Brian Dettmer: Old books reborn as intricate art

158,381 views ใƒป 2015-02-06

TED


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

๋ฒˆ์—ญ: Bella Borahm Hur Vinha ๊ฒ€ํ† : Jeong-Lan Kinser
00:12
I'm an artist and I cut books.
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์ €๋Š” ์ฑ…์„ ์กฐ๊ฐํ•˜๋Š” ์˜ˆ์ˆ ๊ฐ€์ž…๋‹ˆ๋‹ค.
00:14
This is one of my first book works.
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์ฑ…์„ ์ด์šฉํ•œ ์ดˆ๊ธฐ์˜ ์ž‘ํ’ˆ๋“ค ์ค‘
00:16
It's called "Alternate Route to Knowledge."
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"์ง€์‹์„ ํ–ฅํ•œ ๋˜ ๋‹ค๋ฅธ ๊ธธ"์ž…๋‹ˆ๋‹ค.
00:18
I wanted to create a stack of books so that somebody could come into the gallery
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์‚ฌ๋žŒ๋“ค์ด ๊ฐค๋Ÿฌ๋ฆฌ์— ๋“ค์–ด์™€์„œ ์Œ“์—ฌ์žˆ๋Š” ์ฑ…๋“ค์„ ๋ดค์„ ๋•Œ
00:22
and think they're just looking at a regular stack of books,
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๊ทธ์ € ํ‰๋ฒ”ํ•œ ์ฑ…์ด๋ผ๊ณ  ์ƒ๊ฐํ•˜๋‹ค๊ฐ€๋„
00:24
but then as they got closer they would see this rough hole carved into it,
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๊ฐ€๊นŒ์ด ๋‹ค๊ฐ€๊ฐˆ์ˆ˜๋ก ๊ฑฐ์น ๊ฒŒ ํŒŒ์—ฌ์ง„ ๊ฒƒ์„ ๋ณด๊ณ 
00:28
and wonder what was happening, wonder why,
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๊ทธ๊ฒŒ ๋ฌด์—‡์ด๊ณ  ์™œ ์žˆ๋Š”์ง€์— ๋Œ€ํ•ด,
00:30
and think about the material of the book.
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๊ทธ ์†Œ์žฌ์— ๋Œ€ํ•ด ์ƒ๊ฐํ•ด๋ดค์œผ๋ฉด ํ•ฉ๋‹ˆ๋‹ค.
00:32
So I'm interested in the texture,
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์ „ ์ฑ…์˜ ์งˆ๊ฐ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ
00:34
but I'm more interested in the text and the images that we find within books.
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๊ทธ ์†์— ๋‹ด๊ธด ๊ธ€๊ณผ ์ด๋ฏธ์ง€์—๋„ ๊ด€์‹ฌ์„ ๊ฐ–๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
00:39
In most of my work, what I do is I seal the edges of a book with a thick varnish
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์ž‘์—…์„ ํ•  ๋•Œ, ์šฐ์„  ์ฑ…์˜ ๋ชจ์„œ๋ฆฌ์— ๋‘๊ป๊ฒŒ ๊ด‘ํƒ์ œ๋ฅผ ๋ฐœ๋ผ
00:43
so it's creating sort of a skin on the outside of the book
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๊ฒ‰๋ฉด์— ํ•˜๋‚˜์˜ ์ธต์„ ํ˜•์„ฑํ•˜๊ณ 
00:46
so it becomes a solid material, but then the pages inside are still loose,
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์•ˆ ์ชฝ์˜ ํŽ˜์ด์ง€๋“ค์€ ์—ฌ์ „ํžˆ ๋Š์Šจํ•˜์ง€๋งŒ ์™ธ๋ฉด์€ ๋‹จ๋‹จํ•˜๊ฒŒ ๋งŒ๋“ค์–ด ์ง‘๋‹ˆ๋‹ค.
00:50
and then I carve into the surface of the book,
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๊ทธ ๋‹ค์Œ์— ์ €๋Š” ์ฑ…์˜ ํ‘œ๋ฉด์—์„œ๋ถ€ํ„ฐ ์กฐ๊ฐ์„ ํ•ด ๋“ค์–ด๊ฐ‘๋‹ˆ๋‹ค.
00:52
and I'm not moving or adding anything.
