Golan Levin: The truly soft side of software

16,170 views ใƒป 2007-05-15

TED


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

ืžืชืจื’ื: Yossi Strassler ืžื‘ืงืจ: Ido Dekkers
00:27
Imagine spending seven years at MIT and research laboratories,
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ืชืืจื• ืœืขืฆืžื›ื ืœื‘ื–ื‘ื– ืฉื‘ืข ืฉื ื™ื ื‘ืžื›ื•ืŸ ื”ื˜ื›ื ื•ืœื•ื’ื™ ืฉืœ ืžืกืฆ'ื•ืกื˜ืก ื‘ืžืขื‘ื“ื•ืช ื”ืžื—ืงืจ,
00:30
only to find out that you're a performance artist.
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ืจืง ื›ื“ื™ ืœื’ืœื•ืช ืฉืืชื” ืืžืŸ ื‘ื™ืžื”.
00:35
(Laughter)
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(ืฆื—ื•ืง)
00:39
I'm also a software engineer,
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ืื ื™ ื’ื ืžื”ื ื“ืก ืชื•ื›ื ื”,
00:42
and I make lots of different kinds of art with the computer.
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ื•ืื ื™ ืขื•ืฉื” ื”ืžื•ืŸ ืกื•ื’ื™ื ืฉื•ื ื™ื ืฉืœ ืืžื ื•ืช ืขื ื”ืžื—ืฉื‘.
00:44
And I think the main thing that I'm interested in
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ื•ืื ื™ ื—ื•ืฉื‘ ืฉื”ื“ื‘ืจ ื”ืžืจื›ื–ื™ ืฉื‘ื• ืื ื™ ืžืขื•ื ื™ื™ืŸ
00:46
is trying to find a way of
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ื”ื•ื ื‘ื ื™ืกื™ื•ืŸ ืœืžืฆื•ื ื“ืจืš
00:48
making the computer into a personal mode of expression.
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ืœื”ืคื•ืš ืืช ื”ืžื—ืฉื‘ ืœื›ืœื™ ืฉืœ ื‘ื™ื˜ื•ื™ ืื™ืฉื™.
00:51
And many of you out there are the heads of Macromedia and Microsoft,
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ืจื‘ื™ื ืžื›ื ื‘ืงื”ืœ ื”ื™ื ื ื”ืจืืฉื™ื ืฉืœ Macromedia ื•-Microsoft,
00:56
and in a way those are my bane:
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ื•ื‘ืžื™ื“ื” ืžืกื•ื™ืžืช ืืœื” ื”ื ื”ืงืœืœื” ืฉืœื™:
00:58
I think there's a great homogenizing force
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ืื ื™ ื—ื•ืฉื‘ ืฉื™ืฉ ื›ื•ื— ื”ื•ืžื•ื’ื ื™ ื—ื–ืง
01:01
that software imposes on people and limits the way they think
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ืฉืชื•ื›ื ื” ื›ื•ืคื” ืขืœ ืื ืฉื™ื ื•ืžื’ื‘ื™ืœื” ืืช ื”ืื•ืคืŸ ืฉื‘ื• ื”ื ื—ื•ืฉื‘ื™ื
01:07
about what's possible on the computer.
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ืขืœ ืžื” ืืคืฉืจื™ ืœื‘ื™ืฆื•ืข ื‘ืžื—ืฉื‘.
01:09
Of course, it's also a great liberating force that makes possible,
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ื›ืžื•ื‘ืŸ, ืฉื–ื” ื’ื ื›ื•ื— ืžืฉื—ืจืจ ื ื”ื“ืจ ืฉื”ื•ืคืš ืืช
01:12
you know, publishing and so forth, and standards, and so on.
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ื”ื”ื•ืฆืื” ืœืื•ืจ ืœืืคืฉืจื™ืช, ืืชื ื™ื•ื“ืขื™ื, ื•ื›ืŸ ื”ืœืื”, ืกื˜ื ื“ืจื˜ื™ื, ื•ื›ืŸ ื”ืœืื”.
