Neil Harbisson: I listen to color

830,325 views ใƒป 2012-07-20

TED


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

00:00
Translator: Joseph Geni Reviewer: Morton Bast
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ืžืชืจื’ื: Michael Coslovsky ืžื‘ืงืจ: Ido Dekkers
00:16
Well, I was born with a rare visual condition
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ืื ื™ ื ื•ืœื“ืชื™ ืขื ืชืกืžื•ื ืช ืจืื™ื™ืชื™ืช ื ื“ื™ืจื”
00:19
called achromatopsia, which is total color blindness,
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ื”ืงืจื•ื™ื” ืื›ืจื•ืžื˜ื•ืคืกื™ื”, ืฉื”ื™ื ืขื™ื•ื•ืจื•ืŸ ืฆื‘ืขื™ื ืžื•ื—ืœื˜.
00:23
so I've never seen color,
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ื›ืš ืฉืžืขื•ืœื ืœื ืจืื™ืชื™ ืฆื‘ืข,
00:25
and I don't know what color looks like,
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ื•ืื ื™ ืœื ื™ื•ื“ืข ืื™ืš ืฆื‘ืข ื ืจืื”,
00:27
because I come from a grayscale world.
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ื›ื™ื•ื•ืŸ ืฉืื ื™ ื‘ื ืžืขื•ืœื ืฉืœ ื’ื•ื•ื ื™ื ืฉืœ ืืคื•ืจ.
00:30
To me, the sky is always gray,
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ืขื‘ื•ืจื™, ื”ืฉืžื™ื™ื ื”ื ืชืžื™ื“ ืืคื•ืจื™ื,
00:33
flowers are always gray,
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ืคืจื—ื™ื ื”ื ืชืžื™ื“ ืืคื•ืจื™ื,
00:35
and television is still in black and white.
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ื•ื”ื˜ืœื•ื•ื™ื–ื™ื” ื”ื™ื ืขื“ื™ื™ืŸ ื‘ืฉื—ื•ืจ ืœื‘ืŸ.
00:37
But, since the age of 21,
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ืื‘ืœ ืžืื– ื’ื™ืœ 21,
00:39
instead of seeing color, I can hear color.
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ื‘ืžืงื•ื ืœืจืื•ืช ืฆื‘ืข, ืื ื™ ืฉื•ืžืข ืฆื‘ืข.
00:43
In 2003, I started a project
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ื‘-2003 ื”ืชื—ืœืชื™ ืคืจื•ื™ืงื˜
00:46
with computer scientist Adam Montandon,
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ืขื ืžื“ืขืŸ ืžื—ืฉื‘ ื‘ืฉื ืื“ื ืžื•ื ื˜ื ื“ื•ืŸ,
00:49
and the result, with further collaborations
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ื•ื”ืชื•ืฆืื”, ื™ื—ื“ ืขื ืฉื™ืชื•ืคื™ ืคืขื•ืœื” ื ื•ืกืคื™ื
00:52
with Peter Kese from Slovenia
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ืขื ืคื˜ืจ ืงื–ื” ืžืกืœื•ื‘ื ื™ื”
00:55
and Matias Lizana from Barcelona,
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ื•ืžืชื™ืืก ืœื™ื–ืื ื” ืžื‘ืจืฆืœื•ื ื”,
00:57
is this electronic eye.
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ื”ื™ื ื”ืขื™ืŸ ื”ืืœืงื˜ืจื•ื ื™ืช ื”ื–ื•.
00:59
It's a color sensor that detects
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ื–ื”ื• ื—ื™ื™ืฉืŸ ืฆื‘ืขื™ื ืฉืžื–ื”ื”
01:02
the color frequency in front of me โ€” (Frequency sounds) โ€”
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ืืช ืชื“ื™ืจื•ืช ื”ืฆื‘ืข ืฉืœืคื ื™ - (ืจืขืฉื™ ืชื“ืจื™ื) -
01:05
and sends this frequency to a chip installed
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ื•ืฉื•ืœื— ืืช ื”ืชื“ืจ ื”ื–ื” ืืœ ืฉื‘ื‘ ื”ืžื•ืชืงืŸ
01:08
at the back of my head, and I hear the color in front of me
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ื‘ืื—ื•ืจื™ ืจืืฉื™, ื•ืื ื™ ืฉื•ืžืข ืืช ื”ืฆื‘ืข ืฉื ืžืฆื ืœืคื ื™
01:11
through the bone, through bone conduction.
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ื“ืจืš ื”ืขืฆืžื•ืช, ืขืœ ื™ื“ื™ ื”ื•ืœื›ื” ื“ืจืš ื”ืขืฆืžื•ืช.
01:13
(Frequency sounds) So, for example, if I have, like โ€”
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(ืจืขืฉื™ ืชื“ื™ืจื•ืช) - ื›ืš ืœื“ื•ื’ืžื, ืื ื™ืฉ ืœื™, ื ืืžืจ -
01:20
This is the sound of purple. (Frequency sounds)
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ื–ื” ื”ืฆืœื™ืœ ืฉืœ ืกื’ื•ืœ (ืจืขืฉื™ ืชื“ื™ืจื•ืช)
01:23
For example, this is the sound of grass. (Frequency sounds)
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ื–ื” ืœื“ื•ื’ืžื ื”ืฆืœื™ืœ ืฉืœ ื“ืฉื (ืจืขืฉื™ ืชื“ื™ืจื•ืช).