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๊ธฐ์กด์˜ ๋‚ด์šฉ์„ ๋ฐ”๊พธ๊ฑฐ๋‚˜ ๋ฌด์–ธ๊ฐ€๋ฅผ ๋” ์ถ”๊ฐ€ ์‹œํ‚ค์ง€ ์•Š๊ณ 
00:54
I'm just carving around whatever I find interesting.
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๊ทธ์ € ํฅ๋ฏธ๋กœ์šด ๊ฒƒ๋“ค์˜ ์ฃผ์œ„๋ฅผ ์กฐ๊ฐํ•˜๋ฉด์„œ ์ž‘์—…ํ•ฉ๋‹ˆ๋‹ค.
00:57
So everything you see within the finished piece
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์™„์„ฑ๋œ ์ž‘ํ’ˆ์—์„œ ๋ณด์‹œ๋Š” ๊ฒƒ์€
01:00
is exactly where it was in the book before I began.
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์‹œ์ž‘ํ–ˆ์„ ๋•Œ ์ฑ…์— ์žˆ๋˜ ๋‚ด์šฉ ๊ทธ๋Œ€๋กœ์ž…๋‹ˆ๋‹ค.
01:04
I think of my work as sort of a remix, in a way,
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์ „ ์ œ ์ž‘์—…์ด ๋ฆฌ๋ฏน์Šค์™€ ๊ฐ™๋‹ค๊ณ  ๋ด…๋‹ˆ๋‹ค.
01:07
because I'm working with somebody else's material
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๋‹ค๋ฅธ ์‚ฌ๋žŒ์ด ๋งŒ๋“ค์–ด ๋†“์€ ์†Œ์žฌ๋ฅผ ๊ฐ€์ง€๊ณ 
01:09
in the same way that a D.J. might be working with somebody else's music.
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๋””์ œ์ด๊ฐ€ ๋‹ค๋ฅธ ์Œ์•…๊ฐ€์˜ ์Œ์•…์„ ๋ฆฌ๋ฏน์Šคํ•˜๋“ฏ ์ž‘์—…ํ•˜๋‹ˆ๊นŒ์š”.
01:12
This was a book of Raphael paintings, the Renaissance artist,
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๋ฅด๋„ค์ƒ์Šค์˜ ํ™”๊ฐ€์˜€๋˜ ๋ผํŒŒ์—˜์˜ ์ž‘ํ’ˆ์ด ๋‹ด๊ฒจ์žˆ๋˜ ์ฑ…์ž…๋‹ˆ๋‹ค.
01:16
and by taking his work and remixing it, carving into it,
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๊ทธ์˜ ์ž‘ํ’ˆ๋“ค์„ ๋ฆฌ๋ฏน์Šคํ•˜๋“ฏ ๊นŽ์•„๋‚ด๊ฐ€๋ฉด์„œ
01:21
I'm sort of making it into something that's more new and more contemporary.
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์ข€ ๋” ์ƒˆ๋กญ๊ณ  ํ˜„๋Œ€์ ์ธ ๊ฒƒ์œผ๋กœ ์žฌํƒ„์ƒ์‹œ์ผฐ์Šต๋‹ˆ๋‹ค.
01:25
I'm thinking also about breaking out of the box of the traditional book
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์ „ํ˜•์ ์ธ ์ฑ…์ด๋ผ๋Š” ํ‹€๊ณผ
01:29
and pushing that linear format,
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์ง์„ ์ ์ธ ํ˜•ํƒœ์—์„œ ๋ฒ—์–ด๋‚˜
01:31
and try to push the structure of the book itself
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์ฑ… ์ž์ฒด์— ๋Œ€ํ•œ ์กฐ์งํ˜•ํƒœ์˜ ํ•œ๊ณ„์— ๋„์ „ํ•˜๋Š” ๊ฒƒ์„ ์‹œ๋„ํ•ด์„œ
01:35
so that the book can become fully sculptural.
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์ฑ…์ด ์™„์ „ํ•œ ์กฐ๊ฐํ’ˆ์ฒ˜๋Ÿผ ๋  ์ˆ˜ ์žˆ๋„๋ก ๋งŒ๋“œ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:41
I'm using clamps and ropes and all sorts of materials, weights,
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์ง‘๊ฒŒ์™€ ์ค„ ์™ธ์—๋„ ๋‹ค์–‘ํ•œ ์žฌ๋ฃŒ์™€ ๋ฌด๊ฒŒ๊ฐ€ ์žˆ๋Š” ๊ฒƒ๋“ค์„ ์‚ฌ์šฉํ•ด์„œ
01:45
in order to hold things in place before I varnish
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๊ด‘ํƒ์ œ๋ฅผ ๋ฐ”๋ฅด๊ธฐ ์ „์— ์ฑ…์„ ๋ˆŒ๋Ÿฌ ๋†“์Šต๋‹ˆ๋‹ค.
