Aparna Rao: Art that craves your attention

100,316 views ใƒป 2014-02-07

TED


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

๋ฒˆ์—ญ: K Bang ๊ฒ€ํ† : ์ข…๋ฏผ ์ด
00:12
Hi. So today, I'd like to share some works in progress.
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์˜ค๋Š˜ ์ €๋Š” ํ˜„์žฌ ์ง„ํ–‰์ค‘์ธ ๋ช‡๋ช‡ ์ž‘ํ’ˆ์„ ๋ณด์—ฌ๋“œ๋ฆฌ๊ณ ์ž ํ•ฉ๋‹ˆ๋‹ค.
00:15
Since we are still realizing these works,
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์šฐ๋ฆฌ๋Š” ์—ฌ์ „ํžˆ ์ด ์ž‘ํ’ˆ๋“ค์„ ๊ตฌ์ฒดํ™”ํ•˜๊ณ  ์žˆ๋Š” ๊ณผ์ •์ด๊ธฐ ๋•Œ๋ฌธ์—
00:18
we are largely working within the realm
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์ฃผ๋กœ ์ง๊ด€๊ณผ ์‹ ๋น„์˜ ์˜์—ญ ์•ˆ์—์„œ
00:19
of intuition and mystery, still.
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์ž‘์—…ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
00:22
So I'm going to try and describe
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์ด ๊ฐ๊ฐ์˜ ์ž‘ํ’ˆ์„ ํ†ตํ•ด์„œ
00:23
some of the experiences that we're looking for
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์šฐ๋ฆฌ๊ฐ€ ์ถ”๊ตฌํ•˜๋Š” ๊ฒฝํ—˜์˜ ์ผ๋ถ€๋ฅผ
00:25
through each of the works.
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๋ฌ˜์‚ฌํ•˜๋Š” ์‹œ๋„๋ฅผ ํ•˜๋ ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
00:27
So the first work is called the Imperial Monochromes.
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์ฒซ ์ž‘ํ’ˆ์€ "์ œ์™•์  ๋‹จ์ƒ‰( Imperial Monochromes)" ์ด๋ผ๊ณ  ๋ช…๋ช…๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
00:30
A viewer sort of unsuspectingly walks into the room,
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์ด๊ฒƒ์€ ์ผ์ข…์˜, ์•„๋ฌด๋Ÿฐ ์˜์‹ฌ์—†์ด ๋ฐฉ์œผ๋กœ ๊ฑธ์–ด๋“ค์–ด๊ฐ€์„œ
00:33
and catches a glimpse of these panels
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์ด๋Ÿฐ ํŒ๋“ค์„ ํ˜๋”๋ณด๋Š” ๊ฒƒ์ด์—์š”.
00:36
in a messy composition on the wall.
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์ด ํŒ๋“ค์€ ๋ฒฝ์— ์—‰๋ง์œผ๋กœ ์ „์‹œ๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค.
00:38
Within seconds, as if the panels have noticed
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๋ช‡์ดˆ๋„ ์ง€๋‚˜์ง€ ์•Š์•„ ๋งˆ์น˜ ๊ทธ ํŒ๋“ค์€ ๊ด€์ค‘์˜ ์กด์žฌ๋ฅผ
00:41
the presence of the viewer,
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๊ฐ‘์ž๊ธฐ ์•Œ์•„์ฐจ๋ฆฐ ๊ฒƒ์ฒ˜๋Ÿผ
00:42
they appear to panic and sort of get into
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ํ—ˆ๋‘ฅ์ง€๋‘ฅ ์ •ํ™•ํ•œ ๋Œ€์นญ ๋ฐฐ์—ด๋กœ
00:45
a strict symmetry.
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๋Œ์•„๊ฐ€๋Š” ๋“ฏ ๋ณด์ž…๋‹ˆ๋‹ค.
00:47
(Laughter)
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(์›ƒ์Œ)
00:48
So this is the sketch of the two states.
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์ด๊ฒƒ์€ ๋‘๊ฐ€์ง€ ์ƒํƒœ๋ฅผ ๊ทธ๋ ค๋‚ธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
00:51
One is total chaos. The other is absolute order.
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ํ•˜๋‚˜๋Š” ์™„์ „ํ•œ ํ˜ผ๋ˆ์ž…๋‹ˆ๋‹ค. ๋‹ค๋ฅธ ํ•˜๋‚˜๋Š” ์ ˆ๋Œ€์  ์งˆ์„œ์—์š”.
00:53
And we were interested in seeing how little change
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์ €ํฌ๋Š” ์–ผ๋งˆ๋‚˜ ์ ์€ ๋ณ€ํ™”๋กœ๋„ ํ•œ ์ƒํƒœ๋กœ ๋ถ€ํ„ฐ ๋‹ค๋ฅธ ์ƒํƒœ๋กœ
00:56
it takes to move from one state to the other state.
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๋ฐ”๋€Œ๋Š”์ง€ ๋ณด๋Š”๋ฐ ๊ด€์‹ฌ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
00:59
This also reminded us of two very different pictorial traditions.
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์ด๊ฒƒ์€ ๋˜ํ•œ ์šฐ๋ฆฌ์—๊ฒŒ ์•„์ฃผ ๋‹ค๋ฅธ ๋‘ ๊ฐœ์˜ ํšŒํ™”์  ์ „ํ†ต์„ ๊ธฐ์–ต์‹œ์ผœ ์ฃผ๋Š”๋ฐ์š”.
01:03
One is the altar tablets of the 15th century,
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ํ•˜๋‚˜๋Š” 15์„ธ๊ธฐ์˜ ์ œ๋‹จ์ด๊ณ 
01:06
and the other is about 100 years ago,
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๋‹ค๋ฅธ ํ•˜๋‚˜๋Š” ์•ฝ 100๋…„์ „
01:08
Malevich's abstract compositions.
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๋ง๋ ˆ๋น„์น˜์˜ ์ถ”์ƒ์  ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
01:11
So I'm just going to take you to a video.
