Luke Syson: How I learned to stop worrying and love "useless" art

84,000 views ใƒป 2014-01-16

TED


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

๋ฒˆ์—ญ: K Bang ๊ฒ€ํ† : MINA WOO
00:12
Two years ago, I have to say there was no problem.
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๋‘ ํ•ด ์ „์—๋Š” ์•„๋ฌด๋Ÿฐ ๋ฌธ์ œ๊ฐ€ ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
00:15
Two years ago, I knew exactly what an icon looked like.
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๋‘ ํ•ด ์ „์—๋Š” ์‹œ๋Œ€๋ฅผ ๋Œ€ํ‘œํ•˜๋Š” ์ž‘ํ’ˆ์ด๋ž€ ์–ด๋•Œ์•ผ ํ•˜๋Š”์ง€ ์ •ํ™•ํžˆ ์•Œ๊ณ  ์žˆ์—ˆ์ง€์š”.
00:19
It looks like this.
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์ด๋Ÿฐ ๊ฒƒ์ด์—ˆ์ฃ .
00:21
Everybody's icon, but also the default position
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๋ชจ๋‘์—๊ฒŒ ์ƒ์ง•์  ์ž‘ํ’ˆ์ด์—ˆ ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ์ดํƒˆ๋ฆฌ์•„ ๋ฅด๋„ค์ƒ์Šค ๋ฏธ์ˆ ์˜
00:24
of a curator of Italian Renaissance paintings, which I was then.
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ํ๋ ˆ์ดํ„ฐ์˜€๋˜ ์ €์—๊ฒŒ๋„ ๊ธฐ๋ณธ์ ์ธ ์ž…์žฅ์ด์˜€์ฃ .
00:28
And in a way, this is also another default selection.
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์–ด๋–ค ๋ฉด์œผ๋กœ๋Š” ์ด๊ฒƒ๋„ ๋˜ ๋‹ค๋ฅธ ๊ธฐ๋ณธ์ ์ธ ์„ ํƒ์ด์—ˆ์ฃ .
00:32
Leonardo da Vinci's exquisitely soulful image
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๋ ˆ์˜ค๋‚˜๋ฅด๋„ ๋‹ค๋นˆ์น˜์˜ ์ •๊ตํ•˜๊ณ  ๊ฐ๋™์ ์ธ
00:36
of the "Lady with an Ermine."
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"ํฐ๋‹ด๋น„๋ฅผ ์•ˆ์€ ์—ฌ์ธ"์ž…๋‹ˆ๋‹ค.
00:38
And I use that word, soulful, deliberately.
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์‹ ์ค‘ํ•˜๊ฒŒ '๊ฐ๋™์ ' ์ด๋ž€ ๋‹จ์–ด๋ฅผ ์‚ฌ์šฉํ•ฉ๋‹ˆ๋‹ค.
00:40
Or then there's this, or rather these:
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ํ˜น์€ ์ด๋Ÿฐ ์ž‘ํ’ˆ๋„ ์žˆ์ง€์š”.
00:42
the two versions of Leonardo's "Virgin of the Rocks"
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๋‘ ๊ฐ€์ง€ ํ˜•ํƒœ์˜ ๋‹ค๋นˆ์น˜์˜ "์•”๊ตด์˜ ์„ฑ๋ชจ"๋กœ
00:45
that were about to come together in London for the very first time.
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๋Ÿฐ๋˜์—์„œ ์ฒ˜์Œ์œผ๋กœ ๋‘ ์ž‘ํ’ˆ์ด ํ•จ๊ป˜ ์ „์‹œ๋  ์˜ˆ์ •์ด์—ˆ์ฃ .
00:49
In the exhibition that I was then in the absolute throes of organizing.
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๊ทธ ์ „์‹œํšŒ๋ฅผ ์ค€๋น„ํ•˜๋Š๋ผ ์ •๋ง ํž˜๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
00:54
I was literally up to my eyes in Leonardo,
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์ €๋Š” ๋ง ๊ทธ๋Œ€๋กœ ๋‹ค๋นˆ์น˜์— ๋ชฐ๋‘ํ•ด ์žˆ์—ˆ๊ณ 
00:57
and I had been for three years.
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3 ๋…„๊ฐ„ ๊ทธ๋ž˜์™”์Šต๋‹ˆ๋‹ค.
00:59
So, he was occupying every part of my brain.
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๋‹ค๋นˆ์น˜๊ฐ€ ์ œ ๋‡Œ์˜ ๊ตฌ์„๊ตฌ์„์„ ์ง€๋ฐฐํ–ˆ์ง€์š”.
01:03
Leonardo had taught me, during that three years,
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๊ทธ๋Š” 3 ๋…„ ๋™์•ˆ ๋ฏธ์ˆ ์ด ๋ฌด์—‡์„ ํ•  ์ˆ˜ ์žˆ๋Š”์ง€๋ฅผ
01:06
about what a picture can do.
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๊ฐ€๋ฅด์ณ์™”์Šต๋‹ˆ๋‹ค.
01:08
About taking you from your own material world into a spiritual world.
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๋ฌผ์งˆ์ ์ธ ์„ธ์ƒ์—์„œ ์˜์ ์ธ ์„ธ์ƒ์œผ๋กœ ์ธ๋„ํ•˜๋Š” ๊ฒƒ์— ๋Œ€ํ•ด์„œ ๋ง์ด์ฃ .
01:13
He said, actually, that he believed the job of the painter
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๊ทธ๋Š” ์‹ค์ œ๋กœ ๋ฏธ์ˆ ๊ฐ€์˜ ์—ญํ• ์ด
01:16
was to paint everything that was visible and invisible in the universe.
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์šฐ์ฃผ์—์„œ ๋ณด์ด๊ฑฐ๋‚˜ ๋ณด์ด์ง€ ์•Š๋Š” ๋ชจ๋“  ๊ฒƒ์„ ๊ทธ๋ฆฌ๋Š” ๊ฒƒ์ด๋ผ ๋ฏฟ์—ˆ์Šต๋‹ˆ๋‹ค.
01:21
That's a huge task. And yet, somehow he achieves it.
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์—„์ฒญ๋‚œ ์ผ์ด์ง€๋งŒ ์–ด์จŒ๋“  ๊ทธ๋Š” ํ•ด๋ƒˆ์ง€์š”.
01:25
He shows us, I think, the human soul.
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์ €๋Š” ๊ทธ๊ฐ€ ์ธ๊ฐ„์˜ ์˜ํ˜ผ์„ ๋ณด์—ฌ์ค€๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
01:27
He shows us the capacity of ourselves
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๊ทธ๋Š” ์šฐ๋ฆฌ์—๊ฒŒ ์˜์ ์ธ ์„ธ๊ณ„๋กœ ๋“ค์–ด๊ฐˆ ์ˆ˜ ์žˆ๋Š”
01:32
to move into a spiritual realm.
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์šฐ๋ฆฌ ์ž์‹ ์˜ ์—ญ๋Ÿ‰์„ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค.
01:35
To see a vision of the universe that's more perfect than our own.
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์šฐ๋ฆฌ๋ณด๋‹ค ์™„๋ฒฝํ•œ ์šฐ์ฃผ๊ด€์„ ๋ณด๊ธฐ ์œ„ํ•ด,
01:40
To see God's own plan, in some sense.
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์–ด๋–ค ๋ฉด์—์„œ๋Š” ์‹ ๋งŒ์˜ ๊ณ„ํš์„ ๋ณด๊ธฐ ์œ„ํ•ด ๋ง์ด์ฃ .
01:43
So this, in a sense, was really what I believed an icon was.