01:15
But, in a way, the computer makes possible much more
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ืื‘ืœ, ื‘ืื•ืคืŸ ืžืกื•ื™ื, ื”ืžื—ืฉื‘ ืžืืคืฉืจ ื”ืจื‘ื” ื™ื•ืชืจ
01:19
than what most people think, and my art has just been about
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ืžืžื” ืฉืจื•ื‘ ื”ืื ืฉื™ื ื—ื•ืฉื‘ื™ื ื•ื”ืืžื ื•ืช ืฉืœื™ ื›ื‘ืจ ื›ืžืขื˜
01:22
trying to find a personal way of using the computer,
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ืžื ืกื” ืœืžืฆื•ื ืืช ื”ื“ืจืš ื”ืื™ืฉื™ืช ืฉืœ ืฉื™ืžื•ืฉ ื‘ืžื—ืฉื‘,
01:24
and so I end up writing software to do that.
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ื•ื›ืš ื‘ืกื•ืคื• ืฉืœ ื“ื‘ืจ ืื ื™ ื›ื•ืชื‘ ืชื•ื›ื ื” ื›ื“ื™ ืœื‘ืฆืข ื–ืืช.
01:28
Chris has asked me to do a short performance,
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ื›ืจื™ืก ื‘ื™ืงืฉ ืžืžื ื™ ืœืขืฉื•ืช ืžื•ืคืข ืงืฆืจ,
01:30
and so I'm going to take just this time -- maybe 10 minutes --
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ื•ืœื›ืŸ ืื ื™ ืขื•ืžื“ ืœื™ื˜ื•ืœ ืžื–ืžื ื›ื ืจืง ื”ืคืขื ื”ื–ืืช - ืื•ืœื™ ืขืฉืจ ื“ืงื•ืช -
01:33
to do that, and hopefully at the end have just a moment
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ืœื‘ืฆืข ื–ืืช, ื•ื‘ืชืงื•ื•ื” ืฉื‘ืกื•ืฃ ืชื™ืฉืืจ ืœื™ ื“ืงื”
01:35
to show you a couple of my other projects in video form.
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ื›ื“ื™ ืœื”ืจืื•ืช ืœื›ื ื›ืžื” ืžื”ืคืจื•ื™ืงื˜ื™ื ื”ืื—ืจื™ื ืฉืœื™ ื‘ืคื•ืจืžื˜ ืฉืœ ื•ื™ื“ืื•.
13:11
Thank you.
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ืชื•ื“ื”.
13:13
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
13:24
We've got about a minute left.
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ื™ืฉ ืœื ื• ื‘ืขืจืš ื“ืงื” ืฉื ื•ืชืจื”.
13:26
I'd just like to show a clip from a most recent project.
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ืื ื™ ืจืง ืจื•ืฆื” ืœื”ืจืื•ืช ืกืจื˜ื•ืŸ ืžืชื•ืš ื”ืคืจื•ื™ืงื˜ ื”ืขื“ื›ื ื™ ื‘ื™ื•ืชืจ.
13:28
I did a performance with two singers
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ื”ื•ืคืขืชื™ ืขื ืฉื ื™ ื–ืžืจื™ื
13:31
who specialize in making strange noises with their mouths.
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ื”ืžืชืžื—ื™ื ื‘ื‘ื™ืฆื•ืข ืจืขืฉื™ื ืžื•ื–ืจื™ื ื‘ืคื” ืฉืœื”ื.
13:34
And this just came off last September at ARS Electronica;
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ื•ื–ื” ืจืง ื”ืฉืชื—ืจืจ ื‘ืกืคื˜ืžื‘ืจ ื”ืื—ืจื•ืŸ ื‘ ARS Electronica;
13:37
we repeated it in England.
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ืื ื—ื ื• ื—ื•ื–ืจื™ื ืขืœ ื”ื”ื•ืคืขื” ื‘ืื ื’ืœื™ื”.
13:39
And the idea is to visualize their speech and song behind them
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ื•ื”ืจืขื™ื•ืŸ ื”ื•ื ืœื”ืžื—ื™ืฉ ืืช ื”ื“ื™ื‘ื•ืจ ืฉืœื”ื ื•ื”ืฉื™ืจื” ืžืื—ื•ืจื™ื”ื
13:42
with a large screen.
