Antony Gormley: Sculpted space, within and without

99,253 views ใƒป 2012-09-07

TED


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

00:00
Translator: Joseph Geni Reviewer: Morton Bast
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๋ฒˆ์—ญ: Lenn Kim ๊ฒ€ํ† : Chanhee Lee
00:15
I'm going to tell you about why I became a sculptor,
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์ œ๊ฐ€ ์กฐ๊ฐ๊ฐ€๊ฐ€ ๋œ ์ด์œ ๋ฅผ ๋ง์”€ ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
00:20
and you may think that sculptors,
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์—ฌ๋Ÿฌ๋ถ„์€ ์กฐ๊ฐ๊ฐ€๋ผ๊ณ  ํ•˜๋ฉด,
00:22
well, they deal with meta, they deal with objects,
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์ถ”์ƒ์ ์ธ ๊ฒƒ์ด๋‚˜ ๋ฌผ์งˆ์ ์ธ ๊ฒƒ,
00:27
they deal with bodies,
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์‹ ์ฒด ๋“ฑ์„ ๋‹ค๋ฃจ๋Š” ์‚ฌ๋žŒ์ด๋ผ๊ณ  ์ƒ๊ฐํ•˜์‹œ๊ฒ ์ง€๋งŒ
00:30
but I think, really, what I care about most
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์‚ฌ์‹ค ์ œ๊ฐ€ ๊ฐ€์žฅ ์‹ ๊ฒฝ์“ฐ๋Š” ๋ถ€๋ถ„์€
00:34
is making space, and that's what I've called this talk:
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๊ณต๊ฐ„์„ ๋งŒ๋“œ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
00:38
Making Space.
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๊ทธ๋ž˜์„œ ์ด๋ฒˆ ๊ฐ•์˜์˜ ์ œ๋ชฉ๋„ "๊ณต๊ฐ„ ๋งŒ๋“ค๊ธฐ" ์ฃ .
00:41
Space that exists within us,
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์šฐ๋ฆฌ ์•ˆ์— ์กด์žฌํ•˜๋Š”
00:45
and without us.
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๊ฐ€ ์—†๋Š” ๊ณต๊ฐ„์ด์š”.
00:48
So, when I was a child,
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50๋…„๋Œ€์— ์œ ๋…„ ์‹œ์ ˆ์„ ๋ณด๋‚ธ ๋ถ„์ด ์–ผ๋งˆ๋‚˜ ๋ ์ง€๋Š” ๋ชจ๋ฅด๊ฒ ์ง€๋งŒ,
00:52
I don't know how many of you grew up in the '50s,
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์ œ๊ฐ€ ์–ด๋ ธ์„ ์ ์—๋Š”
00:54
but I was sent upstairs for an enforced rest. (Laughter)
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์ €๋Š” ์œ—์ธต์—์„œ ์›์น˜ ์•Š๋Š” ํœด์‹์„ ์ทจํ•ด์•ผ๋งŒ ํ–ˆ์Šต๋‹ˆ๋‹ค. (์›ƒ์Œ)
00:59
It's a really bad idea. I mean, after lunch, you're, you know,
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์ •๋ง ๋”์ฐํ•œ ๋ฐœ์ƒ์ž…๋‹ˆ๋‹ค. ์ œ ๋ง์€, ์—ฌ์„ฏ์‚ด์งœ๋ฆฌ ์•„์ด๋Š”
01:02
you're six, and you want to go and climb a tree.
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์ ์‹ฌ์„ ๋จน์—ˆ์œผ๋ฉด ๋‚˜๊ฐ€์„œ ๋‚˜๋ฌด๋ผ๋„ ํƒ€๊ณ  ์‹ถ์–ดํ•˜์ž–์•„์š”.
01:06
But I had to go upstairs, this tiny little room
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๊ทธ๋ ‡์ง€๋งŒ ์ €๋Š” ์œ„์ธต์— ์žˆ๋Š” ์ž‘๋”” ์ž‘์€ ๋ฐฉ์— ๋“ค์–ด๊ฐ€์•ผ ํ–ˆ์ง€์š”.
01:07
that was actually made out of an old balcony,
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์ด ๋ฐฉ์€ ์‚ฌ์‹ค ์˜ค๋ž˜๋œ ๋ฐœ์ฝ”๋‹ˆ๋ฅผ ๊ฐœ์กฐํ•œ ๋ฐฉ์ด๋ผ
01:09
so it was incredibly hot, small and light,
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์—„์ฒญ ๋ฅ๊ณ , ์ž‘๊ณ  ๋ฐ์€ ๊ณณ์ด์—ˆ๋Š”๋ฐ
01:14
and I had to lie there. It was ridiculous.
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๊ทธ๊ณณ์— ๊ฐ€๋งŒํžˆ ๋ˆ„์›Œ์žˆ์–ด์•ผ ํ–ˆ์–ด์š”. ์ •๋ง ์–ด์ด์—†๋Š” ์ผ์ด์—ˆ์ฃ .
01:18
But anyway, for some reason, I promised myself
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ํ•˜์ง€๋งŒ ์–ด์จŒ๋“ , ์ €๋Š” ๋ฌด์Šจ ์ด์œ ์—์„œ์˜€๋Š”์ง€
01:20
that I wasn't going to move,
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๊ฑฐ๊ธฐ์„œ ํ•œ ๋ฐœ์ง๋„ ์›€์ง์ด์ง€ ์•Š๊ฒ ๋‹ค๊ณ  ์ € ์ž์‹ ์—๊ฒŒ ์•ฝ์†ํ•˜๊ณ ,
01:23
that I was going to do this thing that Mummy
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์—„๋งˆ๊ฐ€ ์‹œํ‚จ๋Œ€๋กœ ํ•˜๊ฒ ๋‹ค๊ณ 
01:25
wanted me to do.
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๋‹ค์งํ–ˆ์Šต๋‹ˆ๋‹ค.
01:26
And there I was, lying there in this tiny space,
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๊ทธ๋ ‡๊ฒŒ ์ €๋Š” ๊ทธ ์ž‘์€ ๊ณต๊ฐ„์— ๊ฐ€๋งŒํžˆ ๋ˆˆ์„ ๊ฐ๊ณ  ๋ˆ„์›Œ์žˆ์—ˆ์ฃ . ๊ทธ ๋ฅ๊ณ , ์–ด๋‘ก๊ณ ,
01:30
hot, dark, claustrophobic, matchbox-sized, behind my eyes,
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๊ฑฐ์˜ ํ์‡„ ๊ณตํฌ์ฆ์ด ์ผ์–ด๋‚  ๋“ฏํ•œ ์„ฑ๋ƒฅ๊ฐ‘๋งŒํ•œ ๊ณต๊ฐ„์—์„œ ๋ง์ด์ฃ 
01:37
but it was really weird, like, after this went on
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๊ทธ๋Ÿฐ๋ฐ ์ฐธ ํฌํ•œํ•˜๊ฒŒ๋„
01:41
for days, weeks, months, that space would get bigger
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๋ฉฐ์น , ๋ช‡ ์ฃผ, ๋ช‡ ๋‹ฌ๊ฐ„ ๋ฐฉ์— ์žˆ๊ฒŒ ๋˜์ž, ๊ทธ ๋ฐฉ์ด
01:47
and darker and cooler
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์ ์  ํฌ๊ณ  ์–ด๋‘ก๊ณ , ๊ทผ์‚ฌํ•ด์ง€๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
01:51
until I really looked forward to that half an hour
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๊ฐ€๋งŒํžˆ ์‰ฌ์–ด์•ผํ•˜๋Š” ๊ทธ 30๋ถ„์ด
01:56
of enforced immobility and rest,
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๋นจ๋ฆฌ ์˜ค๊ธฐ๋งŒ์„,
02:00
and I really looked forward to going to that place
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๊ทธ๋ž˜์„œ ๊ทธ ์–ด๋‘์šด ๊ณต๊ฐ„์— ๋‹ค์‹œ ๊ฐˆ ์ˆ˜ ์žˆ๊ธฐ๋ฅผ
02:05
of darkness.