01:31
This is red, like TED. (Frequency sounds)
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ื–ื”ื• ืื“ื•ื, ื›ืžื• TED (ืจืขืฉื™ ืชื“ื™ืจื•ืช).
01:33
This is the sound of a dirty sock. (Laughter)
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ื–ื”ื• ื”ืฆืœื™ืœ ืฉืœ ื’ืจื‘ ืžืœื•ื›ืœืš (ืฆื—ื•ืง).
01:37
Which is like yellow, this one.
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ืฉื–ื” ื›ืžื• ืฆื”ื•ื‘, ื”ื’ืจื‘ ื”ื–ื”.
01:39
So I've been hearing color all the time for eight years,
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ื›ืš ืฉืื ื™ ืฉื•ืžืข ืฆื‘ืขื™ื ื›ืœ ื”ื–ืžืŸ ื›ื‘ืจ ืฉืžื•ื ื” ืฉื ื™ื,
01:43
since 2004, so I find it completely normal now
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ืžืื– 2004, ื›ืš ืฉื‘ืฉื‘ื™ืœื™ ื–ื” ื ื•ืจืžืœื™ ืœื—ืœื•ื˜ื™ืŸ ื›ืขืช
01:46
to hear color all the time.
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ืœืฉืžื•ืข ืฆื‘ืขื™ื ื›ืœ ื”ื–ืžืŸ.
01:48
At the start, though, I had to memorize the names you give
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ื‘ื”ืชื—ืœื”, ืœืขื•ืžืช ื–ืืช, ื”ื™ื™ืชื™ ืฆืจื™ืš ืœืฉื ืŸ ืืช ื”ืฉืžื•ืช ืฉื ื•ืชื ื™ื
01:53
for each color, so I had to memorize the notes,
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ืœื›ืœ ืฆื‘ืข, ื›ืš ืฉื”ื™ื™ืชื™ ืฆืจื™ืš ืœืฉื ืŸ ืืช ื”ืชื•ื•ื™ื,
01:55
but after some time, all this information
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ืื‘ืœ ืœืื—ืจ ื–ืžืŸ ืžื”, ื›ืœ ื”ืžื™ื“ืข ื”ื–ื”
01:57
became a perception.
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ื”ืคืš ืœืชื—ื•ืฉื”.
01:59
I didn't have to think about the notes.
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ืœื ื”ื™ื™ืชื™ ืฆืจื™ืš ืœื—ืฉื•ื‘ ืขืœ ื”ืชื•ื•ื™ื.
02:01
And after some time, this perception became a feeling.
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ื•ืœืื—ืจ ื–ืžืŸ, ื”ืชื—ื•ืฉื” ื”ื–ื• ื”ืคื›ื” ืœืจื’ืฉ.
02:04
I started to have favorite colors,
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ืฆื‘ืขื™ื ืžืกื•ื™ืžื™ื ื”ืคื›ื• ืœืžื•ืขื“ืคื™ื,
02:06
and I started to dream in colors.
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ื•ื”ืชื—ืœืชื™ ืœื—ืœื•ื ื‘ืฆื‘ืข.
02:07
So, when I started to dream in color is when I felt
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ื›ืš,ื”ืจื’ืข ื‘ื• ื”ืชื—ืœืชื™ ืœื—ืœื•ื ื‘ืฆื‘ืข ื”ื•ื ื’ื ื”ืจื’ืข ืฉื”ืจื’ืฉืชื™
02:12
that the software and my brain had united,
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ืฉื”ืชื•ื›ื ื” ื•ื”ืžื•ื— ืฉืœื™ ื”ืชืื—ื“ื•,
02:14
because in my dreams, it was my brain creating
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ื›ื™ื•ื•ืŸ ืฉื‘ื—ืœื•ืžื•ืช ืฉืœื™, ื–ื” ื”ื™ื” ื”ืžื•ื— ืฉืœื™ ืฉื™ืฆืจ
02:17
electronic sounds. It wasn't the software,
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ืฆืœื™ืœื™ื ืืœืงื˜ืจื•ื ื™ื™ื. ื–ื• ืœื ื”ื™ืชื” ื”ืชื•ื›ื ื”.
02:20
so that's when I started to feel like a cyborg.
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ื–ื” ื”ืจื’ืข ื‘ื• ื”ืชื—ืœืชื™ ืœื”ืจื’ื™ืฉ ื›ืžื• ืกื™ื™ื‘ื•ืจื’.
02:23
It's when I started to feel that the cybernetic device
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ื–ื” ื”ืจื’ืข ื‘ื• ื”ืจื’ืฉืชื™ ืฉื”ืžื›ืฉื™ืจ ื”ืงื™ื‘ืจื ื˜ื™
02:26
was no longer a device.
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ืื™ื ื• ืžื›ืฉื™ืจ ื™ื•ืชืจ.
