Marco Tempest: A magical tale (with augmented reality)

215,243 views ・ 2012-03-30

TED


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: Young-ho Park κ²€ν† : Woo Hwang
00:15
Marco Tempest: What I'd like to show you today
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마λ₯΄μ½” ν…œνŽ˜μŠ€νŠΈ: μ €λŠ” 였늘 μ—¬λŸ¬λΆ„κ»˜
00:17
is something in the way of an experiment.
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μ‹€ν—˜ λΉ„μŠ·ν•œ 것을 λ³΄μ—¬λ“œλ¦¬κ² μŠ΅λ‹ˆλ‹€.
00:20
Today's its debut.
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μ˜€λŠ˜μ€ 이게 λ°λ·°ν•˜λŠ” 날이죠.
00:22
It's a demonstration of augmented reality.
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즉, μ œκ°€ μ—¬λŸ¬λΆ„κ»˜ μ¦κ°•ν˜„μ‹€μ„ 데λͺ¨ν•΄ λ“œλ¦¬μ£ .
00:25
And the visuals you're about to see are not prerecorded.
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μ—¬λŸ¬λΆ„κ»˜μ„œ 였늘 보싀 것은 미리 λ…Ήν™”λœ 것이 μ•„λ‹ˆκ³ 
00:28
They are live
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제 μ›€μ§μž„μ— 따라 μ‹€μ‹œκ°„μ— λ§Œλ“€μ–΄μ§€λŠ”
00:30
and reacting to me in real time.
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μ˜μƒμ„ 라이브둜 λ³΄μ‹œλŠ” κ²λ‹ˆλ‹€.
00:32
I like to think of it as a kind of technological magic.
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μ €λŠ” 이게 μΌμ’…μ˜ 기술적인 마술이라고 μƒκ°ν•©λ‹ˆλ‹€.
00:37
So fingers crossed.
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데λͺ¨κ°€ 잘되길 바라며...
00:40
And keep your eyes on the big screen.
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큰 화면을 잘 쳐닀 λ³΄μ‹œκΈ° λ°”λžλ‚˜λ‹€.
00:44
Augmented reality
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μ¦κ°•ν˜„μ‹€μ΄λž€ μ»΄ν“¨ν„°λ‘œ λ§Œλ“ 
00:46
is the melding of the real world
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이미지λ₯Ό ν˜„μ‹€μ—
00:49
with computer-generated imagery.
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μ ‘λͺ©μ‹œν‚€λŠ” 것을 λ§ν•˜λŠ” κ±°μ£ .
00:52
It seems the perfect medium
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였늘과 같은 기술 μ‹œλŒ€μ—μ„œλ„
00:54
to investigate magic
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μ™œ μš°λ¦¬κ°€ λ§ˆμˆ κ°™μ€ 경이감을
00:56
and ask, why, in a technological age,
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κ³„μ†ν•΄μ„œ 가지고 μžˆλŠ”κ°€λ₯Ό μ—°κ΅¬ν•˜λ €λ©΄
00:59
we continue to have
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μ–΄μ©Œλ©΄ μ¦κ°•ν˜„μ‹€μ΄ κ°€μž₯ 쒋은
01:01
this magical sense of wonder.
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맀체일지도 λͺ¨λ₯΄μ£ .
01:04
Magic is deception,
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λ§ˆμˆ μ€ μ†μž„μˆ˜ μ΄μ§€λ§Œ
01:07
but it is a deception we enjoy.
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μš°λ¦¬κ°€ μ¦κΈ°λŠ” μ†μž„μˆ˜μ£ .
01:10
To enjoy being deceived,
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μ†μž„μ„ λ‹Ήν•˜λŠ” 것을 즐기렀면
01:12
an audience must first
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관쀑듀은 μš°μ„  λΆˆμ‹ κ°μ„
01:14
suspend its disbelief.
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μ €λ§ŒμΉ˜ 밀쳐 둬야 ν•˜μ£ .
01:16
It was the poet Samuel Taylor Coleridge
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μ΄λŸ¬ν•œ 수용적인 마음의 μƒνƒœλ₯Ό 처음으둜
01:19
who first suggested this receptive state of mind.