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์–ด๋–ค ์˜๋ฏธ์—์„œ ์ œ๊ฐ€ ์‹œ๋Œ€์˜ ๋Œ€ํ‘œ์ž‘์ด๋ผ๊ณ  ๋ฏฟ์—ˆ๋˜ ๊ฒƒ์€ ์ด๋Ÿฐ ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
01:47
At about that time, I started talking to Tom Campbell,
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๋‹น์‹œ ์ €๋Š” ์ด๊ณณ ๋ฉ”ํŠธ๋กœํด๋ฆฌํƒ„ ๋ฏธ์ˆ ๊ด€์žฅ์ธ
01:51
director here of the Metropolitan Museum,
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ํ†ฐ ์บ ๋ฒจ์—๊ฒŒ ๋‹ค์Œ ์ผ๊ฑฐ๋ฆฌ์— ๋Œ€ํ•ด
01:54
about what my next move might be.
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์ด์•ผ๊ธฐํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:57
The move, in fact, back to an earlier life,
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์ƒˆ๋กœ์šด ์ผ์€ ์‚ฌ์‹ค ์ œ๊ฐ€ ๋Œ€์˜ ๋ฐ•๋ฌผ๊ด€์—์„œ
02:00
one I'd begun at the British Museum,
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์ œ๊ฐ€ ์˜ˆ์ „์— ์‹œ์ž‘ํ–ˆ๋˜ ๋ถ„์•ผ์ธ
02:02
back to the world of three dimensions --
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์ž…์ฒด ์กฐํ˜•๋ฌผ -- ์กฐ๊ฐ๊ณผ ์žฅ์‹ ๋ฏธ์ˆ  --
02:04
of sculpture and of decorative arts --
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๋ถ„์•ผ๋กœ ๋Œ์•„๊ฐ€ ๋ฉ”ํŠธ๋กœํด๋ฆฌํƒ„ ๋ฏธ์ˆ ๊ด€์—์„œ
02:07
to take over the department of European sculpture and decorative arts, here at the Met.
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์œ ๋Ÿฝ์˜ ์กฐ๊ฐ๊ณผ ์žฅ์‹ ๋ฏธ์ˆ  ๋ถ€๋ฌธ์„ ๋งก๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
02:11
But it was an incredibly busy time.
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ํ•˜์ง€๋งŒ ๋‹น์‹œ ์ €๋Š” ๋ง๋„ ๋ชปํ•˜๊ฒŒ ๋ฐ”๋นด์ฃ .
02:12
All the conversations were done at very peculiar times of the day --
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๋ชจ๋“  ๋Œ€ํ™”๋Š” ๊ทธ๋‚  ์•„์ฃผ ๋ณ„๋‚œ ์‹œ๊ฐ„์—
02:16
over the phone.
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์ „ํ™” ํ†ตํ™”๋กœ ์ด๋ฃจ์–ด์กŒ์Šต๋‹ˆ๋‹ค.
02:19
In the end, I accepted the job
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๊ฒฐ๊ตญ ํ•œ ๋ฒˆ๋„ ๊ทธ๊ณณ์— ๊ฐ€๋ณด์ง€๋„ ์•Š๊ณ 
02:21
without actually having been here.
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๊ทธ ์ผ์„ ๋งก๊ธฐ๋กœ ํ–ˆ์ง€์š”.
02:22
Again, I'd been there a couple of years before,
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๋ฌผ๋ก  ๋ช‡ ๋…„ ์ „์— ๊ฐ€๋ณธ ์ ์€ ์žˆ์—ˆ์ง€๋งŒ
02:25
but on that particular visit.
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๊ทธ์ € ๊ฐœ์ธ์ ์ธ ๋ฐฉ๋ฌธ์ด์—ˆ์ฃ .
02:27
So, it was just before the time that the Leonardo show was due to open
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๋‹น์‹œ๋Š” ๋‹ค๋นˆ์น˜ ์ „์‹œํšŒ๊ฐ€ ๊ฐœ์ตœ๋˜๊ธฐ ์ง์ „์ด์—ˆ๊ณ 
02:31
when I finally made it back to the Met, to New York,
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์ €๋Š” ๊ฒฐ๊ตญ ๋‰ด์š•์˜ ๋ฉ”ํŠธ๋กœํด๋ฆฌํƒ„ ๋ฏธ์ˆ ๊ด€์œผ๋กœ ์™€์„œ
02:35
to see my new domain.
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์ œ ์ƒˆ๋กœ์šด ๋ถ€์„œ๋ฅผ ๋‘˜๋Ÿฌ๋ณด๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
02:37
To see what European sculpture and decorative arts looked like,
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์œ ๋Ÿฝ ์กฐ๊ฐ๊ณผ ์žฅ์‹ ๋ฏธ์ˆ ์ด ์–ด๋–ค์ง€ ๋ณด๋Š” ๊ฒƒ์€
02:41
beyond those Renaissance collections with which I was so already familiar.
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์ œ๊ฐ€ ์ด๋ฏธ ์ต์ˆ™ํ–ˆ๋˜ ๋ฅด๋„ค์ƒ์Šค ์ž‘ํ’ˆ๋“ค์„ ๋ณด๋Š” ๊ฒƒ๊ณผ๋Š” ๋‹ฌ๋ž์Šต๋‹ˆ๋‹ค.
02:45
And I thought, on that very first day, I better tour the galleries.
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์ฒซ ๋‚  ์ „์‹œ๊ด€์„ ๋‘˜๋Ÿฌ๋ณด๋Š” ๊ฒƒ์ด ์ข‹๊ฒ ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
02:48
Fifty-seven of these galleries --
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57๊ฐœ์˜ ์ „์‹œ๊ด€๋“ค์€
02:50
like 57 varieties of baked beans, I believe.
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์ œ๊ฐ€ ๋ณด๊ธฐ์— 57๊ฐ€์ง€ ์ข…๋ฅ˜์˜ ์ตํžŒ ์ฝฉ๋“ค๊ณผ ๊ฐ™์•˜์–ด์š”.
02:55
I walked through and I started in my comfort zone in the Italian Renaissance.
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์ „์‹œ๊ด€์„ ์ง€๋‚˜๊ฐ€๋ฉด์„œ ์ œ๊ฒŒ ๊ฐ€์žฅ ์ต์ˆ™ํ•œ ์ดํƒˆ๋ฆฌ์•„ ๋ฅด๋„ค์ƒ์Šค์‹ค๋ถ€ํ„ฐ ์‹œ์ž‘ํ–ˆ์ง€์š”.
03:01
And then I moved gradually around,
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๊ทธ๋ฆฌ๊ณ  ๋Œ์•„๋‹ค๋‹ˆ๋ฉด์„œ ์ ์ 
03:03
feeling a little lost sometimes.
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๋•Œ๋•Œ๋กœ ๊ธธ์„ ์žƒ์€ ๋“ฏํ•œ ๊ธฐ๋ถ„์ด ๋“ค์—ˆ์–ด์š”.
03:06
My head, also still full of the Leonardo exhibition
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์ œ ๋จธ๋ฆฟ ์†์—๋Š” ์—ฌ์ „ํžˆ ๊ณง ๊ฐœ๊ด€ํ• 
03:09
that was about to open, and I came across this.
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๋‹ค๋นˆ์น˜ ์ „์‹œํšŒ๊ฐ€ ๊ฐ€๋“ํ–ˆ๋Š”๋ฐ ๊ฐ‘์ž๊ธฐ ์ด๊ฑธ ๋งˆ์ฃผํ–ˆ์ฃ .
03:13
And I thought to myself: What the hell have I done?
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๊ทธ๋ฆฌ๊ณ  ์ด๋ ‡๊ฒŒ ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค. ๋‚ด๊ฐ€ ๋Œ€์ฒด ๋ฌด์Šจ ์ง“์„ ํ•œ๊ฑฐ์ง€?
