Creativity is a remix | Kirby Ferguson

421,592 views ใƒป 2012-08-10

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: K Bang ๊ฒ€ํ† : KwangYu Lee
00:16
We're going to begin in 1964.
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1964๋…„์—์„œ ์‹œ์ž‘ํ•ด ๋ณผ๊นŒ์š”.
00:19
Bob Dylan is 23 years old, and his career
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๋ฐฅ ๋”œ๋Ÿฐ์€ 23์‚ด์ด๊ณ 
00:22
is just reaching its pinnacle.
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๊ทธ์˜ ์ด๋ ฅ์€ ์ด์ œ ๋ง‰ ๊ทธ ์ •์ ์— ์„ฐ์Šต๋‹ˆ๋‹ค.
00:24
He's been christened the voice of a generation,
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๊ทธ๋Š” ์‹œ๋Œ€์˜ ๋ชฉ์†Œ๋ฆฌ๋ฅผ ํƒ€๊ณ ๋‚˜๋Š” ์ถ•๋ณต์„ ๋ˆ„๋ฆฌ๋ฉฐ
00:26
and he's churning out classic songs
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๋ฏฟ์„ ์ˆ˜ ์—†์œผ๋ฆฌ๋งŒ์น˜ ๋น ๋ฅธ ์†๋„๋กœ
00:29
at a seemingly impossible rate,
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์˜ค๋žœ ๊ธฐ๊ฐ„ ์‚ฌ๋ž‘๋ฐ›๋Š” ๋…ธ๋ž˜๋ฅผ ๋งŒ๋“ค์–ด๋ƒˆ์Šต๋‹ˆ๋‹ค.
00:31
but there's a small minority of dissenters, and they claim
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ํ•˜์ง€๋งŒ ๊ทธ๋ฅผ ์‹ซ์–ดํ•˜๋Š” ์†Œ์ˆ˜์˜ ์‚ฌ๋žŒ๋“ค์€
00:35
that Bob Dylan is stealing other people's songs.
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๋ฐฅ ๋”œ๋Ÿฐ์ด ๋‹ค๋ฅธ ์ด๋“ค์˜ ๋…ธ๋ž˜๋ฅผ ํ›”์น˜๊ณ  ์žˆ๋‹ค๊ณ  ์ฃผ์žฅํ–ˆ์Šต๋‹ˆ๋‹ค.
00:39
2004. Brian Burton, aka Danger Mouse,
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2004๋…„์— "์œ„ํ—˜ํ•œ ์ƒ์ฅ"๋ผ๊ณ  ๋ถˆ๋ฆฐ ๋ธŒ๋ผ์ด์–ธ ๋ฒ„ํŠผ์€
00:43
takes the Beatles' "White Album,"
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๋น„ํ‹€์ฆˆ์˜ "ํ™”์ดํŠธ ์•จ๋ฒ”"์„
00:45
combines it with Jay-Z's "The Black Album"
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์ œ์ด-์ง€์˜ "๊ฒ€์€ ์•จ๋ฒ”"๊ณผ ํ˜ผํ•ฉํ•˜์—ฌ
00:47
to create "The Grey Album."
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"ํšŒ์ƒ‰ ์•จ๋ฒ”"์„ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
00:49
"The Grey Album" becomes an immediate sensation online,
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"ํšŒ์ƒ‰ ์•จ๋ฒ”"์€ ๋ˆ„๋ฆฌ๋ง์„ ํ†ตํ•ด ์„ ํ’์ ์ธ ์ธ๊ธฐ๋ฅผ ๋Œ์—ˆ๊ณ 
00:51
and the Beatles' record company sends out countless
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๋น„ํ‹€์ฆˆ์˜ ์Œ๋ฐ˜ ํšŒ์‚ฌ๋Š” "๋ถ€์ •ํ•œ ๊ฒฝ์Ÿ์„ ํ†ตํ•ด ์ž์‹ ๋“ค์˜
00:53
cease-and-desist letters for "unfair competition
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์ž์‚ฐ๊ฐ€์น˜๋ฅผ ์ €ํ•˜์‹œํ‚ค๋Š” ํ–‰์œ„๋ฅผ ๊ทธ๋งŒ๋‘๋ผ๋Š” ํŽธ์ง€"๋ฅผ
00:57
and dilution of our valuable property."
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์…€ ์ˆ˜ ์—†์œผ๋ฆฌ๋งŒ์น˜ ๋ณด๋ƒˆ์Šต๋‹ˆ๋‹ค.
01:00
Now, "The Grey Album" is a remix.
