Insightful human portraits made from data | R. Luke DuBois

116,204 views ใƒป 2016-05-19

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Seon-Gyu Choi ๊ฒ€ํ† : Gichung Lee
00:12
So I'm an artist,
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์ €๋Š” ์˜ˆ์ˆ ๊ฐ€์ž…๋‹ˆ๋‹ค.
00:14
but a little bit of a peculiar one.
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ํ•˜์ง€๋งŒ ์•ฝ๊ฐ„ ์ด์ƒํ•œ ์˜ˆ์ˆ ๊ฐ€์ž…๋‹ˆ๋‹ค.
00:16
I don't paint.
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์ €๋Š” ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
00:18
I can't draw.
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๊ทธ๋ฆด ์ค„๋„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
00:20
My shop teacher in high school wrote that I was a menace
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๊ณ ๋“ฑํ•™๊ต ๋•Œ ๊ณต์ž‘ ์„ ์ƒ๋‹˜์ด ์ œ๊ฐ€ ์œ„ํ˜‘์ ์ธ ์กด์žฌ๋ผ๊ณ  ์“ฐ๊ธฐ๋„ ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:24
on my report card.
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์ œ ์„ฑ์ ํ‘œ์—์š”.
00:25
You probably don't really want to see my photographs.
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์ œ ์‚ฌ์ง„๋“ค์€ ์•„๋งˆ ๋ณด๊ณ  ์‹ถ์ง€ ์•Š์œผ์‹ค ๊ฒƒ์ž…๋‹ˆ๋‹ค.
00:29
But there is one thing I know how to do:
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ํ•˜์ง€๋งŒ ์ œ๊ฐ€ ํ•  ์ค„ ์•„๋Š” ๊ฒƒ์ด ํ•œ ๊ฐ€์ง€ ์žˆ์Šต๋‹ˆ๋‹ค.
00:31
I know how to program a computer.
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์ €๋Š” ์ปดํ“จํ„ฐ ํ”„๋กœ๊ทธ๋žจ์„ ๋งŒ๋“ค ์ค„ ์••๋‹ˆ๋‹ค.
00:33
I can code.
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์ฝ”๋”ฉ์„ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
00:34
And people will tell me that 100 years ago,
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์‚ฌ๋žŒ๋“ค์€ ์ œ๊ฒŒ ์ด๋ ‡๊ฒŒ ๋งํ•ฉ๋‹ˆ๋‹ค.
100๋…„ ์ „์—๋Š” ์ € ๊ฐ™์€ ์‚ฌ๋žŒ์€ ์—†์—ˆ๊ณ 
00:38
folks like me didn't exist,
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00:39
that it was impossible,
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์ด๋Ÿฐ ๊ฒƒ๋„ ๋ถˆ๊ฐ€๋Šฅ ํ–ˆ๋‹ค๊ณ ์š”.
00:41
that art made with data is a new thing,
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๋ฐ์ดํ„ฐ๋กœ ํ•˜๋Š” ์˜ˆ์ˆ ์€ ์ƒˆ๋กœ์šด ๊ฒƒ์ด๋ฉฐ
00:44
it's a product of our age,
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์šฐ๋ฆฌ ์„ธ๋Œ€์˜ ์‚ฐ๋ฌผ์ด๊ณ 
00:46
it's something that's really important
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๋ฐ”๋กœ "์ง€๊ธˆ"์˜ ๊ฒƒ์ด๋ผ๊ณ 
00:48
to think of as something that's very "now."
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์ƒ๊ฐํ•˜๋Š” ๊ฒƒ์ด ๋งค์šฐ ์ค‘์š”ํ•˜๋‹ค๊ณ  ๋ง์ด์ฃ .
00:50
And that's true.
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๊ทธ๋ฆฌ๊ณ  ์‹ค์ œ๋กœ ๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค.
00:52
But there is an art form that's been around for a very long time
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ํ•˜์ง€๋งŒ ์˜ค๋ž˜์ „๋ถ€ํ„ฐ ๋‚ด๋ ค์˜จ ์˜ˆ์ˆ ์˜ ํ˜•ํƒœ ์ค‘์—
00:56
that's really about using information,
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์ •๋ณด๋ฅผ ์ด์šฉํ•˜์—ฌ
00:58
abstract information,
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์ถ”์ƒ์ ์ธ ์ •๋ณด๋ฅผ์š”.
01:00
to make emotionally resonant pieces.
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๊ฐ์ •์ ์ธ ๊ณต๊ฐ์„ ์ผ์œผํ‚ค๋Š” ์ž‘ํ’ˆ์„ ๋งŒ๋“  ๊ฒƒ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
01:03
And it's called music.
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์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ์„ ์Œ์•…์ด๋ผ ๋ถ€๋ฆ…๋‹ˆ๋‹ค.
01:05
We've been making music for tens of thousands of years, right?
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์šฐ๋ฆฌ๋Š” ์ˆ˜๋งŒ๋…„์— ๊ฑฐ์ณ์„œ ์Œ์•…์„ ๋งŒ๋“ค์–ด ์™”์Šต๋‹ˆ๋‹ค. ๊ทธ๋ ‡์ฃ ?
01:09
And if you think about what music is --
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๊ทธ๋ฆฌ๊ณ  ์Œ์•…์— ๋Œ€ํ•ด์„œ ์ƒ๊ฐํ•ด๋ณด๋ฉด --
01:11
notes and chords and keys and harmonies and melodies --
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๋…ธํŠธ์™€ ํ™”์Œ ๋ฐ ํ‚ค ๊ทธ๋ฆฌ๊ณ  ํ•˜๋ชจ๋‹ˆ์™€ ๋ฉœ๋กœ๋””๋Š” --
01:14
these things are algorithms.
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์ด๋Ÿฐ ๊ฒƒ๋“ค์€ ์•Œ๊ณ ๋ฆฌ์ฆ˜์ž…๋‹ˆ๋‹ค.
01:15
These things are systems
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์ด๋Ÿฐ๊ฒƒ๋“ค์€ ์‹œ๊ฐ„์ด ์ง€๋‚จ์— ๋”ฐ๋ผ ์ „๊ฐœ๋˜๊ณ 
01:17
that are designed to unfold over time,
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์šฐ๋ฆฌ๊ฐ€ ๋Š๋‚„ ์ˆ˜ ์žˆ๋„๋ก
01:20
to make us feel.
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์„ค๊ณ„๋œ ์‹œ์Šคํ…œ ์ž…๋‹ˆ๋‹ค.
01:22
I came to the arts through music.
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์ €๋Š” ์Œ์•…์„ ํ†ตํ•ด ์˜ˆ์ˆ ์„ ์‹œ์ž‘ ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:23
I was trained as a composer,
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์ €๋Š” ์ž‘๊ณก๊ฐ€ ํ›ˆ๋ จ์„ ๋ฐ›์•˜๊ณ 
01:25
and about 15 years ago, I started making pieces
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15๋…„ ์ „์— ๋งŒ๋“ค๊ธฐ ์‹œ์ž‘ํ•œ ์ž‘ํ’ˆ์€
01:28
that were designed to look at the intersection
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์†Œ๋ฆฌ์™€ ์ด๋ฏธ์ง€์˜ ๊ต์ฐจ์ ์„
01:31
between sound and image,
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๋ณผ ์ˆ˜ ์žˆ๋Š” ์ž‘ํ’ˆ์„ ์„ค๊ณ„ํ•ด์„œ
01:33
to use an image to unveil a musical structure
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์‹œ๊ฐ์ ์œผ๋กœ ์Œ์•…์  ๊ตฌ์กฐ๋ฅผ ๋ฐํ˜€๋‚ด๋Š”๋ฐ ์ด์šฉํ•˜๊ฑฐ๋‚˜
01:35
or to use a sound to show you something interesting
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์†Œ๋ฆฌ๋กœ ๋ณดํ†ต ํšŒํ™”์ ์ธ ์–ด๋–ค ํฅ๋ฏธ๋กœ์šด ๊ฒƒ์„ ๋งŒ๋“ค์–ด
01:38
about something that's usually pictorial.
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์—ฌ๋Ÿฌ๋ถ„๊ป˜ ๋ณด์—ฌ๋“œ๋ฆฌ๊ธฐ ์œ„ํ•ด ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
01:40
So what you're seeing on the screen is literally being drawn
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๊ทธ๋ž˜์„œ ์ง€๊ธˆ ๋ณด๊ณ  ๊ณ„์‹  ๊ฒƒ์€ ๋ง ๊ทธ๋Œ€๋กœ
01:44
by the musical structure of the musicians onstage,
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๋ฌด๋Œ€์œ„์˜ ๋ฎค์ง€์…˜์˜ ์Œ์•…์  ๊ตฌ์กฐ๋กœ ๊ทธ๋ ค์ง„ ๊ฒƒ ์ž…๋‹ˆ๋‹ค.