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μ œμ˜ν•œ μ‚¬λžŒμ€ μ‹œμΈ μ‚¬λ¬΄μ—˜ ν…ŒμΌλŸ¬ μ½œλŸ¬λ¦¬μ§€μ˜€μ£ .
01:22
Samuel Taylor Coleridge: I try to convey a semblance of truth in my writing
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μ‚¬λ¬΄μ—˜ ν…ŒμΌλŸ¬ μ½œλŸ¬λ¦¬μ§€: "λ‚˜λŠ” λ‚΄κ°€ μ“°λŠ” κΈ€μ—μ„œ
01:26
to produce for these shadows of the imagination
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μΌμ‹œμ μΈ μ‹œμ μΈ 신뒰라고 말할 수 μžˆλŠ” 것을 톡해
01:29
a willing suspension of disbelief
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λΆˆμ‹ κ°μ„ μ €λ§ŒμΉ˜ 밀쳐두고 μƒμƒμ˜ μ˜μ—­μ„
01:32
that, for a moment,
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λ§Œλ“€μ–΄ 아무리 κ°€μ§œμΌμ§€λΌλ„
01:34
constitutes poetic faith.
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μ§„μ‹€μ²˜λŸΌ(μ§„μ‹€μ˜ μ™Έμ–‘) 보여주렀고 ν•œλ‹€."
01:36
MT: This faith in the fictional is essential
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MT: ν—ˆκ΅¬μ μΈ 것을 λ―ΏλŠ”λ‹€λŠ” 것은 λͺ¨λ“ 
01:39
for any kind of theatrical experience.
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μ’…λ₯˜μ˜ 극적 κ²½ν—˜μ„ ν•˜λŠ”λ° ν•„μˆ˜μ μ΄μ£ .
01:42
Without it,
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그것이 μ—†μ΄λŠ” λŒ€λ³Έμ€
01:44
a script is just words.
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κ·Έλƒ₯ λ‹¨μ–΄μ˜ λͺ¨μž„에 λΆˆκ³Όν•˜μ£ .
01:46
Augmented reality
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μ¦κ°•ν˜„μ‹€μ€ λ‹¨μˆœνžˆ
01:48
is just the latest technology.
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μ΅œμ‹  기술의 ν•˜λ‚˜μ— λΆˆκ³Όν•˜μ£ .
01:50
And sleight of hand
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μ†μ§“μœΌλ‘œ ν•˜λŠ” μš”μˆ μ΄λž€
01:52
is just an artful demonstration
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λ‹¨μˆœν•œ μ†μž¬μ£Όμ˜
01:54
of dexterity.
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예술적인 μ‹œλ²”μ΄μ£ .
01:56
We are all very good at suspending our disbelief.
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우리 λͺ¨λ‘λŠ” λΆˆμ‹ κ°μ„ μž μ‹œ λ’€λ‘œ μ œμ³λ†“λŠ” 것을 μž˜ν•˜μ£ .
01:58
We do it every day,
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μš°λ¦¬λŠ” μ†Œμ„€μ„ μ½κ±°λ‚˜,
02:00
while reading novels,
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TVλ₯Ό λ³΄κ±°λ‚˜,
02:02
watching television
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μ˜ν™”λ₯Ό λ³Όλ•Œ
02:04
or going to the movies.
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그런 κ±Έ 맀일 ν•˜μ£ .
02:06
We willingly enter fictional worlds
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μš°λ¦¬λŠ” μžμ§„ν•΄μ„œ ν—ˆκ΅¬μ˜ μ„Έκ³„λ‘œ λ“€μ–΄κ°€μ„œ
02:08
where we cheer our heroes
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μš°λ¦¬κ°€ μ•Œμ§€λ„ λͺ»ν•˜λŠ” μ˜μ›…μ—κ²Œ ν™˜ν˜Έλ₯Ό 보내고
02:10
and cry for friends we never had.
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λ§Œλ‚˜λ³΄μ§€λ„ λͺ»ν•œ μΉœκ΅¬λ“€μ„ μœ„ν•΄ λˆˆλ¬Όμ„ 흘리죠.
02:13
Without this ability
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μ΄λ ‡κ²Œ ν•  수 μžˆλŠ” λŠ₯λ ₯이 μ—†μ΄λŠ”
02:15
there is no magic.