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"ํšŒ์ƒ‰ ์•จ๋ฒ”"์€ ๋ฆฌ๋ฏน์Šค๋กœ ๋งŒ๋“ค์–ด์ง„ ์•จ๋ฒ”์ž…๋‹ˆ๋‹ค.
01:02
It is new media created from old media.
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๋ฆฌ๋ฏน์Šค๋Š” ์˜›๋‚ ์˜ ๋งค์ฒด๋ฅผ ์‚ฌ์šฉํ•˜์—ฌ ์ƒˆ๋กœ์šด ๋งค์ฒด๋ฅผ ์ฐฝ์กฐํ•˜๋Š” ํ–‰์œ„์ž…๋‹ˆ๋‹ค.
01:05
It was made using these three techniques:
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์ด๋ฅผ ์œ„ํ•ด์„œ๋Š” ์„ธ ๊ฐ€์ง€์˜ ๊ธฐ์ˆ ์ด ์‚ฌ์šฉ๋ฉ๋‹ˆ๋‹ค.
01:07
copy, transform and combine.
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๋ณต์‚ฌ์™€ ๋ณ€ํ˜• ๊ทธ๋ฆฌ๊ณ  ํ˜ผํ•ฉ์ž…๋‹ˆ๋‹ค.
01:11
It's how you remix. You take existing songs,
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์ด๊ฒŒ ๋ฆฌ๋ฏน์Šคํ•˜๋Š” ๋ฐฉ๋ฒ•์ž…๋‹ˆ๋‹ค. ์ด๋ฏธ ์žˆ๋Š” ๋…ธ๋ž˜๋ฅผ ๊ฐ€์ ธ๋‹ค๊ฐ€
01:13
you chop them up, you transform the pieces,
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์ž˜๊ฒŒ ์ž˜๋ผ์„œ๋Š” ๊ทธ ์กฐ๊ฐ์„ ๋ณ€ํ˜•ํ•ฉ๋‹ˆ๋‹ค.
01:14
you combine them back together again,
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๊ทธ๋ฆฌ๊ณ ๋Š” ์กฐ๊ฐ๋“ค์„ ํ•œ๋ฐ ๋ชจ์•„ ํ˜ผํ•ฉํ•˜๋ฉด,
01:16
and you've got a new song, but that new song
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์ƒˆ๋กœ์šด ๊ณก์„ ํ•˜๋‚˜ ๋งŒ๋“ค๊ฒŒ ๋˜๋Š”๋ฐ, ์‹ค์€ ๊ทธ ์ƒˆ๋กœ์šด ๊ณก์€
01:18
is clearly comprised of old songs.
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๋ถ„๋ช…ํžˆ ๋งํ•ด ์˜›๋‚  ๋…ธ๋ž˜๋“ค๋กœ ๋งŒ๋“ค์–ด์ง‘๋‹ˆ๋‹ค.
01:21
But I think these aren't just the components of remixing.
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ํ•˜์ง€๋งŒ ์ด๊ฑด ๋‹จ์ง€ ๋ฆฌ๋ฏน์Šค๋งŒ์„ ๊ตฌ์„ฑํ•˜๋Š” ์š”์†Œ๋Š” ์•„๋‹™๋‹ˆ๋‹ค.
01:24
I think these are the basic elements of all creativity.
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์ „ ์ด๊ฒŒ ๋ชจ๋“  ์ฐฝ์กฐ์„ฑ์˜ ๊ธฐ์ดˆ์  ์š”์†Œ๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
01:27
I think everything is a remix,
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์ „ ๋ชจ๋“  ๊ฒŒ ๋ฆฌ๋ฏน์Šค๋กœ ๋งŒ๋“ค์ง„๋‹ค๊ณ  ์ƒ๊ฐํ•˜๋Š”๋ฐ,
01:29
and I think this is a better way to conceive of creativity.
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์ด๊ฒŒ ์ฐฝ์กฐ์„ฑ์„ ์ƒ๊ฐํ•˜๋Š” ๋ณด๋‹ค ๋‚˜์€ ๋ฐฉ๋ฒ•์ธ ๊ฑฐ ๊ฐ™์•„์š”.
01:34
All right, let's head back to 1964, and let's hear
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์ž, ๊ทธ๋Ÿผ 1964๋…„์œผ๋กœ ๋˜๋Œ์•„๊ฐ€์„œ, ๋ฐฅ ๋”œ๋Ÿฐ์˜
01:37
where some of Dylan's early songs came from.