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์ด์ œ ์—ฌ๋Ÿฌ๋ถ„๋“ค์„ ์˜์ƒ์œผ๋กœ ์•ˆ๋‚ดํ•ด ๋“œ๋ฆฌ์ฃ .
01:13
To give you a sense of scale,
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๊ฐœ๋žต์ ์œผ๋กœ๋ผ๋„ ํฌ๊ธฐ๋ฅผ ์•Œ๋ ค๋“œ๋ฆฌ๋ฉด
01:14
the largest panel is about two meters high.
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๊ฐ€์žฅ ํฐ ํŒ์€ ์•ฝ 2๋ฏธํ„ฐ ๋†’์ด์—์š”.
01:16
That's about this much. And the smallest one is an A4.
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๊ทธ๊ฑด ๋Œ€๋žต ์ด ์ •๋„ ํฌ๊ธฐ์ฃ . ๊ทธ๋ฆฌ๊ณ  ๊ฐ€์žฅ ์ž‘์€ ๊ฒƒ์€ A4 ํฌ๊ธฐ ์ •๋„์ž…๋‹ˆ๋‹ค.
01:19
So a viewer enters the space,
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๊ด€์ค‘์ด ์ด ๊ณต๊ฐ„์œผ๋กœ ๋“ค์–ด๊ฐ€๊ณ 
01:21
and they snap to attention.
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๋ฐ”๋กœ ์ฃผ์˜๋ฅผ ๋•๋‹ˆ๋‹ค.
01:24
And after a while, if the viewer continues
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์ž ์‹œ ํ›„, ๊ด€์ค‘์ด
01:25
to remain in the space,
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๊ณต๊ฐ„์— ๊ทธ๋Œ€๋กœ ์žˆ์œผ๋ฉด
01:27
the panels will sort of become immune
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ํŒ๋“ค์€ ๋งˆ์น˜ ๊ด€์ค‘์˜ ์กด์žฌ์—
01:29
to the presence of the viewer
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์ ์‘๋œ ๋“ฏ ํ•  ๊ฒ๋‹ˆ๋‹ค.
01:31
and become lax and autonomous again,
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๊ทธ๋ฆฌ๊ณ  ๋Š์Šจํ•ด์ ธ์„œ ๋‹ค์‹œ ์ œ๋ฉ‹๋Œ€๋กœ ๋ฉ๋‹ˆ๋‹ค.
01:34
until they sort of sense a presence in the room or a movement,
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๋˜๋‹ค์‹œ ๋ฐฉ์•ˆ์— ์–ด๋–ค ์กด์žฌ๋‚˜ ์›€์ง์ž„์ด ๊ฐ์ง€๋  ๋•Œ๊นŒ์ง€์š”.
01:37
when they will again snap to attention.
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๊ทธ๋Ÿฐ ์ˆœ๊ฐ„์ด ์˜ค๋ฉด ๋‹ค์‹œ ์ฃผ์˜๋ฅผ ๋˜๋Œ๋ฆฝ๋‹ˆ๋‹ค.
01:40
(Laughter)
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(์›ƒ์Œ)
01:42
So here it appears as if it's the viewer
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๊ทธ๋ž˜์„œ ํŒ๋“ค ์‚ฌ์ด์— ์งˆ์„œ๊ฐ์„ ๋ถˆ๋Ÿฌ ์ผ์œผํ‚ค๋Š” ๊ฒƒ์ด
01:44
that's sort of instigating the sense of order among the panels,
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๋งˆ์น˜ ๊ด€์ค‘์ธ ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๋Š” ๊ฒƒ์ด์ฃ .
01:47
but it could also be the other way around,
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ํ•˜์ง€๋งŒ ๊ทธ ๋ฐ˜๋Œ€์ผ ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
01:49
that the panels are so stuck within
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ํŒ๋“ค์€ ์ด๋ฏธ ์กฐ์ž‘๋œ ํ–‰๋™์—
01:52
their preconditioned behaviors
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์™„์ „ํžˆ ์ข…์†๋˜์–ด ์žˆ์–ด์„œ
01:54
that they sort of thrust the viewer with the role of a tyrant.
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๋งˆ์น˜ ๊ทธ ํŒ๋“ค์ด ๊ด€๊ฐ์—๊ฒŒ ๊ฐ•์ œ๋กœ ํ™ฉ์ œ์˜ ์—ญํ• ์— ๋งก๊ธฐ๋Š” ๊ฒƒ ๊ฐ™๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
01:59
So this brings me to a quieter, small work
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์ด๊ฒƒ์€ ์ œ๊ฒŒ ํ›จ์”ฌ ์กฐ์šฉํ•œ ์†Œ๊ทœ๋ชจ ์ž‘ํ’ˆ์œผ๋กœ ์•ˆ๋‚ดํ•ฉ๋‹ˆ๋‹ค
02:02
called Handheld.
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"์†์— ์ฅ” ๊ฒƒ"์ด๋ผ๋Š” ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
02:03
The viewer sees a piece of paper
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๊ด€์ค‘์ด ๋ฒฝ์˜ ๋จผ ์ชฝ ๋์— ์žฅ์น˜๋œ
02:05
that's mounted on the far end of the wall,
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์ข…์ด ํ•œ์žฅ์„ ๋ด…๋‹ˆ๋‹ค.
02:07
but when you go closer, you see that it's a blank
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ํ•˜์ง€๋งŒ ๊ฐ€๊นŒ์ด ๊ฐ€๋ฉด ๊ทธ๊ฒƒ์ด ๋น„์–ด์žˆ๋Š” ๊ฒƒ์„ ์•Œ๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
02:10
A4, or a letter-sized piece of paper,
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A4 ๋‚˜ ์ผ๋ฐ˜ ์šฉ์ง€ ํฌ๊ธฐ์˜ ์ข…์ด์ธ๋ฐ
02:12
that's held on either side
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์–‘ ๋์„
02:14
by two small hands
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๋‘ ๊ฐœ์˜ ์ž‘์€ ์†์ด ๋ถ™์žก๊ณ  ์žˆ์ฃ .