03:21
There was absolutely no connection in my mind
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๊ฒฐ๊ตญ ์ €๋Š” ๊ฐˆํ”ผ๋ฅผ ๋ชป ์žก์•˜๊ณ 
03:24
at all and, in fact, if there was any emotion going on,
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๊ทธ ์ˆœ๊ฐ„์˜ ๊ฐ์ •์€
03:27
it was a kind of repulsion.
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์ผ์ข…์˜ ๊ฑฐ๋ถ€๊ฐ์ด์—ˆ์ฃ .
03:30
This object felt utterly and completely alien.
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์ด ์ž‘ํ’ˆ์€ ์ฒ ์ €ํ•˜๊ฒŒ ๋‚ฏ์„ค์—ˆ์Šต๋‹ˆ๋‹ค.
03:33
Silly at a level that I hadn't yet understood silliness to be.
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์–ด๋ฆฌ์„๋‹ค๋Š” ๊ฒƒ์ด ์–ด๋–ค๊ฑด์ง€ ๊นจ๋‹ซ๊ธฐ๋„ ์ „์˜ ์–ด๋ฆฌ์„์€ ๋‹จ๊ณ„์˜€์ฃ .
03:38
And then it was made worse --
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๋”๊ตฐ๋‹ค๋‚˜ ์ƒํ™ฉ์„ ์•…ํ™”์‹œํ‚จ ๊ฑด
03:41
there were two of them.
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์ด๊ฒŒ ๋‘ ๊ฐœ๋ผ๋Š” ๊ฑฐ์˜€์ฃ .
03:42
(Laughter)
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(์›ƒ์Œ)
03:46
So, I started thinking about why it was, in fact,
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๊ทธ๋ž˜์„œ ์ €๋Š” ์†”์งํžˆ ๋งํ•ด ์™œ ์ด ์ž‘ํ’ˆ์ด
03:49
that I disliked this object so much.
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๊ทธ๋ ‡๊ฒŒ๋„ ์‹ซ์€์ง€์— ๋Œ€ํ•ด ์ƒ๊ฐํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ์–ด์š”.
03:51
What was the anatomy of my distaste?
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๋‚ด๊ฐ€ ๊ฐ–๋Š” ํ˜์˜ค๊ฐ์˜ ๊ทผ๊ฐ„์€ ๊ณผ์—ฐ ๋ฌด์—‡์ธ๊ฐ€?
03:55
Well, so much gold, so vulgar.
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๊ธ€์Ž„์š”, ๋„ˆ๋ฌด ๋งŽ์€ ๊ธˆ์žฅ์ด ๊ต‰์žฅํžˆ ์ฒœ๋ฐ•ํ•ด์š”.
03:58
You know, so nouveau riche, frankly.
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์•„์‹œ์ฃ , ์†”์งํžˆ ๋งํ•ด ๋„ˆ๋ฌด ์กธ๋ถ€๊ฐ™์ž–์•„์š”.
04:02
Leonardo himself had preached against the use of gold,
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๋‹ค๋นˆ์น˜๋Š” ์Šค์Šค๋กœ ๊ธˆ์˜ ์‚ฌ์šฉ์„ ์ž์ œํ•ด์•ผ ํ•œ๋‹ค๊ณ  ์—ญ์„คํ–ˆ์—ˆ์ฃ .
04:05
so it was absolutely anathema at that moment.
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๊ทธ๋Ÿฌ๋‹ˆ ์ด๊ฑธ ๋ณธ ์ˆœ๊ฐ„ ์™„๋ฒฝํ•˜๊ฒŒ ํ˜์˜ค์Šค๋Ÿฌ์› ์ฃ .
04:08
And then there's little pretty sprigs of flowers everywhere. (Laughter)
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๊ฒŒ๋‹ค๊ฐ€ ์—ฌ๊ธฐ๋Š” ์˜จ ์‚ฌ๋ฐฉ์— ์ž‘์€ ๊ฝƒ๊ฐ€์ง€๋“ค์ด ์žˆ์ž–์•„์š”. (์›ƒ์Œ)
04:14
And finally, that pink. That damned pink.
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๊ฒฐ์ •ํƒ€๋กœ ์ € ๋ถ„ํ™์ƒ‰, ์ € ๋งํ•  ๋ถ„ํ™์ƒ‰.
04:17
It's such an extraordinarily artificial color.
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์ €๊ฑด ๋ชน์‹œ ์ธ๊ณต์ ์ธ ์ƒ‰์ƒ์ด์—์š”.
04:20
I mean, it's a color that I can't think of anything that you actually see in nature,
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์ œ ๋ง์€ ์ €๋Ÿฐ ๋ช…์•”์„ ๊ฐ€์ง„ ์ƒ‰์ƒ๊ฐ™์€ ๊ฑด
04:24
that looks that shade.
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์ž์—ฐ์—์„œ ๋ณผ ์ˆ˜ ์—†๋‹ค๋Š” ๊ฑฐ์—์š”.
04:27
The object even has its own tutu. (Laughter)
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์‹ฌ์ง€์–ด ๋ฐœ๋ ˆ์šฉ ์น˜๋งˆ๋„ ์ž…๊ณ  ์žˆ์–ด์š”. (์›ƒ์Œ)
04:31
This little flouncy, spangly, bottomy bit
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์ฃผ๋ฆ„์ง€๊ณ , ๋ฐ˜์ง๊ฑฐ๋ฆฌ๋Š” ์ž‘์€ ๋ฐ›์นจ ๋ถ€๋ถ„๋“ค์ด
04:33
that sits at the bottom of the vase.
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์ด ํ•ญ์•„๋ฆฌ ๋ฐ‘๋ฉด์— ์ž๋ฆฌ์žก๊ณ  ์žˆ๋Š”๋ฐ
04:35
It reminded me, in an odd kind of way,
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์ €๋Š” ์ด์ƒํ•˜๊ฒŒ๋„
04:37
of my niece's fifth birthday party.
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์ œ ์กฐ์นด์˜ ๋‹ค์„ฏ ์‚ด ์ƒ์ผ ํŒŒํ‹ฐ๊ฐ€ ์ƒ๊ฐ๋‚˜๋”๊ตฐ์š”.
04:40
Where all the little girls would come either as a princess or a fairy.
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๋ชจ๋“  ์—ฌ์ž ์•„์ด๋“ค์ด ๊ณต์ฃผ๋‚˜ ์š”์ • ์˜ท์„ ์ž…๊ณ  ์˜ค๋Š” ํŒŒํ‹ฐ ๋ง์ด์—์š”.
04:44
There was one who would come as a fairy princess.
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์š”์ • ๊ณต์ฃผ ๋ชจ์Šต์œผ๋กœ ์˜ค๊ณคํ–ˆ๋˜ ์•„์ด๊ฐ€ ํ•˜๋‚˜ ์žˆ์—ˆ์ฃ .
04:46
You should have seen the looks.
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๊ทธ ๋ชจ์Šต์„ ๋ณด์…จ์–ด์•ผํ•˜๋Š”๋ฐ ๋ง์ด์—์š”.
04:48
(Laughter)
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(์›ƒ์Œ)
04:50
And I realize that this object was in my mind,
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๊ทธ๋ฆฌ๊ณ  ์ด ์ž‘ํ’ˆ์ด ๊ฐ™์€ ์ƒ๊ฐ,
04:53
born from the same mind, from the same womb,
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๊ฐ™์€ ๋ชจํƒœ์—์„œ ๋‚˜์™”๋‹ค๋Š” ๊ฒƒ์„ ๊นจ๋‹ฌ์•˜์–ด์š”.