01:47
and there's no accident that it looks like a plant,
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๊ทธ๋ฆฌ๊ณ  ์‹๋ฌผ์ฒ˜๋Ÿผ ๋ณด์ด๋Š” ๊ฒƒ์ด ์ด์ƒํ•œ ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.
01:49
because the underlying algorithmic biology of the plant
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์™œ๋ƒํ•˜๋ฉด ์‹๋ฌผ ์ƒ๋ฌผํ•™์˜ ๊ทผ๋ณธ์ ์ธ ์•Œ๊ณ ๋ฆฌ์ฆ˜์„ ํ†ตํ•ด
01:53
is what informed the musical structure in the first place.
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์Œ์•…์  ๊ตฌ์กฐ๊ฐ€ ์ตœ์ดˆ์— ๋งŒ๋“ค์–ด์กŒ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
01:56
So once you know how to do this, once you know how to code with media,
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๊ทธ๋ž˜์„œ ์—ฌ๋Ÿฌ๋ถ„์ด ์ด๊ฒƒ์„ ์ดํ•ดํ•˜๊ณ  ์–ธ๋ก  ๋งค์ฒด๋กœ ์ฝ”๋”ฉํ•˜๋Š” ๋ฒ•์„ ๋ฐฐ์šฐ๊ฒŒ ๋˜๋ฉด
01:59
you can do some pretty cool stuff.
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๊ฝค ๋ฉ‹์ง„ ์ผ์„ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
02:02
This is a project I did for the Sundance Film Festival.
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์ด๊ฒƒ์€ ์ œ๊ฐ€ ์„ ๋Œ„์Šค ์˜ํ™”์ œ๋ฅผ ์œ„ํ•ด ํ•œ ํ”„๋กœ์ ํŠธ์ž…๋‹ˆ๋‹ค.
02:05
Really simple idea: you take every Academy Award Best Picture,
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์•„์ด๋””์–ด๋Š” ๊ฐ„๋‹จํ•ฉ๋‹ˆ๋‹ค. ์•„์นด๋ฐ๋ฏธ ์ž‘ํ’ˆ์ƒ์„ ๋ฐ›์€ ๋ชจ๋“  ์˜ํ™”๋ฅผ
02:11
you speed it up to one minute each
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1๋ถ„์— ๋งž์ถ”์–ด ๋นจ๋ฆฌ ๊ฐ๊ณ 
02:13
and string them all together.
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๊ฐ™์ด ์—ฎ์–ด ๋†“์•˜์Šต๋‹ˆ๋‹ค.
02:15
And so in 75 minutes, I can show you the history of Hollywood cinema.
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๊ทธ๋ž˜์„œ 75๋ถ„์ด๋ฉด ์—ฌ๋Ÿฌ๋ถ„๋“ค๊ป˜ ํ• ๋ฆฌ์šฐ๋“œ ์˜ํ™”์˜ ์—ญ์‚ฌ๋ฅผ ๋ณด์—ฌ๋“œ๋ฆด ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
02:19
And what it really shows you is the history of editing
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๊ทธ๋ฆฌ๊ณ  ์ด ํ”„๋กœ์ ํŠธ๊ฐ€ ์ •๋ง๋กœ ๋ณด์—ฌ๋“œ๋ฆฌ๋Š” ๊ฒƒ์€
02:22
in Hollywood cinema.
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ํ• ๋ฆฌ์šฐ๋“œ ์˜ํ™”์˜ ํŽธ์ง‘์˜ ์—ญ์‚ฌ์ž…๋‹ˆ๋‹ค.
02:23
So on the left, we've got Casablanca; on the right, we've got Chicago.
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์™ผ์ชฝ์— ๋ณด์‹œ๋Š” ๊ฒƒ์€ ์นด์‚ฌ๋ธ”๋ž‘์นด์ด๊ณ  ์˜ค๋ฅธ์ชฝ์€ ์‹œ์นด๊ณ  ์ž…๋‹ˆ๋‹ค.
02:27
And you can see that Casablanca is a little easier to read.
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๊ทธ๋ฆฌ๊ณ  ์นด์‚ฌ๋ธ”๋ž‘์นด๊ฐ€ ๋” ๋ณด๊ธฐ ์‰ฝ๋‹ค๋Š” ๊ฒƒ์„ ๋ณผ ์ˆ˜ ์žˆ์„ ๊ฒ๋‹ˆ๋‹ค.
02:30
That's because the average length of a cinematic shot in the 1940s
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๊ทธ ์ด์œ ๋Š” 1940๋…„๋Œ€ ํ‰๊ท  ์˜ํ™” ํ•œ ์žฅ๋ฉด์˜ ๊ธธ์ด๊ฐ€
02:34
was 26 seconds,
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26์ดˆ์ด๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
02:35
and now it's around six seconds.
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์˜ค๋Š˜๋‚ ์€ 6์ดˆ์ž…๋‹ˆ๋‹ค.
02:38
This is a project that was inspired
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์ด ํ”„๋กœ์ ํŠธ๋Š” ์ œ๊ฐ€ ๋ฏธ๊ตญ ์ค‘์•™์ •๋ถ€์—์„œ
02:40
by some work that was funded by the US Federal Government
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ํ›„์›์„ ๋ฐ›์•„ ํ•œ ์ผ์— ์˜๊ฐ์„ ๋ฐ›์•„ ํ•œ ์ผ์ž…๋‹ˆ๋‹ค.
02:43
in the early 2000s,
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2000๋…„๋Œ€ ์ดˆ๋ฐ˜์— ๋ง์ด์ฃ .
02:44
to look at video footage and find a specific actor in any video.
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์˜์ƒ์„ ๋ณด๊ณ  ํŠน์ • ๋ฐฐ์šฐ๋ฅผ ์ฐพ์•„๋‚ด๋Š” ํ”„๋กœ์ ํŠธ์ž…๋‹ˆ๋‹ค.
02:51
And so I repurposed this code to train a system on one person
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๊ทธ๋ฆฌ๊ณ  ์ œ๊ฐ€ ๋‹ค์‹œ ์ฝ”๋”ฉ์„ ํ•ด์„œ ์šฐ๋ฆฌ ์‚ฌํšŒ์—์„œ ๋ฌธํ™”์ ์œผ๋กœ
02:56
in our culture who would never need to be surveilled in that manner,
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๊ฐ์‹œํ•˜์ง€ ์•Š์•„๋„ ๋˜๋Š” ํŠน์ •์ธ์— ๋งž์ถฐ ์‹œ์Šคํ…œ์„ ํ›ˆ๋ จ์‹œ์ผฐ์Šต๋‹ˆ๋‹ค.
03:00
which is Britney Spears.
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๋ฐ”๋กœ ๋ธŒ๋ฆฌํŠธ๋‹ˆ ์Šคํ”ผ์–ด์Šค์ž…๋‹ˆ๋‹ค.
03:01
I downloaded 2,000 paparazzi photos of Britney Spears
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์ €๋Š” ๋ธŒ๋ฆฌํŠธ๋‹ˆ ์Šคํ”ผ์–ด์Šค์˜ 2์ฒœ์žฅ์˜ ํŒŒํŒŒ๋ผ์น˜ ์‚ฌ์ง„์„ ๋‹ค์šด ๋ฐ›์•„์„œ
03:05
and trained my computer to find her face
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์ œ ์ปดํ“จํ„ฐ๊ฐ€ ๊ทธ๋…€ ์–ผ๊ตด์„ ์ฐพ๋„๋ก ํ–ˆ์Šต๋‹ˆ๋‹ค.
03:07
and her face alone.
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๊ทธ๋…€์˜ ์–ผ๊ตด๋งŒ ๋ง์ด์ฃ .
03:09
I can run any footage of her through it and will center her eyes in the frame,
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์–ด๋–ค ์˜์ƒ์ด๋“  ํ‹€๋ฉด ์•Œ์•„์„œ ๊ทธ๋…€์˜ ๋ˆˆ์„ ์˜์ƒ์˜ ๊ฐ€์šด๋ฐ์— ์˜ค๊ฒŒ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
03:13
and this sort of is a little double commentary
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ์€ ์šฐ๋ฆฌ ์‚ฌํšŒ์˜ ๊ฐ์‹œ์— ๊ด€ํ•œ
03:15
about surveillance in our society.
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์ž‘์€ ์ด์ค‘ ๋…ผํ‰์ž…๋‹ˆ๋‹ค.
03:17
We are very fraught with anxiety about being watched,
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์šฐ๋ฆฌ๋Š” ๊ฐ์‹œ๋‹นํ•˜๋Š” ๊ฒƒ์— ๋งค์šฐ ๊ฑฑ์ •ํ•˜๊ณ  ๋‘๋ ค์›Œํ•˜๋Š” ๋ฐ˜๋ฉด์—
03:20
but then we obsess over celebrity.