02:15
that appear to be carved with a great deal
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๊ทธ ์†์€ ์ƒ๋‹นํ•œ ์ฃผ์˜๋ฅผ ๊ธฐ์šธ์—ฌ
02:18
of attention and care from a small block of wood.
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์„ธ์‹ฌํ•˜๊ฒŒ ์กฐ๊ฐ๋œ ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ž…๋‹ˆ๋‹ค.
02:21
The viewer also sees that this entire sculpture
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์ „์ฒด ์กฐ๊ฐ์€
02:24
is sort of moving very slightly,
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์•„์ฃผ ์กฐ๊ธˆ๋งŒ ์›€์ง์ด๊ธฐ ๋•Œ๋ฌธ์—
02:27
as if these two hands are trying
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๊ด€์ค‘์€ ์ด ๋‘ ์†์ด
02:29
to hold the paper very still
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์ข…์ด๋ฅผ ์˜ค๋žœ ์‹œ๊ฐ„ ๋™์•ˆ
02:30
for a long period of time,
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๋งค์šฐ ์ •์ ์œผ๋กœ ์žก๊ณ  ์žˆ์œผ๋ ค๊ณ  ํ•˜๋‹ค๊ฐ€
02:32
and somehow are not managing to.
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๋†“์น˜๊ณ  ๋งˆ๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
02:35
So this instability in the movement
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์›€์ง์ž„์—์„œ์˜ ์ด๋Ÿฐ ๋ถˆ์•ˆ์ •์„ฑ์€
02:37
very closely resembles the unsteady nature
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์†์— ๋“  ์นด๋ฉ”๋ผ๋ฅผ ํ†ตํ•ด ๋ณด๋Š”
02:41
of images seen through a handheld camera.
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๋ถˆ์•ˆ์ •ํ•œ ์˜์ƒ์˜ ํŠน์„ฑ์„ ๋‹ฎ์•˜์Šต๋‹ˆ๋‹ค.
02:43
So here I'm going to show you two tandem clips.
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์—ฌ๊ธฐ์„œ 2๊ฐœ์˜ ์˜์ƒ์„ ์—ฐ์ด์–ด ๋ณด์—ฌ๋“œ๋ฆฌ์ฃ .
02:46
One is through a still camera
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ํ•˜๋‚˜๋Š” ๊ณ ์ •๋œ ์นด๋ฉ”๋ผ๋ฅผ ํ†ตํ•ด์„œ ๋ณธ ๊ฒƒ์ด๊ณ 
02:47
and the other is through a handheld camera.
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๋‹ค๋ฅธ ํ•˜๋‚˜๋Š” ์†์— ๋“  ์นด๋ฉ”๋ผ๋ฅผ ํ†ตํ•ด์„œ ๋ณธ ๊ฒƒ์ด์—์š”.
02:49
And you immediately see how the unsteady nature
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์—ฌ๋Ÿฌ๋ถ„๋“ค์€ ๊ณง๋ฐ”๋กœ ์˜์ƒ์˜ ๋ถˆ์•ˆ์ •ํ•œ ํŠน์„ฑ์œผ๋กœ ์ธํ•ด
02:52
of the video suggests the presence
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๊ด€์ฐฐ์ž์™€ ๋Œ€์ƒ์ž์˜ ๊ด€์ ์ด
02:55
of an observer and a subjective point of view.
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์กด์žฌํ•œ๋‹ค๋Š” ์•”์‹œ๋ฅผ ๋ฐ›๊ณ  ์žˆ๋‹ค๋Š” ์‚ฌ์‹ค์„ ๊นจ๋‹ฌ์œผ์‹ค ์ˆ˜ ์žˆ์„๊ฒ๋‹ˆ๋‹ค.
02:58
So we've just removed the camera
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์ €ํฌ๋Š” ๊ทธ๋ƒฅ ์นด๋ฉ”๋ผ๋ฅผ ์ œ๊ฑฐํ•˜๊ณ 
02:59
and transferred that movement onto the panel.
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๊ทธ ์›€์ง์ž„์„ ํŒ ์œ„์— ๋‹ด์•˜์Šต๋‹ˆ๋‹ค.
03:02
So here's a video.
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์˜์ƒ์ž…๋‹ˆ๋‹ค.
03:03
You have to imagine the other hand. It's not there yet.
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์—ฌ๋Ÿฌ๋ถ„์€ ๋‹ค๋ฅธ ์†์„ ์ƒ์ƒํ•˜์…”์•ผ ํ•ฉ๋‹ˆ๋‹ค. ๊ทธ ์†์€ ์•„์ง ๋‚˜์˜ค์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
03:06
But to us, we're sort of trying to evoke
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ํ•˜์ง€๋งŒ ์šฐ๋ฆฌ๋ฅผ ํ–ฅํ•ด ์ด๋ ‡๊ฒŒ ์ปค๋‹ค๋ž€ ์ข…์ด ๋’ค์—์„œ
03:08
a self-effacing gesture, as if there's a little person
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์ž‘์€ ์‚ฌ๋žŒ์ด ํŒ”์„ ๋ฐ–์œผ๋กœ ๋ป—๊ณ  ์žˆ๋Š” ๊ฒƒ์ฒ˜๋Ÿผ
03:12
with outstretched arms
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์ž์‹ ์„ ๋“œ๋Ÿฌ๋‚ด์ง€ ์•Š๋Š” ๋ชธ์ง“์œผ๋กœ
03:13
behind this enormous piece of paper.
