Alwar Balasubramaniam: Art of substance and absence

26,869 views ใƒป 2010-09-08

TED


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

๋ฒˆ์—ญ: Jung-Eun Kim ๊ฒ€ํ† : Bianca Lee
00:16
The moment I say "school,"
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"ํ•™๊ต"๋ผ๋Š” ๋‹จ์–ด๋Š” ์ œ๊ฒŒ
00:18
so many memories come back to me.
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์ˆ˜๋งŽ์€ ๊ธฐ์–ต๋“ค์„ ๋– ์˜ฌ๋ฆฌ๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
00:22
It's like after every exam, when I walk out,
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์˜ˆ๋ฅผ ๋“ค๋ฉด ์ด๋Ÿฐ ๊ฑฐ์ฃ : ์‹œํ—˜์„ ๋ณด๊ณ  ๋‚˜์˜ค๋Š”๋ฐ
00:25
the teacher would say, "Hey, come.
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์„ ์ƒ๋‹˜์ด "์–˜, ์‹œํ—˜ ์ž˜ ๋ดค๋‹ˆ?"
00:27
How did you do?"
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๋ผ๊ณ  ๋ฌผ์œผ์‹œ๊ธฐ์—
00:29
I would say with a great smile, "I will definitely pass."
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ํฌ๊ฒŒ ๋ฏธ์†Œ์ง€์œผ๋ฉฐ "ํ™•์‹คํžˆ ํ†ต๊ณผํ•  ๊ฑฐ์˜ˆ์š”."๋ผ๊ณ  ๋งํ–ˆ๋˜ ๊ธฐ์–ต.
00:31
And I didn't understand why,
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์ œ๊ฐ€ ์ดํ•ดํ•  ์ˆ˜ ์—†๋Š” ๊ฒŒ,
00:33
in one hand they say, "Speak the truth,"
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์‚ฌ๋žŒ๋“ค์€ "์ง„์‹ค์„ ๋งํ•ด์•ผ ํ•œ๋‹ค"๊ณ  ํ•˜๋ฉด์„œ๋„
00:35
in the other hand, when you say the truth, they hated you.
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์‚ฌ์‹ค๋Œ€๋กœ ๋งํ•˜๋Š” ์‚ฌ๋žŒ์„ ์‹ซ์–ดํ•œ๋‹ค๋Š” ๊ฒ๋‹ˆ๋‹ค.
๊ทธ๋Ÿฐ ๊ฒŒ ๊ณ„์† ์ด์–ด์กŒ๊ณ 
00:38
So it went on like that,
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00:39
and I didn't know where else to find myself.
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์ „ ์ œ ์ž์‹ ์„ ์–ด๋””์„œ ์ฐพ์•„์•ผ ํ• ์ง€ ๋ชฐ๋ž์ฃ .
00:42
So I remember those nights
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๋ฐค์ด๋ฉด '์•Œ๋ ค์ ธ ์žˆ์ง€ ์•Š์€ ์–ด๋–ค ์กด์žฌ'์—๊ฒŒ
00:44
I used to go to sleep
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๋„์›€์„ ์ฒญํ•˜๋Š” ๊ธฐ๋„๋ฅผ ํ•˜๋ฉฐ
00:46
with asking help from [the] Unknown
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์ž ์ด ๋“ค๊ณค ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:49
because, for some reason,
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์™œ๋ƒํ•˜๋ฉด, ์–ด๋–ค ์ด์œ ์—์„œ์˜€๋Š”์ง€
00:51
I couldn't believe what my father and mother
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์ €๋Š” ๋ถ€๋ชจ๋‹˜์ด ๋ฟŒ์ž(๊ฐ„๋‹จํ•œ ์ œ์‚ฌ์˜์‹) ๋ฐฉ์— ๊ฑธ์–ด๋†“์€
00:53
hanged in the Puja room as a god,
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์‹ ์˜ ํ˜•์ƒ์„ ๋ฏฟ์„ ์ˆ˜ ์—†์—ˆ๊ฑฐ๋“ ์š”.
00:56
because my friend's family
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์ œ ์นœ๊ตฌ ๊ฐ€์กฑ์€ ๋‹ค๋ฅธ ๊ฒƒ์„
00:58
had something else as a god.
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์‹ ์œผ๋กœ ์„ฌ๊ธฐ๊ณ  ์žˆ์–ด์„œ์˜€์„ ๊ฒ๋‹ˆ๋‹ค.
01:00
So I thought, "I guess I'll pray to [the] Unknown
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์ „ ์ด๋ ‡๊ฒŒ ์ƒ๊ฐํ•œ๊ฑฐ์ฃ . "๋‹ค๋ฅธ ์‚ฌ๋žŒ์€ ๋ชจ๋ฅด๋Š” ์กด์žฌ์—๊ฒŒ ๊ธฐ๋„ํ•˜๊ณ 
01:02
and ask help,"
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๋„์›€์„ ์ฒญํ•ด์•ผ๊ฒ ๋‹ค."
01:05
and started getting help from everywhere,
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๊ทธ๋ฆฌ๊ณ  ๋‚˜์„œ ์˜จ๊ฐ– ๊ณณ์—์„œ ๋„์›€์„ ๋ฐ›๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:07
each and every corner of my life at that time.
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๋‹น์‹œ ์ œ ์‚ถ์˜ ๋ชจ๋“  ๊ตฌ์„๊ตฌ์„์œผ๋กœ๋ถ€ํ„ฐ ๋ง์ด์ฃ .
01:11
My brothers started giving me a few tips about drawing and painting.
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์ œ ํ˜•์ œ๋“ค์ด ์ œ๊ฒŒ ๊ทธ๋ฆผ ๊ทธ๋ฆฌ๊ธฐ์™€ ์ฑ„์ƒ‰์„ ์•Œ๋ ค์ฃผ๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:14
Then, when I was in eighth standard
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๊ทธ๋Ÿฌ๋‹ค๊ฐ€ 8ํ•™๋…„ ์ •๋„,
01:17
around 13 years old,
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๋Œ€๋žต 13์‚ด ์ •๋„ ๋˜์—ˆ์„ ๋•Œ
01:20
I started working in a part-time job
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Putu๋ผ๋Š” ๊ฐ„ํŒํ™”๊ฐ€์˜ ๋ฐ‘์—์„œ
01:22
in one of the signboard artists called Putu.
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์•„๋ฅด๋ฐ”์ดํŠธ๋ฅผ ํ•˜๊ฒŒ ๋˜์—ˆ๋Š”๋ฐ
01:28
And then school also started supporting me.
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์ดํ›„ ํ•™๊ต์—์„œ๋„ ์ ˆ ์ง€์›ํ•ด์ฃผ๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:30
"Oh, he's bad at studies,
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"์ด ์•„์ด๋Š” ๊ณต๋ถ€๋Š” ๋ชปํ•˜์ง€๋งŒ
01:32
but let him send to the drawing competitions."
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๊ทธ๋ฆผ์„ ์ž˜ ๊ทธ๋ฆฌ๋‹ˆ๊นŒ ๊ทธ๋ฆผ ๋Œ€ํšŒ์— ๋‚ด๋ณด๋‚ด ๋ณด์ž."
01:35
So it was good to survive with that little tool
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ํ•™๊ต์—์„œ ์ด๋ ‡๊ฒŒ ์ €๋งŒ์˜ ์—ญํ• ์„ ๊ฐ–๊ฒŒ ๋˜์ž
01:38
that I found to find my own place in school.
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์‚ด์•„๋‚˜๊ฐ€๋Š” ๊ฒŒ ํ•œ๊ฒฐ ์ˆ˜์›”ํ•ด ์กŒ์ฃ .
01:42
And one of those competitions,
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ํ•˜๋ฃจ๋Š” ๊ทธ๋Ÿฐ ๋Œ€ํšŒ๋“ค ์ค‘ ํ•˜๋‚˜์—์„œ
01:44
I just won a small, little transistor Philips radio.
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์ž‘์€ ํŠธ๋žœ์ง€์Šคํ„ฐ ํ•„๋ฆฝ์Šค ๋ผ๋””์˜ค๋ฅผ ํƒ”์Šต๋‹ˆ๋‹ค.
01:47
And I didn't have the patience to wait
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์ง‘์— ๊ฐˆ ๋•Œ๊นŒ์ง€ ๋„์ €ํžˆ ๋ผ๋””์˜ค๋ฅผ
01:49
until I reached home.
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๋“ค๊ณ ๋งŒ ์žˆ์„ ์ˆ˜ ์—†์–ด
01:51
So I just switched on in the train, loudly.
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๊ฒฐ๊ตญ ๊ธฐ์ฐจ์—์„œ ํฌ๊ฒŒ ํ‹€์–ด๋ณด์•˜์ฃ .
01:53
If you travel in Indian trains,
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์ธ๋„์—์„œ ๊ธฐ์ฐจ๋ฅผ ํƒ€์‹œ๋ฉด ์‹ฌ์‹ฌ์ฐฎ๊ฒŒ
01:55
you can see people listening to radio
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์‚ฌ๋žŒ๋“ค์ด ๋ผ๋””์˜ค๋ฅผ ๋“ฃ๋Š” ๊ฑธ ๋ณด์‹ค ์ˆ˜ ์žˆ์–ด์š”.
01:57
and, you know, even from their mobiles.
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ํ•ธ๋“œํฐ์œผ๋กœ ๋“ฃ๊ธฐ๋„ ํ•˜์ฃ .
01:59
So at that time -- and I was 13 --
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๊ทธ ๋•Œ ์ œ๊ฐ€ 13์‚ด์ด์—ˆ๋Š”๋ฐ
02:01
and I was listening to just radio,
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๋ผ๋””์˜ค๋ฅผ ๋“ฃ๊ณ  ์žˆ์œผ๋ ค๋‹ˆ๊นŒ
02:04
and someone happened to sit next to me,
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์–ด๋–ค ์‚ฌ๋žŒ์ด ์ œ ์˜†์— ์™€์„œ ์•‰๋”๊ตฐ์š”.
02:06
like these three people are sitting here.
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์—ฌ๊ธฐ ์•‰์•„์žˆ๋Š” ์„ธ ์‚ฌ๋žŒ์ฒ˜๋Ÿผ์š”.
02:08
You know, like just adjacent to me.
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๋ฐ”๋กœ ์ œ ์˜†์— ๋ถ™์–ด์„œ ๋ง์ด์ฃ .
02:10
He just started asking, "Where did you buy the radio? How much is it?"
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๊ทธ๋ฆฌ๊ณค ์ œ๊ฒŒ ๋ฌผ์—ˆ์Šต๋‹ˆ๋‹ค. "๋ผ๋””์˜ค ์–ด๋””์„œ ์ƒ€๋‹ˆ? ์–ผ๋งˆ์•ผ?"