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์œ ๋ช…์ธ์‚ฌ๋“ค์—๊ฒ ์ง‘์ฐฉํ•˜๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
03:24
What you're seeing on the screen here is a collaboration I did
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์—ฌ๋Ÿฌ๋ถ„์ด ์ง€๊ธˆ ๋ณด์‹œ๋Š” ๊ฒƒ์€ ์ œ๊ฐ€
03:27
with an artist named Liรกn Amaris.
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๋ฆฌ์•ˆ ์•„๋งˆ๋ฆฌ์Šค(Liรกn Amaris)๋ผ๋Š” ์•„ํ‹ฐ์ŠคํŠธ์™€ ํ•ฉ์ž‘ํ•œ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
03:30
What she did is very simple to explain and describe,
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ํ™”๋ฉด์˜ ์—ฌ์„ฑ์ด ํ•˜๋Š” ๊ฒƒ์€ ๋ง๋กœ ์„ค๋ช…ํ•˜๊ณ  ํ‘œํ˜„ํ•˜๊ธด ์‰ฝ์ง€๋งŒ
03:34
but very hard to do.
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์‹ค์ œ๋กœ ํ•˜๊ธฐ๋Š” ์–ด๋ ค์šด ์ผ์ž…๋‹ˆ๋‹ค.
03:35
She took 72 minutes of activity,
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๊ทธ๋…€๊ฐ€ 72๋ถ„๊ฐ„
03:39
getting ready for a night out on the town,
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๋ฐค์— ์‹œ๋‚ด์— ๋‚˜๊ฐ€๋†€๊ธฐ ์œ„ํ•ด ์ค€๋น„๋ฅผ ํ•˜๋Š” ๊ณผ์ •์„
03:41
and stretched it over three days
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3์ผ ์งœ๋ฆฌ๋กœ ๋Š˜๋ ธ์Šต๋‹ˆ๋‹ค.
03:43
and performed it on a traffic island in slow motion in New York City.
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๋‰ด์š•์˜ ๊ฝ‰๋ง‰ํžŒ ๋Œ€๋กœ ํ•œ๋ณตํŒ์—์„œ ๋Š๋ฆฐ ๋™์ž‘์œผ๋กœ ๋ง์ด์ฃ .
03:47
I was there, too, with a film crew.
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์ €๋„ ๊ทธ๊ณณ์— ์ดฌ์˜ํŒ€๊ณผ ํ•จ๊ป˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
03:50
We filmed the whole thing,
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์ €ํฌ๋Š” ๋ชจ๋“  ๊ฒƒ์„ ์ดฌ์˜ํ–ˆ์Šต๋‹ˆ๋‹ค.
03:51
and then we reversed the process, speeding it up to 72 minutes again,
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๊ทธ๋ฆฌ๊ณ  ๋‹ค์‹œ ๋˜๊ฐ์•„์„œ 72๋ถ„์— ๋งž์ถ”์–ด ๋นจ๋ฆฌ ๊ฐ์•˜์Šต๋‹ˆ๋‹ค.
03:54
so it looks like she's moving normally
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๊ทธ๋ž˜์„œ ๊ทธ๋…€๋Š” ํ‰๋ฒ”ํ•˜๊ฒŒ ์›€์ง์ด๋Š” ๊ฒƒ ๊ฐ™์€๋ฐ
03:56
and the whole world is flying by.
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์˜จ ์„ธ์ƒ์ด ๋‚ ์•„๋‹ค๋‹ˆ๋Š” ๊ฒƒ ์ฒ˜๋Ÿผ ๋ณด์ด๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
03:59
At a certain point, I figured out
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์–ด๋Š ์ˆœ๊ฐ„ ์ œ๊ฐ€ ๊นจ๋‹ฌ์€ ๊ฒƒ์€
04:01
that what I was doing was making portraits.
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์ œ๊ฐ€ ํ•˜๊ณ  ์žˆ๋Š” ์ผ์ด ์ดˆ์ƒํ™”๋ฅผ ๊ทธ๋ฆฌ๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
04:05
When you think about portraiture, you tend to think about stuff like this.
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์ดˆ์ƒํ™”๋ผ๊ณ  ํ•˜๋ฉด ๋ณดํ†ต ์ด๋Ÿฐ ๊ฒƒ์„ ๋– ์˜ฌ๋ฆฌ๊ธฐ ๋งˆ๋ จ์ž…๋‹ˆ๋‹ค.
04:09
The guy on the left is named Gilbert Stuart.
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์™ผ์ชฝ์˜ ์‚ฌ์ง„์€ ๊ธธ๋ฒ„ํŠธ ์ŠคํŠœ์–ดํŠธ ๋ผ๋Š” ์‚ฌ๋žŒ์ž…๋‹ˆ๋‹ค.
04:11
He's sort of the first real portraitist of the United States.
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๊ทธ๋Š” ๋ฏธ๊ตญ ์ตœ์ดˆ์˜ ์‹ค์ œ ์ดˆ์ƒํ™”๊ฐ€๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:14
And on the right is his portrait of George Washington from 1796.
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๊ทธ๋ฆฌ๊ณ  ์˜ค๋ฅธ์ชฝ์€ ๊ทธ๊ฐ€ 1796๋…„์— ๊ทธ๋ฆฐ ์กฐ์ง€ ์›Œ์‹ฑํ„ด์˜ ์ดˆ์ƒํ™” ์ž…๋‹ˆ๋‹ค.
04:17
This is the so-called Lansdowne portrait.
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์ด๊ฒƒ์€ ์ผ์ข…์˜ ๋žœ์Šค๋‹ค์šด ์ดˆ์ƒํ™”์ž…๋‹ˆ๋‹ค.
04:19
And if you look at this painting, there's a lot of symbolism, right?
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๊ทธ๋ฆผ์„ ๋ณด๋ฉด ์ƒ์ง•์ฃผ์˜์ ์ธ ๋ถ€๋ถ„์ด ๋งŽ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ ‡์ฃ ?
04:22
We've got a rainbow out the window. We've got a sword.
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์ฐฝ ๋ฐ–์—” ๋ฌด์ง€๊ฐœ๊ฐ€ ๋– ์žˆ๊ณ , ์นผ๋„ ๊ทธ๋ ค์ ธ ์žˆ๊ณ 
04:25
We've got a quill on the desk.
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ํƒ์ž์œ„์— ๊นƒํŽœ๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
04:27
All of these things are meant to evoke
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์ด ๋ชจ๋“  ๊ฒƒ๋“ค์ด
04:29
George Washington as the father of the nation.
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์กฐ์ง€ ์›Œ์‹ฑํ„ด์ด ๊ฑด๊ตญ์˜ ์•„๋ฒ„์ง€์ž„์„ ์ƒ๊ธฐ์‹œํ‚ค๊ธฐ ์œ„ํ•œ ๊ฒƒ ์ž…๋‹ˆ๋‹ค.
04:31
This is my portrait of George Washington.
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์ด๊ฒƒ์€ ์ œ๊ฐ€ ๋งŒ๋“  ์กฐ์ง€ ์›Œ์‹ฑํ„ด ์ดˆ์ƒํ™”์ž…๋‹ˆ๋‹ค.
04:35
And this is an eye chart,
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๊ทธ๋ฆฌ๊ณ  ์‹œ๋ ฅ๊ฒ€์‚ฌํŒ์ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
04:38
only instead of letters, they're words.
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๋ฌธ์ž ๋Œ€์‹ ์— ๋‹จ์–ด๊ฐ€ ์ ํ˜€์žˆ์ฃ .
04:41
And what the words are is the 66 words
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๊ทธ๋ฆฌ๊ณ  ์ด 66๊ฐœ ๋‹จ์–ด๋Š”
04:44
in George Washington's State of the Union addresses
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์กฐ์ง€ ์›Œ์‹ฑํ„ด์ด ์—ฐ๋‘๊ต์„œ์—์„œ
04:46
that he uses more than any other president.
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๋‹ค๋ฅธ ๋Œ€ํ†ต๋ น๋ณด๋‹ค ๋งŽ์ด ์‚ฌ์šฉํ•œ ๋‹จ์–ด๋“ค์ž…๋‹ˆ๋‹ค.
04:50
So "gentlemen" has its own symbolism and its own rhetoric.
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๊ทธ๋ž˜์„œ '์‹ ์‚ฌ'๋Š” ๊ทธ์˜ ์ƒ์ง•์ด๊ณ  ๊ทธ๋งŒ์˜ ๋ฏธ์‚ฌ์—ฌ๊ตฌ์ž…๋‹ˆ๋‹ค.
04:54
And it's really kind of significant that that's the word he used the most.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฐ€ ๊ทธ ๋‹จ์–ด๋ฅผ ๊ฐ€์žฅ ๋งŽ์ด ์‚ฌ์šฉํ–ˆ๋‹ค๋Š” ๊ฒƒ์€ ์ค‘์š”ํ•œ ์‚ฌ์‹ค์ž…๋‹ˆ๋‹ค.