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๊ธฐ๋Œ€ํ•˜๊ฒŒ ๋  ์ •๋„๋กœ ๋ง์ด์ฃ .
02:07
Do you mind if we do something completely different?
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์ข€ ์ƒ‰๋‹ค๋ฅธ ์‹œ๋„๋ฅผ ํ•ด๋„ ๊ดœ์ฐฎ์„๊นŒ์š”?
02:10
Can we all just close our eyes for a minute?
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๋ชจ๋‘ ํ•œ๋ฒˆ ๋ˆˆ์„ ๊ฐ์•„๋ณด์‹œ๊ฒ ์–ด์š”?
02:12
Now, this isn't going to be freaky.
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์ด์ƒํ•œ ๊ฒƒ์„ ํ•˜๋ ค๋Š” ๊ฒŒ ์•„๋‹™๋‹ˆ๋‹ค.
02:13
It isn't some cultic thing. (Laughter)
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์‚ฌ์ด๋น„ ์ข…๊ต ์˜์‹ ๊ฐ™์€ ๊ฒŒ ์•„๋‹ˆ์—์š”. (์›ƒ์Œ)
02:15
It's just, it's just, I just would like us all to go there.
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๊ทธ์ € ์—ฌ๋Ÿฌ๋ถ„๋„ ํ•จ๊ป˜ ๊ทธ ๊ณต๊ฐ„์„ ๋Š๊ผˆ์œผ๋ฉด ํ•ด์„œ์š”.
02:18
So I'm going to do it too. We'll all be there together.
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์ €๋„ ๊ฐ™์ด ํ•  ๊ฒ๋‹ˆ๋‹ค. ๊ทธ ๊ณต๊ฐ„์— ๊ฐ™์ด ๊ฐ€๋ด…์‹œ๋‹ค.
02:20
So close your eyes for a minute.
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๊ทธ๋Ÿฌ๋‹ˆ ์ž ์‹œ ๋ˆˆ์„ ๊ฐ์•„๋ณด์„ธ์š”.
02:24
Here we are, in a space,
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์ง€๊ธˆ ์šฐ๋ฆฌ๋Š” ์—ฌ๋Ÿฌ๋ถ„ ๊ฐ์ž์˜ ๋‚ด๋ฉด์— ์žˆ๋Š”
02:27
the subjective, collective space of the darkness of the body.
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์ฃผ๊ด€์ ์ด๊ณ , ์„ ํƒ์ ์ธ ์–ด๋‘ ์˜ ๊ณต๊ฐ„ ์†์— ์žˆ์Šต๋‹ˆ๋‹ค.
02:35
I think of this as the place of imagination,
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์ €๋Š” ์ด ๊ณณ์„ ์ƒ์ƒ์˜ ๊ณต๊ฐ„,
02:39
of potential,
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์ž ์žฌ์˜ ๊ณต๊ฐ„์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
02:42
but what are its qualities?
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ํ•˜์ง€๋งŒ ์ด ๊ณต๊ฐ„์˜ ํŠน์„ฑ์€ ๋ฌด์—‡์ผ๊นŒ์š”?
02:45
It is objectless. There are no things in it.
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๊ทธ ๊ณณ์—” ์•„๋ฌด๊ฒƒ๋„ ์—†์Šต๋‹ˆ๋‹ค. ๊ทธ ์•ˆ์—๋Š” ์•„๋ฌด๊ฒƒ๋„ ์กด์žฌํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
02:50
It is dimensionless. It is limitless.
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์ฐจ์›๋„ ์—†๊ณ  ํ•œ๊ณ„๋„ ์—†์Šต๋‹ˆ๋‹ค.
02:56
It is endless.
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๋์—†๋Š” ๊ณต๊ฐ„์ž…๋‹ˆ๋‹ค.
03:01
Okay, open your eyes.
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์ž, ์ด์ œ ๋ˆˆ์„ ๋– ๋ณด์„ธ์š”.
03:03
That's the space that I think sculpture --
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๋ฐฉ๊ธˆ ์—ฌ๋Ÿฌ๋ถ„์ด ๋Š๋‚€ ๊ณต๊ฐ„์ด ๋ฐ”๋กœ ์ œ๊ฐ€ ์ƒ๊ฐํ•˜๋Š” '์กฐ๊ฐ' ์ž…๋‹ˆ๋‹ค.
03:08
which is a bit of a paradox, sculpture that is about
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์•ฝ๊ฐ„ ๋ชจ์ˆœ์ ์ด๊ธด ํ•ฉ๋‹ˆ๋‹ค. ์กฐ๊ฐํ•œ๋‹ค๋Š” ๊ฒƒ์€
03:11
making material propositions --
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๋ฌผ์งˆ์ ์ธ ๋ช…์ œ๋ฅผ ์ œ์‹œํ•˜๋Š” ๊ฒƒ์ด๋‹ˆ๊นŒ์š”.
03:14
but I think that's the space
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ํ•˜์ง€๋งŒ ์ด ๊ณต๊ฐ„์ด์•ผ๋ง๋กœ
03:16
that sculpture can connect us with.
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์กฐ๊ฐ์ด ์šฐ๋ฆฌ๋ฅผ ์—ฐ๊ฒฐ์‹œ์ผœ์ค„ ์ˆ˜ ์žˆ๋Š” ๊ณณ์ž…๋‹ˆ๋‹ค.
03:21
So, imagine we're in the middle of America.
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์šฐ๋ฆฌ๊ฐ€ ๋ฏธ๊ตญ์˜ ์ค‘๋ถ€ ์–ด๋”˜๊ฐ€์— ์žˆ๋‹ค๊ณ  ์ƒ์ƒํ•ฉ์‹œ๋‹ค.
03:25
You're asleep. You wake up,
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๋‹น์‹ ์€ ์ž ์ž๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ๋‹น์‹ ์€ ๊นจ์–ด๋‚˜์„œ
03:28
and without lifting your head from the earth
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๋•…์—์„œ ๋จธ๋ฆฌ๋ฅผ ๋“ค์ง€๋„ ์•Š๊ณ 
03:31
on your sleeping bag, you can see for 70 miles.
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์นจ๋‚ญ ์†์—์„œ ๊ฐ€๋งŒํžˆ ๋ˆ„์šด ์ฑ„, 70 ๋งˆ์ผ ๋„ˆ๋จธ๋ฅผ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
03:37
This is a dry lake bed.
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์ด ๊ณณ์€ ๋ง๋ผ๋ฒ„๋ฆฐ ํ˜ธ์ˆ˜์˜ ๋ฐ”๋‹ฅ์ž…๋‹ˆ๋‹ค.
03:40
I was young. I'd just finished art school.
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๊ทธ๋•Œ ์ €๋Š” ์ ‹์—ˆ์Šต๋‹ˆ๋‹ค. ์ด์ œ ๋ง‰ ์˜ˆ์ˆ  ํ•™๊ต๋ฅผ ์กธ์—…ํ–ˆ์„ ๋•Œ์˜€์Šต๋‹ˆ๋‹ค.
03:44
I wanted to do something that was working
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์ €๋Š” ์„ธ์ƒ๊ณผ ์ง๊ฒฐ๋œ, ๊ณต๊ฐ„๊ณผ ์ง๊ฒฐ๋œ
03:46
directly with the world, directly with place.