01:48
so that I can push the form before I begin,
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์ž‘์—…์„ ์‹œ์ž‘ํ•˜๊ธฐ ์ „ ์ด ๊ณผ์ •์„ ๊ฑฐ์น˜๊ณ  ๋‚˜๋ฉด,
01:50
so that something like this can become a piece like this,
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์ฒ˜์Œ์—” ์ด๋žฌ๋˜ ์ฑ…์ด ์ด๋Ÿฐ ์ž‘ํ’ˆ์œผ๋กœ ๋ฐ”๋€Œ๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
01:55
which is just made from a single dictionary.
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๋‹จ ํ•˜๋‚˜์˜ ์‚ฌ์ „์„ ์ด์šฉํ•œ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
01:58
Or something like this can become a piece like this.
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์•„๋‹ˆ๋ฉด ์ด๋žฌ๋˜ ์ฑ…์ด ์ด๋ ‡๊ฒŒ ๋ฐ”๋€๋‹ˆ๋‹ค.
02:06
Or something like this,
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์ด๋ ‡๊ฒŒ ๋ณด์˜€๋˜ ์ฑ…๋“ค์ด
02:08
which who knows what that's going to be or why that's in my studio,
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๋ฌด์—‡์œผ๋กœ ๋‹ค์‹œ ํƒ„์ƒ๋ ์ง€, ์™œ ์ œ ์ž‘์—…์‹ค์— ์žˆ๋Š”์ง€ ์•„๋ฌด๋„ ๋ชจ๋ฅด์ง€๋งŒ
02:12
will become a piece like this.
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์ด๋Ÿฐ ์ž‘ํ’ˆ์œผ๋กœ๋„ ๋ฐ”๋€๋‹ˆ๋‹ค.
02:16
So I think one of the reasons people are disturbed by destroying books,
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์‚ฌ๋žŒ๋“ค์€ ๋Œ€๋ถ€๋ถ„ ์ฑ…์„ ํŒŒ๊ดดํ•˜๊ฑฐ๋‚˜
02:20
people don't want to rip books
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์ฐข๋Š” ๊ฒƒ์— ๊ฑฐ๋ถ€๊ฐ์„ ์ผ์œผํ‚ค๊ณ  ๊ตณ์ด ๋ฒ„๋ฆฌ๊ณ  ์‹ถ์–ดํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
02:22
and nobody really wants to throw away a book,
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02:24
is that we think about books as living things,
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๊ทธ ์ด์œ ๋Š” ์ฑ…์„ ์ƒ๋ช…์ด ์žˆ๋Š” ๋ฌผ์ฒด๋ผ๊ณ  ์—ฌ๊ธฐ๊ธฐ ๋•Œ๋ฌธ์ด๋ผ ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
02:26
we think about them as a body,
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02:28
and they're created to relate to our body, as far as scale,
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์ฑ…์€, ๊ทธ ๊ทœ๋ชจ๋ฉด์—์„œ ๋ณผ ๋•Œ, ์šฐ๋ฆฌ๊ฐ€ ๊ฐ€๊นŒ์ด ํ•˜๋Š” ๋ฌผ์ฒด์ด๊ธฐ๋„ ํ•˜์ง€๋งŒ
02:31
but they also have the potential to continue to grow
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๋‚˜๋ฆ„๋Œ€๋กœ ์ง€์†์ ์œผ๋กœ ๋ฐœ์ „ํ•˜๊ณ  ์ƒˆ ๊ฒƒ์œผ๋กœ ํƒ„์ƒํ•  ์ˆ˜ ์žˆ๋Š” ๋ฌผ์ฒด์ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
02:33
and to continue to become new things.
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02:35
So books really are alive.
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๊ทธ๋Ÿฌ๋ฏ€๋กœ ์ฑ…์ด๋ผ๋Š” ๊ฒƒ์€ ์ง„์ • ์‚ด์•„์žˆ์Šต๋‹ˆ๋‹ค.