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λ§ˆμˆ μ΄λž€ 것이 μžˆμ„μˆ˜ μ—†μ£ .
02:17
It was Jean Robert-Houdin,
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ν”„λž‘μŠ€ μ΅œλŒ€μ˜ λ§ˆμˆ μ‚¬μ˜€λ˜
02:19
France's greatest illusionist,
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λ‘œλ²—ν›„λ”˜μ€ λ§ˆμˆ μ‚¬κ°€ μŠ€ν† λ¦¬ν…”λŸ¬κ°€
02:21
who first recognized the role of the magician
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될 μˆ˜μžˆλ‹€λŠ” 것을 처음으둜
02:23
as a storyteller.
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깨달은 μ‚¬λžŒμ΄μ—ˆμ£ .
02:25
He said something that I've posted on the wall of my studio.
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제 μŠ€νŠœλ””μ˜€μ˜ λ²½μ—λŠ” κ·Έκ°€ ν•œλ§μ΄ μ ν˜€μžˆλŠ” ν¬μŠ€ν„°κ°€ 있죠.
02:28
Jean Robert-Houdin: A conjurer is not a juggler.
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지인 λ‘œλ²—ν›„λ”˜: λ§ˆλ²•μ‚¬λŠ” 저글링을 ν•˜λŠ” μ‚¬λžŒμ΄ μ•„λ‹ˆλ‹€.
02:30
He is an actor playing the part of a magician.
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κ·ΈλŠ” λ§ˆλ²•μ‚¬μ˜ 역을 μ—°κΈ°ν•˜λŠ” λ°°μš°μ΄λ‹€.
02:34
MT: Which means magic is theater
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MT: 그말은 즉 λ§ˆλ²•μ€ κ·Ήμž₯이고
02:36
and every trick
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λͺ¨λ“  λ§ˆμˆ μ€
02:38
is a story.
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μŠ€ν† λ¦¬λΌλŠ” 말이죠.
02:40
The tricks of magic
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마술의 νŠΈλ¦­μ€ μ„œμˆ μ μΈ ν—ˆκ΅¬μ˜
02:42
follow the archetypes of narrative fiction.
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μ›ν˜•μ„ λ”°λ₯΄λŠ”데
02:44
There are tales of creation and loss,
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κ·Έμ€‘μ—λŠ” 창쑰와 손싀,
02:48
death and resurrection,
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죽음과 λΆ€ν™œ, 그리고 μ–΄λ €μ›€μ˜
02:51
and obstacles that must be overcome.
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극볡에 λŒ€ν•œ 이야기듀이 있죠.
02:55
Now many of them are intensely dramatic.
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μ΄λ“€μ˜ λ§Žμ€ 이야기듀은 맀우 극적이죠.
02:58
Magicians play with fire and steel,
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λ§ˆμˆ μ‚¬λ“€μ€ 뢈과 강철을 가지고 μ—°κΈ°ν•˜κ³ ,
03:00
defy the fury of the buzzsaw,
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μ „κΈ°ν†±μ˜ μœ„ν—˜λ„ λ§ˆλ‹€ν•˜κ³ ,
03:02
dare to catch a bullet
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맨λͺΈμœΌλ‘œ μ΄μ•Œλ„ 작고,
03:04
or attempt a deadly escape.
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λͺ©μŠ΄μ„ κ±Έκ³  λΆˆκ°€λŠ₯ν•œ νƒˆμΆœλ„ μ‹œλ„ν•˜μ£ .
03:08
But audiences don't come to see the magician die,
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관쀑듀은 λ§ˆμˆ μ‚¬κ°€ μ£½λŠ”κ²ƒμ„ 보러 μ˜€λŠ”κ²Œ μ•„λ‹ˆκ³ 
03:11
they come to see him live.
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μ‚΄μ•„ λ‚¨λŠ” 것을 보러였죠.
03:13
Because the best stories
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μ™œλƒλ©΄ 제일 쒋은 μŠ€ν† λ¦¬λŠ”
03:15
always have a happy ending.
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μ–Έμ œλ‚˜ ν•΄ν”Όμ—”λ”©μ΄λ‹ˆκΉŒμš”.
03:17
The tricks of magic have one special element.