04:58
This is the eye chart for George W. Bush,
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์ด๊ฒƒ์€ ์กฐ์ง€ W. ๋ถ€์‹œ์˜ ์‹œ๋ ฅ๊ฒ€์‚ฌํŒ์ž…๋‹ˆ๋‹ค.
05:01
who was president when I made this piece.
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์ œ๊ฐ€ ์ด๊ฑธ ๋งŒ๋“ค ๋•Œ ๋Œ€ํ†ต๋ น์ด๋˜ ๋ถ„์ด์‹œ์ฃ .
05:04
And how you get there,
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๊ทธ๋ฆฌ๊ณ  ์—ฌ๋Ÿฌ๋ถ„์€
05:05
from "gentlemen" to "terror" in 43 easy steps,
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'์  ํ‹€๋งจ'์—์„œ 'ํ…Œ๋Ÿฌ'์— ์ด๋ฅด๋Š” ๊ฐ„๋‹จํ•œ 43๊ฐœ์˜ ๋‹จ๊ณ„๊ฐ€
05:08
tells us a lot about American history,
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๋ฏธ๊ตญ ์—ญ์‚ฌ์˜ ๋งŽ์€ ๊ฒƒ์„ ๋งํ•ด์ฃผ๊ณ 
05:10
and gives you a different insight
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๋‹ค๋ฅธ ๊ทธ๋ฆผ๋“ค์„ ๋ณผ ๋•Œ์™€๋Š” ๋‹ค๋ฅธ
05:12
than you would have looking at a series of paintings.
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์ƒ๊ฐ์„ ํ•˜๊ฒŒ ํ•˜๋Š” ๊ฒƒ์„ ์•„์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
05:15
These pieces provide a history lesson of the United States
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์ด๊ฒƒ์€ ๋ฏธ๊ตญ์˜ ์—ญ์‚ฌ๋ฅผ
05:19
through the political rhetoric of its leaders.
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์ง€๋„์ž์˜ ์ •์น˜์  ๋ฏธ์‚ฌ์—ฌ๊ตฌ๋ฅผ ํ†ตํ•ด ๋ณด์—ฌ์ฃผ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค..
05:21
Ronald Reagan spent a lot of time talking about deficits.
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๋กœ๋‚ ๋“œ ๋ ˆ์ด๊ฑด์€ ๋งŽ์€ ์‹œ๊ฐ„์„ ๋ถ€์กฑ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐ ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:25
Bill Clinton spent a lot of time
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๋นŒ ํด๋ฆฐํ„ด์€ ๋งŽ์€ ์‹œ๊ฐ„์„ ๋“ค์—ฌ
05:26
talking about the century in which he would no longer be president,
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๊ทธ๊ฐ€ ๋Œ€ํ†ต๋ น์ด์ง€๋„ ์•Š์„ ์„ธ๊ธฐ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐ ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:30
but maybe his wife would be.
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ํ•˜์ง€๋งŒ ๊ทธ์˜ ๋ถ€์ธ์ด ๋ ์ง€๋„ ๋ชจ๋ฅด์ฃ .
05:33
Lyndon Johnson was the first President
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๋ฆฐ๋“  ์กด์Šจ์€ ๋Œ€ํ†ต๋ น ์ค‘์— ์ตœ์ดˆ๋กœ
05:35
to give his State of the Union addresses on prime-time television;
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ํ…”๋ ˆ๋น„์ ผ ํ™ฉ๊ธˆ ์‹œ๊ฐ„๋Œ€์— ์—ฐ๋‘๊ต์„œ๋ฅผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:39
he began every paragraph with the word "tonight."
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๊ทธ๋Š” ๋ฌธ๋‹จ๋งˆ๋‹ค "์˜ค๋Š˜๋ฐค"์ด๋ผ๋Š” ๋‹จ์–ด๋ฅผ ์‚ฌ์šฉํ–ˆ์Šต๋‹ˆ๋‹ค.
05:41
And Richard Nixon, or more accurately, his speechwriter,
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๊ทธ๋ฆฌ๊ณ  ๋ฆฌ์ฒ˜๋“œ ๋‹‰์Šจ์€ ์ •ํ™•ํžˆ๋Š” ๊ทธ์˜ ์—ฐ์„ค๋ฌธ ์ž‘์„ฑ๊ฐ€์ธ
05:44
a guy named William Safire,
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์œŒ๋ฆฌ์—„ ์ƒˆํŒŒ์ด์–ด๋Š”
05:45
spent a lot of time thinking about language
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๋งŽ์€ ์‹œ๊ฐ„ ๋ฌธ๊ตฌ์— ๊ณต์„ ๋“ค์—ฌ
05:47
and making sure that his boss portrayed a rhetoric of honesty.
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๊ทธ์˜ ์ƒ์‚ฌ๊ฐ€ ์ •์งํ•จ์˜ ๋ฏธ์‚ฌ์—ฌ๊ตฌ๋ฅผ ๊ตฌํ˜„ํ•˜๋„๋ก ๋…ธ๋ ฅํ–ˆ์Šต๋‹ˆ๋‹ค.
05:51
This project is shown as a series of monolithic sculptures.
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์ด ํ”„๋กœ์ ํŠธ๋Š” ๋‹จ์ผ๊ตฌ์กฐ์˜ ์กฐ๊ฐ์ฒ˜๋Ÿผ ์ „์‹œ๋์Šต๋‹ˆ๋‹ค.
05:54
It's an outdoor series of light boxes.
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์ด๊ฒƒ์€ ์กฐ๋ช…์„ ๋‹ฌ์•„ ์™ธ๋ถ€์— ์„ค์น˜ํ•œ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
05:56
And it's important to note that they're to scale,
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๊ทธ๋ฆฌ๊ณ  ์—ฌ๊ธฐ์„œ ์ค‘์š”ํ•œ ์ ์€ ์ด๊ฒƒ๋“ค์€ ๊ฒ€์‚ฌ๋ฅผ ์œ„ํ•œ ๊ฒƒ์ธ๋ฐ
05:59
so if you stand 20 feet back and you can read between those two black lines,
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์—ฌ๋Ÿฌ๋ถ„์ด 20๋ณด ๋’ค์—์„œ ์ด ๊ฒ€์€ ์„  ์‚ฌ์ด์˜ ๋‹จ์–ด๋“ค์„ ์ฝ์„ ์ˆ˜ ์žˆ๋‹ค๋ฉด
06:02
you have 20/20 vision.
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์‹œ๋ ฅ์ด 2.0์ธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
06:04
(Laughter)
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(์›ƒ์Œ)
06:05
This is a portrait. And there's a lot of these.
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์ด๊ฒƒ์€ ์ดˆ์ƒํ™”์ž…๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ์ด๋Ÿฐ ๊ฒƒ๋“ค์ด ๋งŽ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
06:07
There's a lot of ways to do this with data.
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๋ฐ์ดํƒ€๋ฅผ ์ด์šฉํ•ด ์ด๋Ÿฐ ๊ฒƒ๋“ค์„ ๋งŒ๋“ค ์ˆ˜ ์žˆ๋Š” ๋ฐฉ๋ฒ•์ด ๋งŽ์Šต๋‹ˆ๋‹ค.
06:10
I started looking for a way
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์ €๋Š” ์–ด๋–ป๊ฒŒ ํ•˜๋ฉด
06:12
to think about how I can do a more democratic form of portraiture,
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๋” ๋ฏผ์ฃผ์ ์ธ ์ดˆ์ƒํ™”๋ฒ•์„ ๊ตฌ์‚ฌํ•  ์ˆ˜ ์žˆ์„์ง€ ๋ชจ์ƒ‰ํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
06:17
something that's more about my country and how it works.
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์šฐ๋ฆฌ ๋‚˜๋ผ์™€ ๊ทธ ์ž‘๋™๋ฐฉ๋ฒ•์— ๋Œ€ํ•ด์„œ ๋ง์ž…๋‹ˆ๋‹ค.
06:21
Every 10 years, we make a census in the United States.
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10๋…„๋งˆ๋‹ค ํ•œ ๋ฒˆ์”ฉ ๋ฏธ๊ตญ์—์„œ๋Š” ์ธ๊ตฌ์กฐ์‚ฌ๋ฅผ ํ•ฉ๋‹ˆ๋‹ค.
06:25
We literally count people,
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๋ง ๊ทธ๋Œ€๋กœ ์‚ฌ๋žŒ ์ˆซ์ž๋ฅผ ์„ธ์„œ
06:27
find out who lives where, what kind of jobs we've got,
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๋ˆ„๊ฐ€ ์–ด๋””์— ์‚ด๊ณ  ์–ด๋–ค ์ผ์— ์ข…์‚ฌํ•˜๋Š”์ง€
06:30
the language we speak at home.
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์ง‘์—์„œ ์“ฐ๋Š” ์–ธ์–ด๊ฐ€ ๋ฌด์—‡์ธ์ง€ ์•Œ์•„ ๋‚ด๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
06:31
And this is important stuff -- really important stuff.