02:29
It had become a part of my body,
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ื”ื•ื ื”ืคืš ืœื”ื™ื•ืช ื—ืœืง ืžื”ื’ื•ืฃ ืฉืœื™,
02:31
an extension of my senses,
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ืฉืœื•ื—ื” ืฉืœ ื”ื—ื•ืฉื™ื ืฉืœื™,
02:33
and after some time, it even became a part
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ื•ืœืื—ืจ ื–ืžืŸ ืžื”, ื”ื•ื ื”ืคืš ืœื—ืœืง
02:36
of my official image.
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ืžื”ืชืžื•ื ื” ื”ืจืฉืžื™ืช ืฉืœื™.
02:40
This is my passport from 2004.
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ื–ื• ืชืžื•ื ืช ื”ื“ืจื›ื•ืŸ ืฉืœื™ ืž-2004.
02:42
You're not allowed to appear on U.K. passports
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ื‘ื“ืจื›ื•ื ื™ื ื‘ืจื™ื˜ื™ื™ื ืืกื•ืจ ืœื”ื•ืคื™ืข ื‘ืชืžื•ื ืช ื”ื“ืจื›ื•ืŸ
02:45
with electronic equipment, but I insisted
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ืขื ืฆื™ื•ื“ ืืœืงื˜ืจื•ื ื™, ืื‘ืœ ืื ื™ ื”ืชืขืงืฉืชื™
02:48
to the passport office that what they were seeing
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ืœืžืฉืจื“ ื”ืžื ืคืง ื“ืจื›ื•ื ื™ื ืฉืžื” ืฉื”ื ืจื•ืื™ื ื”ื•ื
02:50
was actually a new part of my body,
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ื”ื•ื ื‘ืขืฆื ื—ืœืง ื—ื“ืฉ ืžื”ื’ื•ืฃ ืฉืœื™,
02:53
an extension of my brain, and they finally accepted me
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ืฉืœื•ื—ื” ืฉืœ ื”ืžื•ื— ืฉืœื™, ื•ื‘ืกื•ืคื• ืฉืœ ื“ื‘ืจ ื”ื ื”ืจืฉื• ืœื™
02:56
to appear with the passport photo.
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ืœื”ื•ืคื™ืข ืขื ื–ื” ื‘ืชืžื•ื ืช ื”ื“ืจื›ื•ืŸ ืฉืœื™.
02:59
So, life has changed dramatically since I hear color,
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ืื– ื”ื—ื™ื™ื ื”ืฉืชื ื• ื‘ืื•ืคืŸ ื“ืจืžื˜ื™ ืžืื– ืฉืื ื™ ืจื•ืื” ืฆื‘ืข,
03:02
because color is almost everywhere,
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ื›ื™ื•ื•ืŸ ืฉื™ืฉ ืฆื‘ืข ื›ืžืขื˜ ื‘ื›ืœ ืžืงื•ื,
03:05
so the biggest change for example is
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ื•ื”ืฉื™ื ื•ื™ ื”ื’ื“ื•ืœ ื‘ื™ื•ืชืจ, ืœื“ื•ื’ืžื, ื”ื•ื
03:08
going to an art gallery, I can listen to a Picasso,
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ื›ืฉืื ื™ ื”ื•ืœืš ืœื’ืœืจื™ืช ืื•ืžื ื•ืช, ืื ื™ ื™ื›ื•ืœ ืœื”ืงืฉื™ื‘ ืœืคื™ืงืกื•,
03:12
for example. So it's like I'm going to a concert hall,
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ืœื“ื•ื’ืžื. ื–ื” ื›ืื™ืœื• ืื ื™ ื”ื•ืœืš ืœืื•ืœื ืงื•ื ืฆืจื˜ื™ื,
03:15
because I can listen to the paintings.
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ื›ื™ื•ื•ืŸ ืฉืื ื™ ื™ื›ื•ืœ ืœื”ืงืฉื™ื‘ ืœืฆื™ื•ืจื™ื.
03:17
And supermarkets, I find this is very shocking,
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ื•ื‘ืžืจื›ื•ืœื™ื, ื–ื” ืžื“ื”ื™ื ืื•ืชื™,
03:20
it's very, very attractive to walk along a supermarket.
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ื–ื” ืžืื“ ืžืื“ ืžื•ืฉืš ืœืœื›ืช ืœืื•ืจืš ืžื“ืคื™ ื”ืžืจื›ื•ืœ.
03:23
It's like going to a nightclub.
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ื–ื” ื›ืžื• ืœืœื›ืช ืœืžื•ืขื“ื•ืŸ ืœื™ืœื”.
03:24
It's full of different melodies. (Laughter) Yeah.
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ื–ื” ืžืœื ื‘ืžื ื’ื™ื ื•ืช ืฉื•ื ื•ืช. (ืฆื—ื•ืง) ื›ืŸ.
03:27
Especially the aisle with cleaning products.
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ื‘ืขื™ืงืจ ื”ืฉื•ืจื” ืขื ืžื•ืฆืจื™ ื”ื ื™ืงื™ื•ืŸ.
03:29
It's just fabulous. (Laughter)
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ื”ื™ื ืคืฉื•ื˜ ื ื”ื“ืจืช. (ืฆื—ื•ืง)
03:33
Also, the way I dress has changed.