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์ดˆ์ฐฝ๊ธฐ ๋…ธ๋ž˜๋“ค ์ค‘ ๋ช‡ ๊ฐ€์ง€์˜ ๋ฟŒ๋ฆฌ๋ฅผ ์ฐพ์•„๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
01:40
We'll do some side-by-side comparisons here.
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๋‘ ๊ฐ€์ง€๋ฅผ ๋‚˜๋ž€ํžˆ ๋†“๊ณ ์„œ ํ•˜๋‚˜์”ฉ ๋น„๊ตํ•ด ๋ณด๋„๋ก ํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.
01:42
All right, this first song you're going to hear
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์ž, ๋“ค์–ด๋ณด์‹ค ์ฒซ๋ฒˆ์งธ ๊ณก์€
01:43
is "Nottamun Town." It's a traditional folk tune.
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"๋…ธํƒ€๋ฌธ ํƒ€์šด"์ž…๋‹ˆ๋‹ค. ์ „ํ†ต์ ์ธ ๋ฏผ์š”๊ณก์กฐ์ฃ .
01:45
After that, you'll hear Dylan's "Masters of War."
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๊ทธ ๋‹ค์Œ์—๋Š” ๋”œ๋Ÿฐ์˜ "์ „์Ÿ์˜ ๋‹ฌ์ธ"์„ ๋“ค์–ด๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
01:48
Jean Ritchie: โ™ซ In Nottamun Town, not a soul would look out, โ™ซ
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์ง„ ๋ฆฟ์น˜: โ™ฌ ๋…ธํƒ€๋ฌธ ํƒ€์šด์—๋Š” ์•„๋ฌด๋„ ๋ฐ–์„ ๋‚ด๋‹ค๋ณด์ง€ ์•Š์•„์š” โ™ฌ
01:53
โ™ซ not a soul would look up, not a soul would look down. โ™ซ
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โ™ฌ๋ˆ„๊ตฌ๋„ ์กด๊ฒฝ๋ฐ›์ง€ ์•Š๊ณ , ๋ˆ„๊ตฌ๋„ ์—…์‹ ์—ฌ๊น€์„ ๋ฐ›์ง€ ์•Š์•„์š” โ™ฌ
01:59
Bob Dylan: โ™ซ Come you masters of war, โ™ซ
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๋ฐฅ ๋”œ๋Ÿฐ: โ™ฌ ์ „์Ÿ์˜ ๋‹ฌ์ธ์ด์—ฌ ์˜ค์„ธ์š” โ™ฌ
02:04
โ™ซ you that build the big guns, you that build the death planes, โ™ซ
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โ™ฌ ํฐ ์ด์„ ๋งŒ๋“  ๋‹น์‹ , ์ฃฝ์Œ์˜ ํ‰์›์„ ์ผ๊ตฐ ๋‹น์‹  โ™ฌ
02:12
โ™ซ You that build all the bombs. โ™ซ
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โ™ฌ ๋ชจ๋“  ํญํƒ„์„ ๋งŒ๋“  ๊ทธ๋Œ€์—ฌ โ™ฌ
02:15
Kirby Ferguson: Okay, so that's the same basic melody
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์ปค๋น„ ํผ๊ฑฐ์Šจ: ์ข‹์•„์š”, ์ž ์ด๊ฒŒ ์ด ๊ณก์˜ ์ „๋ฐ˜์ ์ธ ์„ ์œจ์ด์ž ์ „์ฒด์ ์ธ ๊ตฌ์กฐ์ž…๋‹ˆ๋‹ค.
02:17
and overall structure. This next one is "The Patriot Game,"
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๋‹ค์Œ์€ ๋„๋ฏธ๋‹‰ ๋ฒ ํ•œ์ด ๋ถ€๋ฅธ "์• ๊ตญ๋†€์ด"์ด๋ž€ ๊ณก ์ž…๋‹ˆ๋‹ค.
02:20
by Dominic Behan. Alongside that,
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์ด ๊ณก๊ณผ ํ•จ๊ป˜
02:22
you're going to hear "With God on Our Side," by Dylan.
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์—ฌ๋Ÿฌ๋ถ„์€ ๋”œ๋Ÿฐ์ด ๋ถ€๋ฅธ "์‹ ์€ ์šฐ๋ฆฌ ํŽธ" ์ด๋ž€ ๊ณก์„ ๋“ค์„๊ฒ๋‹ˆ๋‹ค.