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ์€ ์ค‘์š”ํ•œ ์ผ์ž…๋‹ˆ๋‹ค. ์ •๋ง ์ค‘์š”ํ•œ ์ผ์ž…๋‹ˆ๋‹ค.
06:34
But it doesn't really tell us who we are.
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ํ•˜์ง€๋งŒ ์ด๊ฒƒ์ด ์šฐ๋ฆฌ๊ฐ€ ๋ˆ„๊ตฌ์ธ์ง€ ๋งํ•ด ์ฃผ๋Š” ๊ฒƒ์€ ์•„๋‹™๋‹ˆ๋‹ค.
06:36
It doesn't tell us about our dreams and our aspirations.
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์ด๊ฒƒ์ด ์šฐ๋ฆฌ์˜ ๊ฟˆ๊ณผ ์—ผ์›์— ๋Œ€ํ•ด์„œ ๋งํ•ด ์ฃผ๋Š” ๊ฒƒ๋„ ์•„๋‹™๋‹ˆ๋‹ค.
06:39
And so in 2010, I decided to make my own census.
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๊ทธ๋ž˜์„œ 2010๋…„์— ์ €๋Š” ์ œ ๋ฐฉ์‹์˜ ์ธ๊ตฌ์กฐ์‚ฌ๋ฅผ ํ•˜๊ธฐ๋กœ ํ–ˆ์Šต๋‹ˆ๋‹ค.
06:42
And I started looking for a corpus of data
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ํ‰๋ฒ”ํ•œ ๋ฏธ๊ตญ์ธ๋“ค์ด ์ž‘์„ฑํ•œ ์ˆ˜๋งŽ์€ ํ‘œํ˜„๋“ค์ด ์ ํžŒ
06:46
that had a lot of descriptions written by ordinary Americans.
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๋ง๋ญ‰์น˜ ์ž๋ฃŒ๋ฅผ ์ฐพ๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
06:49
And it turns out
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๊ทธ๋ฆฌ๊ณ  ์‚ดํŽด๋ณด๋‹ˆ
06:50
that there is such a corpus of data
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๊ทธ๋Ÿฐ ๋ง๋ญ‰์น˜ ์ž๋ฃŒ๊ฐ€
06:52
that's just sitting there for the taking.
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๋–กํ•˜๋‹ˆ ๊ธฐ๋‹ค๋ฆฌ๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
06:54
It's called online dating.
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๋ฐ”๋กœ ์˜จ๋ผ์ธ ๋ฐ์ดํŠธ๋ผ๊ณ  ๋ถ€๋ฅด๋Š” ๊ฒƒ์ด์ฃ .
06:56
So in 2010, I joined 21 different online dating services,
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๊ทธ๋ž˜์„œ 2010๋…„์— ์ €๋Š” 21๊ฐœ์˜ ๋‹ค๋ฅธ ์˜จ๋ผ์ธ ๋ฐ์ดํŠธ ์‚ฌ์ดํŠธ์— ๊ฐ€์ž…ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:01
as a gay man, a straight man, a gay woman and a straight woman,
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๋‚จ์ž ๋™์„ฑ์• ์ž์™€ ์ด์„ฑ์• ์ž, ์—ฌ์ž ๋™์„ฑ์• ์ž์™€ ์ด์„ฑ์• ์ž๋กœ,
07:04
in every zip code in America
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๋ฏธ๊ตญ์˜ ๋ชจ๋“  ์šฐํŽธ๋ฒˆํ˜ธ๋กœ ๋ง์ด์ฃ .
07:06
and downloaded about 19 million people's dating profiles --
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๊ทธ๋ฆฌ๊ณ  ์ฒœ 9๋ฐฑ๋งŒ ๋ช…์˜ ๋ฐ์ดํŠธ ํ”„๋กœํ•„์„ ๋ฐ›์•˜์Šต๋‹ˆ๋‹ค.
07:09
about 20 percent of the adult population of the United States.
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๋ฏธ๊ตญ ์„ฑ์ธ ์ธ๊ตฌ์˜ ์•ฝ 20%์˜ ํ•ด๋‹นํ•˜๋Š” ์ˆ˜์ž…๋‹ˆ๋‹ค.
07:13
I have obsessive-compulsive disorder.
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์ €๋Š” ๊ฐ•๋ฐ•์‹ ๊ฒฝ์ฆ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
07:15
This is going to become really freaking obvious. Just go with me.
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์ ์  ๋” ๋ถ„๋ช…ํ•ด์งˆ ๊ฒ๋‹ˆ๋‹ค. ๊ทธ๋ƒฅ ๋ฐ›์•„ ๋“ค์—ฌ์ฃผ์„ธ์š”.
07:18
(Laughter)
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(์›ƒ์Œ)
07:19
So what I did was I sorted all this stuff by zip code.
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์šฐํŽธ๋ฒˆํ˜ธ์— ๋”ฐ๋ผ ์ด ๋ชจ๋‘๋ฅผ ์ •๋ฆฌํ–ˆ๊ณ 
07:23
And I looked at word analysis.
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๋‹จ์–ด๋ฅผ ๋ถ„์„ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:25
These are some dating profiles from 2010
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์ด๊ฒƒ์€ 2010๋…„์˜ ๋ฐ์ดํŠธ ํ”„๋กœํ•„์—
07:28
with the word "lonely" highlighted.
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'์™ธ๋กœ์šด'์ด๋ž€ ๋‹จ์–ด๋ฅผ ๊ฐ•์กฐํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
07:30
If you look at these things topographically,
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์ด๊ฒƒ์„ ์ง€ํ˜•ํ•™์ ์œผ๋กœ ์‚ดํŽด๋ณด๋ฉด
07:33
if you imagine dark colors to light colors are more use of the word,
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์‚ฌ์šฉ ๋นˆ๋„์— ๋”ฐ๋ผ ๋‹จ์–ด๊ฐ€ ๋” ๋ฐ๊ฒŒ ํ‘œ์‹œ๋œ ๊ฒƒ์„ ์•„์‹ ๋‹ค๋ฉด
07:36
you can see that Appalachia is a pretty lonely place.
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์• ํŒ”๋ž˜์น˜์•„ ์ง€์—ญ์€ ์™ธ๋กœ์šด ๋™๋„ค๋ผ๋Š” ๊ฒƒ์„ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
07:41
You can also see that Nebraska ain't that funny.
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๋„ค๋ธŒ๋ผ์Šค์นด๋Š” ์žฌ๋ฏธ ์—†๋‹ค๋Š” ๊ฒƒ๋„ ๋ณด์‹ค ์ˆ˜ ์žˆ์ฃ .
07:48
This is the kinky map, so what this is showing you
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์ด๊ฒƒ์€ ๋ณ€ํƒœ์„ฑ์„ ๋‚˜ํƒ€๋‚ด๋Š” ์ง€๋„๋กœ ์ด๊ฒƒ์ด ๋ณด์—ฌ์ฃผ๋Š” ๊ฒƒ์€
07:54
is that the women in Alaska need to get together
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์•Œ๋ž˜์Šค์นด์— ์‚ฌ๋Š” ์—ฌ์„ฑ์€
07:57
with the men in southern New Mexico,
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๋‰ด ๋ฉ•์‹œ์ฝ” ๋‚จ์ž๋“ค๊ณผ ์–ด์šธ๋ ค์„œ
07:58
and have a good time.
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์ฆ๊ฑฐ์šด ์‹œ๊ฐ„์„ ๋ณด๋‚ด์•ผ ๋œ๋‹ค๋Š” ๊ฒƒ ์ž…๋‹ˆ๋‹ค.
08:00
And I have this at a pretty granular level,
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ๊ฝค ์ƒ์„ธํ•œ ์ˆ˜์ค€์˜ ์ž๋ฃŒ๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
08:03
so I can tell you that the men in the eastern half of Long Island
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๊ทธ๋ž˜์„œ ๋กฑ ์•„์ผ๋ Œ๋“œ์˜ ์ค‘์•™์„ ๊ธฐ์ ์œผ๋กœ
08:06
are way more interested in being spanked
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๋™์ชฝ์— ์‚ฌ๋Š” ๋‚จ์ž๋“ค์€ ์„œ์ชฝ์— ์‚ฌ๋Š” ๋‚จ์ž๋“ค๋ณด๋‹ค
08:08
than men in the western half of Long Island.
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๊ฐ€ํ•™ํ–‰๋™์„ ์ข‹์•„ํ•œ๋‹ค๊ณ ๊นŒ์ง€ ๋งํ•ด๋“œ๋ฆด ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
08:11
This will be your one takeaway from this whole conference.
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์—ฌ๋Ÿฌ๋ถ„๊ป˜์„œ ๊ฐ•์—ฐ ์ „์ฒด๋ฅผ ํ†ตํ‹€์–ด ๊ฐ€์žฅ ์ธ์ƒ๊นŠ๊ฒŒ ๊ฐ€์ ธ๊ฐ€์‹ค ๋‚ด์šฉ์ด์ฃ .