02:13
I said, "It's a prize from [an] art competition."
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์ €๋Š” "๋ฏธ์ˆ ๋Œ€ํšŒ ์ƒ์œผ๋กœ ๋ฐ›์•˜์–ด์š”."๋ผ๊ณ  ๋Œ€๋‹ตํ–ˆ๊ณ 
02:16
And he said, "Oh, I teach at a college of arts.
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๊ทธ๋Š” "์™€, ๋‚˜๋Š” ์˜ˆ์ˆ ๋Œ€ํ•™์—์„œ ํ•™์ƒ๋“ค์„ ๊ฐ€๋ฅด์น˜๊ณ  ์žˆ์–ด.
02:19
I think
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๋‚ด ์ƒ๊ฐ์—
02:21
you should study in a school of art.
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๋„ˆ๋Š” ๋ฏธ๋Œ€๋กœ ์ง„ํ•™ํ•˜๋ฉด ์ข‹์„ ๊ฒƒ ๊ฐ™์•„.
02:23
You just quit school and come there."
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ํ•™๊ต ๊ทธ๋งŒ๋‘๊ณ  ๊ฑฐ๊ธฐ๋กœ ์˜ค๋ ด." ํ•˜๋”๊ตฐ์š”.
02:25
So, why I'm telling you this,
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์ž ์—ฌ๋Ÿฌ๋ถ„, ์ƒ๊ฐํ•ด๋ณด์„ธ์š”,
02:27
you know, maybe, you know,
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์–ด์ฉŒ๋ฉด, ์ •๋ง ์–ด์ฉŒ๋ฉด,
02:29
whoever is sitting next to you can change your whole life -- it's possible.
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์ง€๊ธˆ ์—ฌ๋Ÿฌ๋ถ„ ์˜†์— ์•‰์•„ ๊ณ„์‹  ๋ถ„๋“ค์ด ์—ฌ๋Ÿฌ๋ถ„ ์ธ์ƒ์„ ํ†ต์งธ๋กœ ๋ฐ”๊ฟ” ๋†“์„ ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
02:32
It is that we need we need to be open and fine-tuned.
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์ง„์งœ์˜ˆ์š”. ์šฐ๋ฆฐ ํ•ญ์ƒ ์—ด๋ฆฐ ๋งˆ์Œ์œผ๋กœ ํƒ€์ธ๊ณผ ๊ณต๊ฐํ•  ์ค„ ์•Œ์•„์•ผ ํ•ฉ๋‹ˆ๋‹ค.
02:36
So that's what made me enter
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์–ด์จŒ๋“  ์ด ์ผ๋กœ ์ธํ•ด ์ €๋Š”
02:39
[the] college of arts after three attempts
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์„ธ ๋ฒˆ์˜ ์‹œ๋„ ๋์— ๋ฏธ์ˆ ๋Œ€ํ•™์— ์ž…ํ•™ํ–ˆ๊ณ ,
02:42
and just continue to inquire
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์ œ๊ฐ€ ๋ฏธ์ˆ , ๋˜ ์ž‘ํ’ˆ์„ ํ†ตํ•ด
02:45
what I really want to do with art work, or art
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๋ฌด์—‡์„ ํ•˜๊ณ  ์‹ถ์€์ง€ ์˜ค๋ž˜ ๊ณ ๋ฏผํ•ด๋ณธ ๊ฒฐ๊ณผ๋กœ
02:48
and finally I'm here in front of you.
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์ง€๊ธˆ ์ด๋ ‡๊ฒŒ ์—ฌ๋Ÿฌ๋ถ„ ์•ž์— ์„œ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
02:50
When I look back, you know,
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๊ทธ๋•Œ ๊ทธ ์‹œ์ ˆ์—์„œ๋ถ€ํ„ฐ
02:52
on what happened between that time
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์ง€๊ธˆ, ์—ฌ๊ธฐ์— ์ด๋ฅด๊ธฐ๊นŒ์ง€
02:54
and now here --
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์–ด๋–ค ์ผ๋“ค์ด ์žˆ์—ˆ๋Š”์ง€๋ฅผ ๋Œ์•„๋ณด๋ฉด,
02:57
the last 10/15 years --
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์ง€๋‚œ 10, 15๋…„๊ฐ„์€
02:59
I can see that most of the works
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์ œ ์ž‘ํ’ˆ๋“ค์ด ํฌ๊ฒŒ ์„ธ ๊ฐ€์ง€์˜
03:01
revolve around three subjects,
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์ฃผ์ œ ์•ˆ์—์„œ ๋ฐ˜๋ณต๋œ๋‹ค๋Š” ๊ฒƒ์„ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
03:04
but it was not intentional.
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์˜๋„์ ์ธ ๊ฑด ์•„๋‹ˆ์—ˆ์ง€๋งŒ์š”.
03:06
And I just start out with a trace because I was thinking,
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๊ทธ๋ž˜์„œ ์ „ (์ œ ๊ธฐ์–ต์˜) ํ”์ ์— ๋Œ€ํ•ด ์ƒ๊ฐํ•˜๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
03:08
"What really makes us?" -- you know,
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"๋ฌด์—‡์ด ์šฐ๋ฆฌ๋ฅผ ๋งŒ๋“œ๋Š” ๊ฑธ๊นŒ?"์— ๋Œ€ํ•œ ๋Œ€๋‹ต์ด
03:10
it's actually [the] past, what makes a person.
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๋ฐ”๋กœ ๊ณผ๊ฑฐ์˜€๊ธฐ ๋•Œ๋ฌธ์ด์ฃ . ๊ณผ๊ฑฐ๊ฐ€ ์‚ฌ๋žŒ์„ ๋งŒ๋“ญ๋‹ˆ๋‹ค.
03:14
So I was thinking,
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๋” ์ƒ๊ฐํ•ด๋ณด๋‹ˆ,
03:16
but when you look at the past,
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๊ณผ๊ฑฐ๋ฅผ ๋Œ์•„๋ณผ ๋•Œ
03:18
the way to understand the past
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์šฐ๋ฆฌ๊ฐ€ ๊ณผ๊ฑฐ๋ฅผ ์ดํ•ดํ•˜๋Š” ๋ฐฉ๋ฒ•์€
03:20
is only by the traces available,
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๊ฒฐ๊ตญ ๊ทธ๋Ÿฐ ํ”์ ๋“ค์„ ํ†ตํ•ด์„œ๋”๊ตฐ์š”.
03:22
because we cannot go back [to] the past.
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์ง์ ‘ ๊ณผ๊ฑฐ๋กœ ๋Œ์•„๊ฐˆ ์ˆ˜๋Š” ์—†๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
03:24
It can be ruins, or it can be music,
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๊ทธ ํ”์ ์€ ํŒŒํƒ„์ผ ์ˆ˜๋„, ์Œ์•…์ผ ์ˆ˜๋„ ์žˆ๊ณ 
03:26
or it can be painting or drawing or writing, whatever it is.
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๋˜๋Š” ๊ทธ๋ฆผ์ด๋‚˜ ๊ธ€, ์–ด๋–ค ๊ฒƒ๋„ ๋  ์ˆ˜ ์žˆ์ฃ .
03:29
But it is just a kind of trace of that time.
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๊ทธ ์‹œ๊ฐ„์„ ๋‹ด๊ณ  ์žˆ๋Š” ์–ด๋–ค ๊ฒƒ์ด๋“ ์ง€์š”.
03:34
And that fascinated me,
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์ด ์˜์—ญ์„ ํƒ๊ตฌํ•œ๋‹ค๋Š” ๊ฒƒ์ด
03:36
to explore that territory.
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์ œ๊ฒŒ๋Š” ์•„์ฃผ ๋งค๋ ฅ์ ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
03:40
So I was working on the line,
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๋‹น์‹œ์— ํ”์ ์„ ์—ฐ๊ตฌํ•˜๋Š” ๋Œ€์‹ 
03:43
but instead of working about traces,
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์„ ์— ๋Œ€ํ•ด ์—ฐ๊ตฌํ•˜๊ณ  ์žˆ์—ˆ๋Š”๋ฐ
03:47
I started capturing traces.
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๋ฐ”๋กœ ํ”์  ์žก๊ธฐ๋ฅผ ์‹œ์ž‘ํ–ˆ์ฃ .
03:50
So here are some of the works I would like to show you.
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์—ฌ๊ธฐ ์ œ ์ž‘ํ’ˆ ์ค‘ ์ผ๋ถ€๋ฅผ ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
03:53
So this is called "Self In Progress."
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์ด๊ฒƒ์€ "Self In Progress(์‹คํ˜„ ์ค‘์ธ ์ž์•„)"์ž…๋‹ˆ๋‹ค.
03:56
It's just a trace of being in this body.
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๋ชธ ์•ˆ์— ์žˆ๋Š” '์กด์žฌ'์˜ ํ”์ ์ด์ฃ .
03:59
So here, what happened then,
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๊ทธ ๋‹ค์Œ ์ผ์–ด๋‚œ ์ผ์€,
04:01
you know -- what I really enjoyed the most
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์‚ฌ์‹ค, ์ œ๊ฐ€ ๊ฐ€์žฅ, ์ง„์ •์œผ๋กœ ์ฆ๊ธด ์ ์€
04:03
is that this sculpture
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์ด ์กฐ๊ฐ์ด ๊ฒฐ๊ตญ
04:05
is nothing but a trace of myself.
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์ œ ์ž์‹ ์˜ ํ”์ ์ด๋ž€ ์ ์ž…๋‹ˆ๋‹ค.
04:09
It's almost like a 3D photograph.
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3D์‚ฌ์ง„๊ณผ ๊ฑฐ์˜ ๊ฐ™๋‹ค๊ณ  ํ•  ์ˆ˜ ์žˆ์ฃ .
04:11
So there is an element of performance,
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์—ฌ๊ธฐ์—๋Š” ๊ณต์—ฐ์ ์ธ ์š”์†Œ๊ฐ€ ์žˆ๊ณ ,
04:13
and there is an element of sculpture,
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์กฐ๊ฐ์˜ ์š”์†Œ๊ฐ€ ์žˆ์œผ๋ฉฐ,
04:15
and there is an element of feeling one's self, so close to one's self.
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๋ˆ„๊ตฐ๊ฐ€์˜ ์ž์•„์— ๋Œ€ํ•œ ๋Š๋‚Œ์„ ์ฃผ๋Š” ์š”์†Œ๊ฐ€ ์žˆ๋Š”, ๊ฑฐ์˜ ์ž์•„๋ผ ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:18
So it's almost like fossils for the future.