04:56
practically, as Barbie Ballerina. (Laughter)
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์ •๋ง ๋ฐœ๋ ˆ๋ฆฌ๋‚˜ ๋ฐ”๋น„ ์ธํ˜•๊ณผ ๊ฐ™๋‹ค๋Š”๊ฑฐ์ฃ . (์›ƒ์Œ)
05:02
And then there's the elephants. (Laughter)
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๊ทธ๋ฆฌ๊ณ  ์ฝ”๋ผ๋ฆฌ๋“ค์ด ์žˆ์–ด์š”. (์›ƒ์Œ)
05:05
Those extraordinary elephants
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์ € ๊ธฐ์ดํ•œ ์ฝ”๋ผ๋ฆฌ๋“ค์€
05:07
with their little, sort of strange, sinister expressions
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์ž‘๊ณ , ๋ญ”๊ฐ€ ์ด์ƒํ•˜๊ณ  ๋ถˆ๊ธธํ•œ ๊ฐ์ •์„ ๋“œ๋Ÿฌ๋‚ด๊ณ 
05:10
and Greta Garbo eyelashes, with these golden tusks and so on.
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๊ทธ๋ ˆํƒ€ ๊ฐ€๋ฅด๋ณด์˜ ์† ๋ˆˆ์น๊ณผ ๊ธˆ๋น› ์–ด๊ธˆ๋‹ˆ ๋“ฑ์„ ๊ฐ€์ง€๊ณ  ์žˆ์–ด์š”.
05:15
I realized this was an elephant that had
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์ด ์ฝ”๋ผ๋ฆฌ๋“ค์ด ์„ธ๋ ๊ฒŒํ‹ฐ ์ดˆ์›๋ฅผ
05:17
absolutely nothing to do with a majestic march across the Serengeti.
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๊ฑฐ์นจ์—†์ด ํ–‰์ง„ํ•˜๋Š” ๋ฌด๋ฆฌ๋“ค๊ณผ๋Š” ์•„๋ฌด๋Ÿฐ ์ƒ๊ด€์ด ์—†๋‹ค๋Š” ๊ฒƒ์„ ๊นจ๋‹ฌ์•˜์ฃ .
05:23
It was a Dumbo nightmare. (Laughter)
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์ด๊ฑด ์•„๊ธฐ ์ฝ”๋ผ๋ฆฌ ๋ค๋ณด์˜ ์•…๋ชฝ์ด์—์š”. (์›ƒ์Œ)
05:28
But something more profound was happening as well.
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ํ•˜์ง€๋งŒ ๋ญ”๊ฐ€ ๋” ์‹ฌ์˜คํ•œ ์ผ์ด ๋ฒŒ์–ด์ง€๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
05:31
These objects, it seemed to me,
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์ด ์ž‘ํ’ˆ์€, ์ œ๊ฐ€ ๋ณด๊ธฐ์—,
05:33
were quintessentially the kind that I and my liberal left friends in London
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์ €์™€ ๋Ÿฐ๋˜์— ์žˆ๋Š” ์ง„๋ณด์ ์ธ ์ขŒ์ต ์นœ๊ตฌ๋“ค์—๊ฒŒ
05:37
had always seen as summing up
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๋Š˜ 18์„ธ๊ธฐ ํ”„๋ž‘์Šค ๊ท€์กฑ ์‚ฌํšŒ์˜
05:39
something deplorable about the French aristocracy
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๊ฐœํƒ„์Šค๋Ÿฌ์›€์„ ์š”์•ฝํ•ด์„œ
05:42
in the 18th century.
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๋ณด์—ฌ์ฃผ๋Š” ๊ฒƒ ๊ฐ™์•˜์Šต๋‹ˆ๋‹ค.
05:44
The label had told me that these pieces were made
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์ด๋ฆ„ํ‘œ์—๋Š” ์ด ์ „์‹œํ’ˆ์ด
05:47
by the Sรจvres Manufactory,
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์„ธ๋ธŒ๋ฅด ์ œ์ž‘์†Œ์—์„œ ๋งŒ๋“ค์–ด์ง„
05:50
made of porcelain in the late 1750s,
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1750๋…„๋Œ€ ํ›„๋ฐ˜์˜ ๋„์ž์ด๊ณ 
05:53
and designed by a designer called Jean-Claude Duplessis,
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์žฅ-๋Œ๋กœ๋“œ ๋’คํ”Œ๋ ˆ์‹œ์Šค๋ผ๋Š”,
05:56
actually somebody of extraordinary distinction
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๋‚˜์ค‘์— ์•Œ๊ฒŒ ๋˜๊ธฐ๋กœ๋Š” ํŠน๋ณ„ํ•œ ํŠน์ง•์„ ๊ฐ€์ง„
05:58
as I later learned.
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๋””์ž์ด๋„ˆ์˜ ์ž‘ํ’ˆ์ด๋ผ ์ ํ˜€์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
06:01
But for me, they summed up a kind of,
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๊ทธ๋Ÿฌ๋‚˜ ์ œ๊ฒŒ๋Š” ์ด ๋ชจ๋“  ๊ฒƒ๋“ค์ด
06:06
that sort of sheer uselessness of the aristocracy
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18์„ธ๊ธฐ ๊ท€์กฑ ์‚ฌํšŒ๊ฐ€ ์–ผ๋งˆ๋‚˜ ์“ธ๋ชจ ์—†์—ˆ๋Š”์ง€๋ฅผ
06:09
in the 18th century.
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์™„๋ฒฝํ•˜๊ฒŒ ๋ณด์—ฌ์ฃผ๋Š” ๊ฒƒ ๊ฐ™์•˜์ฃ .
06:13
I and my colleagues had always thought
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์ €์™€ ์ œ ๋™๋ฃŒ๋Š” ๋Š˜ ์ด๋Ÿฐ ์ž‘ํ’ˆ๋“ค์€
06:15
that these objects, in way, summed up the idea of,
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ํ•œ ๊ฐ€์ง€ ์ƒ๊ฐ์œผ๋กœ ๊ท€๊ฒฐ๋œ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ์ง€์š”.
06:18
you know -- no wonder there was a revolution.
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์•„์‹œ๋‹ค์‹œํ”ผ ํ˜๋ช…์ด ์žˆ์—ˆ๋‹ค๋Š” ๊ฒƒ์„ ์ผ๊นจ์›Œ์ฃผ๋Š” ๊ฒƒ์ด์ฃ .
06:20
Or, indeed, thank God there was a revolution.
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์•„๋‹ˆ๋ฉด ํ˜๋ช…์ด ์ผ์–ด๋‚ฌ๋‹ค๋Š” ๊ฒƒ์„ ๊ฐ์‚ฌํ•ดํ•˜๋˜๊ฐ€์š”.
06:25
There was a sort of idea really, that,
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์‹ค์ œ๋กœ ๋“œ๋Š” ํ•œ๊ฐ€์ง€ ์ƒ๊ฐ์€
06:27
if you owned a vase like this,
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๋งŒ์•ฝ ์ด๋Ÿฐ ํ•ญ์•„๋ฆฌ๋ฅผ ๊ฐ–๋Š”๋‹ค๋ฉด
06:29
then there was really only one fate possible.
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๊ฐ€๋Šฅํ•œ ์šด๋ช…์€ ๋‹จ ํ•˜๋‚˜๋ผ๋Š” ๊ฑฐ์ฃ .
06:33
(Laughter)
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(์›ƒ์Œ)
06:37
So, there I was -- in a sort of paroxysm of horror.
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๊ทธ๋ž˜์„œ ์ „ ์†Ÿ๊ตฌ์น˜๋Š” ๊ณตํฌ์— ์‚ฌ๋กœ์žกํ˜€ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
06:42
But I took the job and I went on looking at these vases.
