื•ื”ืŸ ื‘ืขืฆื ืžืื™ืจื•ืช ืืช ื“ืจื›ื›ื ืœืื•ืจืš ื”ืกืคืจ.
03:41
Another idea that really fascinated me as a child
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ืจืขื™ื•ืŸ ื ื•ืกืฃ ืฉืžืžืฉ ืขื ื™ื™ืŸ ืื•ืชื™ ื›ื™ืœื“ื”
03:44
was that an entire galaxy could be contained
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ื”ื™ื” ืฉื›ืœ ื”ื’ืœืกื™ื” ืชื•ื›ืœ ืœื”ื™ื•ืช ืžื•ื›ืœืช
03:46
within a single marble.
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ื‘ืชื•ืš ื’ื•ืœื” ืื—ืช.
03:48
And so over here,
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ืื– ื›ืืŸ,
03:50
each book and each world
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ื›ืœ ืกืคืจ ื•ื›ืœ ืขื•ืœื
03:52
becomes a little marble
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ื”ื•ืคืš ืœื’ื•ืœื” ืงื˜ื ื”
03:54
that I drag in
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ืฉืื ื™ ื’ื•ืจืจืช ืคื ื™ืžื”
03:56
to this magical device within the device.
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ืœืžื›ืฉื™ืจ ื”ืงืกื•ื ื”ื–ื” ื‘ืชื•ืš ื”ืžื›ืฉื™ืจ.
03:59
And it opens up a map.
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ื•ื”ื•ื ืคื•ืชื— ืžืคื”.
04:04
All along, all fantasy books have always had maps,
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ืžืื– ื•ืžืชืžื™ื“, ืœื›ืœ ืกื™ืคืจื™ ื”ืคื ื˜ื–ื™ื” ื”ื™ื• ืžืคื•ืช,
04:07
but these maps have been static.
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ืื‘ืœ ื”ืžืคื•ืช ื”ืืœื• ื”ื™ื• ืกื˜ื˜ื™ื•ืช.
04:09
This is a map that grows and glows
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ื–ื• ืžืคื” ืฉื’ื“ืœื” ื•ื–ื•ื”ืจืช
04:12
and becomes your navigation for the rest of the book.
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ื•ื”ื•ืคื›ืช ืœื ื™ื•ื•ื˜ ืฉืœื›ื ื‘ื”ืžืฉืš ื”ืกืคืจ.
04:14
It reveals itself to you at certain points in the book as well.
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ื”ื™ื ืžื’ืœื” ืืช ืขืฆืžื” ืœื›ื ื’ื ื‘ื ืงื•ื“ื•ืช ืžืกื•ื™ื™ืžื•ืช ื‘ืกืคืจ.
04:17
So I'm just going to enter in.
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ืื– ืื ื™ ืคืฉื•ื˜ ืื›ื ืก.
04:21
Another thing that's actually really important to me
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ื“ื‘ืจ ื ื•ืกืฃ ืฉืœืžืขืฉื” ืžืื•ื“ ื—ืฉื•ื‘ ืœื™
04:24
is creating content that is Indian
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ื”ื•ื ืœื™ืฆื•ืจ ืชื•ื›ืŸ ื”ื•ื“ื™
04:27
and yet very contemporary.
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ืื‘ืœ ืขื›ืฉื™ื•ื™.
04:29
Over here, these are the Apsaras.
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ื›ืืŸ, ืืœื” ื”ืืคืกืจืก.
04:31
So we've all heard about fairies and we've all heard about nymphs,
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ืื– ื›ื•ืœื ื• ืฉืžืขื ื• ืขืœ ืคื™ื•ืช ื•ื›ื•ืœื ื• ืฉืžืขื ื• ืขืœ ื ื™ืžืคื•ืช,
04:34
but how many people outside of India
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ืื‘ืœ ื›ืžื” ืื ืฉื™ื ืžื—ื•ืฅ ืœื”ื•ื“ื•
04:37
know about their Indian counterparts, the Apsaras?