08:14
You're going to remember that fact for, like, 30 years.
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์ด ์‚ฌ์‹ค์„ ์•ž์œผ๋กœ ํ•œ 30๋…„์€ ๊ธฐ์–ตํ•˜์‹œ๊ฒŒ ๋  ๊ฒ๋‹ˆ๋‹ค.
08:17
(Laughter)
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(์›ƒ์Œ)
08:20
When you bring this down to a cartographic level,
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์ด๋ฅผ ์ง€๋„ ์ œ์ž‘ ๋ถ€๋ถ„๊นŒ์ง€ ๋Œ๊ณ  ์˜ค๋ฉด
08:23
you can make maps and do the same trick I was doing with the eye charts.
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์ œ๊ฐ€ ์‹œ๋ ฅ ๊ฒ€์‚ฌํŒ์„ ๋งŒ๋“  ๊ฒƒ์ฒ˜๋Ÿผ ์ง€๋„๋ฅผ ๋งŒ๋“ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
08:26
You can replace the name of every city in the United States
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๋ฏธ๊ตญ ์ „๊ตญ์˜ ๋„์‹œ ์ด๋ฆ„์„
08:29
with the word people use more in that city than anywhere else.
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๋‹ค๋ฅธ ๋„์‹œ๋ณด๋‹ค ๊ทธ๊ณณ ์‚ฌ๋žŒ๋“ค์ด ๋” ๋งŽ์ด ์“ด ๋‹จ์–ด๋กœ ๋Œ€์ฒด ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
08:32
If you've ever dated anyone from Seattle, this makes perfect sense.
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์‹œ์—ํ‹€ ์ถœ์‹ ์˜ ์‚ฌ๋žŒ๊ณผ ๋ฐ์ดํŠธ ํ•˜์‹  ์  ์žˆ๋‹ค๋ฉด ์™„์ „ ์ดํ•ดํ•˜์‹ค ๊ฑฐ์˜ˆ์š”.
08:35
You've got "pretty." You've got "heartbreak."
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์‹œ์• ํ‹€์€ "์˜ˆ์˜๊ณ ", "์‹ฌ์ฟต"ํ•˜๊ณ 
08:38
You've got "gig." You've got "cigarette."
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"๊ณต์—ฐ"๋„ ํ•˜๊ณ , "๋‹ด๋ฐฐ"๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
08:40
They play in a band and they smoke.
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๊ทธ๋“ค์€ ๋ฐด๋“œ ๊ณต์—ฐ์„ ํ•˜๋ฉด์„œ ๋‹ด๋ฐฐ๋ฅผ ํƒœ์šฐ๋Š” ๊ฑฐ์ฃ .
08:43
And right above that you can see "email."
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๊ทธ๋ฆฌ๊ณ  ์กฐ๊ธˆ ์œ„์— ๋ณด๋ฉด "์ด๋ฉ”์ผ"์ด ์žˆ์Šต๋‹ˆ๋‹ค.
08:45
That's Redmond, Washington,
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์›Œ์‹ฑํ„ด์ฃผ์˜ ๋ฆฌ์น˜๋ชฌ๋“œ์ž…๋‹ˆ๋‹ค.
08:46
which is the headquarters of the Microsoft Corporation.
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๋งˆ์ดํฌ๋กœ ์†Œํ”„ํŠธ์˜ ๋ณธ์‚ฌ๊ฐ€ ์žˆ๋Š” ๊ณณ์ด์ฃ .
08:49
Some of these you can guess -- so, Los Angeles is "acting"
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์˜ˆ์ƒํ•˜์‹ ๋Œ€๋กœ LA๋Š” "์—ฐ๊ธฐ"
08:52
and San Francisco is "gay."
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์ƒŒํ”„๋ž€์‹œ์Šค์ฝ”๋Š” "๊ฒŒ์ด"์ž…๋‹ˆ๋‹ค.
08:54
Some are a little bit more heartbreaking.
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๋ช‡๋ช‡์€ ์ข€ ๋” ๊ฐ€์Šด์ด ์•„ํ”•๋‹ˆ๋‹ค.
08:56
In Baton Rouge, they talk about being curvy;
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๋ฐฐํ„ด ๋ฃจ์ง€ ์‚ฌ๋žŒ๋“ค์€ ํ†ตํ†ตํ•œ ๊ฒƒ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜๊ณ 
08:58
downstream in New Orleans, they still talk about the flood.
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๋‰ด์˜ฌ๋ฆฌ์–ธ์Šค ํ•˜๋ฅ˜ ์ง€๋ฐฉ์—์„œ๋Š” ์•„์ง๋„ ํ™์ˆ˜์— ๋Œ€ํ•ด์„œ ์ด์•ผ๊ธฐํ•ฉ๋‹ˆ๋‹ค.
09:01
Folks in the American capital will say they're interesting.
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์ˆ˜๋„ ์›Œ์‹ฑํ„ด๋ถ„๋“ค์€ ๊ทธ๋“ค์ด ์žฌ๋ฏธ์žˆ๋‹ค๊ณ  ์ด์•ผ๊ธฐํ•ฉ๋‹ˆ๋‹ค.
09:03
People in Baltimore, Maryland, will say they're afraid.
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๋ฉ”๋ฆด๋žœ๋“œ ๋ณผํ‹ฐ๋ชจ์–ด ์‚ฌ๋žŒ๋“ค์€ ๊ทธ๋“ค์ด ๋‘๋ ต๋‹ค๊ณ  ์ด์•ผ๊ธฐํ•ฉ๋‹ˆ๋‹ค.
09:06
This is New Jersey.
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์ด๊ฒƒ์€ ๋‰ด์ €์ง€ ์ž…๋‹ˆ๋‹ค.
09:08
I grew up somewhere between "annoying" and "cynical."
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์ €๋Š” "์งœ์ฆ๋‚˜"์™€ "๋ƒ‰์†Œ์ " ๊ฐ€์šด๋ฐ ์–ด๋””์ฏค์—์„œ ์ž๋ž์Šต๋‹ˆ๋‹ค.
09:10
(Laughter) (Applause)
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(์›ƒ์Œ) (๋ฐ•์ˆ˜)
09:15
And New York City's number one word is "now,"
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๊ทธ๋ฆฌ๊ณ  ๋‰ด์š•์‹œ์—์„œ ๊ฐ€์žฅ ๋งŽ์ด ์“ฐ๋Š” ๋ง์€ "์ง€๊ธˆ"์ž…๋‹ˆ๋‹ค.
09:17
as in, "Now I'm working as a waiter, but actually I'm an actor."
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"์ง€๊ธˆ์€ ์›จ์ดํ„ฐ๋กœ ์ผํ•˜์ง€๋งŒ ์‚ฌ์‹ค ๋‚˜๋Š” ๋ฐฐ์šฐ์•ผ"๊ฐ™์ด ๋ง์ด์ฃ .
09:21
(Laughter)
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(์›ƒ์Œ)
09:22
Or, "Now I'm a professor of engineering at NYU, but actually I'm an artist."
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์•„๋‹ˆ๋ฉด "์ง€๊ธˆ์€ NYU์˜ ๊ณต๋Œ€ ๊ต์ˆ˜์ง€๋งŒ ์‚ฌ์‹ค ๋‚˜๋Š” ์•„ํ‹ฐ์ŠคํŠธ์•ผ".
09:26
If you go upstate, you see "dinosaur."
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์œ„์ชฝ์œผ๋กœ ์˜ฌ๋ผ๊ฐ€๋ฉด "๊ณต๋ฃก"์ด ๋ณด์ž…๋‹ˆ๋‹ค.
09:28
That's Syracuse.
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์ด๊ณณ์€ ์‹œ๋ผํ์Šค์ž…๋‹ˆ๋‹ค.
09:29
The best place to eat in Syracuse, New York,
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๋‰ด์š•์ฃผ์˜ ์‹œ๋ผํ์Šค์—์„œ ๊ฐ€์žฅ ์œ ๋ช…ํ•œ ๋ง›์ง‘์€
09:31
is a Hell's Angels barbecue joint called Dinosaur Barbecue.
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ํ—ฌ์Šค์—”์ ค์˜ ๋ฐ”๋ฒ ํ ์ฒด์ธ์ธ ๊ณต๋ฃก ๋ฐ”๋ฒ ํ๋ผ๋Š” ๊ณณ์ž…๋‹ˆ๋‹ค.
09:34
That's where you would take somebody on a date.
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๋ฐ์ดํŠธ ํ•  ๋•Œ ์ด๋Ÿฐ ๊ณณ์— ๊ฐ€์…”์•ผ์ฃ .
09:36
I live somewhere between "unconditional" and "midsummer," in Midtown Manhattan.