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ํ•˜์ง€๋งŒ ๊ทธ ์ผ์„ ๋งก์•˜๊ณ  ์ด๋Ÿฐ ํ•ญ์•„๋ฆฌ๋“ค์„ ๊ณ„์† ๋ณด๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
06:46
I sort of had to because they're on a through route in the Met.
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๊ทธ๋Ÿด ์ˆ˜ ๋ฐ–์— ์—†๋˜ ๊ฒƒ์ด ์ด๋Ÿฐ ์ž‘ํ’ˆ๋“ค์ด ๋ฉ”ํŠธ๋กœํด๋ฆฌํƒ„ ๋ฏธ์ˆ ๊ด€ ๊ณณ๊ณณ์— ์žˆ์—ˆ๊ฑฐ๋“ ์š”.
06:49
So, almost anywhere I went, there they were.
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์ œ๊ฐ€ ๊ฐ€๋Š” ๊ณณ ์–ด๋””์—๋‚˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
06:52
They had this kind of odd sort of fascination,
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๊ทธ๊ฒƒ๋“ค์—๊ฒŒ๋Š” ๋งˆ์น˜ ์ž๋™์ฐจ ์‚ฌ๊ณ ์™€ ๊ฐ™์ด
06:55
like a car accident.
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๊ธฐ์ดํ•œ ๋งคํ˜น๊ฐ™์€ ๊ฒƒ์ด ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
06:58
Where I couldn't stop looking.
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๋„์ €ํžˆ ํ”ผํ•ด๋‹ค๋‹ ์ˆ˜ ์—†๊ฒŒ ๋˜์—ˆ์ฃ .
07:00
And as I did so, I started thinking:
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๊ทธ๋Ÿฌ์ž ์ด๋ ‡๊ฒŒ ์ƒ๊ฐํ•˜๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
07:03
Well, what are we actually looking at here?
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๊ทธ๋ž˜, ์—ฌ๊ธฐ์„œ ์‹ค์ œ๋กœ ๋ฌด์—‡์„ ๋ณด๊ณ  ์žˆ๋Š”๊ฑฐ์ง€?
07:07
And what I started with was understanding this
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๊ทธ๋ฆฌ๊ณ ์„œ๋Š” ์ด๊ฒƒ์„ ์ •๋ง ๋›ฐ์–ด๋‚œ
07:11
as really a supreme piece of design.
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๋””์ž์ธ ์ž‘ํ’ˆ์œผ๋กœ ๋ณด๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:14
It took me a little time.
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์‹œ๊ฐ„์ด ์ข€ ๊ฑธ๋ ธ์ง€๋งŒ,
07:15
But, that tutu for example --
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์˜ˆ๋ฅผ ๋“ค์–ด ์ด ๋ฐœ๋ ˆ ์˜์ƒ์„ ๋ณด๋ฉด
07:17
actually, this is a piece that does dance in its own way.
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์ด ์ž‘์€ ์กฐ๊ฐ๋“ค์€ ๋‚˜๋ฆ„๋Œ€๋กœ ์ถค์„ ์ถ”๊ณ  ์žˆ์–ด์š”.
07:20
It has an extraordinary lightness
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๋†€๋ž๊ฒŒ๋„ ๊ฐ€๋ณ๊ณ 
07:21
and yet, it is also amazing balanced.
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๊ฒŒ๋‹ค๊ฐ€ ๊ธฐ๋ง‰ํžˆ๊ฒŒ ๊ท ํ˜•์ด ์žกํ˜€์žˆ์ง€์š”.
07:24
It has these kinds of sculptural ingredients.
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์—ฌ๊ธฐ์—๋Š” ์ด๋Ÿฐ ์‹์˜ ์กฐ์†Œ์  ์š”์†Œ๊ฐ€ ์žˆ๊ณ 
07:27
And then the play between --
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๋งค์šฐ ์„ฌ์„ธํ•œ ์ƒ‰์ƒ๊ณผ ๊ธˆ๋„๊ธˆ,
07:29
actually really quite carefully disposed color and gilding, and the sculptural surface,
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๊ทธ๋ฆฌ๊ณ  ์กฐ๊ฐ ํ‘œ๋ฉด ์‚ฌ์ด์˜ ์กฐํ™”๊ฐ€
07:34
is really rather remarkable.
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์ฃผ๋ชฉํ•  ๋งŒ ํ•ฉ๋‹ˆ๋‹ค.
07:36
And then I realized that this piece went into the kiln
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์ด ์ž‘ํ’ˆ์ด ์—ฌ๊ธฐ์— ๋†“์ด๊ธฐ๊นŒ์ง€
07:39
four times, at least four times in order to arrive at this.
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๋„ค ๋ฒˆ, ์ตœ์†Œํ•œ ๋„ค ๋ฒˆ ๊ฐ€๋งˆ์—์„œ ๊ตฌ์›Œ์กŒ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
07:42
How many moments for accident can you think of
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์—ฌ๋Ÿฌ๋ถ„ ์ƒ๊ฐ์— ์ด ์ž‘ํ’ˆ์— ์–ผ๋งˆ๋‚˜
07:45
that could have happened to this piece?
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๋งŽ์€ ์‚ฌ๊ณ ๊ฐ€ ์ผ์–ด๋‚  ๋ป” ํ–ˆ์„๊นŒ์š”?
07:47
And then remember, not just one, but two.
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๋ช…์‹ฌํ•  ์ ์€ ํ•˜๋‚˜๊ฐ€ ์•„๋‹ˆ๋ผ ๋‘ ๊ฐœ๋ผ๋Š” ์ ์ž…๋‹ˆ๋‹ค.
07:49
So he's having to arrive at two exactly matched
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์ด๋Ÿฐ ์ข…๋ฅ˜์˜ ์ •ํ™•ํžˆ ์ผ์น˜ํ•˜๋Š”
07:54
vases of this kind.
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ํ•œ ์Œ์˜ ํ•ญ์•„๋ฆฌ๋ฅผ ๋งŒ๋“ค์–ด๋‚ด์•ผ ํ–ˆ์ฃ .
07:56
And then this question of uselessness.
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๊ทธ๋ฆฌ๊ณ ๋‚˜๋‹ˆ ์‹ค์šฉ์„ฑ์— ๋Œ€ํ•œ ์˜๋ฌธ์ด ๋“ญ๋‹ˆ๋‹ค.
07:57
Well actually, the end of the trunks were originally candle holders.
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์ž, ์‚ฌ์‹ค ์ฝ”๋ผ๋ฆฌ ์ฝ” ๋์€ ์›๋ž˜ ์ด›๋Œ€์˜€์–ด์š”.
08:02
So what you would have had were candles on either side.
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์–‘ ์ธก๋ฉด์— ์ดˆ๋ฅผ ๊ฝ‚์œผ๋ฉด ์–ด๋–ป๊ฒŒ ๋ ๊นŒ์š”.
08:06
Imagine that effect of candlelight on that surface.
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์ด›๋ถˆ์ด ์ € ํ‘œ๋ฉด์— ๋ฏธ์น˜๋Š” ํšจ๊ณผ๋ฅผ ์ƒ์ƒํ•ด๋ณด์„ธ์š”.
08:09
On the slightly uneven pink, on the beautiful gold.
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์‚ด์ง ๊ท ์ผํ•˜์ง€ ์•Š์€ ๋ถ„ํ™์ƒ‰์—, ์ € ์•„๋ฆ„๋‹ค์šด ํ™ฉ๊ธˆ์ƒ‰์— ๋ง์ด์ฃ .
08:11
It would have glittered in an interior,
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๋งˆ์น˜ ์ž‘์€ ๋ถˆ๊ฝƒ๋†€์ด์ฒ˜๋Ÿผ
08:14
a little like a little firework.