02:38
So I think of the book as a body,
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์ €๋Š” ์ฑ…์ด ๊ทธ ์ž์ฒด๋กœ ํ•˜๋‚˜์˜ ์ƒ๋ช…์ฒด์ด๊ณ  ๊ณผํ•™ ๊ธฐ์ˆ ์ด๋ผ๊ณ  ์ƒ๊ฐํ•˜๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
02:40
and I think of the book as a technology.
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02:43
I think of the book as a tool.
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๋˜ํ•œ ์ฑ…์ด ํ•˜๋‚˜์˜ ๋„๊ตฌ์ด๊ฑฐ๋‚˜
02:48
And I also think of the book as a machine.
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๊ธฐ๊ณ„์ผ ์ˆ˜๋„ ์žˆ๊ณ ,
02:52
I also think of the book as a landscape.
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๋˜ํ•œ ํ•˜๋‚˜์˜ ํ’๊ฒฝ์œผ๋กœ ๋ฐ”๋€” ์ˆ˜๋„ ์žˆ๋‹ค๊ณ  ๋ด…๋‹ˆ๋‹ค.
02:54
This is a full set of encyclopedias that's been connected and sanded together,
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์ด๊ฒƒ์€ ๋ฐฑ๊ณผ์‚ฌ์ „ ํ•œ ์„ธํŠธ๋ฅผ ์ „๋ถ€ ๋ถ™์ด๊ณ  ์‚ฌํฌ์งˆ์„ ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:59
and as I carve through it,
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์กฐ๊ธˆ์”ฉ ๊นŽ์•„๋‚ด๊ฐ€๋ฉด์„œ
03:01
I'm deciding what I want to choose.
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์–ด๋–ค๊ฒƒ์„ ์„ ํƒํ•  ์ง€ ๊ณ ๋ฏผํ•ฉ๋‹ˆ๋‹ค.
03:03
So with encyclopedias, I could have chosen anything,
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๋ฐฑ๊ณผ์‚ฌ์ „์˜ ๊ฒฝ์šฐ, ์„ ํƒ์˜ ์š”์†Œ๋“ค์ด ๋งŽ์ง€๋งŒ
03:05
but I specifically chose images of landscapes.
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๊ทธ ์ค‘์— ํ’๊ฒฝ์ด ๋‹ด๊ธด ์ด๋ฏธ์ง€๋“ค์„ ์„ ํƒํ–ˆ์Šต๋‹ˆ๋‹ค.
๊ทธ๋ฆฌ๊ณ  ์‚ฌํฌ๋ฅผ ์ด์šฉํ•ด
03:10
And with the material itself, I'm using sandpaper
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03:12
and sanding the edges so not only the images suggest landscape,
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๋ชจ์„œ๋ฆฌ๋ฅผ ๋ฌธ์ง€๋ฆ„์œผ๋กœ ํ•ด์„œ, ์ด๋ฏธ์ง€๋“ค๋ฟ๋งŒ ์•„๋‹ˆ๋ผ
03:16
but the material itself suggests a landscape as well.
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์ฑ…์ด๋ผ๋Š” ์†Œ์žฌ ์ž์ฒด๋„ ํ’๊ฒฝ์„ ์—ฐ์ƒ์‹œํ‚ค๋„๋ก ํ–ˆ์Šต๋‹ˆ๋‹ค.
03:21
So one of the things I do is when I'm carving through the book,
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์ฑ…์„ ๊ฑฐ์น˜๋ฉฐ ์กฐ๊ฐํ•  ๋•Œ ์ œ๊ฐ€ ํ•˜๋Š” ์ผ ์ค‘ ํ•˜๋‚˜๋Š”
03:24
I'm thinking about images, but I'm also thinking about text,
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์ฑ…์˜ ์ด๋ฏธ์ง€๋„ ์ƒ๊ฐํ•˜์ง€๋งŒ ์ฑ… ๋‚ด์šฉ์˜ ๊ธ€๋„ ์—ผ๋‘์— ๋‘๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
03:28
and I think about them in a very similar way,
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๊ธ€์€ ์ด๋ฏธ์ง€์™€ ์œ ์‚ฌํ•˜๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
03:30
because what's interesting is that when we're reading text,
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์šฐ๋ฆฌ๊ฐ€ ๊ธ€์˜ ๋‚ด์šฉ์„ ์ฝ๊ฑฐ๋‚˜
03:33
when we're reading a book,
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์ฑ…์„ ์ฝ์„ ๋•Œ,
03:35
it puts images in our head,
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๋จธ๋ฆฟ์†์— ๊ทธ ์ฑ…์˜ ์ด๋ฏธ์ง€๋ฅผ ๋จธ๋ฆฟ์†์— ๋‹ด์Šต๋‹ˆ๋‹ค.