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๋ฌด์–ธ๊ฐ€๋ฅผ ํ•˜๊ณ  ์‹ถ์—ˆ์Šต๋‹ˆ๋‹ค.
03:51
This was a wonderful place, because it was a place
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์ด ๊ณณ์€ ์•„๋ฆ„๋‹ค์šด ์žฅ์†Œ์˜€๋Š”๋ฐ, ๊ทธ ์ด์œ ๋Š” ์ด ๊ณณ์ด
03:55
where you could imagine that you were the
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์ œ๊ฐ€ ์ด ๊ณณ์— ์ฒ˜์Œ์œผ๋กœ ์˜จ ์‚ฌ๋žŒ์ด๋ผ๊ณ 
03:57
first person to be there.
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์ƒ์ƒํ•  ์ˆ˜ ์žˆ๋Š” ๊ณณ์ด์—ˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
03:59
It was a place where nothing very much had happened.
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๋ณ„๋กœ ๋Œ€๋‹จํ•œ ์ผ์ด ์ผ์–ด๋‚œ๊ฒŒ ์—†๋Š” ๊ณณ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
04:04
Anyway, bear with me.
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์–ด์จŒ๋“ , ์ €๋Š”
04:07
I picked up a hand-sized stone,
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์ฃผ๋จน๋งŒํ•œ ๋Œ๋ฉฉ์ด๋ฅผ ์ง‘์–ด์„œ
04:11
threw it as far as I was able,
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๋  ์ˆ˜ ์žˆ์„ ๋งŒํผ ๋ฉ€๋ฆฌ ๋˜์กŒ์–ด์š”.
04:13
it was about 22 meters.
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22๋ฏธํ„ฐ ์ •๋„ ๋‚ ์•„๊ฐ€๋”๊ตฐ์š”.
04:15
I then cleared all the stones within that radius
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๊ทธ ๋‹ค์Œ ๊ทธ ๋ฐ˜๊ฒฝ ๋‚ด์˜ ๋ชจ๋“  ๋Œ์„ ๊ฐ€์ ธ๋‹ค๊ฐ€
04:22
and made a pile.
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์ฐจ๊ณก์ฐจ๊ณก ์Œ“์•„ ์˜ฌ๋ ธ์–ด์š”.
04:25
And that was the pile, by the way.
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์ €๊ธฐ ๋ณด์ด๋Š” ์ € ๋”๋ฏธ๊ฐ€ ๋ฐ”๋กœ ๊ทธ๊ฑฐ์˜ˆ์š”.
04:28
And then, I stood on the pile,
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ๊ทธ ๋Œ๋”๋ฏธ ์œ„์— ์˜ฌ๋ผ์„œ์„œ
04:31
and threw all of those rocks out again,
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๊ทธ ๋Œ๋“ค์„ ๋‹ค์‹œ ๋‹ค ์ง‘์–ด๋˜์กŒ์–ด์š”.
04:35
and here is rearranged desert.
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์ด๊ฒŒ ๋ฐ”๋กœ ๊ทธ๋ ‡๊ฒŒ ์žฌ๋ฐฐ์น˜๋œ ์‚ฌ๋ง‰์˜ ๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
04:40
You could say, well, it doesn't look very different
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์•„๋งˆ ์—ฌ๋Ÿฌ๋ถ„์€ ์ฒ˜์Œ ์ƒํƒœ์™€ ๋‹ค๋ฅธ๊ฒƒ์ด
04:42
from when he started.
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๋ณ„๋กœ ์—†๋‹ค๊ณ  ์ƒ๊ฐํ•  ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
04:44
(Laughter)
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(์›ƒ์Œ)
04:46
What's all the fuss about?
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์™œ ์ด๋Ÿฐ ํ˜ธ๋“ค๊ฐ‘์„ ๋–จ์—ˆ๋˜ ๊ฑธ๊นŒ์š”?
04:47
In fact, Chris was worried and said,
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์‹ค์ œ๋กœ, ํฌ๋ฆฌ์Šค๋Š” ๊ฑฑ์ •์Šค๋Ÿฌ์›Œ์„œ
04:49
"Look, don't show them that slide,
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"์ด๋ด, ๊ทธ ์‚ฌ์ง„์€ ๋นผ. ๊ทธ๊ฑธ ๋ณด๊ณ  ์‚ฌ๋žŒ๋“ค์€
04:50
because they're just going to think you're another one of
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๋ณ„ ๋ณผ์ผ ์—†๊ณ  ์ •์‹  ๋‚˜๊ฐ„ ํ˜„๋Œ€ ๋ฏธ์ˆ ๊ฐ€๊ฐ€
04:52
those crazy modern artists who doesn't do much.
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ํ•œ๋ช… ๋” ์ƒ๊ฒผ๊ตฌ๋‚˜' ์ด๋ ‡๊ฒŒ ์ƒ๊ฐํ•  ํ…Œ๋‹ˆ๊นŒ" ๋ผ๊ณ  ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:55
(Laughter)
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(์›ƒ์Œ)
04:57
But the fact is, this is evidence
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ํ•˜์ง€๋งŒ ์‚ฌ์‹ค, ์ด๊ฒƒ์ด์•ผ๋ง๋กœ ํ•˜๋‚˜์˜ ์‚ด์•„์žˆ๋Š” ๊ฐœ์ฒด๊ฐ€
05:04
of a living body on other bodies,
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๋‹ค๋ฅธ ๊ฐœ์ฒด์— ๋ฏธ์นœ ์˜ํ–ฅ์˜ ์ฆ๊ฑฐ์ด์ž
05:07
rocks that have been the subject of geological formation,
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์ง€๋ฆฌ์ ์œผ๋กœ ๋ฐฐ์น˜๋œ ์ฃผ์ œ์ธ ๋Œ๋งน์ด์— ์˜ํ–ฅ์„ ๋ฏธ์นœ ์ฆ๊ฑฐ์ธ๊ฑฐ์ฃ .
05:13
erosion, the action of time on objects.
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๋˜ํ•œ, ์‹œ๊ฐ„์˜ ์˜ํ–ฅ์ด ๋ฌผ์ฒด์— ๋ฏธ์นœ ์˜ํ–ฅ, ์ฆ‰ ์นจ์‹์˜ ์ฆ๊ฑฐ์ธ ๊ฒ๋‹ˆ๋‹ค.
05:18
This is a place, in a way, that I just
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์—ฌ๊ธฐ๊ฐ€ ๋ฐ”๋กœ, ์–ด๋–ค ๋ฉด์—์„œ, ์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ๋‹ค๋ฅธ ๊ด€์ ์—์„œ
05:21
would like you to, in a way, look at differently
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๋ฐ”๋ผ๋ด ์ฃผ์…จ์œผ๋ฉด ํ•˜๋Š” ๋ถ€๋ถ„์ž…๋‹ˆ๋‹ค.
05:24
because of this event that has happened in it,
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์™œ๋ƒํ•˜๋ฉด ์ด ์žฅ์†Œ์—์„œ ์ผ์–ด๋‚œ ์ด ์‚ฌ๊ฑด,
05:28
a human event,
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์ธ๊ฐ„์— ์˜ํ•œ ์‚ฌ๊ฑด์ด๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
05:30
and in general, it just asks us to look again
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์šฐ๋ฆฌ๊ฐ€ ์„œ๋กœ ๊ณต์œ ํ•ด์˜จ ์ด ์„ธ๊ณ„๋ฅผ
05:33
at this world, so different from, in a way,
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์ „๋ฐ˜์ ์œผ๋กœ ์ด์ „๊ณผ๋Š” ์ƒ๋‹นํžˆ ๋‹ค๋ฅด๊ฒŒ
05:36
the world that we have been sharing with each other,
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๋ฐ”๋ผ๋ด์ฃผ๊ธธ ์š”๊ตฌํ•˜๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
05:39
the technological world,
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์ตœ์ฒจ๋‹จ ๊ธฐ์ˆ ์˜ ์„ธ์ƒ์—์„œ,
05:42
to look again at the elemental world.