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๋ฐฉ ์•ˆ์—์„œ ๋น›๋‚ฌ์„ ๊ฑฐ์—์š”.
08:17
And at that point, actually, a firework went off in my brain.
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์‹ค์ œ๋กœ ์ด ์ง€์ ์—์„œ ์ œ ๋จธ๋ฆฌ ์†์—์„œ ๋ถˆ๊ฝƒ์ด ํ„ฐ์กŒ์–ด์š”.
08:21
Somebody reminded me that, that word 'fancy' --
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๋ˆ„๊ตฐ๊ฐ€ ์ œ๊ฒŒ ์ด ์ž‘ํ’ˆ์„ ํ•œ๋งˆ๋””๋กœ ์š”์•ฝํ•˜๋Š”,
08:24
which in a sense for me, encapsulated this object --
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'ํ™”๋ คํ•œ(fancy)'์ด๋ž€ ๋‹จ์–ด๋ฅผ ์ผ๊นจ์›Œ์คฌ์Šต๋‹ˆ๋‹ค.
08:27
actually comes from the same root as the word 'fantasy.'
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'ํ™˜์ƒ(fantasy)'์ด๋ž€ ๋‹จ์–ด์™€ ๊ฐ™์€ ์–ด์›์„ ๊ฐ€์ง„ ๋‹จ์–ด์ง€์š”.
08:31
And that what this object was just as much in a way,
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์ด ์ž‘ํ’ˆ์€ ๋ฐ”๋กœ ๊ทธ๋Ÿฐ ์‹์œผ๋กœ,
08:34
in its own way, as a Leonardo da Vinci painting,
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์ž์‹ ๋งŒ์˜ ๋ฐฉ์‹์œผ๋กœ, ๋ ˆ์˜ค๋‚˜๋ฅด๋„ ๋‹ค ๋นˆ์น˜์˜ ๊ทธ๋ฆผ์ด ๊ทธ๋žฌ๋˜ ๊ฒƒ์ฒ˜๋Ÿผ
08:36
is a portal to somewhere else.
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๋‹ค๋ฅธ ๊ณณ์œผ๋กœ ํ†ตํ•˜๋Š” ๋ฌธ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
08:38
This is an object of the imagination.
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์ด๊ฒƒ์€ ์ƒ์ƒ์˜ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
08:42
If you think about the mad 18th-century operas of the time -- set in the Orient.
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๋™์–‘์„ ๋ฌด๋Œ€๋กœ ํ•œ 18์„ธ๊ธฐ ์˜คํŽ˜๋ผ๋ฅผ ์ƒ๊ฐํ•ด๋ณธ๋‹ค๋ฉด,
08:49
If you think about divans and perhaps even opium-induced visions of pink elephants,
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๊ธด ์˜์ž์™€ ์–ด์ฉŒ๋ฉด ํ™˜๊ฐ ์ƒํƒœ์—์„œ ๋ถ„ํ™์ƒ‰ ์ฝ”๋ผ๋ฆฌ๋ฅผ ๋– ์˜ฌ๋ ค๋ณธ๋‹ค๋ฉด,
08:56
then at that point, this object starts to make sense.
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๋ฐ”๋กœ ๊ทธ ์ง€์ ์—์„œ ์ด ์ž‘ํ’ˆ์„ ์ดํ•ดํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
08:59
This is an object which is all about escapism.
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์ด๊ฒƒ์€ ํ˜„์‹ค ๋„ํ”ผ์— ๋Œ€ํ•œ ์ž‘ํ’ˆ์ด์—์š”.
09:03
It's about an escapism that happens --
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์ด๊ฒƒ์€ ํ”„๋ž‘์Šค์˜ ๊ท€์กฑ ์‚ฌํšŒ๊ฐ€
09:06
that the aristocracy in France sought
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์•„์ฃผ ๊ณ„ํš์ ์œผ๋กœ
09:08
very deliberately
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๋ณดํ†ต ์‚ฌ๋žŒ๋“ค๊ณผ ๊ตฌ๋ณ„ํ•˜๊ธฐ ์œ„ํ•ด
09:10
to distinguish themselves from ordinary people.
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์ถ”๊ตฌํ•œ ํ˜„์‹ค ๋„ํ”ผ์— ๋Œ€ํ•œ ๊ฒƒ์ด์—์š”.
09:15
It's not an escapism that
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๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๊ฒƒ์€ ์˜ค๋Š˜๋‚  ํŠน๋ณ„ํžˆ ํ–‰๋ณต์„ ๋Š๋ผ๋Š”
09:17
we feel particularly happy with today, however.
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ํ˜„์‹ค ๋„ํ”ผ๊ฐ€ ์•„๋‹™๋‹ˆ๋‹ค.
09:20
And again, going on thinking about this,
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๊ทธ๋ฆฌ๊ณ  ๋‹ค์‹œ ์ƒ๊ฐํ•ด๋ณด๋ฉด
09:23
I realize that in a way we're all victims
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๊ทผ๋Œ€์ฃผ์˜๊ฐ€ ์Šน๋ฆฌํ•œ ๋’ค
09:27
of a certain kind of tyranny
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์šฐ๋ฆฌ๋Š” ๋ชจ๋‘ ๊ทธ๋Ÿฐ ํšกํฌ์— ์‹œ๋‹ฌ๋ฆฌ๋Š”
09:29
of the triumph of modernism
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ํฌ์ƒ์ž๋“ค์ด๋ผ๋Š” ๊ฒƒ์„ ์ธ์‹ํ–ˆ์Šต๋‹ˆ๋‹ค.
09:31
whereby form and function in an object
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ํ•œ ๋ฌผ์ฒด์˜ ํ˜•ํƒœ์™€ ๊ธฐ๋Šฅ์ด
09:33
have to follow one another, or are deemed to do so.
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์„œ๋กœ๋ฅผ ๋”ฐ๋ฅด๊ฑฐ๋‚˜ ํ˜น์€ ๊ทธ๋ ‡๊ฒŒ ํ•ด์•ผ ๋˜๋Š” ๊ฒƒ์œผ๋กœ ์—ฌ๊ธฐ๊ณ 
09:37
And the extraneous ornament is seen as really,
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์™ธ๋ถ€์˜ ์žฅ์‹์€ ์‹ค์ œ๋กœ, ๋ณธ์งˆ์ ์œผ๋กœ
09:40
essentially, criminal.
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๋ฒ”์ฃ„์™€๋„ ๊ฐ™์ด ์—ฌ๊ฒจ์ง€๋Š” ํญ์ • ๋ง์ž…๋‹ˆ๋‹ค.
09:43
It's a triumph, in a way, of bourgeois values rather than aristocratic ones.
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์ด๊ฒƒ์€ ์–ด๋–ค ๋ฉด์—์„œ ๊ท€์กฑ์ธต๋ณด๋‹ค ์ค‘์‚ฐ์ธต ๊ฐ€์น˜์˜ ์Šน๋ฆฌ์ž…๋‹ˆ๋‹ค.
09:46
And that seems fine.
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์ข‹์•„๋ณด์ด๋„ค์š”.
09:48
Except for the fact that it becomes a kind of sequestration of imagination.
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๋‹ค๋งŒ ์ ์ฐจ ์ƒ์ƒ๋ ฅ์„ ์ถ”๋ฐฉํ•˜๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋˜์–ด๋ฒ„๋ ธ๋‹ค๋Š” ์ ์„ ์ œ์™ธํ•˜๋ฉด ๋ง์ด์ฃ .