03:36
so we're sort of filling that piece.
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๊ทธ ๊ธ€์˜ ๊ฐ ๋ถ€๋ถ„๋“ค์„ ๋จธ๋ฆฟ์†์— ๋ฉ”๊พธ๊ณ 
03:38
We're sort of creating images when we're reading text,
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๋‚ด์šฉ์„ ์ฝ์œผ๋ฉด์„œ ์ด๋ฏธ์ง€๋ฅผ ๋งŒ๋“ค์–ด๊ฐ‘๋‹ˆ๋‹ค.
03:42
and when we're looking at an image, we actually use language
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๋˜ํ•œ, ํ•˜๋‚˜์˜ ์ด๋ฏธ์ง€๋ฅผ ๋ณผ ๋•Œ์—๋Š”
03:44
in order to understand what we're looking at.
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๊ทธ๊ฒƒ์„ ์ดํ•ดํ•˜๊ธฐ ์œ„ํ•ด ์–ธ์–ด๋ฅผ ์‚ฌ์šฉํ•ฉ๋‹ˆ๋‹ค.
03:47
So there's sort of a yin-yang that happens,
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๋งˆ์น˜ ์Œ์–‘์˜ ์กฐํ™”๊ฐ€ ์ด๋ฃจ์–ด์ง€๋ฉด์„œ
03:49
sort of a flip flop.
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์•ž๋ฉด๊ณผ ๋’ท๋ฉด์„ ๋„˜๊ธฐ๋“ฏ์ด ๋ง์ด์ฃ .
03:51
So I'm creating a piece that the viewer is completing themselves.
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๋ณด๋Š” ์ด๊ฐ€ ์ง์ ‘ ๊ทธ ๊ฒฝํ—˜์„ ์™„์„ฑํ•ด๊ฐ€๋Š” ์ž‘ํ’ˆ์„ ๋งŒ๋“œ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
03:57
And I think of my work as almost an archaeology.
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์ œ ์ž‘์—…์€ ๋งˆ์น˜ ๊ณ ๊ณ ํ•™์—์„œ ๊ทธ๋ ‡๊ฒŒ ํ•˜๋Š” ๊ฒƒ์ฒ˜๋Ÿผ
04:00
I'm excavating and I'm trying to maximize the potential
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๋ฌด์–ธ๊ฐ€๋ฅผ ๋ฐœ๊ตดํ•ด์„œ ๊ทธ๊ฒƒ์˜ ๊ฐ€๋Šฅ์„ฑ์„
04:03
and discover as much as I possibly can
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์ตœ๋Œ€ํ•œ ์‚ด๋ฆฌ๊ณ  ์ œ ์ž‘ํ’ˆ์„ ํ†ตํ•ด
04:06
and exposing it within my own work.
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๊ทธ๊ฒƒ์„ ๋“œ๋Ÿฌ๋‚ด๋ ค๊ณ  ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:10
But at the same time,
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ํ•˜์ง€๋งŒ ๊ทธ์™€ ๋™์‹œ์—
04:11
I'm thinking about this idea of erasure,
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์ง€์›€๊ณผ ์‚ญ์ œ๋ผ๋Š” ๊ฒƒ์„ ๋˜๋Œ์•„๋ณด๊ณ ,
04:13
and what's happening now that most of our information is intangible,
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์š”์ฆ˜ ์‹œ๋Œ€์— ์šฐ๋ฆฌ๊ฐ€ ์ ‘ํ•˜๋Š” ๋ฌดํ˜•์˜ ์ •๋ณด์™€
04:18
and this idea of loss,
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๊ทธ ์ •๋ณด์˜ ์†์‹ค์— ๋Œ€ํ•ด ์ƒ๊ฐํ•ด๋ด…๋‹ˆ๋‹ค.