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์ €๋Š” ๋งจํ•˜ํŠผ ์ค‘๊ฐ„์ง€๋Œ€์˜ "๋ฌด์กฐ๊ฑด์ ์ธ"๊ณผ "ํ•œ์—ฌ๋ฆ„"์‚ฌ์ด์— ์‚ด๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
09:40
And this is gentrified North Brooklyn,
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ์€ ๊ณ ๊ธ‰ํ™”๋œ ๋ธŒ๋ฃจํด๋ฆฐ ๋ถ๋ถ€์ง€๋„์ž…๋‹ˆ๋‹ค.
09:42
so you've got "DJ" and "glamorous" and "hipsters" and "urbane."
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๋ณด์‹œ๋ฉด "DJ'์™€ "ํ’๋งŒํ•œ", "ํž™์Šคํ„ฐ" ๊ทธ๋ฆฌ๊ณ  "๋„ํšŒ์ ์ธ"์„ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
09:46
So that's maybe a more democratic portrait.
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๊ทธ๋ž˜์„œ ์ด๊ฒƒ์ด ์–ด์ฉŒ๋ฉด ๋” ๋ฏผ์ฃผ์ ์ธ ์ดˆ์ƒํ™” ์ผ์ง€๋„ ๋ชจ๋ฅด๊ฒ ์Šต๋‹ˆ๋‹ค.
09:48
And the idea was, what if we made red-state and blue-state maps
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์ œ ์•„์ด๋””์–ด๋Š” ๋ฏผ์ฃผ๋‹น ๊ณตํ™”๋‹น ์ง€๋„๋ฅผ
09:51
based on what we want to do on a Friday night?
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๊ธˆ์š”์ผ ๋ฐค์— ๋ญ˜ ํ•˜๊ณ  ์‹ถ์€์ง€์— ๊ธฐ์ดˆํ•ด์„œ ๋งŒ๋“œ๋Š”๊ฑด ์–ด๋–ป๊ฒ ๋ƒ๋Š” ๊ฒƒ ์ž…๋‹ˆ๋‹ค.
09:53
This is a self-portrait.
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์ด๊ฒƒ์€ ์žํ™”์ƒ์ž…๋‹ˆ๋‹ค.
09:55
This is based on my email,
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์ œ ์ด๋ฉ”์ผ์— ๊ทผ๊ฑฐํ–ˆ๊ณ 
09:57
about 500,000 emails sent over 20 years.
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์ง€๋‚œ 20๋…„๊ฐ„ ๋ณด๋‚ธ 50๋งŒํ†ต์˜ ์ด๋ฉ”์ผ์ž…๋‹ˆ๋‹ค.
10:00
You can think of this as a quantified selfie.
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์ด๊ฒƒ์„ ์ˆ˜์น˜ํ™”๋œ ์…€์นด๋ผ๊ณ  ์ƒ๊ฐํ•˜์…”๋„ ๋ฉ๋‹ˆ๋‹ค.
10:03
So what I'm doing is running a physics equation
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์ œ๊ฐ€ ํ•œ ๊ฒƒ์€ ๋ฌผ๋ฆฌ ๊ณต์‹์„
10:06
based on my personal data.
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์ œ ๊ฐœ์ธ ๋ฐ์ดํƒ€์— ์ ์šฉํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
10:07
You have to imagine everybody I've ever corresponded with.
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์ œ๊ฐ€ ์ด๋ฉ”์ผ์„ ์ฃผ๊ณ ๋ฐ›์€ ๋ชจ๋“  ์‚ฌ๋žŒ๋“ค์„ ์ƒ์ƒํ•ด๋ณด์‹œ๊ธฐ ๋ฐ”๋ž๋‹ˆ๋‹ค.
10:10
It started out in the middle and it exploded with a big bang.
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์ง€๋„ ๊ฐ€์šด๋ฐ์„œ ์‹œ์ž‘ํ•ด์„œ ํญ๋ฐœํ•ฉ๋‹ˆ๋‹ค.
10:13
And everybody has gravity to one another,
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๊ทธ๋ฆฌ๊ณ  ๋ชจ๋“  ์‚ฌ๋žŒ๋“ค์€ ์„œ๋กœ๋ฅผ ๋Œ์–ด๋‹น๊น๋‹ˆ๋‹ค.
10:15
gravity based on how much they've been emailing,
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์–ผ๋งˆ๋‚˜ ์ด๋ฉ”์ผ์„ ์ฃผ๊ณ  ๋ฐ›์•˜๋Š”์ง€
10:18
who they've been emailing with.
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๋ˆ„๊ตฌ์—๊ฒŒ ์ด๋ฉ”์ผ์„ ๋ณด๋ƒˆ๋Š”์ง€์— ๋”ฐ๋ผ์„œ ๋ง์ด์ฃ .
10:19
And it also does sentimental analysis,
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๊ทธ๋ฆฌ๊ณ  ๊ฐ์„ฑ์ ์ธ ๋ถ„์„๋„ ํ•ฉ๋‹ˆ๋‹ค.
10:21
so if I say "I love you," you're heavier to me.
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๋งŒ์•ฝ์— ์ œ๊ฐ€ "์‚ฌ๋ž‘ํ•ด"๋ผ๊ณ  ํ–ˆ๋‹ค๋ฉด ๋‹น์‹ ์€ ์ œ๊ฒŒ ๋” ๋ฌด๊ฑฐ์šด ์‚ฌ๋žŒ์ž…๋‹ˆ๋‹ค.
10:23
And you attract to my email addresses in the middle,
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๊ทธ๋ฆฌ๊ณ  ์ค‘๊ฐ„์— ์ œ ์ด๋ฉ”์ผ ์ฃผ์†Œ๊ฐ€
10:26
which act like mainline stars.
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์ฃผ๋ฅ˜ ํ–‰์„ฑ๊ณผ ๊ฐ™์€ ์—ญํ• ์„ ํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ์„ ๋ณด์‹ค ์ˆ˜ ์žˆ์ฃ .
10:28
And all the names are handwritten.
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๋ชจ๋“  ์ด๋ฆ„์€ ์†์œผ๋กœ ์“ด ๊ฒƒ ์ž…๋‹ˆ๋‹ค.
10:30
Sometimes you do this data and this work with real-time data
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๋•Œ๋กœ๋Š” ์ด๋Ÿฐ ๋ฐ์ดํ„ฐ, ์‹ค์‹œ๊ฐ„ ๋ฐ์ดํƒ€๋ฅผ ์ด์šฉํ•ด์„œ
10:34
to illuminate a specific problem in a specific city.
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ํŠน์ •๋„์‹œ์˜ ํŠน์ • ๋ฌธ์ œ๋ฅผ ๋น„์ถ”๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
10:38
This is a Walther PPK 9mm semiautomatic handgun
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์ด๊ฒƒ์€ ๋ฐ˜์ž๋™ ๊ถŒ์ด์ธ ๊ตฌ๊ฒฝ 9mm ์›”ํ„ฐPPK์ž…๋‹ˆ๋‹ค.
10:40
that was used in a shooting in the French Quarter of New Orleans
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๋‰ด์˜ฌ๋ฆฌ์–ธ์Šค ํ”„๋ Œ์น˜์ฟผํ„ฐ์—์„œ
10:43
about two years ago on Valentine's Day in an argument over parking.
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2๋…„์ „ ๋ฐœ๋ Œํƒ€์ด๋ฐ์ด์— ์ฃผ์ฐจ ๋ฌธ์ œ๋กœ ๋‹คํˆฌ๋‹ค ๋ฐœ์‚ฌ๋œ ๊ถŒ์ด์ž…๋‹ˆ๋‹ค.
10:47
Those are my cigarettes.
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์ €๊ฑด ์ œ ๋‹ด๋ฐฐ์ž…๋‹ˆ๋‹ค.
10:48
This is the house where the shooting took place.
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์ด ์ง‘์€ ์ด๊ฒฉ์ด ์ผ์–ด๋‚œ ๊ณณ์ž…๋‹ˆ๋‹ค.
10:50
This project involved a little bit of engineering.
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์ด ํ”„๋กœ์ ํŠธ๋Š” ์•ฝ๊ฐ„์˜ ์—”์ง€๋‹ˆ์–ด๋ง์ด ๊ฐ€๋ฏธ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
10:53
I've got a bike chain rigged up as a cam shaft,
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์ €๋Š” ์ž์ „๊ฑฐ ์ฒด์ธ์œผ๋กœ ์บ ์ถ•์„ ๊ธ‰์กฐํ•ด์„œ
10:55
with a computer driving it.
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์ปดํ“จํ„ฐ๋กœ ์กฐ์ข…ํ–ˆ์Šต๋‹ˆ๋‹ค.
10:56
That computer and the mechanism are buried in a box.
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๊ทธ๋ฆฌ๊ณ  ์ปดํ“จํ„ฐ์™€ ์žฅ์น˜๋Š” ์ƒ์ž์— ๋‹ด์•˜๊ณ 
10:59
The gun's on top welded to a steel plate.