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๊ฐ€์žฅ ๊ทผ๋ณธ์ ์ธ ์„ธ์ƒ์œผ๋กœ ์‹œ์„ ์„ ๋Œ๋ฆฌ๊ฒŒ ํ•˜๋Š” ๊ฑฐ์ฃ .
05:46
The elemental world that we all live in is that space
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์—ฌ๊ธฐ์„œ ์šฐ๋ฆฌ ๋ชจ๋‘๊ฐ€ ์‚ด๊ณ  ์žˆ๋Š” ๊ทผ๋ณธ์ ์ธ ์„ธ์ƒ์ด๋ž€
05:52
that we all visited together, the darkness of the body.
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์šฐ๋ฆฌ๊ฐ€ ๋ฐฉ๊ธˆ ๋‹ค๋…€์™”๋˜ ์–ด๋‘ ์˜ ๊ณต๊ฐ„์ž…๋‹ˆ๋‹ค.
05:56
I wanted to start again with that environment,
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์ €๋Š” ์šฐ๋ฆฌ ๊ฐœ๊ฐœ์ธ์ด ์‚ด๊ณ ์žˆ๋Š” ๊ณต๊ฐ„,
06:00
the environment of the intimate, subjective space
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์šฐ๋ฆฌ ๋‚ด๋ถ€์˜ ์นœ๋ฐ€ํ•˜๊ณ  ์ฃผ๊ด€์ ์ธ ๊ณต๊ฐ„์œผ๋กœ๋ถ€ํ„ฐ
06:04
that each of us lives in, but from the other side
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ํ•˜์ง€๋งŒ ๊ฒ‰์œผ๋กœ ๋ณด์ด๋Š” ๊ฒƒ๊ณผ๋Š” ๋‹ค๋ฅธ ์ชฝ์˜ ๊ณต๊ฐ„์œผ๋กœ๋ถ€ํ„ฐ
06:08
of appearance.
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์ƒˆ๋กœ์ด ์‹œ์ž‘ํ•˜๊ณ  ์‹ถ์—ˆ์Šต๋‹ˆ๋‹ค.
06:10
So here is a daily activity of the studio.
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์ด๊ฒƒ์€ ์ž‘์—…์‹ค์—์„œ ์ผ์ƒ์ ์œผ๋กœ ์ด๋ฃจ์–ด์ง€๋Š” ์ผ์ž…๋‹ˆ๋‹ค.
06:13
You can see I don't do much. I'm just standing there,
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์‚ฌ์‹ค ์ „ ๊ทธ๋‹ค์ง€ ๋งŽ์€ ๊ฒƒ์„ ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ๊ทธ์ € ์„œ์„œ
06:16
again with my eyes closed, and other people
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๋ฐฉ๊ธˆ ์šฐ๋ฆฌ๊ฐ€ ํ–ˆ๋˜ ๊ฒƒ์ฒ˜๋Ÿผ ๋ˆˆ์„ ๊ฐ๊ณ  ์„œ์žˆ์œผ๋ฉด
06:19
are molding me, evidential.
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๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์ด ์ œ ๋ชธ์„ ๋ชฐ๋”ฉ(์กฐํ˜•)ํ•ด์ค๋‹ˆ๋‹ค.
06:24
This is an indexical register of a lived moment
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์ด๊ฒƒ์€ ์‹œ๊ฐ„ ์†์—์„œ ์ƒ๋ช…์ด ์‚ด์•„ ์ˆจ์‰ฌ๋Š” ์ˆœ๊ฐ„ ํ•˜๋‚˜๋ฅผ
06:27
of a body in time.
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์ƒ‰์ธ์ฒ˜๋Ÿผ ๊ธฐ๋กํ•ด ๋†“์€ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
06:30
Can we map that space, using the language of neutrinos
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์šฐ๋ฆฌ๊ฐ€ ์ค‘์„ฑ์ž๋‚˜ ์šฐ์ฃผ ์—๋„ˆ์ง€๋ฅผ ์ด์šฉํ•ด์„œ ์ด ๊ณต๊ฐ„์„ ๋งŒ๋“ค์–ด ๋‚ผ ์ˆ˜ ์žˆ์„๊นŒ์š”?
06:36
or cosmic rays, taking the bounding condition of the body
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์ด๋ ‡๊ฒŒ ๋ชธ์˜ ๊ฒฐํ•ฉ ์กฐ๊ฑด์„ ๊ทธ ํ•œ๊ณ„๋กœ ํ•˜๋˜
06:41
as its limit, but in complete reversal of, in a way,
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์ „ํ†ต์ ์ธ ๊ทธ๋ฆฌ์Šค์‹ ์กฐ๊ฐ๋ฒ•์„
06:46
the most traditional Greek idea of pointing?
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์™„์ „ํžˆ ๋ฐ˜์ „์‹œ์ผœ์„œ ๊ทธ๋ ค๋‚ผ ์ˆ˜ ์žˆ์„๊นŒ์š”?
06:49
In the old days they used to take a lump of Pentelic marble
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์˜›๋‚ ์—๋Š” ํฐ ํŽœํ…”๋ฆญ ๋Œ€๋ฆฌ์„ ํ•œ๋ฉ์ด๋ฅผ ๊ฐ–๋‹ค๋†“๊ณ 
06:53
and drill from the surface in order to identify the skin,
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๊ฒ‰์—์„œ๋ถ€ํ„ฐ ๊น์•„ ๋‚˜๊ฐ”์Šต๋‹ˆ๋‹ค. ํ”ผ๋ถ€์™€
06:57
the appearance,
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์™ธํ˜•์„ ๋“œ๋Ÿฌ๋‚ด๊ธฐ ์œ„ํ•ด์„œ ๋ง์ด์ฃ .
06:59
what Aristotle defined as the distinction
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์•„๋ฆฌ์Šคํ† ํ…”๋ ˆ์Šค๋Š” ์‹ค์ฒด์™€ ์™ธํ˜•์„ ๊ตฌ๋ถ„ํ–ˆ๋Š”๋ฐ,
07:02
between substance and appearance,
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'์™ธํ˜•'์„ ์ด๋ ‡๊ฒŒ ์ •์˜ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:04
the thing that makes things visible,
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"์–ด๋–ค๊ฒƒ์˜ ํ˜•์ƒ์„ ๋งŒ๋“ค์–ด์„œ ๋ณด์ด๊ฒŒ ํ•˜๋Š” ๊ฒƒ"์ด๋ผ๊ณ ์š”.
07:07
but here we're working from the other side.
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๊ทธ๋Ÿฐ๋ฐ ์šฐ๋ฆฌ๋Š” ๋ฐ˜๋Œ€๋กœ ์•ˆ์—์„œ ๋ฐ–์œผ๋กœ ์ž‘์—…ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:10
Or can we do it as an exclusive membrane?
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ํ˜น์€ ๋ฐฐํƒ€์  ๊ฒฝ๊ณ„๋ฉด์„ ์ด์šฉํ•ด์„œ ์ด๋Ÿฐ ๊ณต๊ฐ„์„ ๋งŒ๋“ค ์ˆ˜ ์žˆ์„๊นŒ์š”?
07:14
This is a lead case made around the space
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์ด๊ฒƒ์€ ํ•œ ๋•Œ ์ œ ๋ชธ์ด ์ฐจ์ง€ํ–ˆ๋˜ ๊ณต๊ฐ„์„
07:20
that my body occupied, but it's now void.