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마술의 νŠΈλ¦­μ€ νŠΉλ³„ν•œ μš”μ†Œλ₯Ό κ°€μ§€λŠ”κ±°μ£ .
03:20
They are stories with a twist.
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λ§ˆμˆ μ€ 이야기가 κ°‘μžκΈ° λΉ„ν‹€μ–΄μ§€λŠ” μŠ€ν† λ¦¬μ£ .
03:23
Now Edward de Bono argued
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μ—λ“œμ›Œλ“œ λ”” λ³΄λ…ΈλŠ” 우리의 λ‘λ‡ŒλŠ”
03:25
that our brains are pattern matching machines.
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νŒ¨ν„΄μ„ λ§€μΉ­ν•˜λŠ” 기계라고 μ£Όμž₯ν–ˆμ£ .
03:28
He said that magicians deliberately exploit
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κ·ΈλŠ” λ§ˆμˆ μ‚¬λ“€μ€ 관쀑듀이 μƒκ°ν•˜λŠ”κ²ƒμ„
03:31
the way their audiences think.
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고의적으둜 μ‘°μ’…ν•œλ‹€κ³  λ§ν–ˆμ£ .
03:34
Edward de Bono: Stage magic relies almost wholly
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μ—λ“œμ›Œλ“œ λ”” 보노: λ¬΄λŒ€μ—μ„œ ν•˜λŠ” λ§ˆμˆ λ“€μ€ 관객듀이
03:36
on the momentum error.
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λ°œλž€μŠ€λ₯Ό μžƒκ²Œ λ§Œλ“œλŠ” 것에 거의 μ „μ μœΌλ‘œ μ˜μ‘΄ν•˜μ£ .
03:38
The audience is led to make assumptions or elaborations
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즉, 관객듀이 λ‹Ήμ—°νžˆ μ–΄λ–€ κΈ°λŒ€λ₯Ό ν•˜κ²Œ
03:41
that are perfectly reasonable,
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λ§Œλ“€μ–΄ λ…Ό λ‹€μŒμ—
03:43
but do not, in fact, match
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κ·Έκ²ƒκ³ΌλŠ” μ™„μ „νžˆ
03:45
what is being done in front of them.
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λ‹€λ₯Έ κ²°κ³Όλ₯Ό λ³΄μ—¬μ£ΌλŠ”κ±°μ£ .
03:47
MT: In that respect,
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MT: 그런면으둜 보면
03:49
magic tricks are like jokes.
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λ§ˆμˆ μ€ 농담과 λΉ„μŠ·ν•˜μ£ .
03:51
Jokes lead us down a path
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농담은 μš°λ¦¬κ°€ κΈ°λŒ€ν•˜λŠ” λ°©ν–₯으둜
03:54
to an expected destination.
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우리λ₯Ό 이끌고 κ°€μ£ .
03:56
But when the scenario we have imagined suddenly flips
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κ·ΈλŸ¬λ‚˜ μš°λ¦¬κ°€ κΈ°λŒ€ν–ˆλ˜ μ‹œλ‚˜λ¦¬μ˜€μ—μ„œ
03:59
into something entirely unexpected,
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κ°‘μžκΈ° κΈ°λŒ€ν•˜μ§€ μ•Šμ•˜λ˜ κ²ƒμœΌλ‘œ λ°”λ€Œλ©΄
04:01
we laugh.
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μš°λ¦¬λŠ” μ›ƒμŒμ„ ν„°νŠΈλ¦¬μ£ .
04:03
The same thing happens
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μš°λ¦¬κ°€ 마술 νŠΈλ¦­μ„ λ³Όλ•Œλ„
04:05
when people watch magic tricks.
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λ˜‘κ°™μ€ 일이 생기죠.
04:07
The finale
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마술의 λ§ˆμ§€λ§‰ μž₯면은
04:10
defies logic,
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논리λ₯Ό κ±°μ—­ν•˜λ©°
04:12
gives new insight into the problem,
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κ·Έ λ¬Έμ œμ— λŒ€ν•œ μƒˆλ‘œμš΄ 톡찰λ ₯을 μ£Όκ³ 
04:14
and audiences express their amazement
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관쀑듀은 κ·Έλ“€μ˜ 경이감을
04:17
with laughter.
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μ›ƒμŒμœΌλ‘œ ν‘œμ‹œν•˜μ£ .