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ื’ื ืกื’ื ื•ืŸ ื”ืœื‘ื•ืฉ ืฉืœื™ ื”ืฉืชื ื”.
03:35
Before, I used to dress in a way that it looked good.
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ื‘ืขื‘ืจ ื ื”ื’ืชื™ ืœื”ืชืœื‘ืฉ ื›ืš ืฉื–ื” ื™ื™ืจืื” ื˜ื•ื‘.
03:38
Now I dress in a way that it sounds good. (Laughter)
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ืขื›ืฉื™ื• ืื ื™ ืžืชืœื‘ืฉ ื›ืš ืฉื–ื” ื™ื™ืฉืžืข ื˜ื•ื‘ (ืฆื—ื•ืง).
03:42
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
03:47
So today I'm dressed in C major,
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ืื– ื”ื™ื•ื ืื ื™ ืœื‘ื•ืฉ ื‘-ื“ื• ืžื–'ื•ืจ,
03:50
so it's quite a happy chord. (Laughter)
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ื–ื”ื• ืืงื•ืจื“ ื“ื™ ืฉืžื—. (ืฆื—ื•ืง)
03:53
If I had to go to a funeral, though,
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ืœื• ื”ื™ื™ืชื™ ืฆืจื™ืš ืœืœื›ืช ืœืœื•ื•ื™ื”, ืœืขื•ืžืช ื–ืืช,
03:55
I would dress in B minor, which would be
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ื”ื™ื™ืชื™ ืžืชืœื‘ืฉ ื‘-ืกื™ ืžื™ื ื•ืจ, ืฉื”ื™ื”
03:58
turquoise, purple and orange. (Laughter)
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ื˜ื•ืจืงื™ื–, ืกื’ื•ืœ ื•ื›ืชื•ื. (ืฆื—ื•ืง)
04:06
Also, food, the way I look at food has changed,
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ื•ื’ื ืื•ื›ืœ. ื”ื“ืจืš ื‘ื” ืื ื™ ืžืกืชื›ืœ ืขืœ ืื•ื›ืœ ื”ืฉืชื ืชื”,
04:11
because now I can display the food on a plate,
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ื›ื™ ืขืชื” ืื ื™ ื™ื›ื•ืœ ืœื”ืฆื™ื’ ืืช ื”ืื•ื›ืœ ืขืœ ืฆืœื—ืช,
04:14
so I can eat my favorite song. (Laughter)
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ื•ืื ื™ ื™ื›ื•ืœ ืœืื›ื•ืœ ืืช ื”ืฉื™ืจ ื”ืื”ื•ื‘ ืขืœื™. (ืฆื—ื•ืง)
04:17
So depending on how I display it,
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ื›ืš ืฉื‘ื”ืชืื ืœื“ืจืš ื‘ื” ืื ื™ ืžืฆื™ื’ ืื•ืชื•,
04:18
I can hear and I can compose music with food.
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ืื ื™ ื™ื›ื•ืœ ืœืฉืžื•ืข ื•ืื ื™ ื™ื›ื•ืœ ืœื”ืœื—ื™ืŸ ืžื•ืกื™ืงื” ืขื ืื•ื›ืœ.
04:21
So imagine a restaurant where we can have, like,
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ืื– ื“ืžื™ื™ื ื• ืžืกืขื“ื” ื‘ื” ื ื™ืชืŸ ืœื”ื–ืžื™ืŸ, ื ื’ื™ื“,
04:24
Lady Gaga salads as starters. (Laughter) I mean,
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ืกืœื˜ื™ ืœื™ื™ื“ื™ ื’ืื’ื ื›ืžื ื•ืช ืจืืฉื•ื ื•ืช (ืฆื—ื•ืง), ื–ืืช ืื•ืžืจืช,
04:27
this would get teenagers to eat their vegetables, probably.
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ื‘ื˜ื— ื–ื” ืžื” ืฉื™ื’ืจื•ื ืœื‘ื ื™-ื”ื ื•ืขืจ ืœืื›ื•ืœ ื™ืจืงื•ืช.
04:30
And also, some Rachmaninov piano concertos
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ื•ื’ื ืงืฆืช ืงื•ื ืฆ'ืจื˜ื•ืื™ื ืœืคืกื ืชืจ ืฉืœ ืจื—ืžื ื™ื ื•ืฃ ื›ืžื ื•ืช ืขื™ืงืจื™ื•ืช,
04:33
as main dishes, and some Bjork or Madonna desserts,
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ื•ืงืฆืช ืงื™ื ื•ื—ื™ ื‘ื™ื•ืจืง ืื• ืžื“ื•ื ื”,
04:37
that would be a very exciting restaurant
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ื–ื• ืชื”ื™ื” ืžืกืขื“ื” ืžืจื’ืฉืช ืžืื“
04:40
where you can actually eat songs.
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ื‘ื” ื ื™ืชืŸ ืœืžืขืฉื” ืœืื›ื•ืœ ืฉื™ืจื™ื.