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๋‘˜๋Ÿฌ์‹ธ๊ณ  ์žˆ๋Š” ๋‚ฉ์ž…๋‹ˆ๋‹ค. ์ง€๊ธˆ์€ ์†์ด ๋น„์–ด์žˆ์ฃ .
07:24
This is a work called "Learning To See."
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์ด ์ž‘ํ’ˆ์€ "๋ณด๋Š” ๋ฒ• ๋ฐฐ์šฐ๊ธฐ"๋ผ๊ณ  ๋ถˆ๋ฆฝ๋‹ˆ๋‹ค.
07:28
It's a bit of, well, we could call it night,
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์šฐ๋ฆฌ๋Š” ์ด๊ฒƒ์„ ๋ฐค์ด๋ผ๊ณ  ๋ถ€๋ฅด๊ฑฐ๋‚˜
07:34
we could call it the 96 percent of gravity
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์šฐ๋ฆฌ๊ฐ€ ๋ชจ๋ฅด๋Š” ์ค‘๋ ฅ์˜ 96%์ธ
07:38
that we don't know about, dark matter,
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'์•”ํ‘ ๋ฌผ์งˆ'์ด๋ผ๊ณ  ์ด๋ฆ„์„ ๋ถ™์ผ ์ˆ˜ ์žˆ๊ฒ ์ง€๋งŒ
07:42
placed in space, anyway, another version of a human space
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์–ด์จŒ๋“  ์ด๊ฒƒ์€ ํฐ ๊ณต๊ฐ„ ์†์— ๋†“์ธ ์ธ๊ฐ„ ๊ณต๊ฐ„์˜
07:45
in space at large, but I don't know if you can see,
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๋˜ ๋‹ค๋ฅธ ํ˜•ํƒœ์ž…๋‹ˆ๋‹ค. ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ๋ณด์ผ์ง€ ๋ชจ๋ฅด๊ฒ ์ง€๋งŒ,
07:48
the eyes are indicated, they're closed.
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๋ˆˆ์ด ๊ฐ๊ฒจ์ ธ ์žˆ๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚˜์žˆ์–ด์š”.
07:54
It's called "Learning To See" because it's about an object
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์ด๊ฒƒ์„ "๋ณด๋Š” ๋ฒ• ๋ฐฐ์šฐ๊ธฐ"๋ผ๊ณ  ๋ช…๋ช…ํ•œ ์ด์œ ๋Š”
07:58
that hopefully works reflexively and talks about that
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์ด ์ž‘ํ’ˆ์„ ํ†ตํ•ด์„œ, ์ œ๊ฐ€ ์ž ์žฌ์  ๊ณต๊ฐ„์œผ๋กœ ๋ณด๊ณ  ์žˆ๋Š”
08:02
vision or connection with the darkness of the body
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๋ชธ ์† ์–ด๋‘ ๊ณผ์˜ ์—ฐ๊ด€์„ฑ์ด๋‚˜
08:06
that I see as a space of potential.
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์‹œ์ ์„ ๋ณด์—ฌ๋“œ๋ฆฌ๊ณ  ์‹ถ์—ˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
08:11
Can we do it another way, using the language
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ํ˜น์€ ์ด๋ ‡๊ฒŒ ๊ณต๊ฐ„์„ ๋งŒ๋“ค์–ด ๋ณผ ์ˆ˜ ์žˆ์„๊นŒ์š”?
08:14
of particles around a nucleus, and talk about the body
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ํ•ต์„ ๋‘˜๋Ÿฌ์‹ผ ์ž…์ž๋ฅผ ๋งค๊ฐœ๋กœ
08:17
as an energy center?
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๋ชธ์„ ์—๋„ˆ์ง€์˜ ์ค‘์‹ฌ์œผ๋กœ ๊ทธ๋ฆฌ๋Š” ๊ฒ๋‹ˆ๋‹ค.
08:19
No longer about statues, no longer having to take that
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๋” ์ด์ƒ ์กฐ๊ฐ์ƒ์— ๊ด€ํ•œ ์ด์•ผ๊ธฐ๋„ ์•„๋‹ˆ๊ณ ,
08:22
duty of standing, the standing of a human body,
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์„œ ์žˆ์–ด์•ผ๋งŒ ํ•˜๋Š” ์‚ฌ๋žŒ์ด๋‚˜ ์กฐ๊ฐ์— ๊ด€ํ•œ ์ด์•ผ๊ธฐ๋„ ์•„๋‹™๋‹ˆ๋‹ค.
08:25
or the standing of a statue, release it,
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๊ทธ๋Ÿฐ ๊ฒƒ๋“ค์€ ์žŠ์–ด๋ฒ„๋ฆฌ์‹œ๊ณ 
08:29
allow it to be an energy field, a space in space
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๊ณต๊ฐ„์„ ์—๋„ˆ์ง€์žฅ, ์ฆ‰ ์ธ๊ฐ„์˜ ์‚ถ์„ ์ด์•ผ๊ธฐํ•˜๋Š”
08:33
that talks about human life, between becoming an entropy
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๊ณต๊ฐ„ ์† ๊ณต๊ฐ„์ด ๋˜๋„๋ก ํ•˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
08:40
as a sort of concentration of attention,
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๊ทธ๋ž˜์„œ ์ผ์ข…์˜ ์ฃผ์˜๊ฐ€ ์ง‘์ค‘๋œ ๊ณณ์œผ๋กœ์จ์˜ ์—”ํŠธ๋กœํ”ผ,
08:44
a human place of possibility in space at large.
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๊ณต๊ฐ„ ์† ๊ฐ€๋Šฅ์„ฑ์œผ๋กœ์จ์˜ ์ธ๊ฐ„์˜ ์‚ถ์ด ๋˜๋„๋ก ํ•˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
08:50
Is there another way?
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๋˜ ๋‹ค๋ฅธ ๋ฐฉ๋ฒ•์œผ๋กœ ๊ณต๊ฐ„์„ ๋งŒ๋“ค ์ˆ˜ ์žˆ์„๊นŒ์š”?
08:53
Dark matter now placed against a horizon.
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"์•”ํ‘ ๋ฌผ์งˆ"์€ ์ด์ œ ์ˆ˜ํ‰์„  ์•ž์— ๋†“์—ฌ ์žˆ์Šต๋‹ˆ๋‹ค.
08:59
If minds live in bodies, if bodies live in clothes,
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๋งŒ์•ฝ ์˜ํ˜ผ์ด ๋ชธ ์•ˆ์— ์žˆ๊ณ , ๋ชธ์€ ์˜ท ์•ˆ์— ์žˆ๊ณ ,
09:03
and then in rooms, and then in buildings,
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์˜ท์€ ๋ฐฉ์•ˆ์—, ๋ฐฉ์€ ๊ฑด๋ฌผ ์•ˆ์—,
09:07
and then in cities, do they also have a final skin,
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๊ฑด๋ฌผ์€ ๋„์‹œ ์•ˆ์— ์žˆ๋‹ค๋ฉด, ๊ทธ๋Ÿฐ ๊ฒƒ๋“ค๋„ ํ”ผ๋ถ€๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ๋‚˜์š”?
09:12
and is that skin perceptual?
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๊ทธ๋ฆฌ๊ณ  ๊ทธ ํ”ผ๋ถ€๋Š” ์šฐ๋ฆฌ๊ฐ€ ์ง€๊ฐํ•  ์ˆ˜ ์žˆ๋Š” ๊ฑด๊ฐ€์š”?
09:15
The horizon.
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์ˆ˜ํ‰์„ .
09:18
And is art about
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๊ทธ๋ฆฌ๊ณ  ์˜ˆ์ˆ ์ด๋ž€
09:20
trying to imagine what lies beyond the horizon?