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๋ฏธ๋ž˜๋ฅผ ์œ„ํ•œ ํ™”์„์ด๋ผ๊ณ ๋„ ํ•  ์ˆ˜ ์žˆ๊ฒ ์ฃ .
04:21
And then moved slowly
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๋‹ค์Œ์œผ๋กœ ์ „ ํ”์ ์„ ์žก์Œ์œผ๋กœ์จ
04:23
to explore the other possibilities of capturing traces.
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ํ•  ์ˆ˜ ์žˆ๋Š” ๋‹ค๋ฅธ ๊ฐ€๋Šฅ์„ฑ๋“ค์„ ํƒ์ƒ‰ํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:29
So this is what I was talking about, while molding,
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์ด ์ ์ด์•ผ๋ง๋กœ ์ œ๊ฐ€ ์–˜๊ธฐํ•˜๊ณ ์ž ํ•˜๋Š”๊ฒƒ์œผ๋กœ, ์ž‘์—…ํ•˜๋Š” ๋™์•ˆ ๋Š๋‚€
04:32
it's such a great experience,
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์ •๋ง ๋Œ€๋‹จํ•œ ๊ฒฝํ—˜์ด์—ˆ์Šต๋‹ˆ๋‹ค.
04:34
because we have freedom of like walking,
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๊ฑท๋Š” ํ™œ๋™์ด๋ผ๊ฑฐ๋‚˜ ์†์„ ์›€์ง์ด๋Š” ๊ฒƒ,
04:36
or moving my hand or, moving around in the space,
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์ด ๊ณต๊ฐ„ ์ฃผ๋ณ€์„ ๋Œ์•„๋‹ค๋‹ˆ๋Š” ์ž์œ ์— ์ต์ˆ™ํ•˜๋‹ค๊ฐ€
04:39
but the moment this becomes solid,
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1์ธ์น˜์กฐ์ฐจ ์›€์ง์ผ ์ˆ˜ ์—†๋Š” ๋”ฑ๋”ฑํ•œ
04:42
when you cannot move even an inch,
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์ˆœ๊ฐ„์ด ์˜ค์ž ์ •๋ง ๋Œ€๋‹จํ–ˆ์ฃ .
04:45
because this is plaster of Paris, so the moment you pour it it's like liquid;
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์ด๊ฒƒ์€ ํŒŒ๋ฆฌ์˜ ํšŒ๋ฐ˜์ฃฝ์œผ๋กœ, ๋ถ€์„ ๋•Œ๋Š” ์•ก์ฒด๊ฐ™์ง€๋งŒ
04:48
but after 20 minutes, it's almost like a hard stone.
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20๋ถ„์ด ์ง€๋‚˜๋ฉด ๋Œ์ฒ˜๋Ÿผ ๋”ฑ๋”ฑํ•ด์ง‘๋‹ˆ๋‹ค.
04:52
So this is capturing the trace of a thumbprint
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์ด๊ฑด ์ง€๋ฌธ์˜ ํ”์ ์„ ์žก์€ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:56
because, knowingly or unknowingly,
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์˜์‹ํ•˜๋“ , ๊ทธ๋ ‡์ง€ ์•Š๋“ ๊ฐ„์—
04:58
whatever we do, you know, we leave our traces here.
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์šฐ๋ฆฌ๋Š” ๋ฌด์—‡์„ ํ•˜๋“ ์ง€๊ฐ„์— ์ด๋ ‡๊ฒŒ ํ”์ ์„ ๋‚จ๊น๋‹ˆ๋‹ค.
05:01
So I just thought, "I'm going to capture
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์ €๋Š” ์ง€๋ฌธ์ด๋‚˜ ์กฑ์ , ๋˜๋Š” ์šฐ๋ฆฌ๊ฐ€
05:04
thumbprint, footprint,
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์ธ๊ฐ„์œผ๋กœ ์‚ด๋ฉด์„œ ๋‚จ๊ธฐ๋Š”
05:06
or whatever traces we leave as humans."
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๋ชจ๋“  ์ž์ทจ๋“ค ์žก์•„๋‚ด์•ผ๊ฒ ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ์ฃ .
05:09
This is the trace of fire,
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์ด๊ฑด ๋ถˆ์˜ ํ”์ ์ž…๋‹ˆ๋‹ค.
05:12
this is the trace of sun.
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์ด๊ฑด ํƒœ์–‘์˜ ํ”์ ์ด๊ตฌ์š”.
05:15
Because when I was capturing traces, you know,
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์ œ๊ฐ€ ํ”์ ์„ ์žก์•„๋‚ด๊ณ  ์žˆ์—ˆ์„ ๋•Œ
05:17
this thought comes to me always:
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์ด๋Ÿฐ ์ƒ๊ฐ์ด ํ•ญ์ƒ ๋– ์˜ฌ๋ž์Šต๋‹ˆ๋‹ค.
05:20
is it, only when the object touches the thing and it leaves the trace,
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๋ฌด์–ธ๊ฐ€๋ฅผ ๊ฑด๋“œ๋ ธ์„๋•Œ ๋‚จ์€ ๊ฒƒ์œผ๋กœ๋งŒ ํ”์ ์„ ์žก์„ ์ˆ˜ ์žˆ์„๊นŒ,
05:23
or is there other ways to capture it?"
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์•„๋‹ˆ๋ฉด ๊ทธ ํ”์ ์„ ์žก๊ธฐ ์œ„ํ•œ ๋‹ค๋ฅธ ๋ฐฉ๋ฒ•๋“ค์ด ์žˆ์„๊นŒ?"
05:25
So this work is nothing but like --
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๋‹ค์Œ ์ž‘์—…์ด ๋ฐ”๋กœ ๊ทธ ๋‹ค๋ฅธ ๋ฐฉ๋ฒ•์ž…๋‹ˆ๋‹ค.
05:27
because of the focal length of the lens,
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๋ Œ์ฆˆ์˜ ์ดˆ์  ๊ฑฐ๋ฆฌ ๋•Œ๋ฌธ์—
05:29
it just shows what is on the other side.
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์นด๋ฉ”๋ผ๋Š” ๊ทธ์ € ๋ฐ˜๋Œ€์ชฝ์— ์žˆ๋Š” ๊ฒƒ๋งŒ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค.
05:33
So I just put the paper on the focal length,
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๊ทธ๋ž˜์„œ ์ €๋Š” ์ดˆ์  ๊ฑฐ๋ฆฌ์— ์ข…์ด๋ฅผ ๋†“๊ณ ,
05:35
which was an etching print,
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์—์นญ ๊ธฐ๋ฒ•์œผ๋กœ ์ƒˆ๊ฒจ๋„ฃ์Œ์œผ๋กœ์จ
05:37
then I got the portrait of [the] sun from sunlight.
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ํ–‡๋น›์œผ๋กœ๋ถ€ํ„ฐ ํ•ด์˜ ์ดˆ์ƒํ™”๋ฅผ ์–ป์–ด๋ƒˆ์Šต๋‹ˆ๋‹ค.
05:41
This is called "Dawn to Dawn."
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์ด๊ฑด "์ƒˆ๋ฒฝ์—์„œ ์ƒˆ๋ฒฝ๊นŒ์ง€."๋ž€ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
05:43
What I did here, I just put like 10 feet [of] paper
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์•ฝ 10ํ”ผํŠธ(3m) ์ •๋„์˜ ์ข…์ด๋ฅผ ๋‘๊ณ ,
05:46
then put a coconut rope,
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์ฝ”์ฝ”๋„› ์ค„์„ ๋†“์•„
05:48
and just burnt it.
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๊ทธ๋Œ€๋กœ ํƒœ์› ์ฃ .
05:50
So it took about 24 hours to get this line.
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์ด๋Ÿฐ ์„ ์„ ์–ป๊ธฐ๊นŒ์ง€ 24์‹œ๊ฐ„ ์ •๋„ ๊ฑธ๋ ธ์Šต๋‹ˆ๋‹ค.
05:52
So wherever the fire is eating the paper,
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๋ถˆ์ด ์–ด๋Š ๋ถ€๋ถ„๋ถ€ํ„ฐ ์ข…์ด๋ฅผ ํƒœ์› ๋“ ,
05:54
that's what becomes the work --
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๊ทธ ์ž‘์—…์œผ๋กœ๋ถ€ํ„ฐ ์ƒ๊ธด ์ž๊ตญ์ž…๋‹ˆ๋‹ค.
05:56
detail.
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์ž์„ธํžˆ ๋ณด์‹œ์ฃ .
06:02
Even though we have traces
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์šฐ๋ฆฌ๊ฐ€ ํ”์ ์„ ์žก์•˜๋‹ค ํ•˜๋”๋ผ๋„
06:04
when we try to understand them,
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์šฐ๋ฆฌ๊ฐ€ ๊ทธ๊ฒƒ๋“ค์„ ์ดํ•ดํ•˜๊ณ ์ž ํ•  ๋•Œ
06:08
the perception and context
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๊ทธ๊ฒƒ์— ๋Œ€ํ•œ ์ธ์‹๊ณผ ๋งฅ๋ฝ์ด
06:10
play a major role to understand it.
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ํ”์ ์˜ ์ดํ•ด์— ํฐ ์—ญํ• ์„ ํ•ฉ๋‹ˆ๋‹ค.
06:12
So do we really understand what it is,
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์ €ํฌ๊ฐ€ ๊ทธ๊ฒŒ ๋ฌด์—‡์ธ์ง€ ์ •๋ง๋กœ ์ดํ•ดํ•˜๋Š” ๊ฑธ๊นŒ์š”,
06:15
or are we trying to get
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๊ทธ์ € ์ƒ๊ฐํ•˜๋Š” ๊ฒƒ์„
06:17
what we think it is?
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์–ป๊ธฐ ์œ„ํ•ด ๋…ธ๋ ฅํ•  ๋ฟ์ผ๊นŒ์š”?
06:19
Then move towards questioning the perception
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์ด์ œ ์ธ์‹์— ๋Œ€ํ•œ ์งˆ๋ฌธ์œผ๋กœ ๊ฐ€ ๋ด…์‹œ๋‹ค.
06:21
because, even though there are traces,
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์—ฌ๊ธฐ์— ํ”์ ์ด ์žˆ๋‹ค๊ณ  ํ•˜๋”๋ผ๋„
06:23
when you try to understand them, you know you play a major role.
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๋‹น์‹ ์ด ๊ทธ๊ฒƒ๋“ค์„ ์ดํ•ดํ•˜๋ ค๊ณ  ํ•  ๋•Œ ๋‹น์‹ ์ด ๊ฐ€์žฅ ์ค‘์š”ํ•œ ์—ญํ• ์„ ํ•ฉ๋‹ˆ๋‹ค.