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์ธ์‹์‹œํ‚ค๋ ค ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
03:16
That sort of likens it to the amount of strain
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๊ทธ๊ฒƒ์€ ๋งˆ์น˜ ๊ด€์ฐฐ์ž์˜ ํ–‰๋™์— ๋ฐฐ์–ด์žˆ๋˜
03:19
to be at the service of the observer and present
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์ค‘์••๊ฐ์˜ ํฌ๊ธฐ์™€ ๋ชธ์ง“์„ ๋น„๊ตํ•˜๋Š” ๊ณผ์ •์ด๋ฉฐ
03:21
this piece of paper very delicately to the viewer
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๋ฐ”๋กœ ์ด ์ข…์ด ํ•œ์žฅ์„ ์ž์‹ ๋“ค ์•ž์— ์žˆ๋Š”
03:24
in front of them.
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๊ด€๊ฐ์—๊ฒŒ ๋ฏธ๋ฌ˜ํ•˜๊ฒŒ ์ „๋‹ฌํ•˜๋Š” ๊ฒƒ๊ณผ ๊ฐ™์Šต๋‹ˆ๋‹ค.
03:27
The next work is Decoy.
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๋‹ค์Œ ์ž‘ํ’ˆ์€ ๋ฐ์ฝ”์ด(Decoy)์—์š”.
03:29
This is a cardboard model, so the object
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์ด๊ฑด ํŒ์ง€๋กœ ๋งŒ๋“  ๋ชจํ˜•์ด๋ฉฐ
03:31
is about as tall as I am.
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๊ทธ ํฌ๊ธฐ๋Š” ์ œ ํ‚ค ์ •๋„ ๋ฉ๋‹ˆ๋‹ค.
03:33
It has a rounded body, two arms,
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๋‘ฅ๊ทผ ๋ชธ์ฒด์— ๋‘ ํŒ”์ด ์žˆ๊ณ 
03:35
and a very tall, head-like antenna,
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์•„์ฃผ ํฌ๊ณ  ๋จธ๋ฆฌ ๊ฐ™์€ ์•ˆํ…Œ๋‚˜๊ฐ€ ์žˆ์–ด์š”.
03:37
and its sole purpose is to attract attention towards itself.
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์œ ์ผํ•œ ๋ชฉ์ ์€ ์ž๊ธฐ ์ž์‹ ์—๊ฒŒ ์ฃผ์˜๋ฅผ ๋„๋Š” ๊ฒƒ์ด์—์š”.
03:41
So when a viewer passes by,
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๊ทธ๋ž˜์„œ ๊ด€์ค‘์ด ์ง€๋‚˜๊ฐ€๋ฉด
03:43
it sort of tilts from side to side,
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์–‘ ์ชฝ์œผ๋กœ ์•ฝ๊ฐ„์”ฉ ๊ธฐ์šธ์–ด์ง€๊ณ 
03:45
and moves its arms more and more frantically
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์‚ฌ๋žŒ์ด ๊ฐ€๊นŒ์ด ๊ฐˆ์ˆ˜๋ก ์ž์‹ ์˜ ํŒ”์„ ์ ์  ๋”
03:48
as the person gets closer.
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๋ฏธ์นœ๋“ฏ์ด ์›€์ง์ž…๋‹ˆ๋‹ค.
03:51
So here is the first test scenario.
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์—ฌ๊ธฐ ์ฒซ๋ฒˆ์งธ ํ…Œ์ŠคํŠธ ๊ฐ๋ณธ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
03:53
You see the two movements integrated,
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์—ฌ๋Ÿฌ๋ถ„์€ ๋‘๊ฐ€์ง€ ์›€์ง์ž„์ด ๋ณตํ•ฉ๋˜๋Š” ๊ฒƒ์„ ๋ณด์‹ญ๋‹ˆ๋‹ค.
03:55
and the object seems to be employing
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๋ฌผ์ฒด๋Š” ์ด๋ ‡๊ฒŒ ์ ˆ์‹คํ•œ ํ‘œํ˜„์œผ๋กœ
03:57
its entire being in this expression of desperation.
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์ž๊ธฐ ์ž์‹  ์ „์ฒด์˜ ์กด์žฌ๋ฅผ ๋ณด์ด๋Š” ๋“ฏํ•˜์ฃ 
04:02
But the idea is that once it's got the person's attention,
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ํ•˜์ง€๋งŒ ์•„์ด๋””์–ด๋Š” ์ผ๋‹จ ์–ด๋–ค ์ด์˜ ๊ด€์‹ฌ์„ ๋Œ๋ฉด
04:05
it's no longer interested, and it looks for the next person whose attention to get.
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๋”์ด์ƒ ๊ด€์‹ฌ์„ ๊ฐ–์ง€ ์•Š๋Š”๋‹ค๋Š” ๊ฒƒ์ด์—์š”. ๊ทธ๋ฆฌ๊ณ ๋Š” ์ฃผ๋ชฉ์„ ๋ฐ›์„ ์ˆ˜ ์žˆ๋Š” ๋‹ค์Œ ์‚ฌ๋žŒ์„ ์ฐพ์Šต๋‹ˆ๋‹ค.
04:09
(Laughter)
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(์›ƒ์Œ)
04:12
So this is the final fabricated body of the Decoy.
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์ด๊ฒƒ์ด ์ตœ์ข…์ ์œผ๋กœ ๋ฐ์ฝ”์ด์˜ ๋ชธ์ฒด์— ์˜ท์„ ์ž…ํžŒ ๊ฒฐ๊ณผ์—์š”.
04:15
It appears to be mass-manufactured
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๋Œ€๋Ÿ‰ ์ƒ์‚ฐ๋œ ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์—ฌ์„œ
04:17
like it came out of a factory
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๋งˆ์น˜ ์ง„๊ณต ์ฒญ์†Œ๊ธฐ๋‚˜ ์‹๊ธฐ ์„ธ์ฒ™๊ธฐ ์ฒ˜๋Ÿผ
04:19
like vacuum cleaners and washing machines.
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๋ฐ”๋กœ ๊ณต์žฅ์—์„œ ๋‚˜์˜จ ๊ฒƒ ๊ฐ™์ด ๋ณด์ž…๋‹ˆ๋‹ค.