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ืขื ืžืกืš ืจื—ื‘.
13:43
We used a computer vision tracking system
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ื”ืฉืชืžืฉื ื• ื‘ืžืขืจื›ืช ืžืขืงื‘ ืฉืœ ืจืื™ื” ืžืžื•ื—ืฉื‘ืช
13:45
in order to know where they were.
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ื›ื“ื™ ืœื“ืขืช ื”ื™ื›ืŸ ื”ื ื”ื™ื•.
13:47
And since we know where their heads are,
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ื•ืžืื—ืจ ืฉืื ื• ื™ื•ื“ืขื™ื ื”ื™ื›ืŸ ื”ืจืืฉื™ื ืฉืœื”ื ื ืžืฆืื™ื,
13:48
and we have a wireless mic on them
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ื•ื™ืฉ ืœื ื• ืžื™ืงืจื•ืคื•ืŸ ืืœื—ื•ื˜ื™ ื”ืฆืžื•ื“ ืœื”ื
13:50
that we're processing the sound from,
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ืฉืื ื—ื ื• ืžืขื‘ื“ื™ื ืืช ื”ืฆืœื™ืœื™ื ืžืžื ื•,
13:51
we're able to create visualizations
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ืื ื—ื ื• ืžืกื•ื’ืœื™ื ืœื™ืฆื•ืจ ืชืฆื•ื’ื•ืช ื—ื–ื•ืชื™ื•ืช
13:53
which are linked very tightly to what they're doing with their speech.
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ืืฉืจ ืžืงื•ืฉืจื•ืช ื—ื–ืง ืžืื•ื“ ืืœ ื”ื“ื™ื‘ื•ืจ ืฉืœื”ื.
13:56
This will take about 30 seconds or so.
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ื–ื” ื™ืžืฉืš ื‘ืขืจืš ืฉืœื•ืฉื™ื ืฉื ื™ื•ืช.
14:01
He's making a, kind of, cheek-flapping sound.
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ื”ื•ื ืžืคื™ืง ืกื•ื’ ืฉืœ ืงื•ืœ ืฉืœ ืœื—ื™ื™ื ืžืชื ื•ืคืคื•ืช.
14:43
Well, suffice it to say it's not all like that, but that's part of it.
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ื•ื‘ื›ืŸ, ื“ื™ ืื ื ืืžืจ ืฉื–ื” ืœื ื”ื›ื•ืœ ื›ื›ื”, ืื‘ืœ ื–ื” ื—ืœืง ืžื–ื”.
14:46
Thanks very much. There's always lots more.
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ืชื•ื“ื” ืจื‘ื”. ืชืžื™ื“ ื™ืฉ ื”ืจื‘ื” ื™ื•ืชืจ.
14:48
I'm overtime, so I just wanted to say you can, if you're in New York,
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ืื ื™ ืžืขื‘ืจ ืœื–ืžืŸ ืฉื”ื•ืงืฆื” ืœื™, ื›ืš ืฉืื ื™ ืจืง ืจืฆื™ืชื™ ืœื”ื’ื™ื“ ืฉืืชื ื™ื›ื•ืœื™ื,ืื ืืชื ื‘ื ื™ื• ื™ื•ืจืง,
14:50
you can check out my work at the Whitney Biennial next week,
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ืืชื ื™ื›ื•ืœื™ื ืœื‘ื“ื•ืง ืืช ื”ืขื‘ื•ื“ื” ืฉืœื™ ื‘ื‘ื™ืื ืืœื” ืฉืœ ื•ื™ื˜ื ื™ ื‘ืฉื‘ื•ืข ื”ื‘ื,
14:52
and also at Bitforms Gallery in Chelsea.
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ื•ื’ื ื‘ื’ืœืจื™ื™ืช Bitforms ื‘ืฆ'ืœืกื™.
14:55
And with that, I think I should give up the stage,
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ื•ืขื ื–ื”, ืื ื™ ื—ื•ืฉื‘ ืฉืื ื™ ืฆืจื™ืš ืœื•ื•ืชืจ ืขืœ ื”ื‘ืžื”,
14:57
so, thank you so much.
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ื›ืš ืฉืชื•ื“ื” ืจื‘ื” ื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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