04:19
It's fun to be fooled.
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μ†μž„μˆ˜λ₯Ό λ‹Ήν•˜λŠ” 것이 μž¬λ―ΈμžˆμœΌλ‹ˆκΉŒμš”.
04:21
One of the key qualities of all stories
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λͺ¨λ“  μŠ€ν† λ¦¬μ˜ κ°€μž₯ μ€‘μš”ν•œ μš”μ†ŒλŠ”
04:23
is that they're made to be shared.
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μ—¬λŸ¬ μ‚¬λžŒλ“€κ³Ό ν•¨κ»˜ 즐길 수 μžˆμ–΄μ•Ό ν•œλ‹€λŠ” 것이죠.
04:25
We feel compelled to tell them.
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μš°λ¦¬λŠ” μŠ€ν† λ¦¬λ₯Ό λ§ν•˜κ³  싢은 좩동을 느끼죠.
04:27
When I do a trick at a party --
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μ œκ°€ νŒŒν‹°μ—μ„œ λˆ„κ΅¬μ—κ²Œ νŠΈλ¦­μ„ 보여주면 --
04:30
(Laughter)
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(μ›ƒμŒ)
04:32
that person will immediately pull their friend over
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κ·Έμ‚¬λžŒμ€ 곧 그의 친ꡬλ₯Ό 뢈러 μ„Έμ›Œμ„œ
04:34
and ask me to do it again.
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저보고 νŠΈλ¦­μ„ ν•œλ²ˆ 더 보여달라고 ν•˜μ£ .
04:36
They want to share the experience.
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같은 κ²½ν—˜μ„ λ‚˜λˆ„κ³  μ‹Άμ–΄ν•˜λŠ” κ±°μ£ .
04:38
That makes my job more difficult,
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그러면 제 일이 더 μ–΄λ €μ›Œμ§€μ£ .
04:40
because, if I want to surprise them,
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μ™œλƒλ©΄ μ €λŠ” μ΄λ²ˆμ—λ„ 그듀을
04:42
I need to tell a story that starts the same,
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또 λ†€λΌκ²Œ λ§Œλ“€κΈ° μœ„ν•΄ μ‹œμž‘μ€ κ°™μ§€λ§Œ
04:44
but ends differently --
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λ§ˆλ¬΄λ¦¬κ°€ λ‹€λ₯΄κ²Œ ν•΄μ•Ό ν•˜λ‹ˆκΉŒμš” --
04:46
a trick with a twist
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이미 ν•œλ²ˆ 꼬은 이야기λ₯Ό
04:48
on a twist.
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λ‹€μ‹œ κΌ¬μœΌλŠ”κ±°μ£ .
04:50
It keeps me busy.
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그럼 μ œκ°€ λ°”λΉ μ§€μš”,
04:52
Now experts believe
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μŠ€ν† λ¦¬λŠ” 우리λ₯Ό 즐겁게 λ§Œλ“œλŠ”κ²ƒ
04:54
that stories go beyond our capacity for keeping us entertained.
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μ΄μƒμ˜ νž˜μ„ 가지고 μžˆλ‹€κ³  전문가듀은 λ§ν•˜μ£ .
04:58
We think in narrative structures.
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μš°λ¦¬λŠ” μ„œμˆ μ μœΌλ‘œ 생각을 ν•˜μ£ .
05:00
We connect events and emotions
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μš°λ¦¬λŠ” μš°λ¦¬μ—κ²Œ 생긴 사건듀에 우리의 감정을 μžλ™μ μœΌλ‘œ
05:04
and instinctively transform them
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μ—°κ²°μ‹œμΌœμ„œ 그듀을 μ‰½κ²Œ 이해할 수 μžˆλŠ”
05:07
into a sequence that can be easily understood.
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일련의 연속적인 μ‚¬κ±΄μœΌλ‘œ νƒˆλ°”κΏˆ μ‹œν‚€μ£ .
05:10
It's a uniquely human achievement.
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이건 우리 μΈκ°„λ§Œ ν•  수 μžˆλŠ” 재주의 ν•˜λ‚˜μ£ .