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๊ทธ ์œ„์— ์ฒ ํŒ์„ ๊น”๊ณ  ์ด์„ ์šฉ์ ‘ ํ–ˆ์Šต๋‹ˆ๋‹ค.
11:01
There's a wire going through to the trigger,
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๋ฐฉ์•„์‡ ์— ์„ ์ด ์„ค์น˜๋˜์–ด์žˆ๊ณ 
11:04
and the computer in the box is online.
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์ปดํ“จํ„ฐ๋Š” ์˜จ๋ผ์ธ์œผ๋กœ ์—ฐ๊ฒฐ๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค.
11:06
It's listening to the 911 feed of the New Orleans Police Department,
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๋‰ด์˜ฌ๋ฆฌ์–ธ์Šค ๊ฒฝ์ฐฐ์„œ์˜ 911์— ์—ฐ๊ฒฐ๋˜์–ด์„œ
11:09
so that anytime there's a shooting reported in New Orleans,
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๋‰ด์˜ฌ๋ฆฌ์–ธ์Šค์—์„œ ์ด๊ฒฉ ์‚ฌ๊ฑด์ด ์ผ์–ด๋‚˜๋ฉด
11:12
(Gunshot sound)
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(์ด๊ฒฉ์Œ)
11:13
the gun fires.
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์ด์„ ๋ฐœ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
11:15
Now, there's a blank, so there's no bullet.
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์ด ์ด์—” ์•„๋ฌด๊ฒƒ๋„ ์—†์Šต๋‹ˆ๋‹ค. ์‹คํƒ„์€ ์—†์Šต๋‹ˆ๋‹ค.
11:18
There's big light, big noise
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๋Œ€์‹  ํฐ ๋ถˆ๋น›๊ณผ ์†Œ๋ฆฌ๊ฐ€ ๋‚ฉ๋‹ˆ๋‹ค.
11:20
and most importantly, there's a casing.
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๊ฐ€์žฅ ์ค‘์š”ํ•œ ๊ฒƒ์€ ์ผ€์ด์Šค๊ฐ€ ์žˆ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:22
There's about five shootings a day in New Orleans,
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์ด๊ฒƒ์ด ์„ค์น˜๋˜๊ณ  4๊ฐœ์›” ๋™์•ˆ
11:24
so over the four months this piece was installed,
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๋‰ด์˜ฌ๋ฆฌ์–ธ์Šค์—์„œ ํ•˜๋ฃจ ํ‰๊ท  5๊ฑด์˜ ์ด๊ฒฉ ์‚ฌ๊ฑด์ด ์ผ์–ด๋‚ฌ์Šต๋‹ˆ๋‹ค.
11:27
the case filled up with bullets.
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์ผ€์ด์Šค ์•ˆ์— ์ด์•Œ์ด ์žˆ๋Š”์ฑ„๋กœ ๋ง์ž…๋‹ˆ๋‹ค.
11:29
You guys know what this is -- you call this "data visualization."
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์—ฌ๋Ÿฌ๋ถ„์€ ์•„์‹คํ…๋ฐ ์ด๊ฒƒ์€ "๋ฐ์ดํƒ€ ์‹œ๊ฐํ™”"๋ผ๋Š” ๊ฒƒ ์ž…๋‹ˆ๋‹ค.
11:34
When you do it right, it's illuminating.
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์˜ฌ๋ฐ”๋ฅธ ์ผ์„ ํ•˜๋ฉด ์šฐ๋ฆฌ๋ฅผ ๋ฐ๊ฒŒ ๋น„์ถ”์ง€๋งŒ
11:36
When you do it wrong, it's anesthetizing.
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๋‚˜์œ ์ผ์„ ํ•˜๋ฉด ๊ฐ€์Šด์„ ๋จน๋จนํ•˜๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
11:39
It reduces people to numbers.
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์‚ฌ๋žŒ์„ ์ˆซ์ž๋กœ ๋ฐ”๊พธ์–ด ๋ฒ„๋ฆฌ๋Š” ๊ฒƒ ์ž…๋‹ˆ๋‹ค.
11:41
So watch out.
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๊ทธ๋Ÿฌ๋‹ˆ ์กฐ์‹ฌํ•˜์„ธ์š”.
11:44
One last piece for you.
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๋งˆ์ง€๋ง‰ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
11:46
I spent the last summer as the artist in residence
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์ €๋Š” ์ง€๋‚œ ์—ฌ๋ฆ„์„ ํƒ€์ž„์Šคํ€˜์–ด์—
11:49
for Times Square.
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์ƒ์ฃผํ•˜๋Š” ์˜ˆ์ˆ ๊ฐ€๋กœ ๋ณด๋ƒˆ์Šต๋‹ˆ๋‹ค.
11:50
And Times Square in New York is literally the crossroads of the world.
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๋‰ด์š•์˜ ํƒ€์ž„์Šคํ€˜์–ด๋Š” ๋ง ๊ทธ๋Œ€๋กœ ์„ธ์ƒ์˜ ๊ต์ฐจ๋กœ์ž…๋‹ˆ๋‹ค.
11:54
One of the things people don't notice about it
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์‚ฌ๋žŒ๋“ค์ด ๋ˆˆ์น˜์ฑ„์ง€ ๋ชปํ•˜๋Š” ๊ฒƒ ์ค‘์˜ ํ•˜๋‚˜๊ฐ€
11:56
is it's the most Instagrammed place on Earth.
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์„ธ์ƒ์—์„œ ๊ฐ€์žฅ ์ธ์Šคํƒ€๊ทธ๋žจ์— ๋งŽ์ด ์˜ฌ๋ผ์˜ค๋Š” ๊ณณ์ด๋ผ๋Š” ๊ฒƒ ์ž…๋‹ˆ๋‹ค.
11:59
About every five seconds, someone commits a selfie
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๋งค 5์ดˆ๋งˆ๋‹ค ๋ˆ„๊ตฐ๊ฐ€๊ฐ€ ์…€์นด๋ฅผ ์ฐ์Šต๋‹ˆ๋‹ค.
12:02
in Times Square.
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ํƒ€์ž„ ์Šคํ€˜์–ด์—์„œ ๋ง์ด์ฃ .
12:04
That's 17,000 a day, and I have them all.
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ํ•˜๋ฃจ์— 1๋งŒ7์ฒœ์žฅ์ด๊ณ  ์ œ๊ฐ€ ๋ชจ๋‘ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
12:07
(Laughter)
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(์›ƒ์Œ)
12:08
These are some of them with their eyes centered.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ์ค‘์— ๋ˆˆ์ด ์ค‘์•™์— ์žˆ๋Š” ์‚ฌ์ง„๋“ค์ž…๋‹ˆ๋‹ค.
12:11
Every civilization,
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๋ชจ๋“  ๋ฌธ๋ช…์€
12:12
will use the maximum level of technology available to make art.
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๊ฐ€์ง€๊ณ  ์žˆ๋Š” ์ตœ๋Œ€ํ•œ์˜ ๊ธฐ์ˆ ์„ ์ด์šฉํ•ด ์˜ˆ์ˆ ์ž‘ํ’ˆ์„ ๋งŒ๋“ญ๋‹ˆ๋‹ค.
12:15
And it's the responsibility of the artist to ask questions
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๊ทธ๋ฆฌ๊ณ  ์ด๋Ÿฐ ์งˆ๋ฌธ์„ ํ•˜๋Š” ๊ฒƒ์ด ์•„ํ‹ฐ์ŠคํŠธ์˜ ์ฑ…์ž„์ž…๋‹ˆ๋‹ค.
12:17
about what that technology means
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๊ธฐ์ˆ ์ด๋ž€ ๋ฌด์—‡์ด๊ณ 
12:19
and how it reflects our culture.
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์šฐ๋ฆฌ ๋ฌธํ™”์— ์–ด๋–ป๊ฒŒ ๋ฐ˜์˜๋˜๋Š”๊ฐ€
12:21
So I leave you with this: we're more than numbers.
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๊ทธ๋ž˜์„œ ์ €๋Š” ์ด ๋ง์„ ๋‚จ๊ธฐ๋ ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ๋‹จ์ง€ ์ˆซ์ž์— ๋ถˆ๊ณผํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
12:24
We're people, and we have dreams and ideas.
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์šฐ๋ฆฌ๋Š” ์‚ฌ๋žŒ์ด๊ณ  ์šฐ๋ฆฌ๋Š” ๊ฟˆ๊ณผ ๊ณ„ํš์ด ์žˆ์Šต๋‹ˆ๋‹ค.
12:26
And reducing us to statistics is something that's done
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋ฅผ ํ†ต๊ณ„์ˆ˜์น˜๋กœ ๋‚ฎ์ถ”๋Š” ์ผ์€
12:29
at our peril.
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์Šค์Šค๋กœ ์œ„ํ—˜์„ ์ž์ดˆํ•˜๋Š” ์ผ์ž…๋‹ˆ๋‹ค.
12:30
Thank you very much.
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๋งค์šฐ ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
12:31
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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