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ื™ื•ื“ืขื™ื ืขืœ ื”ืžืงื‘ื™ืœื•ืช ื”ื”ื•ื“ื™ื•ืช ืฉืœื”ืŸ, ื”ืืคืกืจื•ืช?
04:40
These poor Apsaras have been trapped inside Indra's chambers for thousands of years
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ื”ืืคืกืจื•ืช ื”ืžืกื›ื ื•ืช ื”ืืœื” ื”ื™ื• ืœื›ื•ื“ื•ืช ื‘ืชื•ืš ื”ืžื’ื•ืจื™ื ืฉืœ ืื™ื ื“ืจื” ืืœืคื™ ืฉื ื™ื
04:44
in an old and musty book.
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ื‘ืกืคืจ ืขืชื™ืง ื•ืขื‘ืฉ.
04:46
And so we're bringing them back
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ืื– ืื ื—ื ื• ืžื—ื–ื™ืจื™ื ืื•ืชืŸ
04:48
in a contemporary story for children.
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ื‘ืกื™ืคื•ืจ ืขื›ืฉื•ื™ ืœื™ืœื“ื™ื.
04:59
And a story that actually deals with new issues
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ื•ืกื™ืคื•ืจ ืฉืœืžืขืฉื” ืžื˜ืคืœ ื‘ื ื•ืฉืื™ื ื—ื“ืฉื™ื
05:02
like the environmental crisis.
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ื›ืžื• ื”ืžืฉื‘ืจ ื”ืกื‘ื™ื‘ืชื™.
05:04
(Music)
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(ืžื•ื–ื™ืงื”)
05:25
Speaking of the environmental crisis,
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ื•ืื ืžื“ื‘ืจื™ื ืขืœ ื”ืžืฉื‘ืจ ื”ืกื‘ื™ื‘ืชื™,
05:29
I think a big problem has been in the last 10 years
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ืื ื™ ื—ื•ืฉื‘ืช ืฉื‘ืขื™ื” ื’ื“ื•ืœื” ืฉื”ื™ืชื” ื‘10 ื”ืฉื ื™ื ื”ืื—ืจื•ื ื•ืช
05:32
is that children have been locked inside their rooms,
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ื”ื™ื ืฉื™ืœื“ื™ื ื”ื™ื• ื ืขื•ืœื™ื ื‘ืชื•ืš ื”ื—ื“ืจื™ื ืฉืœื”ื,
05:34
glued to their PCs, they haven't been able to get out.
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ื“ื‘ื•ืงื™ื ืœืžื—ืฉื‘ ืฉืœื”ื, ื”ื ืœื ื”ื™ื• ืžืกื•ื’ืœื™ื ืœืฆืืช.
05:36
But now with mobile technology,
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ืื‘ืœ ืขื›ืฉื™ื• ืขื ื˜ื›ื ื•ืœื•ื’ื™ื” ื ื™ื™ื“ืช,
05:38
we can actually take our children outside into the natural world
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ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืžืขืฉื” ืœืงื—ืช ืืช ื™ืœื“ื™ื ื• ื”ื—ื•ืฆื” ืืœ ืขื•ืœื ื”ื˜ื‘ืข
05:41
with their technology.
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ืขื ื”ื˜ื›ื ื•ืœื•ื’ื™ื” ืฉืœื”ื.
05:43
One of the interactions in the book
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ืื—ืช ืžื”ืื™ื ื˜ืจืืงืฆื™ื•ืช ืขื ื”ืกืคืจ
05:45
is that you're sent off on this quest
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ื”ื™ื ืฉืืชื ื ืฉืœื—ื™ื ืœืžืกืข
05:47
where you need to go outside,
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ื‘ื• ืืชื ืฆืจื™ื›ื™ื ืœืฆืืช ื”ื—ื•ืฆื”,
05:49
take out your camera on the iPad
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ืœืงื—ืช ืืช ื”ืžืฆืœืžื” ืขืœ ื”ืื™ื™ืคื“
05:51
and collect pictures of different natural objects.