04:42
Also, the way I perceive beauty has changed,
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ื‘ื ื•ืกืฃ, ื”ื“ืจืš ื‘ื” ืื ื™ ืชื•ืคืก ื™ื•ืคื™ ื”ืฉืชื ืชื”,
04:47
because when I look at someone, I hear their face,
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ื›ื™ื•ื•ืŸ ืฉื›ืฉืื ื™ ืžืกืชื›ืœ ืขืœ ืžื™ืฉื”ื•, ืื ื™ ืฉื•ืžืข ืืช ื”ืคื ื™ื ืฉืœื”ื,
04:52
so someone might look very beautiful but sound terrible.
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ื›ืš ืฉืžื™ืฉื”ื• ื™ื›ื•ืœ ืœื”ืจืื•ืช ื™ืคื” ืžืื“, ืื‘ืœ ืœื”ืฉืžืข ื ื•ืจื.
04:57
(Laughter) And it might happen the opposite,
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(ืฆื—ื•ืง) ื•ื’ื ื”ื”ืคืš ื™ื›ื•ืœ ืœืงืจื•ืช,
04:58
the other way around. So I really enjoy creating, like,
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ื›ืš ืฉืื ื™ ืžืื“ ื ื”ื ื” ืœื™ืฆื•ืจ, ืœื“ื•ื’ืžื,
05:01
sound portraits of people.
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ื“ื™ื•ืงื ื™ ืฆืœื™ืœ ืฉืœ ืื ืฉื™ื.
05:02
Instead of drawing someone's face, like drawing the shape,
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ื‘ืžืงื ืœืฆื™ื™ืจ ืืช ืคื ื™ื”ื ืฉืœ ืื ืฉื™ื, ื–ืืช ืื•ืžืจืช ืœืฆื™ื™ืจ ืืช ื”ืฆื•ืจื”,
05:06
I point at them with the eye and I write down
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ืื ื™ ืžืคื ื” ืืช ื”ืขื™ืŸ ืฉืœื™ ืืœื™ื”ื ื•ืื ื™ ื›ื•ืชื‘
05:08
the different notes I hear, and then I create sound portraits.
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ืืช ื”ืชื•ื•ื™ื ื”ืฉื•ื ื™ื ืฉืื ื™ ืฉื•ืžืข, ื•ืื ื™ ื™ื•ืฆืจ ื“ื™ื•ืงื ื™ ืฆืœื™ืœ.
05:12
Here's some faces.
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ื”ื ื” ื›ืžื” ืคื ื™ื.
05:13
(Musical chords)
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(ืืงื•ืจื“ื™ื ืžื•ืกื™ืงืœื™ื™ื)
05:28
Yeah, Nicole Kidman sounds good. (Laughter)
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ื›ืŸ, ื ื™ืงื•ืœ ืงื™ื“ืžืŸ ื ืฉืžืขืช ื˜ื•ื‘. (ืฆื—ื•ืง)
05:31
Some people, I would never relate, but they sound similar.
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ื™ืฉื ื ืื ืฉื™ื ืฉืœืขื•ืœื ืœื ื”ื™ื™ืชื™ ื—ื•ืฉื‘ ืฉื”ื ืงืจื•ื‘ื™ื, ืื‘ืœ ื”ื ื ืฉืžืขื™ื ื“ื•ืžื™ื.
05:34
Prince Charles has some similarities with Nicole Kidman.
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ื”ื ืกื™ืš ืฆ'ืืจืœืก ื“ื•ืžื” ื‘ืžืงืฆืช ืœื ื™ืงื•ืœ ืงื™ื“ืžืŸ.
05:37
They have similar sound of eyes.
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ืœืขื™ื ื™ื™ื ืฉืœื”ื ื™ืฉ ืฆืœื™ืœ ื“ื•ืžื”.
05:39
So you relate people that you wouldn't relate,
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ื›ืš ืฉืืชื ื™ื›ื•ืœื™ื ืœืงืฉืจ ืื ืฉื™ื ืฉืœื ื”ื™ื™ืชื ืžืงืฉืจื™ื
05:41
and you can actually also create concerts
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ื•ืืชื ื™ื›ื•ืœื™ื ืœืžืขืฉื” ืœื™ืฆื•ืจ ืงื•ื ืฆืจื˜ื™ื
05:45
by looking at the audience faces.
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ืขืœ ื™ื“ื™ ื”ืชื‘ื•ื ื ื•ืช ื‘ืคื ื™ื ืฉืœ ื”ืงื”ืœ.
05:48
So I connect the eye, and then I play the audience's faces.
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ืื– ืื ื™ ืžื—ื‘ืจ ืืช ื”ืขื™ืŸ, ื•ืื ื™ ืžื ื’ืŸ ืืช ื”ืคื ื™ื ืฉืœ ื”ืงื”ืœ.
05:51
The good thing about this is,
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ืžื” ืฉื˜ื•ื‘ ื‘ื–ื” ื”ื•ื
05:52
if the concert doesn't sound good, it's their fault.
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ืฉืื ื”ืงื•ื ืฆืจื˜ ืœื ื ืฉืžืข ื˜ื•ื‘, ื–ื• ืืฉืžืชื,
05:55
It's not my fault, because โ€” (Laughter)
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ื–ื• ืœื ืืฉืžืชื™, ื›ื™ - (ืฆื—ื•ืง)
05:57
And so another thing that happens is that
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ื›ืš ืฉืขื•ื“ ื“ื‘ืจ ืฉืงื•ืจื” ื”ื•ื
06:02
I started having this secondary effect
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ืฉื ื•ืฆืจ ืืฆืœื™ ืืคืงื˜ ืžืฉื ื™
06:05
that normal sounds started to become color.