05:12
We all want to share our stories,
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μš°λ¦¬λŠ” νŒŒν‹°μ—μ„œ λ³Έ 트릭이건,
05:14
whether it is the trick we saw at the party,
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우리의 직μž₯μ—μ„œ μƒκ²Όλ˜ μ–΄λ–€ λ‚˜μœμΌμ΄κ±΄,
05:17
the bad day at the office
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νœ΄κ°€λ•Œ λ³Έ 멋진 석양이건,
05:19
or the beautiful sunset we saw on vacation.
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우리의 μŠ€ν† λ¦¬λ₯Ό λ‹€λ₯Έ μ‚¬λžŒλ“€κ³Ό λ‚˜λˆ„κ³  μ‹Άμ–΄ν•˜μ£ .
05:22
Today, thanks to technology,
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μ˜€λŠλ‚  μš°λ¦¬λŠ” 기술 덕뢄에
05:25
we can share those stories as never before,
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이메일, 페이슀뢁, λΈ”λ‘œκ·Έ, νŠΈμœ„νŠΈ 및
05:28
by email, Facebook,
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TED.com 같은 μ „μ—λŠ”
05:31
blogs, tweets,
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생각도 λͺ»ν•˜λ˜ λ°©λ²•μœΌλ‘œλ„
05:33
on TED.com.
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우리의 μŠ€ν† λ¦¬λ₯Ό λ‚˜λˆŒ 수 있죠.
05:35
The tools of social networking,
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μ†Œμ…œ λ„€νŠΈμ›Œν‚Ήμ˜ 이런 도ꡬ듀은
05:38
these are the digital campfires
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μ‚¬λžŒλ“€μ΄ λͺ¨μ—¬ μ•‰μ•„μ„œ
05:40
around which the audience gathers
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μ„œλ‘œμ˜ 이야기λ₯Ό λ‚˜λˆ„λŠ” 우리의
05:42
to hear our story.
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디지털 μΊ ν”„ν™”μ΄μ–΄μ§€μš”.
05:44
We turn facts into similes and metaphors,
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μš°λ¦¬λŠ” 사싀을 μ§μœ μ μ΄λ‚˜ μ€μœ μ μΈ 것듀 λ˜λŠ”
05:47
and even fantasies.
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μ‹¬μ§€μ–΄λŠ” κ³΅μƒμœΌλ‘œλ„ λ§Œλ“€μ£ .
05:49
We polish the rough edges of our lives
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μš°λ¦¬λŠ” 우리의 μ‚Άμ˜ μ™„μ „ν•˜μ§€ λͺ»ν•œ 뢀뢄듀을
05:51
so that they feel whole.
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λ”²κ³  μ”»μ–΄μ„œ 더 μ’‹κ²Œ 보이게 λ§Œλ“€μ£ .
05:53
Our stories make us the people we are
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우리의 μŠ€ν† λ¦¬λŠ” μš°λ¦¬κ°€ μ–΄λ–€ μ‚¬λžŒμ΄λΌλŠ” 것을 λ§ν•΄μ£Όκ±°λ‚˜
05:56
and, sometimes, the people we want to be.
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λ˜λŠ” μ–΄λ–€ μ‚¬λžŒμ΄ 되고 μ‹Άμ–΄ν•˜λŠ”κ°€λ₯Ό λ§ν•΄μ£Όμ§€μš”.
05:59
They give us our identity
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우리의 μŠ€ν† λ¦¬λŠ” μš°λ¦¬μ—κ²Œ 정체성을 μ£Όκ³ 
06:01
and a sense of community.
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μ–΄λ–€ μ£Όλ―Όμ‚¬νšŒμ— μ†ν•œλ‹€λŠ” λŠλ‚Œμ„ μ£Όμ§€μš”.
06:04
And if the story is a good one,
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그리고 κ·Έ μŠ€ν† λ¦¬κ°€ 쒋은것이라면
06:07
it might even make us smile.
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μš°λ¦¬κ°€ λ―Έμ†Œλ₯Ό μ§“κ²Œ λ§Œλ“€μˆ˜λ„ 있죠.
06:13
Thank you.
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κ°μ‚¬ν•©λ‹ˆλ‹€.
06:15
(Applause)
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(λ°•μˆ˜)
06:19
Thank you.
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κ°μ‚¬ν•©λ‹ˆλ‹€.
06:21
(Applause)
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(λ°•μˆ˜)
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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