06:26
So like let's say even a simple act.
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๋งค์šฐ ๊ฐ„๋‹จํ•œ ํ–‰๋™์กฐ์ฐจ๋„์š”.
06:28
How many of you saw a cow crossing in India
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๋ฑ…๊ฐˆ๋กœ์—์„œ ๋งˆ์ด์†Œ๋ฅด๋ฅผ ๊ฐ€๋Š” ๋™์•ˆ,
06:31
while you were coming from Bangalore to Mysore?
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์ธ๋„์—์„œ ๊ฐ€๋กœ์ง€๋ฅด๋Š”์†Œ๋ฅผ ๋ณด์‹  ์  ์žˆ๋‚˜์š”?
06:33
Can you just raise the hand?
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์žˆ์œผ๋ฉด ์†์„ ๋“ค์–ด์ฃผ์‹œ๊ฒ ์–ด์š”?
06:36
If you just ask an opinion
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๋ฐฉ๋ฒ•์„ ๋ฌป๋Š” ์˜๊ฒฌ๋งŒ ๋ฌผ์„ ์‹œ์—”
06:38
of how, everyone can interpret it.
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๋ชจ๋‘๊ฐ€ ๊ทธ๊ฒƒ์„ ์˜ˆ์ƒํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
06:41
Like, let's say, if a schoolteacher says,
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ํ•™๊ต ์„ ์ƒ๋‹˜์ด๋ผ๋ฉด ์ด๋ ‡๊ฒŒ ๋Œ€๋‹ตํ•˜๊ฒ ์ฃ .
06:43
she'll simply say, "To get to the other side."
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"๋‹ค๋ฅธ ์ชฝ์œผ๋กœ ๊ฐ€๊ธฐ ์œ„ํ•ด์„œ์ž…๋‹ˆ๋‹ค."
06:45
Why the cow was crossing the road, you know.
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๊ทธ ์†Œ๊ฐ€ ์™œ ๊ธธ์„ ๊ฐ€๋กœ์ง€๋ฅด๋Š”์ง€,
06:48
The answer can be so different if Potter said it.
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Potter์—๊ฒŒ ๋ฌผ์–ด๋ณด๋ฉด ์™„์ „ํžˆ ๋‹ค๋ฅด๊ฒŒ ๋Œ€๋‹ตํ•  ๊ฒ๋‹ˆ๋‹ค.
06:51
He would say, "For the greater good."
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"๋” ํฐ ๋ฏธ๋•์„ ์œ„ํ•ด์„œ์š”." ๋ผ๊ณ ์š”.
06:54
Martin Luther King would say,
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๋งˆํ‹ด ๋ฃจํ„ฐ ํ‚น์ด๋ผ๋ฉด ์ด๋Ÿฌ๊ฒ ์ฃ .
06:56
"I imagine a world where all cows will be free
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"์ €๋Š” ๋ชจ๋“  ์†Œ๋“ค์ด ์–ด์งธ์„œ ๊ธธ์„ ๊ฑด๋„ˆ์•ผ ํ•˜๋Š”์ง€์— ๋Œ€ํ•œ
06:59
to cross the road,
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์งˆ๋ฌธ ์—†์ด
07:01
without having their motives called into question."
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๊ธธ์„ ๊ฑด๋„ ์ž์œ ๊ฐ€ ์žˆ๋Š” ์„ธ๊ณ„๋ฅผ ๊ฟˆ๊ฟ‰๋‹ˆ๋‹ค."
07:04
(Laughter)
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(์›ƒ์Œ)
07:06
Imagine Moses comes now, and he sees
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๋ชจ์„ธ๊ฐ€ ์™€์„œ, ๊ธธ ์ฃผ๋ณ€์„ ๊ฑท๊ณ  ์žˆ๋Š”
07:08
the same cow walking around the street.
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๊ทธ ์†Œ๋ฅผ ๋ดค๋‹ค๊ณ  ์ƒ์ƒํ•ด๋ณด์„ธ์š”.
07:10
He would definitely say,
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๊ทธ๋Š” ๋ถ„๋ช… ์ด๋ ‡๊ฒŒ ์–˜๊ธฐํ• ๊ฒ๋‹ˆ๋‹ค.
07:12
"God came down from heaven,
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"์‹ ์ด ํ•˜๋Š˜์—์„œ๋ถ€ํ„ฐ ๋‚ด๋ ค์™€,
07:15
and he said unto the cow,
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์†Œ์—๊ฒŒ ๋ง์”€ํ•˜์…จ๋‹ค.
07:18
'Thou shalt cross the road.'
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'๊ธธ์„ ๊ฑด๋„ˆ๋ผ.'
07:21
And cow crossed the road,
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๊ทธ๋Ÿฌ์ž ์†Œ๊ฐ€ ๊ธธ์„ ๊ฑด๋„ˆ๊ณ 
07:23
and there was much rejoicing as a holy cow."
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์‹ ์„ฑํ•œ ์†Œ๋กœ์„œ ํฐ ์ฆ๊ฑฐ์›€์ด ์žˆ์—ˆ๋‹ค."
07:26
(Laughter)
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(์›ƒ์Œ)
07:28
Freud would say,
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ํ”„๋กœ์ด๋“œ๋ผ๋ฉด,
07:30
"The fact that you're at all concerned
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"๋„ค๊ฐ€ ๊ด€์‹ฌ์„ ๊ฐ–๋Š” ๋ชจ๋“  ๊ฒƒ๋“ค์ด ๊ทธ ์•„๋ž˜ ๊น”๋ ค์žˆ๋Š”
07:32
reveals your underlying sexual insecurity."
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์„ฑ์ ๋ถˆ์•ˆ๊ฐ์„ ๋“œ๋Ÿฌ๋‚ธ๋‹ค."๊ณ  ๋งํ•˜๊ฒ ์ฃ .
07:35
(Laughter)
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(์›ƒ์Œ)
07:37
If we ask Einstein,
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์šฐ๋ฆฌ๊ฐ€ ์•„์ธ์Šˆํƒ€์ธ์—๊ฒŒ ๋ฌป๋Š”๋‹ค๋ฉด,
07:39
he would say, "Whether the cow crossed the road,
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"๊ทธ ์†Œ๊ฐ€ ๊ธธ์„ ๊ฑด๋„ˆ๋Š” ๊ฒƒ์ธ์ง€,
07:42
or the road moved underneath the cow,
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๊ธธ์ด ์†Œ ๋ฐ‘์—์„œ ์›€์ง์ธ ๊ฒƒ์ธ์ง€๋Š”
07:44
depends on your frame of reference."
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๋‹น์‹ ์˜ ๊ธฐ์ค€ํ‹€์— ๋‹ฌ๋ ค์žˆ์Šต๋‹ˆ๋‹ค."
07:46
(Laughter)
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(์›ƒ์Œ)
07:48
Or Buddha --
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์„๊ฐ€๋ชจ๋‹ˆ๋ผ๋ฉด,
07:50
if he saw the same cow, he would say,
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์†Œ๋ฅผ ๋ณด๊ณ  ์ด๋ ‡๊ฒŒ ๋งํ•  ๊ฒ๋‹ˆ๋‹ค.
07:52
"Asking this question denies your own nature [as a] cow."
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"์ด๋Ÿฐ ์งˆ๋ฌธ์€ ํ•˜๋Š” ๊ฒƒ์€ ๋„ค๊ฐ€ ๊ฐ€์ง„ ์†Œ๋กœ์„œ์˜ ๋ณธ์งˆ์„ ๋ถ€์ •ํ•˜๋Š” ๊ฒƒ์ด๋‹ค."
07:55
(Laughter)
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(์›ƒ์Œ)
07:58
So, what we see
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๋”ฐ๋ผ์„œ, ์šฐ๋ฆฌ๊ฐ€ ๋ณด๋Š” ๊ฒƒ์€
08:01
is just what we think often,
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๋ณดํ†ต์€ ์šฐ๋ฆฌ๊ฐ€ ์ƒ๊ฐํ•˜๋Š” ๊ฒƒ์ด๊ณ ,
08:04
and most of the time, we don't see what it is.
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๋Œ€๋ถ€๋ถ„์€ ๊ทธ๊ฒƒ์ด ๋ฌด์—‡์ธ์ง€๋ฅผ ์ง์‹œํ•˜์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค.
08:07
It just all depends on one's perception.
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๋ชจ๋“  ๊ฒƒ์ด ๊ฐœ์ธ์˜ ์ธ์‹์— ๋‹ฌ๋ ค์žˆ๋Š” ๊ฑฐ์ฃ .
08:10
And context, what is really context?
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๊ทธ๋ฆฌ๊ณ  ๋งฅ๋ฝ, ๋งฅ๋ฝ์ด๋ž€ ๊ฒŒ ์ •๋ง ๋ฌด์—‡์ผ๊นŒ์š”?
08:13
You know, I could just show you this little piece of paper.
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๋‹น์‹ ์—๊ฒŒ ์ด ์ž‘์€ ์ข…์ด ์กฐ๊ฐ์„ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค.
08:16
Because I always think meaning doesn't really exist.
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์ €๋Š” ์˜๋ฏธ๋ผ๋Š” ๊ฒƒ์ด ์กด์žฌํ•˜์ง€๋Š” ์•Š๋Š”๋‹ค๊ณ  ์ƒ๊ฐํ•˜๊ธฐ ๋•Œ๋ฌธ์—
08:21
The meaning of what we create in this world doesn't exist.
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์šฐ๋ฆฌ๊ฐ€ ์ด ์„ธ๊ณ„์—์„œ ์ฐฝ์กฐํ•ด๋‚ธ ๊ฒƒ์˜ ์˜๋ฏธ๋Š” ์กด์žฌํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
๋งˆ์Œ์œผ๋กœ๋ถ€ํ„ฐ ์ฐฝ์กฐ๋์„ ๋ฟ์ด์ฃ .
08:24
It's just created by the mind.
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08:26
If you look at this piece of paper,
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๋‹น์‹ ์ด ์ด ์ข…์ด ์กฐ๊ฐ์„ ๋ดค์„ ๋•Œ,
08:29
this is the breadth
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์ด๊ฑด ํญ(์งง์€ ๋ณ€)์ด๊ณ ,
08:31
and this is called length.
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์ด๊ฑด ๊ธธ์ด(๊ธด ๋ณ€)๋ผ ๋ถ€๋ฅผ ์ˆ˜ ์žˆ๊ฒ ์ฃ .
08:33
This is how we've been taught in school.
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์ด๊ฒƒ์ด ์šฐ๋ฆฌ๊ฐ€ ํ•™๊ต์—์„œ ๋ฐฐ์›Œ์˜จ ๋ฐฉ์‹์ž…๋‹ˆ๋‹ค.