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์ˆ˜ํ‰์„  ๋„ˆ๋จธ์— ๋ฌด์—‡์ด ์žˆ๋Š”์ง€ ์ƒ์ƒํ•˜๋Š” ๊ฒƒ์ผ๊นŒ์š”?
09:26
Can we use, in a way, a body as an empty catalyst
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์šฐ๋ฆฌ๋Š” ๋ชธ์„
09:35
for a kind of empathy with the experience
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์šฐ๋ฆฌ๊ฐ€ ์‚ด์•„๊ฐ€๋Š”๋Œ€๋กœ์˜ ์‹œ๊ณต๊ฐ„์„ ๊ณต๊ฐํ•˜๊ธฐ ์œ„ํ•œ
09:39
of space-time as it is lived, as I am standing here
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์ผ์ข…์˜ ๋น„์–ด์žˆ๋Š” ์ด‰๋งค๋กœ ์ด์šฉํ•  ์ˆ˜ ์žˆ์„๊นŒ์š”?
09:45
in front of you trying to feel and make a connection
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์ œ๊ฐ€ ์—ฌ๋Ÿฌ๋ถ„ ์•ž์— ์„œ์„œ ์šฐ๋ฆฌ๊ฐ€ ๊ณต์œ ํ•˜๋Š” ์‹œ๊ณต๊ฐ„์„
09:50
in this space-time that we are sharing,
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๋Š๋ผ๊ณ  ์—ฐ๊ฒฐ์‹œํ‚ค๊ณ ์ž ๋…ธ๋ ฅํ•˜๋Š” ๊ฒƒ์ฒ˜๋Ÿผ์š”.
09:53
can we use, at it were, the memory of a body,
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์šฐ๋ฆฌ๋Š” ๋ชธ์˜ ๊ธฐ์–ต,
09:57
of a human space in space to catalyze
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๊ณต๊ฐ„ ์† ์ธ๊ฐ„ ๊ณต๊ฐ„์˜ ๊ธฐ์–ต์œผ๋กœ
10:00
an experience, again, firsthand experience,
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๊ธฐ๋ณธ์  ์‹œ๊ฐ„์— ๋Œ€ํ•œ ์ง์ ‘ ๊ฒฝํ—˜์„
10:04
of elemental time.
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์ด‰์ง„์‹œํ‚ฌ ์ˆ˜ ์žˆ์„๊นŒ์š”?
10:07
Human time, industrial time, tested against
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์ธ๊ฐ„์˜ ์‹œ๊ฐ„, ์‚ฐ์—…์˜ ์‹œ๊ฐ„์„
10:11
the time of the tides, in which these memories
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์˜ค๋žœ ์กฐ๋ฅ˜๊ฐ€ ํ๋ฅด๋Š” ์‹œ๊ฐ„์œผ๋กœ ์‹œํ—˜ํ•˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
10:14
of a particular body, that could be any body,
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๋ˆ„๊ตฌ๋“  ์ƒ๊ด€ ์—†๋Š” ์–ด๋Š ํŠน์ •ํ•œ ๋ชธ์˜ ๊ธฐ์–ต์„
10:19
multiplied as in the time of mechanical reproduction,
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๋งˆ์น˜ ๊ธฐ๊ณ„์ ์œผ๋กœ ๋Œ€๋Ÿ‰ ์ƒ์‚ฐํ•˜๋“ฏ ์—ฌ๋Ÿฌ ์ฐจ๋ก€ ๋ณต์ œํ•˜์—ฌ
10:24
many times, placed over three square miles,
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๋ฐ”๋‹ค๋กœ 1๋งˆ์ผ ๋‚˜์•„๊ฐ€,
10:28
a mile out to sea,
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3์ œ๊ณฑ๋งˆ์ผ์˜ ๊ณต๊ฐ„์— ๋ฐฐ์น˜ํ–ˆ์Šต๋‹ˆ๋‹ค.
10:32
disappearing, in different conditions of day and night.
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์ด๋“ค์€ ๋ฐค๋‚ฎ์œผ๋กœ ๋‹ค๋ฅธ ํ˜•ํƒœ๋ฅผ ๋„๋ฉฐ ์‚ฌ๋ผ์ง‘๋‹ˆ๋‹ค.
10:36
You can see this work. It's on the mouth of the Mersey,
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์—ฌ๋Ÿฌ๋ถ„์€ ์ด ์ž‘ํ’ˆ์„ ์ง์ ‘ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
10:40
just outside Liverpool.
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๋ฆฌ๋ฒ„ํ’€ ๋ฐ”๋กœ ์•ž์— ์žˆ๋Š” ๋จธ์‹œ๊ฐ• ์ž…๊ตฌ์— ์žˆ์Šต๋‹ˆ๋‹ค.
10:43
And there you can see what a Liverpool sea looks like
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์ด๊ฒƒ์ด ํ‰๋ฒ”ํ•œ ์˜คํ›„์— ๋ณผ ์ˆ˜ ์žˆ๋Š”
10:46
on a typical afternoon.
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๋ฆฌ๋ฒ„ํ’€์˜ ๋ฐ”๋‹ค ํ’๊ฒฝ์ž…๋‹ˆ๋‹ค.
10:49
The pieces appear and disappear,
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์ด ์กฐ๊ฐ๋“ค์€ ๋‚˜ํƒ€๋‚ฌ๋‹ค๊ฐ€ ์‚ฌ๋ผ์ง‘๋‹ˆ๋‹ค.
10:52
but maybe more importantly --
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๊ทธ๋Ÿฌ๋‚˜ ์—ฌ๊ธฐ์„œ ์ค‘์š”ํ•œ ๊ฒƒ์€ --
10:54
this is just looking north from the center of the installation --
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์ด๊ฑด ์„ค์น˜๋ฌผ ์ค‘์•™์—์„œ ๋ถ์ชฝ์„ ๋ฐ”๋ผ๋ณธ ์žฅ๋ฉด์ž…๋‹ˆ๋‹ค --
10:58
they create a field, a field that involves
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์ด ์กฐ๊ฐ๋“ค์ด ํ•˜๋‚˜์˜ ์˜์—ญ์„ ํ˜•์„ฑํ•˜๋Š”๋ฐ, ์ด ์˜์—ญ์ด
11:02
living and the surrogate bodies in a kind of relation,
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์‚ด์•„์žˆ๋Š” ๋ชธ๊ณผ ๊ทธ๊ฒƒ์„ ๋Œ€์ฒดํ•˜๋Š” ๋ชธ์˜ ๊ด€๊ณ„๋ฅผ ๋‚ดํฌํ•œ๋‹ค๋Š” ์ ์ž…๋‹ˆ๋‹ค.
11:08
a relation with each other and a relation with that limit,
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๊ฐ๊ฐ ๋ชธ ๊ฐ„์˜ ๊ด€๊ณ„๋ฟ๋งŒ ์•„๋‹ˆ๋ผ
11:13
the edge, the horizon.
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์ˆ˜ํ‰์„ ์ด๋ผ๋Š” ํ•œ๊ณ„์™€์˜ ๊ด€๊ณ„๊นŒ์ง€๋„์š”.
11:17
Just moving on, is it possible,
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๋‹ค์Œ์œผ๋กœ ๋„˜์–ด๊ฐ€์„œ
11:19
taking that idea of mind, body, body-building,
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์˜ํ˜ผ, ๋ชธ, ๋ชธ ๋งŒ๋“ค๊ธฐ์˜ ๊ฐœ๋…์„ ๊ฐ€์ง€๊ณ 
11:24
to supplant the first body,
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์ฒซ๋ฒˆ์งธ ์ƒ๋ฌผํ•™์  ๋ชธ์„
11:27
the biological body, with the second,
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๊ฑด์ถ•ํ•™์ ์œผ๋กœ ๋งŒ๋“ค์–ด์ง„ ํ™˜๊ฒฝ์  ๋ชธ์œผ๋กœ
11:29
the body of architecture and the built environment.