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ืฉืฆืœื™ืœื™ื ืจื’ื™ืœื™ื ื”ื—ืœื• ืœื”ื™ื•ืช ืฆื‘ืขื™ื.
06:08
I heard a telephone tone, and it felt green
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ืฉืžืขืชื™ ืฆืœื™ืœ ืฉืœ ื˜ืœืคื•ืŸ, ื•ื–ื” ื”ืจื’ื™ืฉ ื™ืจื•ืง
06:12
because it sounded just like the color green.
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ื›ื™ ื–ื” ื ืฉืžืข ื”ื™ื” ื‘ื“ื™ื•ืง ื›ืžื• ื”ืฆื‘ืข ื™ืจื•ืง.
06:14
The BBC beeps, they sound turquoise,
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ื”ืฆืคืฆื•ืคื™ื ืฉืœ ื”-BBC ื ืฉืžืขื™ื ื˜ื•ืจืงื™ื–,
06:17
and listening to Mozart became a yellow experience,
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ื•ืœื”ืื–ื™ืŸ ืœืžื•ืฆืจื˜ ื”ืคืš ืœื—ื•ื•ื™ื” ืฆื”ื•ื‘ื”,
06:20
so I started to paint music and paint people's voices,
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ื›ืš ืฉื”ืชื—ืœืชื™ ืœืฆื™ื™ืจ ืžื•ืกื™ืงื” ื•ืœืฆื™ื™ืจ ืืช ื”ืงื•ืœื•ืช ืฉืœ ืื ืฉื™ื,
06:25
because people's voices have frequencies
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ื›ื™ ืœืงื•ืœื•ืช ืฉืœ ืื ืฉื™ื ื™ืฉ ืชื“ื™ืจื•ื™ื•ืช
06:27
that I relate to color.
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ืฉืื ื™ ืžืงืฉืจ ืœืฆื‘ืข.
06:29
And here's some music translated into color.
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ื•ื”ื ื” ืžืขื˜ ืžื•ืกื™ืงื” ืžืชื•ืจื’ืžืช ืœืฆื‘ืข.
06:34
For example, Mozart, "Queen of the Night," looks like this.
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ืœื“ื•ื’ืžื, "ืžืœื›ืช ื”ืœื™ืœื”" ืฉืœ ืžื•ืฆืจื˜ ื ืจืื” ื›ืš.
06:39
(Music) Very yellow and very colorful,
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(ืžื•ืกื™ืงื”) ืžืื“ ืฆื”ื•ื‘ ื•ืžืื“ ืฆื‘ืขื•ื ื™,
06:41
because there's many different frequencies.
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ื›ื™ ื™ืฉ ื”ืจื‘ื” ืžืื“ ืชื“ื™ืจื•ื™ื•ืช ืฉื•ื ื•ืช.
06:43
(Music)
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(ืžื•ืกื™ืงื”)
06:47
And this is a completely different song.
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ื•ื–ื” ืฉื™ืจ ืื—ืจ ืœื’ืžืจื™.
06:49
(Music) It's Justin Bieber's "Baby." (Laughter)
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(ืžื•ืกื™ืงื”) ื–ื”ื• "Baby" ืฉืœ ื’'ืกื˜ื™ืŸ ื‘ื™ื‘ืจ. (ืฆื—ื•ืง)
06:53
(Music)
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(ืžื•ืกื™ืงื”)
06:55
It is very pink and very yellow.
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ื–ื” ืžืื“ ื•ืจื•ื“ ื•ืžืื“ ืฆื”ื•ื‘.
06:58
So, also voices, I can transform speeches into color,
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ื›ืš, ื’ื ืงื•ืœื•ืช, ืื ื™ ื™ื›ื•ืœ ืœื”ืคื•ืš ื ืื•ืžื™ื ืœืฆื‘ืข,
07:06
for example, these are two very well-known speeches.
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ืืœื• ืœื“ื•ื’ืžื, ื”ื ืฉื ื™ ื ืื•ืžื™ื ืžืื“ ืžืคื•ืจืกืžื™ื.
07:09
One of them is Martin Luther King's "I Have A Dream,"
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ื”ืื—ื“ ื”ื•ื ื ืื•ื "ื™ืฉ ืœื™ ื—ืœื•ื" ืฉืœ ืžืจื˜ื™ืŸ ืœื•ืช'ืจ ืงื™ื ื’,
07:13
and the other one is Hitler.
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ื•ื”ืฉื ื™ ื”ื•ื ื”ื™ื˜ืœืจ.
07:14
And I like to exhibit these paintings in the exhibition halls
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ื•ืื ื™ ืื•ื”ื‘ ืœื”ืฆื™ื’ ืืช ื”ืฆื™ื•ืจื™ื ื”ืœืœื• ื‘ืื•ืœืžื•ืช ืชืฆื•ื’ื”
07:18
without labels, and then I ask people,
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ืœืœื ืชื•ื•ื™ืช, ื•ืื– ืื ื™ ืฉื•ืืœ ืื ืฉื™ื,
07:20
"Which one do you prefer?"