09:55
So just as in the 20th century, so many people
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20์„ธ๊ธฐ์ฒ˜๋Ÿผ ์ •๋ง ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ด
09:58
had the idea that their faith
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๊ทธ๋“ค์˜ ๋ฏฟ์Œ์€ ์•ˆ์‹์ผ์—
10:00
took place on the Sabbath day,
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์ผ์–ด๋‚œ๋‹ค๋Š” ์ƒ๊ฐ์„ ๊ฐ€์กŒ๊ณ 
10:03
and the rest of their lives --
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๋‚˜๋จธ์ง€ ์‚ถ์€
10:04
their lives of washing machines and orthodontics --
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๋นจ๋ž˜์™€ ์น˜์•„๊ต์ •์˜ ์‚ถ์€
10:08
took place on another day.
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๋‹ค๋ฅธ ๋‚ ์— ์ผ์–ด๋‚˜๋Š” ๊ฒƒ์ด์—ˆ์ฃ .
10:10
Then, I think we've started doing the same.
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์šฐ๋ฆฌ๋„ ๋˜‘๊ฐ™์ด ํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
10:14
We've allowed ourselves to
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์šฐ๋ฆฌ๋Š” ์šฐ๋ฆฌ์˜ ํ™˜์ƒ์ ์ธ ์‚ถ์„
10:17
lead our fantasy lives in front of screens.
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ํ™”๋ฉด ์•ž์— ๋‘๋„๋ก ๋‚ด๋ฒ„๋ ค๋‘์—ˆ์ฃ .
10:19
In the dark of the cinema, with the television in the corner of the room.
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์–ด๋‘์šด ์˜ํ™”๊ด€์ด๋‚˜ ๋ฐฉ ๊ตฌ์„์— ์žˆ๋Š” TV ์•ž์—์š”.
10:23
We've eliminated, in a sense, that constant
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์–ด๋–ค ์˜๋ฏธ์—์„œ ์šฐ๋ฆฌ๋Š” ์ด ํ•ญ์•„๋ฆฌ๊ฐ€ ๋“œ๋Ÿฌ๋‚ด๋Š”
10:27
of the imagination that these vases represented in people's lives.
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์‚ฌ๋žŒ๋“ค์˜ ์‚ถ์ด ๊ฐ€์ง„ ์ƒ์ƒ๋ ฅ์˜ ์ •์ˆ˜๋ฅผ ์ œ๊ฑฐํ•ด๋ฒ„๋ฆฌ๊ณ  ๋ง์•˜์Šต๋‹ˆ๋‹ค.
10:32
So maybe it's time we got this back a little.
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๊ทธ๋ž˜์„œ ์ด๊ฒƒ์„ ์‚ด์ง ๋Œ์ด์ผœ ๋ณผ ์‹œ์ ์ธ ๊ฒƒ ๊ฐ™์•„์š”.
10:36
I think it's beginning to happen.
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๊ทธ ์ผ์ด ๊ณง ์ผ์–ด๋‚  ๊ฑฐ๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
10:39
In London, for example,
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์˜ˆ๋ฅผ ๋“ค์–ด ๋Ÿฐ๋˜์—์„œ
10:40
with these extraordinary buildings
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์ด๋Ÿฐ ํŠน๋ณ„ํ•œ ๊ฑด๋ฌผ๋“ค์ด
10:42
that have been appearing over the last few years.
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์ง€๋‚œ ๋ช‡ ๋…„ ๊ฐ„ ๋‚˜ํƒ€๋‚˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
10:45
Redolent, in a sense, of science fiction,
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๊ณต์ƒ ๊ณผํ•™์˜ ํ–ฅ๊ธฐ๋กœ์›€์ด
10:48
turning London into a kind of fantasy playground.
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๋Ÿฐ๋˜์„ ์ผ์ข…์˜ ํ™˜์ƒ์  ๋†€์ด ๊ณต์›์œผ๋กœ ๋ฐ”๊พธ์—ˆ์ง€์š”.
10:50
It's actually amazing to look out of a high building nowadays there.
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์˜ค๋Š˜๋‚  ๊ทธ๊ณณ์˜ ๊ณ ์ธต ๊ฑด๋ฌผ๋“ค์„ ๋ณด๋Š” ๊ฒƒ์€ ์ •๋ง ๋†€๋ž์Šต๋‹ˆ๋‹ค.
10:55
But even then, there's a resistance.
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๊ทธ๋Ÿฌ๋‚˜ ๊ฑฐ๊ธฐ์—๋„ ์ €ํ•ญ์€ ์žˆ์Šต๋‹ˆ๋‹ค.
10:56
London has called these buildings the Gherkin, the Shard, the Walkie Talkie --
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๋Ÿฐ๋˜์—์„œ๋Š” ๊ทธ ๊ฑด๋ฌผ๋“ค์„ ์˜ค์ด, ๋น„๋Š˜๋”ฑ์ง€, ๋ฌด์ „๊ธฐ ๋“ฑ์œผ๋กœ ๋ถ€๋ฅด๋ฉฐ
11:01
bringing these soaring buildings down to Earth.
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์ด๋ ‡๊ฒŒ ์น˜์†Ÿ์€ ๊ฑด๋ฌผ๋“ค์„ ๋ฐ”๋‹ฅ์œผ๋กœ ๋Œ์–ด๋‚ด๋ฆฌ๋ ค ํ•ฉ๋‹ˆ๋‹ค.
11:04
There's an idea that we don't want these
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๊ฑฐ๊ธฐ์—๋Š” ์ด๋Ÿฐ ๋ถˆ์•ˆ๊ฐ์„ ์กฐ์„ฑํ•˜๊ณ  ์ƒ์ƒ๋ ฅ์„ ์ž๊ทนํ•˜๋Š” ์—ฌํ–‰์ด
11:08
anxious-making, imaginative journeys to happen in our daily lives.
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์šฐ๋ฆฌ ์ผ์ƒ์— ๋ฒŒ์–ด์ง€๊ธธ ์›ํ•˜์ง€ ์•Š๋Š”๋‹ค๋Š” ์ƒ๊ฐ์ด ๊น”๋ ค์žˆ์Šต๋‹ˆ๋‹ค.
11:13
I feel lucky in a way,
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ํ•œํŽธ ์ €๋Š” ์šด์ด ์ข‹๋‹ค๊ณ  ์ƒ๊ฐํ•ด์š”.
11:16
I've encountered this object.
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์ด ์ž‘ํ’ˆ์„ ๋งŒ๋‚ฌ์œผ๋‹ˆ๊นŒ์š”.
11:19
(Laughter)
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(์›ƒ์Œ)
11:21
I found him on the Internet when I was looking up a reference.
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์ฐธ๊ณ  ์ž๋ฃŒ๋ฅผ ์ฐพ๊ธฐ ์œ„ํ•ด ์ธํ„ฐ๋„ท์„ ๋’ค์ง€๋‹ค ์ด๊ฑธ ์ฐพ์•„๋ƒˆ์ง€์š”.
11:24
And there he was.
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์—ฌ๊ธฐ ๊ทธ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
11:27
And unlike the pink elephant vase,
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๊ทธ๋ฆฌ๊ณ  ๋ถ„ํ™์ƒ‰ ์ฝ”๋ผ๋ฆฌ ํ•ญ์•„๋ฆฌ์™€๋Š” ๋‹ค๋ฅด๊ฒŒ
11:31
this was a kind of love at first sight.
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์ฒซ๋ˆˆ์— ์‚ฌ๋ž‘์— ๋น ์กŒ์ง€์š”.
11:33
In fact, reader, I married him. I bought him.
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์‚ฌ์‹ค, ๋…์ž๋กœ์จ ์ €๋Š” ๊ทธ์™€ ์‚ฌ๋ž‘์— ๋น ์กŒ์–ด์š”. ๊ทธ๋ฅผ ์ƒ€์ง€์š”.