04:21
Because we are always working
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์šฐ๋ฆฌ๋Š” ํ•ญ์ƒ ๊ฐœ์ธ์ ์ธ ๊ณต๊ฐ„์œผ๋กœ๋ถ€ํ„ฐ
04:23
from a very personal space,
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์ผํ•˜๊ธฐ ๋•Œ๋ฌธ์—
04:24
we like how this consumer aesthetic
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์ด๋Ÿฐ ์†Œ๋น„์ž์˜ ์‹ฌ๋ฏธ์•ˆ์ด
04:27
sort of depersonalizes the object
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๋Œ€์ƒ์„ ๋ชฐ์ธ๊ฒฉํ™”ํ•˜๋Š” ๋ฐฉ์‹์„ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค.
04:29
and gives us a bit of distance
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๊ทธ๋ฆฌ๊ณ  ๊ทธ ๋…€์„์€ ์šฐ๋ฆฌ์—๊ฒŒ ์ตœ์†Œํ•œ ์™ธํ˜•์ ์œผ๋กœ
04:30
in its appearance, at least.
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์ผ์ •ํ•œ ๊ฑฐ๋ฆฌ๋ฅผ ๋‘ก๋‹ˆ๋‹ค.
04:32
And so to us this is a kind of sinister being
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์šฐ๋ฆฌ์—๊ฒŒ ์ด๊ฒƒ์ด ์‹ค์ œ๋กœ๋Š”
04:35
which is trying to distract you from the things
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๊ด€๊ฐ์˜ ์ฃผ๋ชฉ์„ ๋ฐ›์•„์•ผํ•˜๋Š” ๊ฒƒ์œผ๋กœ ๋ถ€ํ„ฐ
04:37
that actually need your attention,
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๊ด€๊ฐ์„ ๋ฉ€์–ด์ง€๊ฒŒ ํ•˜๋Š” ๊ธฐ์ดํ•œ ์กด์žฌ์ž…๋‹ˆ๋‹ค.
04:38
but it could also be a figure that needs a lot of help.
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ํ•˜์ง€๋งŒ ๊ทธ๊ฒƒ์€ ๋˜ํ•œ ๋งŽ์€ ๋„์›€์„ ํ•„์š”๋กœ ํ•˜๋Š” ํ˜•์ƒ๋ฌผ์ด๊ธฐ๋„ ํ•˜์ฃ .
04:43
The next work is an object,
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๋‹ค์Œ ์ž‘ํ’ˆ์€ ์ผ์ข…์˜, ์†Œ๋ฆฌ๊ฐ€ ๋‚˜๋Š”
04:45
that's also a kind of sound instrument.
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๊ธฐ๊ณ„์™€ ๊ฐ™์€ ๋ฌผ์ฒด์ž…๋‹ˆ๋‹ค.
04:48
In the shape of an amphitheater
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์›ํ˜• ๊ทน์žฅ์˜ ํ˜•ํƒœ๋กœ
04:50
that's scaled to the size of an audience
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๊ด€์ค‘์˜ ํฌ๊ธฐ ์ •๋„๋กœ ์ค„์ธ ๊ฒƒ์ธ๋ฐ
04:52
as perceived from somebody from the stage.
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์–ด๋–ค ์‚ฌ๋žŒ๋“ค์—๊ฒŒ๋Š” ๋ฌด๋Œ€๋กœ ์ธ์‹๋˜๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
04:54
So from where I'm standing,
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์ œ๊ฐ€ ์„œ ์žˆ๋Š” ๊ณณ์œผ๋กœ ๋ถ€ํ„ฐ
04:55
each of you appears to be this big,
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์—ฌ๋Ÿฌ๋ถ„๋“ค ๊ฐœ๊ฐœ์ธ์€ ์ด ์ •๋„ ํฌ๊ธฐ๋กœ ๋ณด์ด์ฃ .
04:57
and the audience sort of takes the entire
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๊ด€์ค‘์ด ์ œ ์ „์ฒด ์‹œ์„ ์„
04:59
field of my vision.
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์ฐจ์ง€ํ•˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
05:01
Seated in this audience are 996 small figures.
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์ด ๊ด€์ค‘์„์— ์•‰์•„์žˆ๋Š” ๊ฒƒ์€ 996๊ฐœ์˜ ์ž‘์€ ๋ชจํ˜•๋“ค์ด์—์š”.
05:05
They're mechanically enabled to clap
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์ด ๋ชจํ˜•๋“ค์„ ๊ฐ์ž์˜ ์˜์ง€์— ์˜ํ•ด์„œ
05:07
of their own free will.
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๋ฐ•์ˆ˜๋ฅผ ์น  ์ˆ˜ ์žˆ๋„๋ก ๊ธฐ๊ณ„์ ์œผ๋กœ ์„ค๊ณ„๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
05:09
This means that each of them can decide
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์ฆ‰ ๊ฐ๊ฐ์ด ๋ฐ•์ˆ˜๋ฅผ ์น ์ง€ ๋˜ ์–ธ์ œ ์น ์ง€
05:11
if and when they want to clap,
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๋˜๋Š” ์–ผ๋งˆ๋‚˜ ์—ด๊ด‘์ ์œผ๋กœ ์น ์ง€ ํ˜น์€ ์–ผ๋งˆ๋‚˜ ์˜ค๋ž˜ ์น ์ง€
05:12
how hard, for how long,
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๊ฒฐ์ •ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
05:14
how they want to be influenced by those around them or influence others,
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๋˜ ์ฃผ๋ณ€ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ์˜ํ–ฅ์„ ์ฃผ๊ฑฐ๋‚˜ ๋ฐ›๋Š” ์ •๋„๋„ ์ •ํ•  ์ˆ˜ ์žˆ๊ณ 
05:18
and if they want to contribute to innovation.