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"ืืช ืื™ื–ื” ืืชื ืžืขื“ื™ืคื™ื?"
07:22
And most people change their preference
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ื•ืžืจื‘ื™ืช ื”ืื ืฉื™ื ืžืฉื ื™ื ืืช ื”ื”ืขื“ืคื” ืฉืœื”ื
07:25
when I tell them that the one on the left is Hitler
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ื›ืฉืื ื™ ืžืกืคืจ ืœื”ื ืฉื–ื” ืžืฉืžืืœ ื–ื” ื”ื™ื˜ืœืจ
07:27
and the one on the right is Martin Luther King.
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ื•ื–ื” ืฉืžื™ืžื™ืŸ ื”ื•ื ืžืจื˜ื™ืŸ ืœื•ืช'ืจ ืงื™ื ื’.
07:31
So I got to a point when I was able to perceive 360 colors,
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ื›ืš ืฉื”ื’ืขืชื™ ืœืžืฆื‘ ื‘ื• ื™ื›ื•ืœืชื™ ืœื—ื•ืฉ 360 ืฆื‘ืขื™ื,
07:36
just like human vision.
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ืžืžืฉ ื›ืžื• ืจืื™ื™ื” ืื ื•ืฉื™ืช.
07:38
I was able to differentiate all the degrees of the color wheel.
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ื™ื›ื•ืœืชื™ ืœื”ื‘ื“ื™ืœ ื‘ื™ืŸ ื›ืœ ื”ืžืขืœื•ืช ืฉืœ ื’ืœื’ืœ ื”ืฆื‘ืขื™ื.
07:41
But then, I just thought that
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ืื‘ืœ ืื–, ืคืฉื•ื˜ ื—ืฉื‘ืชื™
07:44
this human vision wasn't good enough.
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ืฉื”ืจืื™ื” ื”ืื ื•ืฉื™ืช ื”ื–ื• ืื™ื ื” ื˜ื•ื‘ื” ืžืกืคื™ืง.
07:47
There's many, many more colors around us
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ื™ืฉื ื ืขื•ื“ ื”ืจื‘ื”, ื”ืจื‘ื” ืฆื‘ืขื™ื ืžืกื‘ื™ื‘ ืœื ื•
07:49
that we cannot perceive,
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ืฉืื ื• ืœื ื™ื›ื•ืœื™ื ืœืงืœื•ื˜,
07:51
but that electronic eyes can perceive.
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ืื‘ืœ ืฉืขื™ื ื™ื™ื ืืœืงื˜ืจื•ื ื™ื•ืช ื›ืŸ ื™ื›ื•ืœื•ืช ืœืงืœื•ื˜.
07:53
So I decided to continue extending my color senses,
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ืื– ื”ื—ืœื˜ืชื™ ืœื”ืžืฉื™ืš ืœื”ืจื—ื™ื‘ ืืช ื—ื•ืฉื™ ื”ืฆื‘ืข ืฉืœื™,
07:56
and I added infrared and I added ultraviolet
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ื•ื”ื•ืกืคืชื™ ืื™ื ืคืจื-ืื“ื•ื ื•ื”ื•ืกืคืชื™ ืื•ืœื˜ืจื”-ืกื’ื•ืœ
08:01
to the color-to-sound scale, so now I can hear colors
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ืœืกืงืืœืช ื”ืฆื‘ืข-ืœืฆืœื™ืœ, ื›ืš ืฉืขื›ืฉื™ื• ืื ื™ ื™ื›ื•ืœ ืœืฉืžื•ืข ืฆื‘ืขื™ื
08:04
that the human eye cannot perceive.
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ืฉื”ืขื™ืŸ ื”ืื ื•ืฉื™ืช ืื™ื ื” ื™ื›ื•ืœื” ืœืงืœื•ื˜.
08:06
For example, perceiving infrared is good because you can
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ืœื“ื•ื’ืžื, ื–ื” ื˜ื•ื‘ ืœืงืœื•ื˜ ืื™ื ืคืจื-ืื“ื•ื
08:10
actually detect if there's movement detectors in a room.
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ื›ื™ื•ื•ืŸ ืฉืืชื ื™ื›ื•ืœื™ื ืœืžืขืฉื” ืœื’ืœื•ืช ืื ื™ืฉื ื ื—ื™ื™ืฉื ื™ ืชื ื•ืขื” ื‘ื—ื“ืจ.
08:14
I can hear if someone points at me with a remote control.
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ืื ื™ ื™ื›ื•ืœ ืœืฉืžื•ืข ืื ืžื™ืฉื”ื• ืžืคื ื” ืฉืœื˜ ืจื—ื•ืง ืขืœื™.