08:37
But if you tear it in the middle --
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ํ•˜์ง€๋งŒ ์—ฌ๊ธธ ์ค‘๊ฐ„์œผ๋กœ๋ถ€ํ„ฐ ์ฐข์–ด๋‚˜๊ฐ€๋ฉด..
08:40
now, I didn't touch this breadth,
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์ €๋Š” ํญ์„ ๊ฑด๋“œ๋ฆฌ์ง€ ์•Š์•˜์ง€๋งŒ
08:42
but still, the meaning of this changes.
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๊ทธ ์˜๋ฏธ๊ฐ€ ๋ณ€ํ•ด๋ฒ„๋ฆฌ์ฃ .
08:44
So what we conceive as a meaning
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๋”ฐ๋ผ์„œ ์šฐ๋ฆฌ๊ฐ€ ์˜๋ฏธ๋ผ ์ƒ๊ฐํ•˜๋Š” ๊ฒƒ์€
08:46
is always not there;
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ํ•ญ์ƒ ๊ฑฐ๊ธฐ ์žˆ๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๊ณ ;
08:48
it's on the other side,
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๋‹ค๋ฅธ ์ชฝ์— ์กด์žฌํ•ฉ๋‹ˆ๋‹ค.
08:50
even when we say dark, light,
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์šฐ๋ฆฌ๊ฐ€ ์–ด๋‘ , ๋น›, ์ข‹๋‹ค, ๋‚˜์˜๋‹ค,
08:52
good, bad, tall, short --
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ํฌ๋‹ค, ์ž‘๋‹ค๋ฅผ ์–˜๊ธฐํ•  ๋•Œ ์กฐ์ฐจ
08:54
all meaning it doesn't exist in reality.
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๋ชจ๋“  ์˜๋ฏธ๋Š” ํ˜„์‹ค์— ์กด์žฌํ•˜์ง€๋Š” ์•Š์Šต๋‹ˆ๋‹ค.
08:57
It's just that being a human,
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์šฐ๋ฆฌ๊ฐ€ ์ธ๊ฐ„์œผ๋กœ์„œ,
08:59
the way we train to perceive the reality
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ํ˜„์‹ค์„ ์ธ์‹ํ•˜๊ธฐ ์œ„ํ•ด ๋…ธ๋ ฅํ•˜๋Š” ์™€์ค‘์—
09:02
creates this meaning.
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์˜๋ฏธ๊ฐ€ ์ƒ์„ฑ๋˜๋Š” ๊ฒƒ์ด์ฃ .
09:04
So this work from this period
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์ด ์‹œ์ ์œผ๋กœ๋ถ€ํ„ฐ ๋‚˜์˜จ ์ด ์ž‘ํ’ˆ์ด
09:06
is mostly like --
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๊ฑฐ์˜ ์ด๋ ‡์Šต๋‹ˆ๋‹ค.
09:08
you know, this is a work called "Light Makes Dark."
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"๋น›์ด ์–ด๋‘ ์„ ๋งŒ๋“ ๋‹ค."๋ž€ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
09:10
It's just captured through from the lamp.
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๋žจํ”„๋กœ๋ถ€ํ„ฐ ์–ป์–ด์กŒ์ฃ .
09:13
So the lamp is not just giving a light, it's also giving a darkness.
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๋žฉํ”„๊ฐ€ ๋น›๋งŒ์ด ์•„๋‹ˆ๋ผ, ์–ด๋‘ ๋„ ํ•จ๊ป˜ ์ค€ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
09:16
So this is a work of art, which is just trying to explore that.
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์ด๊ฒƒ์ด ์˜ˆ์ˆ ์ด ํ•˜๋Š” ์ผ์ด์ฃ . ๊ทธ์ € ํƒํ—˜ํ•˜๊ธฐ ์œ„ํ•ด ๋…ธ๋ ฅํ•˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
09:20
This is called "Limit Out."
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"ํ•œ๊ณ„ ๋ฐ–์œผ๋กœ."๋ž€ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
09:22
This shows how limited our eye or hearing sense or touch --
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์šฐ๋ฆฌ์˜ ์‹œ๊ฐ, ์ฒญ๊ฐ, ์ด‰๊ฐ์ด ์–ผ๋งˆ๋‚˜ ์ œํ•œ์ ์ธ์ง€๋ฅผ ๋ณด์—ฌ์ฃผ์ฃ .
09:25
do we really see?
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์šฐ๋ฆฌ๊ฐ€ ์ •๋ง ๋ณด๊ณ  ์žˆ๋‚˜์š”?
09:27
This is an exact negative.
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์—ฌ๊ธฐ ๋ช…ํ™•ํ•œ ๋ฐ˜์ฆ์„ ๋ณด์—ฌ๋“œ๋ฆฌ์ฃ .
09:29
It's about six inches deep in the wall,
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์—ฌ๊ธฐ๋Š” ์•ฝ 6์ธ์น˜ ๊นŠ์ด๋กœ ํŒจ์—ฌ ์žˆ๋Š”๋ฐ,
09:31
but it just appears like it's coming out of the wall.
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๋งˆ์น˜ ๋ฒฝ์—์„œ ๋Œ์ถœ๋œ ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด์ฃ .
09:37
You know the wall is almost like --
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์ด ๋ฒฝ์€ ๋งˆ์น˜..
09:39
this is the first skin, and this is the second,
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์ด๊ฑด ์ฒซ๋ฒˆ์งธ ํ‘œ๋ฉด, ๋˜ ์ €๊ฑด ๋‘๋ฒˆ์งธ,
09:41
and there's a third, and each creates a meaning.
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๊ทธ๋ฆฌ๊ณ  ์ €๊ฑด ์„ธ๋ฒˆ์งธ, ๊ฐ๊ฐ ์˜๋ฏธ๋ฅผ ์ฐฝ์กฐํ•ด๋ƒ…๋‹ˆ๋‹ค.
09:43
And we're just pulling the wall off the gallery.
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์šฐ๋ฆฌ๋Š” ๊ทธ์ € ๊ฐค๋Ÿฌ๋ฆฌ์˜ ๋ฒฝ์„ ๋‹น๊ธฐ๊ณ  ์žˆ์„ ๋ฟ์ด์ฃ .
09:46
Again, "Inward Out."
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๋‹ค์‹œ, "์•ˆ์œผ๋กœ, ๋ฐ–์œผ๋กœ."
09:48
It's a full-figure cast from myself.
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์ œ ์ „์‹  ์ฃผํ˜•์ž…๋‹ˆ๋‹ค.
09:50
It's about eight inches deep.
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8์ธ์น˜ (์•ฝ 20cm) ๊นŠ์ด์ฃ .
09:56
When I was doing that, I always wondered since I've worked with creators --
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์ œ๊ฐ€ ์ด ์ผ์„ ํ•  ๋•Œ, ์ œ๊ฐ€ ์ฐฝ์กฐ์ž์™€ ์ผํ–ˆ๊ธฐ ๋•Œ๋ฌธ์— ํ•ญ์ƒ ๊ถ๊ธˆํ–ˆ๋˜ ๊ฒƒ์ด
09:59
and now you know, I've moved to questioning the perception --
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์ง€๊ธˆ์€ ์ธ์‹์— ๋Œ€ํ•œ ์งˆ๋ฌธ์œผ๋กœ ์˜ฎ๊ฒจ์˜จ ๊ฑฐ์ฃ .
10:02
whenever I see the bird flying in the sky,
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์ œ๊ฐ€ ํ•˜๋Š˜์„ ๋‚ ๊ณ  ์žˆ๋Š” ์ƒˆ๋ฅผ ๋ณด์•˜์„ ๋•Œ,
10:05
it just makes me feel like:
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์ด๋Ÿฐ ๋Š๋‚Œ์ด ๋“ค๋”๊ตฐ์š”:
10:08
is there anything behind, are there any traces up there,
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๋’ค์— ์–ด๋–ค ๊ฒƒ์ด ์žˆ์—ˆ๊ณ , ํ”์ ๋„ ๋ฌด์—‡์ธ๊ฐ€ ์žˆ์—ˆ๋Š”๋ฐ
10:11
which as a human, we don't see them?
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์ธ๊ฐ„์ธ ์šฐ๋ฆฌ๊ฐ€ ๊ทธ๊ฒƒ๋“ค์„ ๋ชป ๋ดค์„ ๋ฟ์ธ ๊ฑฐ ์•„๋‹๊นŒ?
10:14
Is there any way to capture the thought
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์ด ์ƒ๊ฐ์„ ์‹œ๊ฐ์˜ˆ์ˆ  ์•ˆ์œผ๋กœ ์žก์•„๋‚ผ ๋ฐฉ๋ฒ•์ด
10:17
into visual art?
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์—†๋Š” ๊ฑธ๊นŒ์š”?
10:20
I couldn't find it.
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์ „ ์ฐพ์„ ์ˆ˜ ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
10:23
But a solution arrived
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ํ•˜์ง€๋งŒ ์—ฌ์„ฏ, ์ผ๊ณฑ๋‹ฌ ์ •๋„
10:26
after being quiet and not working for about six, seven months,
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์•„๋ฌด ์ผ๋„ ํ•˜์ง€ ์•Š๊ณ  ์กฐ์šฉํžˆ ์ง€๋‚ธ ํ›„ ํ•ด๊ฒฐ์ฑ…์ด ๋– ์˜ฌ๋ž์Šต๋‹ˆ๋‹ค.
10:29
in the restroom,
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ํ™”์žฅ์‹ค์—์„œ
10:31
when I was changing the air freshener
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๋ฐฉํ–ฅ์ œ๋ฅผ ๋ฐ”๊พธ๊ณ  ์žˆ์„ ๋•Œ์˜€์ฃ .
10:34
that goes from solid substance to vapor.
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๊ณ ํ˜•์˜ ๋ฌผ์งˆ์ด ์ฆ๊ธฐ๋กœ ๋ณ€ํ•˜๋”๊ตฐ์š”.
10:36
It's called Odonil.
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์˜ค๋„๋‹ ์ œํ’ˆ์ด์—ˆ์ฃ .
10:38
This is the work I made out of that material.
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๊ทธ ๋ฌผ๊ฑด์œผ๋กœ๋ถ€ํ„ฐ ์ œ๊ฐ€ ๋งŒ๋“ค์–ด๋‚ธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
10:42
The process to get to make the sculpture was interesting,
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์ด ์กฐ๊ฐ์„ ๋งŒ๋“ค๊ธฐ ์œ„ํ•œ ๊ณผ์ •์€ ์ •๋ง ํฅ๋ฏธ๋กœ์› ์Šต๋‹ˆ๋‹ค.