04:21
and this idea that not only is the format constantly shifting within computers,
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์ปดํ“จํ„ฐ์˜ ํ˜•์‹์ด ๋Š์ž„์—†์ด ๋ณ€ํ™”ํ•˜๋Š” ๊ฒƒ ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ
04:25
but the information itself,
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์ •๋ณด ๊ทธ ์ž์ฒด ์—ญ์‹œ
04:28
now that we don't have a physical backup,
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๋ฌผ์งˆ์ ์ธ ๋ฐฑ์—… ์‹œ์Šคํ…œ์ด ์—†๋‹ค๋ณด๋‹ˆ
04:30
has to be constantly updated in order to not lose it.
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์ง€์†์ ์œผ๋กœ ์—…๋ฐ์ดํŠธ๋˜์–ด์•ผ๋งŒ ์ •๋ณด์˜ ์†์‹ค์„ ๋ง‰์Šต๋‹ˆ๋‹ค.
04:35
And I have several dictionaries in my own studio,
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์ž‘์—…์‹ค์—๋Š” ์‚ฌ์ „์ด ์—ฌ๋Ÿฌ ๊ถŒ ์žˆ์ง€๋งŒ
04:38
and I do use a computer every day,
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์ปดํ“จํ„ฐ๋ฅผ ๋งค์ผ ์‚ฌ์šฉํ•˜๊ธฐ ๋•Œ๋ฌธ์—
04:41
and if I need to look up a word, I'll go on the computer,
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๋ชจ๋ฅด๋Š” ๋‹จ์–ด๊ฐ€ ์žˆ์„ ๋•Œ๋Š” ๊ทธ๋•Œ๋งˆ๋‹ค ์ปดํ“จํ„ฐ๋กœ ๊ฒ€์ƒ‰ํ•ด๋ด…๋‹ˆ๋‹ค.
04:43
because I can go directly and instantly to what I'm looking up.
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์ œ๊ฐ€ ์ง์ ‘๊ฐ€์„œ ์ฐพ๊ณ ์ž ํ•˜๋Š” ๊ฒƒ์„ ์ฆ‰์‹œ ๋ณผ ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
์‚ฌ์‹ค ์ฑ…์ด๋ผ๋Š” ๊ฒƒ์ด ํšจ์œจ์ ์œผ๋กœ
04:47
I think that the book was never really
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04:49
the right format for nonlinear information,
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๋น„์„ ํ˜•์˜ ์ •๋ณด๋ฅผ ์ „๋‹ฌํ•˜๋Š” ์ˆ˜๋‹จ์€ ์•„๋‹ˆ๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
04:52
which is why we're seeing reference books
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์ฐธ๊ณ ์„œ๋“ค์ด ๋” ์ด์ƒ ์‚ฌ์šฉ๋˜์ง€ ์•Š๊ณ  ๊ฑฐ์˜ ๋ฉธ์ข… ์œ„๊ธฐ์— ๋†“์ธ
04:54
becoming the first to be endangered or extinct.
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์ฒซ๋ฒˆ์งธ ์‚ฌ๋ก€๊ฐ€ ๋œ ์ด์œ ๊ฐ€ ์•„๋‹Œ๊ฐ€ ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
05:01
So I don't think that the book will ever really die.
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์ฑ…์ด๋ผ๋Š” ๊ฒƒ์ด ์˜์›ํžˆ ์‚ฌ๋ผ์ง€์ง€๋Š” ์•Š์„ ๊ฒ๋‹ˆ๋‹ค.
05:04
People think that now that we have digital technology,
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๋””์ง€ํ„ธ ๊ธฐ์ˆ ์˜ ๋ฐœ์ „์œผ๋กœ ์ธํ•ด
05:08
the book is going to die,
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์ฑ…์ด ์—†์–ด์งˆ๊ฑฐ๋ผ๊ณ  ํ•˜์ง€๋งŒ,
05:10
and we are seeing things shifting and things evolving.
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์šฐ๋ฆฌ๊ฐ€ ๋ชฉ๊ฒฉํ•˜๋Š” ๊ฒƒ์€ ๋ณ€๋™๊ณผ ์ง„ํ™”๊ฐ€ ์ด๋ฃจ์–ด์ง€๊ณ  ์žˆ์–ด
05:13
I think that the book will evolve,
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์ฑ… ์—ญ์‹œ ์ง„ํ™”ํ•  ๊ฒƒ์ด๋ผ๊ณ  ๋ด…๋‹ˆ๋‹ค.