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๋ญ”๊ฐ€ ํš๊ธฐ์ ์ธ ํ–‰๋™์„ ํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
05:22
So when the viewer steps in front of the audience,
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๊ทธ๋ž˜์„œ ๊ด€๊ฐ์ด ๊ด€์ค‘ ์•ž์œผ๋กœ ๋‚˜์„œ๋ฉด
05:24
there will be a response.
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๋ฐ˜์‘์„ ๋ณด์ผ ๊ฒ๋‹ˆ๋‹ค.
05:26
It could be a few claps or a strong applause,
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๋ฐ•์ˆ˜๋ฅผ ๋ช‡ ๋ฒˆ ์นœ๋‹ค๊ฑฐ๋‚˜ ๊ฐ•๋ ฌํ•œ ํ™˜ํ˜ธ๋ฅผ ๋ณด๋‚ผ ์ˆ˜๋„ ์žˆ๊ณ 
05:29
and then nothing happens until the viewer
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๊ทธ๋ฆฌ๊ณ  ๋‚˜๋ฉด ๊ด€๊ฐ์ด ๋ฌด๋Œ€๋ฅผ ๋– ๋‚  ๋•Œ๊นŒ์ง€
05:31
leaves the stage, and again the audience will respond.
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์•„๋ฌด ์ผ๋„ ์—†๋‹ค๊ฐ€ ๊ด€์ค‘์ด ๋˜ ๋‹ค์‹œ ๋ฐ˜์‘ํ•˜๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
05:34
It could be anything from a few feeble claps
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๊ด€์ค‘๋“ค ๊ฐ€์šด๋ฐ์—๋Š”
05:36
from members in the audience,
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๊ฑด์„ฑ์œผ๋กœ ๋Œ€์ถฉ ๋ฐ•์ˆ˜๋ฅผ ์น˜๋Š” ๊ฒƒ์—์„œ
05:38
or it could be a very loud ovation.
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๋งค์šฐ ๊ฐ•๋ ฌํ•œ ๋ฐ•์ˆ˜ ๊ฐˆ์ฑ„๋ฅผ ๋ณด๋‚ด๋Š” ๊ฒƒ๊นŒ์ง€ ๋ญ๋“  ๊ฐ€๋Šฅํ•ฉ๋‹ˆ๋‹ค.
05:42
So to us, I think we're really looking
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ์ •๋ง๋กœ
05:44
at an audience as its own object
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๊ด€์ค‘์„ ์žˆ๋Š” ๋Œ€์ƒ ๊ทธ๋Œ€๋กœ
05:46
or its own organism
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ํ˜น์€ ๊ทธ๋“ค์—๊ฒŒ
05:48
that's also got a sort of musical-like quality to it,
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์Œ์•…์ ์ธ ์ˆ˜์ค€ ์ฆ‰, ์ผ์ข…์˜ ์•…๊ธฐ๊ฐ™์€ ์œ ๊ธฐ์ฒด๋กœ ๋ณด๋Š” ๊ฒƒ์ด๋ผ๊ณ 
05:52
an instrument.
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์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
05:53
So the viewer can play it
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๊ด€์ค‘์€
05:55
by eliciting quite complex and varied,
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๋‹ค์–‘ํ•œ ๋ฐ˜์‘์„ ์ด๋Œ์–ด ๋ƒ„์œผ๋กœ์จ
05:57
nuanced musical or sound patterns,
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๋ฏธ์„ธํ•œ ์Œ์•…์  ์ฐจ์ด๋‚˜ ์Œํ–ฅ์  ์–‘์‹์„ ์—ฐ์ฃผํ•  ์ˆ˜๋„ ์žˆ์ง€๋งŒ
06:00
but cannot really provoke the audience
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๊ด€์ค‘์„ ๋„๋ฐœํ•˜์—ฌ
06:02
into any particular kind of response.
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์–ด๋–ค ํŠน๋ณ„ํ•œ ๋ฐ˜์‘์„ ๋งŒ๋“ค์–ด ๋‚ผ ์ˆ˜๋Š” ์—†์Šต๋‹ˆ๋‹ค.
06:05
So there's a sense of judgment and capriciousness
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๊ทธ๋ž˜์„œ ์ผ์ข…์˜ ํŒ๋‹จ์ด ๊ฐœ์ž…๋˜์–ด ์žˆ๊ณ 
06:08
and uneasiness involved.
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๋ถˆ๊ทœ์น™์„ฑ์ด๋‚˜ ๊ฑฐ๋ถ€๊ฐ ๊ฐ™์€ ๊ฒƒ๋„ ๊ฐœ์ž…๋  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
06:10
It also has an alluring and trap-like quality to it.
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๋˜ ๊ทธ ์•ˆ์—๋Š” ๋งคํ˜น๊ณผ ํ•จ์ •๊ฐ™์€ ํŠน์„ฑ๋„ ์žˆ์–ด์š”
06:14
So here if you see we're quite excited about
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ๋จธ๋ฆฌ์˜ ํ˜•์ƒ์ด
06:16
the image of the head splitting to form the two hands.
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๋‘ ๊ฐœ์˜ ์†์œผ๋กœ ๋ถ„๋ฆฌ๋˜๋Š” ํ˜•์ƒ์— ๋งค๋ฃŒ๋˜๋Š” ๊ฒƒ์„ ๋ณด๊ฒŒ ๋ ์ง€๋„ ๋ชจ๋ฅด์ฃ .
06:20
So here's a small visual animation,
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์ด๊ฒƒ์ด ์‹œ๊ฐํ™”ํ•œ ์˜์ƒ์ธ๋ฐ์š”.
06:22
as if the two sides of the brain are sort of clashing
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๋จธ๋ฆฌ ์–‘์ชฝ์ด
06:26
against each other to kind of make sense
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์„œ๋กœ ๋ถ€๋”ช์ง€๋ฉฐ ์ผ์ข…์˜ ์ด์›๊ฐ๊ณผ
06:28
of the duality and the tension.
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๊ธด์žฅ๊ฐ์„ ์ฃผ๋Š” ๊ฒƒ๊ณผ๋„ ๊ฐ™์Šต๋‹ˆ๋‹ค.