10:44
because I wrote to Balsara,
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์ €๋Š” ์˜ค๋„๋‹ ๋ฐฉํ–ฅ์ œ๋ฅผ ๋งŒ๋“ 
10:46
who produces that air freshener called Odonil,
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Balsara์—๊ฒŒ ์ด๋ ‡๊ฒŒ ํŽธ์ง€๋ฅผ ์ผ์ฃ .
10:48
saying, "Dear Sir, I am an artist. This is my catalogue.
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"์ €๋Š” ์˜ˆ์ˆ ๊ฐ€๊ณ , ์ด๊ฒƒ์€ ์ œ ์นดํƒˆ๋กœ๊ทธ์ž…๋‹ˆ๋‹ค.
10:50
Will you help me to make this sculpture?"
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์ด ์กฐ๊ฐ์„ ๋งŒ๋“ค ์ˆ˜ ์žˆ๊ฒŒ ๋„์™€์ฃผ์‹œ๊ฒ ์Šต๋‹ˆ๊นŒ?"
10:52
They never wrote back to me.
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๊ทธ๋“ค์€ ์ œ๊ฒŒ ์ „ํ˜€ ์‘๋‹ตํ•˜์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
10:54
Then I thought, "I will go to the Small Scale Industries
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๊ทธ๋ž˜์„œ ์ „ ์ƒ๊ฐํ–ˆ์ฃ . "์ด‰์ง„ ๋‹จ์œ„์˜ ์ž‘์€ ๊ทœ๋ชจ ์‚ฐ์—…์ฒด๋กœ ๊ฐ€์„œ
10:57
Facilitating Unit and ask help."
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๋„์›€์„ ๊ตฌํ•ด์•ผ๊ฒ ๋‹ค."
10:59
So I told them, "I'd like to start an air freshener company."
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๊ทธ๋“ค์—๊ฒŒ "๋ฐฉํ–ฅ์ œ ํšŒ์‚ฌ๋ฅผ ์‹œ์ž‘ํ•˜๊ณ  ์‹ถ๋‹ค."๊ณ  ๋งํ•˜์ž
11:03
They said, "Of course.
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"๋ฌผ๋ก  ํ•˜์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
11:05
This is the fee for the project report,
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์—ฌ๊ธฐ ๊ทธ ํ”„๋กœ์ ํŠธ์— ๋Œ€ํ•œ ์š”๊ธˆ์„ ๋‚ด์‹œ๋ฉด
11:07
and we will give you all the details," and they gave.
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์ €ํฌ๊ฐ€ ๋ชจ๋“  ๊ณผ์ •์„ ์„ค๋ช…ํ•ด๋“œ๋ฆฌ์ฃ ." ํ•˜๋”๊ตฐ์š”.
11:09
Finally, I went back to them and said,
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๊ฒฐ๊ตญ, ์ „ ๊ทธ๋“ค์—๊ฒŒ ์ด๋ ‡๊ฒŒ ์–˜๊ธฐํ–ˆ์Šต๋‹ˆ๋‹ค.
11:12
"It's not for starting the company, it's just to make my own work.
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"ํšŒ์‚ฌ๋ฅผ ์‹œ์ž‘ํ•˜๋ ค๋Š” ๊ฒŒ ์•„๋‹ˆ๊ณ , ์ €๋งŒ์˜ ์ผ์„ ํ•˜๋ ค๋Š” ๊ฒ๋‹ˆ๋‹ค.
11:15
Please come for the show."
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์ œ ์‡ผ์— ์™€์ฃผ์„ธ์š”."
11:17
And they did.
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๊ทธ๋ ‡๊ฒŒ ํ•ด์ฃผ๋”๊ตฐ์š”.
11:19
And this work is in the Devi Art Foundation in Delhi.
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์ด๊ฒƒ์€ ๋ธ๋ฆฌ์˜ ๋ฐ๋น„ ์•„ํŠธ ํŒŒ์šด๋ฐ์ด์…˜์—์„œ ์ž‘์—…ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:22
In India, nobody really talks about works of art;
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์ธ๋„์—์„œ๋Š”, ์•„๋ฌด๋„ ์˜ˆ์ˆ  ์ž‘ํ’ˆ์— ๋Œ€ํ•ด ์–˜๊ธฐํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
11:25
they always talk about the appreciation of art.
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์˜ˆ์ˆ ์˜ ๊ฐ€์น˜ ์ƒ์Šน์— ๋Œ€ํ•ด์„œ๋งŒ ์–˜๊ธฐํ•˜์ฃ .
11:28
You buy this for 3,000 rupees,
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์ด๊ฒƒ์„ 3000๋ฃจํ”ผ์— ์‚ฐ๋‹ค๋ฉด,
11:30
it'll become 30,000 in two months.
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๋‘ ๋‹ฌ ํ›„์—๋Š” 30000๋ฃจํ”ผ๊ฐ€ ๋˜์–ด ์žˆ์„ ๊ฒ๋‹ˆ๋‹ค.
11:32
This is the craft that was going on,
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์˜ˆ์ˆ ํ’ˆ์€ ์ด๋Ÿฐ ์ˆ˜๋‹จ์œผ๋กœ ์ด์šฉ๋˜์–ด,
11:34
but there are a few collectors
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์‹œ๊ฐ„์— ๋”ฐ๋ผ ๊ฐ€์น˜๊ฐ€ ๋‚ฎ์•„์งˆ ์˜ˆ์ˆ  ์ž‘ํ’ˆ๋“ค์„
11:36
who also collect art which can depreciate.
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์ˆ˜์ง‘ํ•˜๋Š” ์ˆ˜์ง‘๊ฐ€๋“ค์€ ๊ฑฐ์˜ ์—†์Šต๋‹ˆ๋‹ค.
11:38
And this was collected by Anupam --
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์ด๊ฒƒ์€ ์•„๋‚˜ํ’ˆ์ด ์ˆ˜์ง‘ํ•œ ๊ฒƒ์œผ๋กœ
11:40
which is like, finally in the end, he will not have anything,
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๋งˆ์ง€๋ง‰์— ๊ทธ๋Š” ์•„๋ฌด๊ฒƒ๋„ ๊ฐ€์ง€์ง€ ๋ชปํ•  ๊ฒ๋‹ˆ๋‹ค.
์ฆ๋ฐœํ•ด๋ฒ„๋ฆด ๊ฒƒ์ด๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
11:43
because it will evaporate.
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11:46
So this is after a few weeks,
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์ด๊ฒƒ์€ ๋ช‡ ์ฃผ ํ›„์ด๊ณ ,
11:49
this is after a few months.
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์ด๊ฒƒ์€ ๋ช‡ ๋‹ฌ ํ›„์ž…๋‹ˆ๋‹ค.
11:51
It's just all about questioning the preconceptions.
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์ธ์‹์— ๋Œ€ํ•ด ๋ฌป๋Š” ๋ชจ๋“  ๊ฒƒ์ด๋ผ ํ•  ์ˆ˜ ์žˆ์ฃ .
11:54
So if someone says, "Oh, I see the portrait,"
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๋ˆ„๊ตฐ๊ฐ€๊ฐ€ "์ดˆ์ƒํ™”๋ฅผ ๋ดค์–ด."๋ผ๊ณ  ๋งํ•˜๊ฒ ์ง€๋งŒ
11:57
it may not be the portrait after a few months.
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๊ทธ๊ฒƒ์€ ๋ช‡ ๋‹ฌ ํ›„ ์ดˆ์ƒํ™”๊ฐ€ ์•„๋‹ ๊ฒ๋‹ˆ๋‹ค.
11:59
And if they say it's solid,
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๊ทธ๋“ค์ด ๊ณ ์ฒด๋ผ๊ณ  ๋งํ•˜๊ฒ ์ง€๋งŒ
12:01
it will not be solid, it will evaporate.
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์ฆ๋ฐœํ• ํ…Œ๋‹ˆ ๊ณ ์ฒด๋„ ์•„๋‹ ํ…Œ๊ณ ์š”.
12:04
And if they say they don't get it,
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์ดํ•ดํ•˜์ง€ ๋ชปํ•œ๋‹ค ํ•ด๋„,
12:06
that's also not true,
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๊ณต๊ธฐ ์•ˆ์œผ๋กœ ์ฆ๋ฐœํ•˜๋‹ˆ
12:08
because it's in the air.
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๊ทธ๊ฒƒ ๋˜ํ•œ ์‚ฌ์‹ค์ด ์•„๋‹ํ…Œ์ง€์š”.
12:10
It's in the same gallery or in the same museum.
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๊ฒฐ๋ก ์ ์œผ๋ก  ๊ฐ™์€ ๊ฐค๋Ÿฌ๋‹ˆ, ๋˜๋Š” ๋ฐ•๋ฌผ๊ด€์— ์žˆ๊ฒŒ ๋˜๋Š”๊ฒ๋‹ˆ๋‹ค.
12:12
So they inhaled it,
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๊ทธ๋“ค์ด ๊ทธ๊ฑธ ๋“ค์ด๋งˆ์…”๋„
12:14
but they are not aware of it.
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์•Œ์•„์ฑŒ ์ˆ˜๋Š” ์—†์„๊ฒ๋‹ˆ๋‹ค.
12:17
While I was doing that work,
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์ œ๊ฐ€ ์ด ์ผ์„ ํ•˜๋Š” ๋™์•ˆ
12:19
my mom and my dad,
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์ œ ๋ถ€๋ชจ๋‹˜๊ป˜์„œ
12:21
they were looking at it and they said,
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๋ฐ”๋ผ๋ณด์‹œ๋‹ค๊ฐ€ ๋ง์”€ํ•˜์…จ์Šต๋‹ˆ๋‹ค.
12:23
"Why do you deal with negative subjects all the time?"
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"์™œ ํ•ญ์ƒ ๋ถ€์ •์ ์ธ ์ฃผ์ œ๋ฅผ ๋‹ค๋ฃจ๋‹ˆ?"
12:26
And I was like, "What do you mean?"
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"๋ฌด์Šจ ์˜๋ฏธ์ฃ ?" ์ œ๊ฐ€ ๋ฌผ์—ˆ์Šต๋‹ˆ๋‹ค.
12:28
"Light makes dark and now evaporating self.
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"๋น›์ด ์–ด๋‘ ์„ ๋งŒ๋“ค๋”๋‹ˆ ์ด์   ์Šค์Šค๋กœ ์ฆ๋ฐœํ•ด ๋ฒ„๋ฆฌ๋Š” ๊ฒƒ.
12:31
Don't you think it remained something about death," they said.