05:15
and just like people said painting would die
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์‚ฌ์ง„๊ธฐ์ˆ ๊ณผ ํ”„๋ฆฐํŠธ ์ œ์ž‘๋ฒ•์ด ์ผ์ƒํ™” ๋˜์ž ํšŒํ™”๊ธฐ๋ฒ•์ด ๋ฉธ์ข…ํ•  ๊ฒƒ์ด๋ผ๊ณ  ์˜ˆ์ธกํ–ˆ์—ˆ์ง€๋งŒ
05:18
when photography and printmaking became everyday materials,
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05:23
but what it really allowed painting to do
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์‚ฌ์‹ค์ƒ ๊ฒฐ๊ณผ์ ์œผ๋กœ ํšŒํ™”๊ธฐ๋ฒ•์— ํ—ˆ์šฉํ•œ ๊ฒƒ์€ ํ—ˆ๋“œ๋ ›์ผ์„ ๊ทธ๋งŒ๋‘” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
05:25
was it allowed painting to quit its day job.
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05:27
It allowed painting to not have to have that everyday chore of telling the story,
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๋” ์ด์ƒ ์ผ์ƒ์ ์ธ ์„ธ๋ฐ€๋ฌ˜์‚ฌ ์ž‘์—…์„ ํ•  ํ•„์š”์„ฑ์ด ์—†์–ด์ง€๊ฒŒ ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
05:34
and painting became free and was allowed to tell its own story,
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๊ทธ๊ฒƒ์€ ์ž‘๊ฐ€๊ฐ€ ์ž์œ ๋กœ์ด ์ž์‹ ์„ ํ‘œํ˜„ํ•  ์ˆ˜ ์žˆ๊ฒŒ ๋˜๋Š” ๊ณ„๊ธฐ๊ฐ€ ๋˜์—ˆ์ฃ .
05:37
and that's when we saw Modernism emerge,
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์ด๋ ‡๊ฒŒ ๋ชจ๋”๋‹ˆ์ฆ˜์ด ๋‚˜ํƒ€๋‚˜๊ฒŒ ๋˜์—ˆ๊ณ ,
05:39
and we saw painting go into different branches.
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ํšŒํ™”๋Š” ์—ฌ๋Ÿฌ ๋ฐฉ๋ฉด์œผ๋กœ ๋ป—์–ด๋‚˜๊ฐ”์Šต๋‹ˆ๋‹ค.
05:41
And I think that's what's happening with books now,
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์ด๊ฒŒ ํ˜„์žฌ ์ฑ…์ด๋ผ๋Š” ๋งค์ฒด์—์„œ ์ผ์–ด๋‚˜๊ณ  ์žˆ๋Š” ์ƒํ™ฉ์ž…๋‹ˆ๋‹ค.
05:44
now that most of our technology, most of our information,
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๊ฑฐ์˜ ๋Œ€๋ถ€๋ถ„์˜ ๊ธฐ์ˆ ๊ณผ ์ •๋ณด์™€ ๊ฐœ์ธ์ , ๋ฌธํ™”์  ๊ธฐ๋ก๋“ค์ด ๋””์ง€ํ„ธํ™” ๋˜์–ด๊ฐ์— ๋”ฐ๋ผ
05:46
most of our personal and cultural records are in digital form,
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์ฑ…์ด ์ƒˆ๋กœ์šด ํ˜•ํƒœ๋กœ ์žฌํƒ„์ƒํ•  ์ˆ˜ ์žˆ๋Š” ๊ธฐํšŒ๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
05:51
I think it's really allowing the book to become something new.
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05:54
So I think it's a very exciting time for an artist like me,
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์ €๊ฐ™์€ ์˜ˆ์ˆ ๊ฐ€๋“ค์—๊ฒŒ๋Š” ์ƒ๋‹นํžˆ ๋งˆ์Œ์„ ์„ค๋ ˆ๊ฒŒ ํ•˜๋Š” ์‹œ๊ธฐ์ด๋ฉฐ,
05:56
and it's very exciting to see what will happen with the book in the future.
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๋ฏธ๋ž˜์—๋Š” ์ฑ…์ด ์–ด๋–ค ์‹์œผ๋กœ ์ง„ํ™”ํ•  ์ง€์— ๋Œ€ํ•œ ๊ท€์ถ”๊ฐ€ ์ฃผ๋ชฉ๋ฉ๋‹ˆ๋‹ค.
๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
06:00
Thank you.
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06:01
(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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