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ื•ืœืฆืœื ืชืžื•ื ื•ืช ืฉืœ ืขืฆืžื™ื ื˜ื‘ืขื™ื™ื ืฉื•ื ื™ื.
05:53
When I was a child, I had multiple collections
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ื›ืฉื”ื™ื™ืชื™ ื™ืœื“ื”, ื”ื™ื• ืœื™ ืื•ืกืคื™ื ืจื‘ื™ื
05:55
of sticks and stones and pebbles and shells.
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ืฉืœ ืžืงืœื•ืช ื•ืื‘ื ื™ื ื•ื—ืœื•ืงื™ ื ื—ืœ ื•ืงื•ื ื›ื™ื•ืช.
05:58
And somehow kids don't do that anymore.
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ื•ืื™ื›ืฉื”ื• ื™ืœื“ื™ื ืœื ืขื•ืฉื™ื ืืช ื–ื” ื™ื•ืชืจ.
06:00
So in bringing back this childhood ritual,
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ืื– ื‘ื”ื—ื–ืจืช ืžื ื”ื’ ื”ื™ืœื“ื•ืช ื”ื–ื,
06:02
you need to go out
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ืืชื ืฆืจื™ื›ื™ื ืœืฆืืช ื”ื—ื•ืฆื”
06:04
and, in one chapter, take a picture of a flower
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ื•ื‘ืคืจืง ืื—ื“, ืœืฆืœื ืคืจื—
06:06
and then tag it.
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ื•ืื– ืœืชื™ื™ื’ ืื•ืชื•.
06:08
In another chapter, you need to take a picture of a piece of bark
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ื‘ืคืจืง ืื—ืจ, ืืชื ืฆืจื™ื›ื™ื ืœืชืœื ืคื™ืกืช ืงืœื™ืคื” ืฉืœ ืขืฅ
06:10
and then tag that.
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ื•ืœืชื™ื™ื’ ืื•ืชื”.
06:12
And what happens
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ื•ืžื” ืฉืงื•ืจื”
06:14
is that you actually create a digital collection of photographs
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ื”ื•ื ืฉืืชื ื‘ืกื•ืฃ ื™ื•ืฆืจื™ื ืื•ืกืฃ ื“ื™ื’ื™ื˜ืœื™ ืฉืœ ืชืžื•ื ื•ืช
06:16
that you can then put up online.
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ืฉืืชื ื™ื›ื•ืœื™ื ืœื”ืขืœื•ืช ืœืจืฉืช.
06:18
A child in London puts up a picture of a fox
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ื•ื™ืœื“ ื‘ืœื•ื ื“ื•ืŸ ื™ืขืœื” ืชืžื•ื ื” ืฉืœ ืฉื•ืขืœ
06:20
and says, "Oh, I saw a fox today."
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ื•ื™ื•ืืžืจ, "ืื•ื”, ืจืื™ืชื™ ืฉื•ืขืœ ื”ื™ื•ื."
06:22
A child in India says, "I saw a monkey today."
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ื•ื™ืœื“ ื‘ื”ื•ื“ื• ื™ื’ื™ื“, " ืื ื™ ืจืื™ืชื™ ืงื•ืฃ ื”ื™ื•ื."
06:24
And it creates this kind of social network
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ื•ื–ื” ื™ื•ืฆืจ ืกื•ื’ ืฉืœ ืจืฉืช ื—ื‘ืจืชื™ืช
06:26
around a collection of digital photographs
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ืžืกื‘ื™ื‘ ืœืื•ืกืฃ ืชืžื•ื ื•ืช ื“ื™ื’ื™ื˜ืœื™ื•ืช
06:28
that you've actually taken.
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ืฉืฆื™ืœืžืชื.