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๋งˆ์น˜ ์ฃฝ์Œ ๊ฐ™์€ ๊ฒƒ์ด๋ผ๊ณ  ์ƒ๊ฐ์ง€ ์•Š๋‹ˆ?" ๊ทธ๋“ค์ด ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
12:34
"Of course not. For me," I'm thinking,
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"์ œ๊ฒ ์•„๋‹ˆ์—์š”."
12:36
"this is tucked in some small solid,
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์—ฌ๊ธฐ ์†Œ๋Ÿ‰์˜ ๊ณ ์ฒด์— ์ž๋ฆฌ์žก๊ณ  ์žˆ๊ณ ,
12:38
but the moment it evaporates,
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๊ทธ๊ฒƒ์ด ์ฆ๋ฐœํ•˜๋Š” ์ˆœ๊ฐ„
12:40
it's merged with the whole."
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์ „์ฒด์— ํ•ฉ์ณ์ง€๋Š” ๊ฑฐ์ฃ ."
12:42
But she said, "No. Still, I don't like it.
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์–ด๋จธ๋‹ˆ๊ป˜์„ , "์•„๋‹ˆ, ์—ฌ์ „ํžˆ ๋งˆ์Œ์— ๋“ค์ง€ ์•Š๋Š”๊ตฌ๋‚˜.
12:44
Can you make something from nothing
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์กฐ๊ฐ๊ฐ€๋กœ์„œ ๋ฌด์—์„œ ์œ ๋ฅผ ์ฐฝ์กฐํ•  ์ˆ˜๋Š”
12:46
as a sculptor?"
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์—†๋Š”๊ฑฐ๋‹ˆ?"
12:48
I said, "No, mom. It can't be.
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์ „ ๋Œ€๋‹ตํ–ˆ์Šต๋‹ˆ๋‹ค. "๊ทธ๋Ÿด ์ˆ˜ ์—†์–ด์š”.
12:50
Because we can create
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์šฐ๋ฆฌ๊ฐ€ ๋จผ์ง€๋ฅผ ๋ชจ์•„์„œ
12:53
a sculpture
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์กฐ๊ฐ์„ ์ฐฝ์กฐํ•˜๊ฑฐ๋‚˜
12:55
by gathering dust together,
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๋˜๋Š” ์กฐ๊ฐ์„ ๋ถ€์ˆด
12:57
or we can break the sculpture and get the dust,
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๋จผ์ง€๋ฅผ ์–ป์–ด๋‚ผ ์ˆ˜ ์žˆ๊ฒ ์ง€๋งŒ,
13:00
but there is nowhere that we can bring dust into the universe."
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์šฐ์ฃผ์•ˆ์œผ๋กœ ๋จผ์ง€๋ฅผ ๊ฐ€์ง€๊ณ  ์˜ฌ ๋ฐฉ๋ฒ•์€ ์—†์œผ๋‹ˆ๊นŒ์š”."
13:03
So, I did this work for her.
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๊ทธ๋ž˜์„œ, ์–ด๋จธ๋‹ˆ๋ฅผ ์œ„ํ•ด ์ด ์ž‘์—…์„ ํ–ˆ์ฃ .
13:06
It's called "Emerging Angel."
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"์ฒœ์‚ฌ์˜ ๋“ฑ์žฅ."์ž…๋‹ˆ๋‹ค.
13:08
This is the first day --
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์ด๊ฑด ์ฒซ์งธ๋‚ ์ด์ฃ .
13:10
it just gives the appearance
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๊ทธ์ € ๋ฌด์–ธ๊ฐ€ ๋ณ€ํ•ด๊ฐ€๋Š”
13:12
that one is becoming the other.
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๋ชจ์Šต๋งŒ์„ ๋ณด์—ฌ์ฃผ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
13:14
So, the same sculpture
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๋ฉฐ์น  ๋’ค์˜
13:16
after a few days.
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๊ฐ™์€ ์กฐ๊ฐ์ž…๋‹ˆ๋‹ค.
13:20
This is after 15/20 days.
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์ด๊ฑด 15์ผ, 20์ผ ํ›„์˜ ๋ชจ์Šต์ด์ฃ .
13:23
Through that small little slit
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์œ ๋ฆฌ ์ƒ์ž์™€ ๋‚˜๋ฌด ์‚ฌ์ด์˜
13:25
between the glass box and the wood,
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์•„์ฃผ ์ž‘์€ ๊ตฌ๋ฉ์„ ํ†ตํ•ด
13:27
the air goes underneath the sculpture and creates the other one.
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๊ณต๊ธฐ๊ฐ€ ์กฐ๊ฐ ์•„๋ž˜๋กœ ์ง€๋‚˜๊ฐ€๋ฉด์„œ ๋‹ค๋ฅธ ๋ชจ์Šต์„ ๋งŒ๋“ค์–ด ๋ƒ…๋‹ˆ๋‹ค.
13:30
This gave me a greater faith.
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์ด๊ฒƒ์ด ์ œ๊ฒŒ ๊ฑฐ๋Œ€ํ•œ ๋ฏฟ์Œ์„ ์ฃผ์—ˆ์ฃ .
13:32
That evaporating sculpture gave me a greater faith
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์ฆ๋ฐœํ•˜๋Š” ์กฐ๊ฐ์€ ๋” ๊ฑฐ๋Œ€ํ•œ ๋ฏฟ์Œ์„ ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค.
13:35
that maybe there is many more possibilities
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์ œ๊ฐ€ ๋ณผ ์ˆ˜ ์—†๋Š” ๊ฒƒ์„ ์žก์•„๋‚ผ ๊ฐ€๋Šฅ์„ฑ๋“ค์ด
13:37
to capture [the] invisible.
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๋” ๋งŽ์„ ๊ฒƒ์ด๋ž€ ๋ฏฟ์Œ์ด์š”.
13:39
So what you see now
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์—ฌ๊ธฐ ์ด๊ฒƒ์€
13:41
is called "Shadow Foreshadow."
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"๊ทธ๋ฆผ์ž ์ „์กฐ."์ด๋ž€ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
13:44
And what I'd like to tell you
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์ œ๊ฐ€ ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ๋งํ•˜๊ณ  ์‹ถ์€ ๊ฒƒ์€
13:46
is we don't see shadow, and we don't see light too;
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์šฐ๋ฆฌ๋Š” ๊ทธ๋ฆผ์ž๋‚˜ ๋น›์„ ๋ณด๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ž€ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
13:49
we see the source of the light.
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๋น›์„ ๋‚ด๋Š” ๊ทผ์›์„ ๋ณผ ๋ฟ์ด์ฃ .
13:51
We see where it's bouncing, but we don't see [them] as they exist.
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๋น›์ด ๋ฐ˜์‚ฌ๋˜๋Š” ๊ณณ์€ ๋ณด์•„๋„, ๊ทธ๊ฒƒ์ด ์กด์žฌํ•˜๋Š”์ง€๋Š” ๋ณด์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค.
13:54
You know, that's why the night sky, we see the sky as dark,
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์ด๊ฒƒ์ด ์šฐ๋ฆฌ๊ฐ€ ๋ฐคํ•˜๋Š˜์ด ํ•ญ์ƒ ๋น›์œผ๋กœ ์ฐจ ์žˆ์Œ์—๋„
13:57
but it's filled with light all the time.
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์–ด๋‘์šด ํ•˜๋Š˜๋กœ ๋ฐ”๋ผ๋ณด๋Š” ์ด์œ ์ž…๋‹ˆ๋‹ค.
13:59
When it's bounced on the moon, we see it.
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๋น›์ด ๋‹ฌ์— ๋ฐ˜์‚ฌ๋˜์–ด์„œ์•ผ ์šฐ๋ฆฐ ๊ทธ๊ฒƒ์„ ๋ณผ ์ˆ˜ ์žˆ์ฃ .
14:01
The same thing in the darkroom.
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๊ฐ™์€ ์ผ์ด ์–ด๋‘์šด ๋ฐฉ์—์„œ๋„ ์ผ์–ด๋‚ฉ๋‹ˆ๋‹ค.
14:03
The little dust particle will again, reflect the light,
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์ž‘์€ ๋จผ์ง€ ์กฐ๊ฐ์ด ๋น›์„ ๋ฐ˜์‚ฌํ•˜๋ฉด,
14:06
and we realize the existence of light.
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๊ทธ์ œ์„œ์•ผ ์šฐ๋ฆฌ๋Š” ๋น›์˜ ์กด์žฌ๋ฅผ ์•Œ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
14:08
So we don't see dark, we don't see light,
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๋”ฐ๋ผ์„œ ์šฐ๋ฆฐ ์–ด๋‘ ์ด๋‚˜ ๋น›, ์ค‘๋ ฅ ๋˜๋Š”
14:11
we don't see gravity, we don't see electricity.
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์ „๊ธฐ ์ž์ฒด๋ฅผ ๋ณด๋Š” ๊ฒŒ ์•„๋‹™๋‹ˆ๋‹ค.
14:14
So, I just started doing this work
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๊ทธ๋ž˜์„œ, ๋‹ค์Œ ์ž‘์—…์„ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
14:17
to inquire further
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๋ฌผ์ฒด ์‚ฌ์ด์˜ ๊ณต๊ฐ„์„
14:20
about how to sculpt
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์–ด๋–ป๊ฒŒ ์กฐ๊ฐํ• ์ง€ ํƒ๊ตฌํ•˜๊ณ  ์‹œ์ž‘ํ–ˆ์ฃ .
14:22
the space between this object and there.
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์–ด๋–ป๊ฒŒ ์กฐ๊ฐํ• ์ง€ ํƒ๊ตฌํ•˜๊ณ  ์‹œ์ž‘ํ–ˆ์ฃ .
14:25
Because, as a visual artist, if I'm seeing this and I'm seeing that --
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์‹œ๊ฐ ์˜ˆ์ˆ ์—์„œ ์ œ๊ฐ€ ์ด๊ฒƒ ์ €๊ฒƒ์„ ๋ดค์„ ๋•Œ,
14:28
but how to sculpt this, you know?
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์ด๊ฑธ ์–ด๋–ป๊ฒŒ ์กฐ๊ฐํ• ๊นŒ์š”?
14:31
If we sculpt this, this has two reference points.
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์ œ๊ฐ€ ์ด๊ฒƒ์„ ์กฐ๊ฐํ•œ๋‹ค๋ฉฐ, ๋‘ ๊ธฐ์ค€์ ์ด ์ƒ๊น๋‹ˆ๋‹ค.
14:34
The skin of this is also representing this.
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์ด ํ‘œ๋ฉด์ด ์ด ์ข…์ด๋ฅผ ๋‚˜ํƒ€๋‚ด์ฃ .
14:37
And skin at the other end also represents the floor.