06:31
And here is a prototype.
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ์ด ์‹œํ—˜์ž‘์ž…๋‹ˆ๋‹ค.
06:33
So we can't wait to be engulfed by 996 of them.
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996๊ฐœ์— ์˜ํ•ด์„œ ๋‘˜๋Ÿฌ์‹ธ์ด๊ธธ ๊ธฐ๋‹ค๋ฆด ์ˆ˜๋Š” ์—†์ฃ .
06:38
Okay, this is the last work. It's called the Framerunners.
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๋„ค, ์ด์ œ ๋งˆ์ง€๋ง‰ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค. ํ”„๋ ˆ์ž„๋Ÿฌ๋„ˆ(Framerunners)๋ผ๋Š” ์ œ๋ชฉ์ž…๋‹ˆ๋‹ค.
06:41
It comes out of the idea of a window.
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์ด๊ฒƒ์€ ์ฐฝ๋ฌธ์ด๋ผ๋Š” ์•„์ด๋””์–ด์—์„œ ๋‚˜์™”์–ด์š”.
06:44
This is an actual window in our studio,
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์ด๊ฑด ์ €ํฌ ์ŠคํŠœ๋””์˜ค์˜ ์ง„์งœ ์ฐฝ๋ฌธ์ธ๋ฐ์š”.
06:46
and as you can see, it's made up of three
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๋ณด์‹œ๋‹ค์‹œํ”ผ 3๊ฐ€์ง€์˜ ๋‹ค๋ฅธ ๋‘๊ป˜์˜ ๋‚˜๋ฌด ๊ตฌ์—ญ์œผ๋กœ
06:48
different thicknesses of wooden sections.
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๋งŒ๋“ค์–ด์ ธ ์žˆ์Šต๋‹ˆ๋‹ค.
06:50
So we used the same window vocabulary
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ๋˜‘๊ฐ™์€ ์ฐฝ๋ฌธ์ด๋ž€ ๋‹จ์–ด๋ฅผ ์‚ฌ์šฉํ•ด์„œ
06:52
to construct our own frame or grid
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์šฐ๋ฆฌ๋งŒ์˜ ํ‹€ ๊ฐ™์€ ๊ฒƒ์„ ๋งŒ๋“  ๊ฒ๋‹ˆ๋‹ค.
06:55
that's suspended in the room and that can
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์ด ํ‹€์€ ๋ฐฉ์— ๊ฑธ๋ ค์žˆ์œผ๋ฉฐ
06:57
be viewed from two sides.
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์–‘ ์ธก๋ฉด์—์„œ ๋ณผ ์ˆ˜ ์žˆ์–ด์š”.
06:59
This grid is inhabited by a tribe of small figures.
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์ด ํ‹€์—๋Š” ์ž‘์€ ํ˜•์ƒ๋“ค์ด ๋“ค์–ด์•‰์•„ ์žˆ์ง€์š”.
07:02
They're also made up of three different sizes,
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์ด ํ˜•์ƒ๋“ค๋„ 3๊ฐœ์˜ ๋‹ค๋ฅธ ํฌ๊ธฐ๋กœ ๋งŒ๋“ค์–ด์ ธ์„œ
07:04
as if to suggest a kind of perspective
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๋งˆ์น˜ ๋‹จ์ผ ํ‰๋ฉด์œ„์— ์ผ์ข…์˜ ์ „๋ง
07:07
or landscape on the single plain.
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๋˜๋Š” ํ’๊ฒฝ์„ ๋– ์˜ฌ๋ฆฌ๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
07:10
Each of these figures can also run backward
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๊ฐ๊ฐ์˜ ํ˜•์ƒ๋“ค์€ ์„ ๋กœ๋ฅผ ๋”ฐ๋ผ
07:12
and forward in the track
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์•„๋’ค๋กœ ์›€์ง์ผ ์ˆ˜๋„ ์žˆ๊ณ 
07:14
and hide behind two adjacent tracks.
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์ด์›ƒํ•œ ๋‘๊ฐœ์˜ ์„ ๋กœ ๋’ค๋กœ ์ˆจ์„ ์ˆ˜๋„ ์žˆ์–ด์š”.
07:17
So in contrast to this very tight grid,
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๊ทธ๋ž˜์„œ ์ด๋ ‡๊ฒŒ ์ด˜์ด˜ํ•œ ํ‹€์— ๋น„ํ•ด
07:19
we wanted to give these figures a very comical
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์ด๋“ค ํ˜•์ƒ์—๋Š” ๋งค์šฐ ์šฐ์Šค๊ฝ์Šค๋Ÿฝ๊ณ 
07:22
and slapstick-like quality,
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์ต์‚ด์Šค๋Ÿฐ ํŠน์ง•์„ ๋‚˜ํƒ€๋‚ด๊ณ ์ž ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:24
as if a puppeteer has taken them
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๋งˆ์น˜ ์ธํ˜•์„ ์กฐ์ž‘ํ•˜๋Š” ์‚ฌ๋žŒ๋“ค์ด ์ด ํ˜•์ƒ์„ ๊ฐ€์ ธ๋‹ค๊ฐ€
07:26
and physically animated them down the path.
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์ด๋“ค์„ ๋ฌผ๋ฆฌ์ ์œผ๋กœ ๊ธธ์„ ๋”ฐ๋ผ ์ •๋ ฌํ•œ ๊ฒƒ์ฒ˜๋Ÿผ์ด์š”.