11:36
And he now adorns my office.
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์ง€๊ธˆ ์ œ ์‚ฌ๋ฌด์‹ค์„ ์žฅ์‹ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
11:39
He's a Staffordshire figure made in the middle of the 19th century.
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๊ทธ๋Š” ์Šคํƒœํฌ๋“œ์…”์˜ ์กฐ๊ฐ์œผ๋กœ 19์„ธ๊ธฐ ์ค‘๋ฐ˜์˜ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
11:43
He represents the actor, Edmund Kean, playing Shakespeare's Richard III.
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๊ทธ๋Š” ์…ฐ์ต์Šคํ”ผ์–ด์˜ ๋ฆฌ์ฒ˜๋“œ 3์„ธ๋ฅผ ์—ฐ๊ธฐํ–ˆ๋˜ ์—๋“œ๋ฌธ๋“œ ํ‚จ์ž…๋‹ˆ๋‹ค.
11:48
And it's based, actually, on a more elevated piece of porcelain.
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฑด ์‚ฌ์‹ค ๋ณด๋‹ค ํ–ฅ์ƒ๋œ ์ˆ˜์ค€์˜ ์ž๊ธฐ์ด์ง€์š”.
11:50
So I loved, on an art historical level,
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๊ทธ๋ž˜์„œ ์ „ ๊ทธ๊ฐ€ ๋งŒ๋“  ์ž‘ํ’ˆ์„ ์˜ˆ์ˆ ์‚ฌ์ ์ธ ์ˆ˜์ค€์—์„œ ์ข‹์•„ํ–ˆ๊ณ 
11:52
I loved that layered quality that he has.
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๊ทธ ํ‘œ๋ฉด์ธต์˜ ํ’ˆ๊ฒฉ์„ ์ข‹์•„ํ–ˆ์Šต๋‹ˆ๋‹ค.
11:57
But more than that, I love him.
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ํ•˜์ง€๋งŒ ๊ทธ ์ด์ƒ์œผ๋กœ ์ €๋Š” ๊ทธ๋ฅผ ์ข‹์•„ํ–ˆ์Šต๋‹ˆ๋‹ค.
12:00
In a way that I think would have been impossible
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์ œ๊ฐ€ ๋‹ค๋นˆ์น˜์— ๋น ์ ธ์žˆ์—ˆ๋˜ ์‹œ๊ธฐ์˜
12:01
without the pink Sรจvres vase in my Leonardo days.
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๋ถ„ํ™์ƒ‰ ์„ธ๋ธŒ๋ฅด ๋„์ž๊ธฐ๊ฐ€ ์•„๋‹ˆ์—ˆ๋”๋ผ๋ฉด ๋ถˆ๊ฐ€๋Šฅํ–ˆ์„ ๋ฐฉ์‹์œผ๋กœ ๋ง์ด์ฃ .
12:04
I love his orange and pink breeches.
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์ €๋Š” ๊ทธ์˜ ์ฃผํ™ฉ์ƒ‰๊ณผ ๋ถ„ํ™์ƒ‰์˜ ํ•˜๋‹จ๋ถ€๋ฅผ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค.
12:07
I love the fact that he seems to be going off to war,
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๊ทธ๊ฐ€ ์ด์ œ ๋ง‰ ์”ป๊ณ ๋‚˜์„œ ์ „์Ÿ์— ๋‚˜๊ฐˆ ๊ฒƒ์ฒ˜๋Ÿผ
12:10
having just finished the washing up. (Laughter)
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๋ณด์ด๋Š” ๊ฒƒ๋„ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค.. (์›ƒ์Œ)
12:14
He seems also to have forgotten his sword.
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๊ฒ€์„ ๊ฐ€์ ธ๊ฐ€๋Š” ๊ฒƒ๋„ ์žŠ์€ ๊ฒƒ ๊ฐ™์•„์š”.
12:17
I love his pink little cheeks, his munchkin energy.
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๋ถ„ํ™์ƒ‰์˜ ์ž‘์€ ๋บจ, ๊ทธ์˜ ๊ท€์—ฌ์šด ์—๋„ˆ์ง€๋ฅผ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค.
12:19
In a way, he's become my sort of alter ego.
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์–ด๋–ค ๋ฉด์—์„œ ๊ทธ๋Š” ์ผ์ข…์˜ ์ œ ๋ถ„์‹ ์ด ๋˜์—ˆ์–ด์š”.
12:22
He's, I hope, a little bit dignified,
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์ €๋Š” ๊ทธ๊ฐ€ ์ข€ ํ’ˆ์œ„๊ฐ€ ์žˆ๊ธฐ๋ฅผ ์›ํ–ˆ์ง€๋งŒ
12:25
but mostly rather vulgar. (Laughter)
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์‚ฌ์‹ค ์ข€ ์ €์†ํ•œ ํŽธ์ด์—์š”. (์›ƒ์Œ)
12:30
And energetic, I hope, too.
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๊ทธ๋ฆฌ๊ณ  ๋˜ ์—๋„ˆ์ง€๊ฐ€ ๋„˜์น˜๊ธฐ๋ฅผ ์›ํ–ˆ์ฃ .
12:33
I let him into my life because the Sรจvres pink elephant vase allowed me to do so.
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๋ถ„ํ™์ƒ‰ ์ฝ”๋ผ๋ฆฌ ์„ธ๋ธŒ๋ฅด ํ•ญ์•„๋ฆฌ๊ฐ€ ์ œ๊ฒŒ ๊ทธ๋žฌ๋“ฏ์ด ๊ทธ๋ฅผ ์ œ ์‚ถ์— ๋“ค์–ด์˜ค๊ฒŒ ํ–ˆ์–ด์š”.
12:38
And before that Leonardo,
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๊ทธ๋ฆฌ๊ณ  ๋‹ค๋นˆ์น˜ ์ด์ „์—,
12:40
I understood that this object could become part of a journey for me every day,
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์ด ์ž‘ํ’ˆ์ด ์ œ ์ผ์ƒ์  ์—ฌ์ •์˜ ํ•œ ๋ถ€๋ถ„์ด ๋  ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ๊ฒŒ ๋˜์—ˆ์–ด์š”.
12:45
sitting in my office.
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์ œ ์‚ฌ๋ฌด์‹ค ํ•œ ์ผ ์—์„œ์š”.
12:48
I really hope that others, all of you,
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์ €๋Š” ๋‹ค๋ฅธ ๋ถ„๋“ค์ด, ์—ฌ๋Ÿฌ๋ถ„ ๋ชจ๋‘๊ฐ€
12:51
visiting objects in the museum,
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๋ฏธ์ˆ ๊ด€์— ์žˆ๋Š” ์ž‘ํ’ˆ๋“ค์„ ๋ณด๊ณ 
12:52
and taking them home and finding them for yourselves,
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์ง‘์œผ๋กœ ๊ฐ€์ง€๊ณ  ๊ฐ€์„œ ์—ฌ๋Ÿฌ๋ถ„๋“ค ์Šค์Šค๋กœ ๊ทธ๋Ÿฐ ๊ฒƒ๋“ค์„ ๋ฐœ๊ฒฌํ•œ๋‹ค๋ฉด
12:55
will allow those objects to flourish in your imaginative lives.
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์ด ์ž‘ํ’ˆ๋“ค์ด ์—ฌ๋Ÿฌ๋ถ„์˜ ์ƒ์ƒ๋ ฅ์žˆ๋Š” ์‚ถ์„ ํ’์š”๋กญ๊ฒŒ ํ•ด์ค„๊ฒ๋‹ˆ๋‹ค.
12:59
Thank you very much.
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๋งค์šฐ ๊ณ ๋ง™์Šต๋‹ˆ๋‹ค.
13:01
(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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