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์ €๊ธฐ ๋‹ค๋ฅธ ์ชฝ์˜ ํ‘œ๋ฉด์€ ๋ฐ”๋‹ฅ์„ ๋‚˜ํƒ€๋ƒ…๋‹ˆ๋‹ค.
14:40
I did this as an experiment
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์ „ ์ด๊ฒƒ์„ ๊ทธ๋ฆผ์ž๋ฅผ ๋“œ๋ฆฌ์šฐ๋Š”
14:43
of casting the shadow.
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์‹œ๋„๋กœ์„œ ํ•˜๊ฒŒ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
14:45
So this is a corrugated box and its shadow.
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์—ฌ๊ธฐ ๊ณจํŒ์ง€ ์ƒ์ž์™€ ๊ทธ๋ฆผ์ž๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
14:48
Then the second one --
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๋‹ค์Œ์˜ ๊ฒƒ์€ --
14:50
the moment you bring any invisible into the visible world
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๋‹น์‹ ์ด ๋ณด์ด์ง€ ์•Š๋Š” ๊ฒƒ์„ ๋ณด์ด๋Š” ์„ธ๊ณ„๋กœ ๊ฐ€์ ธ์˜ค๋ ค๋Š” ์ˆœ๊ฐ„,
14:53
it will have all the characteristics of the visible existence.
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๊ทธ๊ฒƒ์€ ๋ณด์ด๋Š” ์กด์žฌ์˜ ๋ชจ๋“  ํŠน์„ฑ๋“ค์„ ๊ฐ€์ง€๊ฒŒ ๋  ๊ฒ๋‹ˆ๋‹ค.
14:56
So that produced a shadow.
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๊ทธ๋ฆผ์ž๊ฐ€ ๋งŒ๋“ค์–ด์กŒ์Šต๋‹ˆ๋‹ค.
14:58
Then I thought, okay, let me sculpt that.
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๊ทธ๋ž˜์„œ ์ €๋Š” ๊ทธ๊ฒƒ์„ ์กฐ๊ฐํ•˜๊ธฐ๋กœ ํ–ˆ์Šต๋‹ˆ๋‹ค.
15:00
Then, again, that becomes an object.
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์ด์ œ ๋‹ค์‹œ, ์–ด๋–ค ๋ฌผ์ฒด๊ฐ€ ๋˜์—ˆ์ฃ .
15:02
Again, throwing light, then the third one.
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๋‹ค์‹œ ๋น›์„ ๋˜์ง€๊ณ , ์ด์ œ ์„ธ๋ฒˆ์งธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
15:05
So what you see is nothing but shadow
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์ด์ œ ๋‹น์‹ ์ด ๋ณผ ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์€ ๊ทธ๋ฆผ์ž ๋ฟ์ž…๋‹ˆ๋‹ค.
15:07
of a shadow of a shadow.
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๊ทธ๋ฆผ์ž์˜ ๊ทธ๋ฆผ์ž์ด์ฃ .
15:09
And then again, at that point, there is no shadow.
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์ด์ œ ๋‹ค์‹œ, ์ด ์‹œ์ ์—์„œ, ๊ทธ๋ฆผ์ž๊ฐ€ ์—†์–ด์ง‘๋‹ˆ๋‹ค.
15:12
I thought, "Oh, good. Work is finished."
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'์ข‹์•„. ์ด์ œ ์ž‘์—…์ด ๋๋‚ฌ๊ตฐ."ํ•˜๊ณ  ์ƒ๊ฐํ–ˆ์ฃ .
15:16
You can see the detail.
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๋” ์ž์„ธํžˆ ๋ณด์‹œ์ฃ .
15:22
This is called "Gravity."
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์ด๊ฒƒ์€ "์ค‘๋ ฅ."์ด๊ณ 
15:29
It's called "Breath." It's just two holes on the gallery wall.
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์ด๊ฒƒ์€ "ํ˜ธํก."์ž…๋‹ˆ๋‹ค. ๋ฒฝ์— ๊ตฌ๋ฉ ๋‘ ๊ฐœ๊ฐ€ ์žˆ์„ ๋ฟ์ด์ฃ .
15:32
It's a false wall, which contains
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110 ์ž…๋ฐฉ ํ”ผํŠธ์˜
15:34
like 110 cubic feet.
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๊ฐ€์งœ ๋ฒฝ์ž…๋‹ˆ๋‹ค.
15:36
So that hole actually
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๊ตฌ๋ฉ์€ ์‹ค์ œ๋กœ
15:38
makes the air come out and go in.
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๊ณต๊ธฐ๊ฐ€ ์˜ค๊ฐˆ ์ˆ˜ ์žˆ๊ฒŒ ํ•ด ์ค๋‹ˆ๋‹ค.
15:41
So where it's happening, we can see,
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์ด๊ฒƒ์ด ์ผ์–ด๋‚ ๋•Œ, ์šฐ๋ฆฌ๋Š”
15:43
but what is happening will remain invisible only.
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๊ฒฐ๊ณผ๋ฌผ์ด ๋ณด์ด์ง€ ์•Š๋Š”๋‹ค๋Š” ๊ฒƒ๋งŒ ์•Œ ๋ฟ์ž…๋‹ˆ๋‹ค.
15:45
This is from the show called "Invisible," at Talwar Gallery.
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์ด๊ฒƒ์€ ํƒˆ์™€ ๊ฐค๋Ÿฌ๋ฆฌ์˜ "๋ณผ ์ˆ˜ ์—†๋Š” ๊ฒƒ"์ด๋ž€ ์‡ผ์—์„œ ๋‚˜์™”์Šต๋‹ˆ๋‹ค.
15:48
This is called "Kaayam."
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์ด๊ฑด "์นด์–Œ."์ด์ฃ .
15:50
Detail.
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๊ฐ€๊นŒ์ด์„œ ๋ณด์„ธ์š”.
15:55
And what I'd like to tell you,
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์ œ๊ฐ€ ๋ง์”€๋“œ๋ฆฌ๊ณ  ์‹ถ์€ ๊ฒƒ์€,
15:58
our senses are so limited --
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์šฐ๋ฆฌ์˜ ๊ฐ๊ฐ์ด ๋งค์šฐ ์ œํ•œ์ ์ด๋ผ๋Š” ๊ฒƒ,
16:00
we cannot hear everything, we cannot see everything.
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์šฐ๋ฆฌ๊ฐ€ ๋ชจ๋“  ๊ฒƒ์„ ๋ณด๊ณ  ๋“ค์„ ์ˆœ ์—†๋‹ค๋Š” ๊ฒ๋‹ˆ๋‹ค.
16:02
We don't feel, "I am touching the air,"
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'๊ณต๊ธฐ๋ฅผ ๋งŒ์ง€๊ณ  ์žˆ์–ด."๋ผ๊ณ  ๋Š๋ผ์ง„ ๋ชปํ•˜์ฃ .
16:04
but if the breeze is a little more faster, then I can feel it.
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๋Œ€์‹  ๋ฐ”๋žŒ์ด ์กฐ๊ธˆ ๋น ๋ฅด๊ฒŒ ๋ถˆ๋ฉด ๊ทธ๊ฒƒ์„ ๋Š๋‚„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
16:08
So all of our construction of reality
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๋”ฐ๋ผ์„œ ์šฐ๋ฆฌ๊ฐ€ ํ˜„์‹ค์—์„œ ๊ตฌํ˜„ํ•œ ๋ชจ๋“  ๊ฒƒ์€
16:11
is through these limited senses.
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์ด๋Ÿฐ ์ œํ•œ์ ์ธ ๊ฐ๊ฐ์„ ํ†ตํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
16:13
So my request was like,
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๋”ฐ๋ผ์„œ ์ €๋Š” ์ด๋Ÿฐ ๋ชจ๋“  ๊ฒƒ๋“ค์„
16:15
is there any way to use all this
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์‹ ํ˜ธ๋‚˜ ์ƒ์ง•์œผ๋กœ ์‚ฌ์šฉํ•  ๋ฐฉ๋ฒ•์ด
16:17
as just a symbol or a sign?
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์žˆ๋Š”์ง€ ์ƒ๊ฐํ•˜๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
16:21
And to really get to the point,
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๊ทธ ํ•ต์‹ฌ์„ ์žก์•„๋‚ด๊ธฐ ์œ„ํ•ด
16:23
we should move beyond, you know,
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์šฐ๋ฆฌ๋Š” ๊ทธ ๋„ˆ๋จธ๋กœ ๋‚˜์•„๊ฐ€
16:25
go to the other side of the wall, like illogic,
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๋ฒฝ์˜ ๋‹ค๋ฅธ ์ชฝ์„ ๋ฐ”๋ผ๋ด์•ผ ํ•ฉ๋‹ˆ๋‹ค. ๋…ผ๋ฆฌ์ฒ˜๋Ÿผ,
16:27
like are invisible.
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๋ณด์ด์ง€ ์•Š๋Š” ๊ฒƒ์ฒ˜๋Ÿผ์š”.
16:29
Because when we see someone walks, we see the footprint.
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์šฐ๋ฆฌ๊ฐ€ ๋ˆ„๊ตฐ๊ฐ€ ๊ฑท๋Š” ๊ฒƒ์„ ๋ดค์„ ๋•Œ, ๋ฐœ์ž๊ตญ์„ ๋ณด๋“ฏ ๋ง์ž…๋‹ˆ๋‹ค.
16:31
But if we're just cutting that footprint from the whole thing and trying to analyze it,
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ํ•˜์ง€๋งŒ ์šฐ๋ฆฌ๊ฐ€ ๋ชจ๋“  ๊ฒƒ์—์„œ ๋ฐœ์ž๊ตญ๋งŒ ๋ถ„๋ฆฌํ•ด์„œ ๋ถ„์„ํ•˜๋ ค๊ณ  ๋…ธ๋ ฅํ•  ๋•Œ
16:34
you will miss the point
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์šฐ๋ฆฌ๋Š” ํ•ต์‹ฌ์„ ์žƒ์–ด๋ฒ„๋ฆฝ๋‹ˆ๋‹ค.
16:36
because the actual journey happens between those footprints,
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์‹ค์ œ ์—ฌํ–‰์€ ์ด๋Ÿฐ ๋ฐœ์ž์ทจ๋“ค ์‚ฌ์ด์—์„œ ์ผ์–ด๋‚˜๋Š” ๊ฒƒ์ด๊ณ ,
16:39
and the footprints are nothing but passing time.
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๋ฐœ์ž์ทจ๋Š” ์‹œ๊ฐ„์˜ ํ๋ฆ„์ผ ๋ฟ์ด๋‹ˆ๊นŒ์š”.
16:41
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
16:43
(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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