07:28
So we like the idea of these figures
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์šฐ๋ฆฌ๋Š” ์ด๋“ค ํ˜•์ƒ๋“ค์ด
07:31
sort of skipping along
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์•„๋ฌด๋ ‡์ง€๋„ ์•Š๊ฒŒ ๋งŒ์กฑํ•œ ์ฑ„
07:32
like they're oblivious and carefree
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์† ํŽธํ•˜๊ณ  ํƒœํ‰์Šค๋Ÿฝ๊ฒŒ
07:34
and happy-go-lucky and content,
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ํœ™ ์ง€๋‚˜๊ฐ€๋Š” ๋ชจ์Šต์„ ์ข‹์•„ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:37
until they sort of sense a movement from the viewer
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๊ทธ ํ˜•์ƒ๋“ค์ด ๊ด€๊ฐ๋“ค์˜ ์›€์ง์ž„์„ ๊ฐ์ง€ํ•˜๊ณ 
07:40
and they will hide behind the fastest wall.
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๊ฐ€์žฅ ๊ฐ€๊นŒ์šด ๋ฒฝ ๋’ค๋กœ ์ˆจ์„ ๋•Œ๊นŒ์ง€๋Š”์š”.
07:44
So to us, this work also presents its own contradiction.
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ์—๊ฒŒ ์ด ์ž‘ํ’ˆ์€ ๋˜ํ•œ ์ž๊ธฐ ์ž์‹ ์˜ ๋ชจ์ˆœ์„ ํ‘œํ˜„ํ•ฉ๋‹ˆ๋‹ค.
07:48
These figures are sort of entrapped
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์ด ํ˜•์ƒ๋“ค์€ ์ด๋ ‡๊ฒŒ ๊ฐ•๋ ฅํ•œ ๊ฒฉ์žํŒ ์•ˆ์—
07:50
within this very strong grid,
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๋งˆ์น˜ ๊ฐ‡ํ˜€์žˆ๋Š” ๊ฒƒ๊ณผ ๊ฐ™์•„์š”.
07:52
which is like a prison, but also a fortress,
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๊ฒฉ์žํŒ์€ ๊ฐ์˜ฅ ๊ฐ™๊ธฐ๋„ ํ•˜์ง€๋งŒ ์š”์ƒˆ ๊ฐ™๊ธฐ๋„ ํ•˜์ฃ .
07:55
because it allows them to be oblivious
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์™œ๋ƒํ•˜๋ฉด ๊ฒฉ์ž๋Š” ์ด ํ˜•์ƒ๋“ค๋กœ ํ•˜์—ฌ๊ธˆ
07:57
and naive and carefree and quite oblivious
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์™ธ๋ถ€ ์„ธ๊ณ„์— ๋Œ€ํ•ด์„œ ๋ณ„ ๋‹ค๋ฅธ ์˜์‹๋„ ์—†๊ณ  ์ˆœ์ง„ํ•˜๋ฉฐ
07:59
of the external world.
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์กฐ์‹ฌ์„ฑ๋„ ์—†๋„๋ก ํ•ด์ฃผ๊ฑฐ๋“ ์š”.
08:02
So all these real life qualities that I talk about
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์ œ๊ฐ€ ๋ง์”€๋“œ๋ฆฌ๋Š” ์ด ๋ชจ๋“  ์‹ค์ƒํ™œ์˜ ๋Œ€์ƒ๋“ค์€
08:05
are sort of translated to a very specific
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๋งค์šฐ ํŠน์ •ํ•œ ๊ธฐ์ˆ ์  ๋ฐฐ์—ด๋กœ
08:07
technical configuration,
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์ดํ•ด๋  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
08:09
and we were very lucky to collaborate
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์Šค์œ„์Šค ์—ฐ๋ฐฉ ๊ณต๊ณผ๋Œ€ํ•™๊ณผ ํ˜‘๋ ฅํ•˜์—ฌ
08:11
with ETH Zurich to develop the first prototype.
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์ฒซ ๋ฒˆ์งธ ์›ํ˜•์„ ๊ฐœ๋ฐœํ•  ์ˆ˜ ์žˆ๋˜ ๊ฒƒ์€ ์ €ํฌ์˜ ํ–‰์šด์ด์—ˆ์Šต๋‹ˆ๋‹ค.
08:14
So you see they extracted the motion cogs
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๊ทธ๋“ค์€ ์šฐ๋ฆฌ์˜ ๋™์˜์ƒ์œผ๋กœ ๋ถ€ํ„ฐ ํ‹€์—์„œ ๋ฒ—์–ด๋‚œ ์›€์ง์ž„์„
08:16
from our animations and created a wiggle
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๋ฐœ์ทŒํ•˜์—ฌ ์”ฉ๋ฃฉ๊ฑฐ๋ฆฌ๋Š” ์›€์ง์ž„์„ ๋งŒ๋“ค์–ด๋ƒˆ๊ณ 
08:18
that integrated the head-bobbing movement
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๊ทธ๊ฒƒ์„ ๋ฏธ์นœ ๋“ฏํ•œ ํ–‰๋™๊ณผ
08:20
and the back-and-forth movement.
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์ „ํ›„ ์›€์ง์ž„์œผ๋กœ ๋…น์—ฌ๋ƒˆ์Šต๋‹ˆ๋‹ค.
08:22
So it's really quite small.
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์ •๋ง ์ž‘์ง€์š”.
08:24
You can see it can fit into the palm of my hand.
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์ œ ์† ์•ˆ์— ์™ ๋“ค์–ด์˜ฌ ์ •๋„๋ผ๋Š”๊ฑธ ๋ณด์‹ค ์ˆ˜ ์žˆ์„ ๊ฒ๋‹ˆ๋‹ค.
08:26
So imagine our excitement when we saw it
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์ €ํฌ๊ฐ€ ๊ทธ๊ฒƒ์ด ์ „์‹œ์‹ค์—์„œ ์‹ค์ œ๋กœ ์ž‘๋™ํ•˜๋Š” ๊ฒƒ์„ ๋ดค์„ ๋•Œ ๋Š๋‚€
08:28
really working in the studio, and here it is.
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ํฅ๋ถ„์„ ๋– ์˜ฌ๋ ค ๋ณด์„ธ์š”. ์ž ์ด์ œ ๋‚˜์˜ต๋‹ˆ๋‹ค.
08:33
(Laughter)
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(์›ƒ์Œ)
08:37
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
08:38
(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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