08:17
And the good thing about perceiving ultraviolet is that
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ื•ืžื” ืฉื˜ื•ื‘ ื‘ืœืงืœื•ื˜ ืื•ืœื˜ืจื”-ืกื’ื•ืœ ื–ื”
08:20
you can hear if it's a good day or a bad day to sunbathe,
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ืฉืืชื ื™ื›ื•ืœื™ื ืœืฉืžื•ืข ืื ื–ื” ื™ื•ื ื˜ื•ื‘ ืื• ื™ื•ื ืœื ื˜ื•ื‘ ื‘ืฉื‘ื™ืœ ืœื”ืฉืชื–ืฃ
08:25
because ultraviolet is a dangerous color,
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ื›ื™ื•ื•ืŸ ืฉืื•ืœื˜ืจื”-ืกื’ื•ืœ ื”ื•ื ืฆื‘ืข ืžืกื•ื›ืŸ,
08:27
a color that can actually kill us, so I think we should all have this wish
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ืฆื‘ืข ืฉื™ื›ื•ืœ ืžืžืฉ ืœื”ืจื•ื’ ืื•ืชื ื•, ืื– ื ืจืื” ืœื™ ืฉื›ื•ืœื ื• ืฆืจื™ื›ื™ื ืœืจืฆื•ืช
08:31
to perceive things that we cannot perceive.
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ืœื”ื™ื•ืช ื™ื›ื•ืœื™ื ืœืงืœื•ื˜ ื“ื‘ืจื™ื ืฉืื ื—ื ื• ืœื ื™ื›ื•ืœื™ื ืœืงืœื•ื˜.
08:34
That's why, two years ago,
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ื–ื• ื”ืกื™ื‘ื” ืฉืœืคื ื™ ืฉื ืชื™ื™ื
08:36
I created the Cyborg Foundation,
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ื”ืงืžืชื™ ืืช ืงืจืŸ-ืกื™ื™ื‘ื•ืจื’,
08:38
which is a foundation that tries to help people
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ืฉื”ื™ื ืงืจืŸ ืฉืžื ืกื” ืœืขื–ื•ืจ ืœืื ืฉื™ื
08:40
become a cyborg, tries to encourage people
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ืœื”ืคื•ืš ืœืกื™ื™ื‘ื•ืจื’ื™ื, ื•ืžื ืกื” ืœืขื•ื“ื“ ืื ืฉื™ื
08:43
to extend their senses
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ืœื”ืจื—ื™ื‘ ืืช ื—ื•ืฉื™ื”ื
08:44
by using technology as part of the body.
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ืขืœ ื™ื“ื™ ืฉื™ืžื•ืฉ ื‘ื˜ื›ื ื•ืœื•ื’ื™ื” ื›ื—ืœืง ืžื”ื’ื•ืฃ.
08:47
We should all think that knowledge comes from our senses,
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ืขืœ ื›ื•ืœื ื• ืœื—ืฉื•ื‘ ืฉื™ื“ืข ื‘ื ืžื”ื—ื•ืฉื™ื ืฉืœื ื•,
08:51
so if we extend our senses,
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ื›ืš ืฉืื ื ืจื—ื™ื‘ ืืช ื—ื•ืฉื™ื ื•,
08:53
we will consequently extend our knowledge.
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ื”ื™ื“ืข ืฉืœื ื• ื™ื•ืจื—ื‘ ื‘ื”ืชืื.
08:56
I think life will be much more exciting
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ืื ื™ ื—ื•ืฉื‘ ืฉื”ื—ื™ื™ื ื™ื”ื™ื• ื”ืจื‘ื” ื™ื•ืชืจ ืžืจืชืงื™ื
08:59
when we stop creating applications for mobile phones
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ื›ืฉื ืคืกื™ืง ืœื™ืฆื•ืจ ืืคืœื™ืงืฆื™ื•ืช ืขื‘ื•ืจ ื˜ืœืคื•ื ื™ื ื ื™ื™ื“ื™ื
09:02
and we start creating applications for our own body.
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ื•ื ืชื—ื™ืœ ืœื™ืฆื•ืจ ืืคืœื™ืงืฆื™ื•ืช ืขื‘ื•ืจ ื”ื’ื•ืฃ ืฉืœื ื• ืขืฆืžื•.
09:06
I think this will be a big, big change
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ืื ื™ ื—ื•ืฉื‘ ืฉื–ื” ื™ื”ื™ื” ืฉื™ื ื•ื™ ืžืื“ ืžืื“ ื’ื“ื•ืœ
09:08
that we will see during this century.
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ืฉื ื—ื•ื•ื” ื‘ืžื”ืœืš ื”ืžืื” ื”ื ื•ื›ื—ื™ืช.
09:10
So I do encourage you all to think about which senses
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ื›ืš ืฉืื ื™ ืžืขื•ื“ื“ ืืชื›ื ืœื—ืฉื•ื‘ ืขืœ ืื™ืœื• ื—ื•ืฉื™ื
09:14
you'd like to extend.
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ืืชื ื”ื™ื™ืชื ืจื•ืฆื™ื ืœื”ืจื—ื™ื‘.
09:15
I would encourage you to become a cyborg.
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ืื ื™ ื”ื™ื™ืชื™ ืžืขื•ื“ื“ ืืชื›ื ืœื”ืคื•ืš ืœืกื™ื™ื‘ื•ืจื’ื™ื.
09:18
You won't be alone. Thank you. (Applause)
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ืœื ืชื”ื™ื• ื”ื™ื—ื™ื“ื™ื. ืชื•ื“ื” ืจื‘ื”. (ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
09:23
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)

Original video on YouTube.com
ื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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