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๋Œ€์ฒดํ•˜๋Š” ๊ฒƒ์ด ๊ฐ€๋Šฅํ• ๊นŒ์š”?
11:32
This is a work called "Room for the Great Australian Desert."
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์ด ์ž‘ํ’ˆ์˜ ์ด๋ฆ„์€ "๊ฑฐ๋Œ€ํ•œ ํ˜ธ์ฃผ ์‚ฌ๋ง‰์„ ์œ„ํ•œ ๊ณต๊ฐ„"์ž…๋‹ˆ๋‹ค.
11:37
It's in an undefined location
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์—ฌ๊ธฐ๋Š” ๋ฐํ˜€์ง€์ง€ ์•Š์€ ์žฅ์†Œ์ด๊ณ 
11:38
and I've never published where it is.
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์ €๋Š” ์ด๊ฒƒ์ด ์–ด๋””์— ์žˆ๋Š”์ง€ ๋ฐœํ‘œํ•˜์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
11:41
It's an object for the mind.
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์ด๊ฒƒ์€ ๋งˆ์Œ์„ ์œ„ํ•œ ๋ฌผ์ฒด์ž…๋‹ˆ๋‹ค.
11:43
I think of it as a 21st-century Buddha.
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์ €๋Š” ์ด๊ฒƒ์„ 21์„ธ๊ธฐ ๋ถ€์ฒ˜๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
11:47
Again, the darkness of the body,
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์ด๋ฒˆ์—๋Š” ๋ชธ ์† ์–ด๋‘ ์ด
11:49
now held within this bunker shape
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์ด ๋ฒ™์ปค๊ฐ™์ด ์ƒ๊ธด
11:52
of the minimum position that a body needs to occupy,
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์›…ํฌ๋ฆฐ ๋ชธ์ด ํ•„์š”ํ•œ ์ตœ์†Œํ•œ์˜ ๊ณต๊ฐ„์„
11:55
a crouching body.
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์ฐจ์ง€ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
11:57
There's a hole at the anus, penis level.
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ํ•ญ๋ฌธ, ์„ฑ๊ธฐ ๋ถ€๋ถ„์— ๊ตฌ๋ฉ์ด ์žˆ๊ณ 
12:00
There are holes at ears. There are no holes at the eyes.
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๊ท€ ๋ถ€๋ถ„์—๋„ ๊ตฌ๋ฉ์ด ์žˆ์ง€๋งŒ ๋ˆˆ ๋ถ€๋ถ„์—๋Š” ๊ตฌ๋ฉ์ด ์—†์Šต๋‹ˆ๋‹ค.
12:03
There's a slot for the mouth. It's two and a half inches thick,
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์ž… ๋ถ€๋ถ„์—๋Š” ๊ฐ€๋Š˜๊ณ  ๊ธด ๊ตฌ๋ฉ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
12:07
concrete with a void interior.
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์ด ์ƒ์ž๋Š” ๋‘๊นจ 2.5์ธ์น˜์˜ ์†์ด ๋นˆ ์ฝ˜ํฌ๋ฆฌํŠธ์ž…๋‹ˆ๋‹ค.
12:10
Again, a site found with a completely flat
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๋˜ ์ด๊ณณ์€ ์•„๊นŒ์™€ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ
12:14
360-degree horizon.
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360๋„ ์–ด๋””๋ฅผ ๋ด๋„ ์ง€ํ‰์„ ์ด ๋ณด์ด๋Š” ๊ณณ์ž…๋‹ˆ๋‹ค.
12:18
This is just simply asking, again,
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์ด๊ฒƒ์€ ๊ฐ„๋‹จํ•˜๊ฒŒ ๋˜‘๊ฐ™์€ ๊ฒƒ์„ ๋˜ ๋ฌป๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
12:23
as if we had arrived for the first time,
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์šฐ๋ฆฌ๊ฐ€ ์ด๊ณณ์— ์ฒ˜์Œ์œผ๋กœ ๋ฐœ์„ ๋””๋”˜๋‹ค๋ฉด
12:27
what is the relationship of the human project
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์‹œ๊ฐ„๊ณผ ๊ณต๊ฐ„์€ ์ธ๊ฐ„์˜ ํ–‰์œ„์™€
12:31
to time and space?
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๋ฌด์Šจ ๊ด€๊ณ„๊ฐ€ ์žˆ์„๊นŒ์š”?
12:36
Taking that idiom of, as it were,
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๋ชธ ์† ์–ด๋‘ ์ด ์กฐ๊ฐ์— ์ „์ด๋˜์—ˆ๋‹ค๋Š”
12:39
the darkness of the body transferred to architecture,
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๊ทธ ํ‘œํ˜„ ๋ฐฉ์‹์„ ๊ฐ€์ง€๊ณ 
12:44
can you use architectural space not for living
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๊ฑด์ถ•์ƒ์˜ ๊ณต๊ฐ„์„ ์‹ค์ œ ์ƒํ™œ ๊ณต๊ฐ„์ด ์•„๋‹ˆ๋ผ
12:48
but as a metaphor,
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ํ•˜๋‚˜์˜ ์€์œ ๋ฒ•์œผ๋กœ์จ
12:49
and use its systolic, diastolic
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์ˆ˜์ถ•, ์ด์™„๋˜๊ณ , ์ž‘์•„์ง€๊ณ  ์ปค์ง€๋Š” ์ด ๊ณต๊ฐ„์„
12:53
smaller and larger spaces to provide a kind of
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์šฐ์ฃผ, ๋น›, ์–ด๋‘ ์„ ํ†ต๊ณผํ•˜๋Š” ์—ฌํ–‰์— ๋Œ€ํ•œ
12:58
firsthand somatic narrative for a journey through space,
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์ง์ ‘์  ๊ฒฝํ—˜์„ ๋ฌ˜์‚ฌํ•˜๋Š”๋ฐ
13:04
light and darkness?
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์ด์šฉํ•  ์ˆ˜ ์žˆ์„๊นŒ์š”?
13:07
This is a work of some proportion and some weight
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์ด๊ฒƒ์€ ๋น„์œจ๊ณผ ๋ฌด๊ฒŒ์— ๊ด€ํ•œ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค.
13:12
that makes the body into a city, an aggregation of cells
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๋ชธ์„ ์ž‘์€ ๊ณต๊ฐ„๋“ค์ด ๋ชจ์—ฌ์žˆ๋Š” ๋„์‹œ๋กœ ๋งŒ๋“œ๋Š”๊ฑฐ์ฃ .
13:17
that are all interconnected
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์ด ๊ณต๊ฐ„๋“ค์€ ๋ชจ๋‘ ์„œ๋กœ ์—ฐ๊ฒฐ๋˜์–ด ์žˆ๊ณ ,
13:20
and that allow certain visual access
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์›ํ•˜๋Š” ์žฅ์†Œ์—์„œ
13:25
at certain places.
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๊ด€์ฐฐํ•  ์ˆ˜ ์žˆ๊ฒŒ ๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค.
13:27
The last work that I just wanted to share with you
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์ œ๊ฐ€ ๋งˆ์ง€๋ง‰์œผ๋กœ ๋ณด์—ฌ๋“œ๋ฆด ์ž‘ํ’ˆ์€
13:34
is "Blind Light," which is perhaps
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"๋ˆˆ์ด ๋จผ ๋น›"์ž…๋‹ˆ๋‹ค.