06:30
In the possibilities of linking together
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ื‘ืืคืฉืจื•ื™ื•ืช ืฉืœ ืœื—ื‘ืจ ื‘ื™ื—ื“
06:33
magic, the earth and technology,
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ืงืกื, ื›ื“ื•ืจ ื”ืืจืฅ ื•ื˜ื›ื ื•ืœื•ื’ื™ื”,
06:36
there are multiple possibilities.
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ื™ืฉ ืžื’ื•ื•ืŸ ืืคืฉืจื•ื™ื•ืช.
06:38
In the next book, we plan on having an interaction
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ื‘ืกืคืจ ื”ื‘ื, ืื ื—ื ื• ืžืชื›ื ื ื™ื ืฉืชื”ื™ื” ื”ืคืขืœื”
06:40
where you take your iPad out with the video on
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ื‘ื” ืชื™ืงื—ื• ืืช ื”ืื™ื™ืคื“ ื”ื—ื•ืฆื” ืขื ื•ื™ื“ืื• ืคื•ืขืœ
06:42
and through augmented reality,
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ื•ื“ืจืš ืžืฆื™ืื•ืช ืžืจื•ื‘ื“ืช,
06:44
you see this layer of animated pixies
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ืืชื ืชืจืื• ืืช ื”ืฉื›ื‘ื” ื”ื–ื• ืฉืœ ืคื™ื•ืช ืžื•ื ืคืฉื•ืช
06:46
appear on a houseplant that's outside your house.
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ืฉื™ื•ืคื™ืขื• ืขืœ ืฆืžื— ื‘ื—ืฆืจ ืฉืœื›ื.
06:50
At one point, your screen is filled up with leaves.
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ื•ื‘ืฉืœื‘ ืžืกื•ื™ื™ื, ื”ืžืกืš ืฉืœื›ื ื™ืชืžืœื ื‘ืขืœื™ื.
06:53
And so you need to make the sound of wind and blow them away
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ืื– ืืชื ืฆืจื™ื›ื™ื ืœืขืฉื•ืช ืงื•ืœ ืฉืœ ืจื•ื— ื•ืœื”ืขื™ืฃ ืื•ืชื
06:56
and read the rest of the book.
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ื•ืœืงืจื•ื ืืช ืฉืืจ ื”ืกืคืจ.
06:58
We're moving, we're all moving here,
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ืื ื—ื ื• ื–ื–ื™ื, ื›ื•ืœื ื• ื–ื–ื™ื ืคื”.
07:01
to a world where the forces of nature
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ืœืขื•ืœื ื‘ื• ื›ื•ื—ื•ืช ืฉื˜ื‘ืข
07:03
come closer together to technology,
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ืžืชืงืจื‘ื™ื ืœื˜ื›ื ื•ืœื•ื’ื™ื”,
07:05
and magic and technology can come closer together.
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ื•ืงืกื ื•ื˜ื›ื ื•ืœื•ื’ื™ื” ื™ื›ื•ืœื™ื ืœื”ืชืงืจื‘.
07:08
We're harnessing energy from the sun.
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ืื ื—ื ื• ืจื•ืชืžื™ื ืื ืจื’ื™ื” ืžื”ืฉืžืฉ.
07:11
We're bringing our children and ourselves
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ืื ื—ื ื• ืžื‘ื™ืื™ื ืืช ื™ืœื“ื™ื ื• ื•ืื•ืชื ื•
07:14
closer to the natural world
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ืงืจื•ื‘ ื™ื•ืชืจ ืœืขื•ืœื ื”ื˜ื‘ืข
07:16
and that magic and joy
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ื•ื”ืงืกื ื•ื”ืื•ืฉืจ ื”ื–ื”
07:18
and childhood love that we had
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ื•ืื”ื‘ืช ื”ื™ืœื“ื•ืช ืฉื”ื™ืชื” ืœื ื•
07:20
through the simple medium of a story.
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ื“ืจืš ื”ืžื“ื™ื•ื ื”ืคืฉื•ื˜ ืฉืœ ืกื™ืคื•ืจ.
07:22
Thank you.
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ืชื•ื“ื” ืœื›ื.
07:24
(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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