13:38
the most open work,
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์ด๊ฒƒ์€ ์•„๋งˆ๋„ ๊ธ‰์ง„์ ์œผ๋กœ ๊ฐœ๋ฐฉ์ ์ธ ์ž‘ํ’ˆ์ด์ฃ .
13:41
and in a conference of radical openness,
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๋น›๊ณผ ์ˆ˜์ฆ๊ธฐ๋ฅผ ์žฌ๋ฃŒ๋กœ ์‚ฌ์šฉํ–ˆ์„ ๋•Œ
13:43
I think maybe this is as radical as I get,
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๊ฐœ๋ฐฉ์„ฑ์— ์žˆ์–ด์„œ๋Š”
13:47
using light and water vapor as my materials.
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์ œ๊ฐ€ ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฐ€์žฅ ๊ทน๋‹จ์ ์ธ ์ž‘ํ’ˆ์ผ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
13:52
Here is a box
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์—ฌ๊ธฐ์— ์ƒ์ž๊ฐ€ ์žˆ๊ณ ์š”
13:54
filled at one and a half atmospheres of atmospheric pressure,
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1.5๋ฐฐ์˜ ๊ธฐ์••๊ณผ
13:58
with a cloud and with very bright light.
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๊ตฌ๋ฆ„๊ณผ ์•„์ฃผ ๋ฐ์€ ๋น›์œผ๋กœ ๊ฐ€๋“ ์ฐจ์žˆ์Šต๋‹ˆ๋‹ค.
14:02
As you walk towards the ever-open threshold,
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๋‹น์‹ ์ด ์˜์›ํžˆ ์—ด๋ ค์žˆ๋Š” ๋ฌธ์œผ๋กœ ๋“ค์–ด๊ฐ€๋ฉด
14:05
you disappear, both to yourselves and to others.
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์‚ฌ๋ผ์ง€๋Š”๊ฒ๋‹ˆ๋‹ค. ์Šค์Šค๋กœ๋“  ๋‹ค๋ฅธ ์‚ฌ๋žŒ์—๊ฒŒ๋“ ...
14:13
If you hold your hand out in front of you,
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์ €๊ธฐ ์•ˆ์—์„œ๋Š” ์†์„ ์•ž์œผ๋กœ ๋‚ด๋ฐ€์–ด๋„
14:15
you can't see it.
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์†์ด ์•ˆ๋ณด์ž…๋‹ˆ๋‹ค.
14:17
If you look down, you can't see your feet.
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์•„๋ž˜๋ฅผ ๋‚ด๋ ค๋ด๋„ ๋ฐœ์ด ์•ˆ๋ณด์ž…๋‹ˆ๋‹ค.
14:20
You are now consciousness without an object,
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์ €๊ธฐ ์•ˆ์—์„œ๋Š” ์‹ค์ฒด์—†์ด ์˜์‹๋งŒ ์žˆ๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
14:27
freed from the dimensionful
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์ฐจ์›์œผ๋กœ๋ถ€ํ„ฐ๋„ ํ•ด๋ฐฉ๋˜๊ณ 
14:31
and measured way in which life links us
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์‚ถ๊ณผ ์˜๋ฌด๋ฅผ ์—ฐ๊ฒฐ์‹œํ‚ค๋Š” ํŒ๋‹จ๋“ค๋กœ๋ถ€ํ„ฐ๋„
14:37
to the obligatory.
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์ž์œ ๋กญ๊ฒŒ ๋˜๋Š”๊ฑฐ์ฃ 
14:40
But this is a space that is actually filled with people,
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๊ทธ๋Ÿฌ๋‚˜ ์‚ฌ์‹ค ์ด ๊ณต๊ฐ„์€ ์‚ฌ๋žŒ๋“ค๊ณผ
14:45
disembodied voices,
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์œก์ฒด๋ฅผ ์ดํƒˆํ•œ ๋ชฉ์†Œ๋ฆฌ๋กœ ๊ฐ€๋“์ฐจ ์žˆ์Šต๋‹ˆ๋‹ค.
14:47
and out of that ambient environment,
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์ด์™€ ๊ฐ™์€ ์†Œ๋ž€์Šค๋Ÿฌ์šด ๊ณต๊ฐ„ ์†์—์„œ
14:51
when people come close to your own body zone,
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์‚ฌ๋žŒ๋“ค์ด ๋‹น์‹ ์˜ ๋ชธ์— ๊ฐ€๊นŒ์ด ์˜ค๋ฉด,
14:55
very close, they appear to you as representations.
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์ •๋ง ๊ฐ€๊นŒ์ด ์˜ค๋ฉด ๊ทธ๋“ค์€ ๊ทธ์ € ํ•˜๋‚˜์˜ ๊ทธ๋ฆผ์œผ๋กœ ๋ณด์ผ ๋ฟ์ž…๋‹ˆ๋‹ค.
14:59
When they appear close to the edge,
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๋ฒฝ์œผ๋กœ ๊ฐ€๊นŒ์ด ๊ฐ€๋ฉด
15:01
they are representations, representations in which
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๊ทธ๋“ค์€ ํ•˜๋‚˜์˜ ๊ทธ๋ฆผ์ด ๋ฉ๋‹ˆ๋‹ค.
15:06
the viewers have become the viewed.
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๋ณด๋Š” ์‚ฌ๋žŒ์ด ๋ณด์ž„์„ ๋‹นํ•˜๋Š” ์ƒํƒœ๊ฐ€ ๋ฉ๋‹ˆ๋‹ค.
15:10
For me, art is not about objects of high monetary exchange.
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์ €์—๊ฒŒ ์žˆ์–ด์„œ ์˜ˆ์ˆ ์€ ๊ฐ’๋น„์‹ผ ๋ˆ์ด ์˜ค๊ณ ๊ฐ€์•ผ ํ•˜๋Š” ๊ทธ๋Ÿฐ ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.
15:16
It's about reasserting our firsthand experience
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์˜ˆ์ˆ ์€ ํ˜„์žฌ ์šฐ๋ฆฌ๊ฐ€ ์ง์ ‘ ๊ฒช๊ณ  ์žˆ๋Š” ๊ฒฝํ—˜์„
15:21
in present time.
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์žฌํ™•์ธํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
15:24
As John Cage said,
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์กด ์ผ€์ด์ง€๊ฐ€ ๋งํ–ˆ๋“ฏ์ด,
15:27
"We are not moving towards some kind of goal.
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"์šฐ๋ฆฌ๋Š” ์–ด๋–ค ๋ชฉํ‘œ๋ฅผ ํ–ฅํ•ด ๊ฐ€๊ณ  ์žˆ๋Š”๊ฒŒ ์•„๋‹™๋‹ˆ๋‹ค.
15:32
We are at the goal, and it is changing with us.
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์šฐ๋ฆฌ๋Š” ์ด๋ฏธ ๋ชฉํ‘œ์— ์žˆ๊ณ , ๋ชฉํ‘œ๊ฐ€ ์šฐ๋ฆฌ์™€ ํ•จ๊ป˜ ์›€์ง์ด๋Š” ๊ฒƒ ๋ฟ์ž…๋‹ˆ๋‹ค.
15:37
If art has any purpose, it is to open our eyes to that fact."
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์˜ˆ์ˆ ์— ๋ชฉ์ ์ด๋ผ๋Š”๊ฒŒ ์žˆ๋‹ค๋ฉด ๊ทธ๊ฒƒ์€ ์šฐ๋ฆฌ๊ฐ€ ๊ทธ ์‚ฌ์‹ค์— ๋ˆˆ์„ ๋œจ๊ฒŒํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค."
15:44
Thank you very much.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
15:46
(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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