02:25
Dominic Behan: โ™ซ Come all ye young rebels, โ™ซ
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๋„๋ฏธ๋‹ˆํฌ ๋ฒ ํ•œ: โ™ฌ ๋ชจ๋“  ์ Š์€ ๋ฐ˜์—ญ์ž๋“ค์ด์—ฌ โ™ฌ
02:30
โ™ซ and list while I sing, โ™ซ
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โ™ฌ ๋‚˜์˜ ๋…ธ๋ž˜๋ฅผ ๋“ค์–ด๋ณด๋ ด โ™ฌ
02:34
โ™ซ for the love of one's land is a terrible thing. โ™ซ
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โ™ฌ ์ž์‹ ์˜ ๋‚˜๋ผ๋ฅผ ์œ„ํ•ด ๋…ธ๋ž˜ํ•˜๋Š” ๊ฑด ๋น„์ฒœํ•œ ์ผ์ด๋ผ๋„ค โ™ฌ
02:43
BD: โ™ซ Oh my name it is nothin', โ™ซ
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๋ฐฅ ๋”œ๋Ÿฐ: โ™ฌ ๋‚ด ์ด๋ฆ„์€ ๋ฌด๋ช…์”จ โ™ฌ
02:48
โ™ซ my age it means less, โ™ซ
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โ™ฌ ๋‚ด ๋‚˜์ด๋Š” ์–ด๋ฆฌ๊ณ  โ™ฌ
02:53
โ™ซ the country I come from is called the Midwest. โ™ซ
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โ™ฌ ๋‚ด๊ฐ€ ๋– ๋‚˜์˜จ ๋™๋„ค๋Š” ์ค‘์„œ๋ถ€๋ผ๋„ค. โ™ฌ
03:00
KF: Okay, so in this case, Dylan admits
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ํผ๊ฑฐ์Šจ: ๊ทธ๋ ‡๋„ค์š”. ์—ฌ๊ธฐ์—์„œ ๋”œ๋Ÿฐ์€
03:01
he must have heard "The Patriot Game," he forgot about it,
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"์• ๊ตญ๋†€์ด"๋ฅผ ๋ถ„๋ช…ํžˆ ๋“ค์–ด๋ดค๋‹ค๊ณ  ํ–ˆ์ง€๋งŒ,
03:04
then when the song kind of bubbled back up
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์ด ๋…ธ๋ž˜๊ฐ€ ๋จธ๋ฆฟ ์†์—์„œ ๊ฐ‘์ž๊ธฐ ์ƒ๊ฐ๋‚ฌ์„ ๋•Œ๋Š”
03:05
in his brain, he just thought it was his song.
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๊ทธ๊ฒŒ ๊ทธ์ € ์ž์‹ ์˜ ๊ฒƒ์ด๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
03:08
Last one, this is "Who's Going To Buy You Ribbons,"
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๋งˆ์ง€๋ง‰ ๊ณก์€ "๋ˆ„๊ฐ€ ๋‚ด ๋ฆฌ๋ณธ์„ ์‚ฌ์ค„๊นŒ" ๋ผ๋Š” ๊ณก์œผ๋กœ,
03:09
another traditional folk tune.
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์—ญ์‹œ๋‚˜ ๋ฏผ์š”ํ’์˜ ์„ ์œจ๋กœ ๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค.
03:10
Alongside that is "Don't Think Twice, It's All Right."
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ํ•จ๊ป˜ ๋“ค์–ด๋ณด์‹ค ๊ณก์€ "๊ดœ์ฐฎ์„ํ…Œ๋‹ˆ ๋‘ ๋ฒˆ์”ฉ ์ƒ๊ฐํ•˜์ง€๋Š” ๋งˆ."์ž…๋‹ˆ๋‹ค.
03:13
This one's more about the lyric.
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์ข€ ๋” ์„œ์ •์ ์ธ ๊ณก์ž…๋‹ˆ๋‹ค.
03:15
Paul Clayton: โ™ซ It ain't no use to sit and sigh now, โ™ซ
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ํด ํด๋ ˆ์ดํ†ค: โ™ฌ ์ง€๊ธˆ ์ฃผ์ € ์•‰์•„ ํ•œ์ˆจ ์‰ฐ๋‹คํ•ด๋„ ์•„๋ฌด๋Ÿฐ ์†Œ์šฉ์ด ์—†์ง€ โ™ฌ
03:22
โ™ซ darlin', and it ain't no use to sit and cry now. โ™ซ
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โ™ฌ ์—ฌ๋ณด๊ฒŒ, ์—ฌ๊ธฐ ์ฃผ์ € ์•‰์•„ ์šธ์•„๋ด์•ผ ์•„๋ฌด ์†Œ์šฉ์ด ์—†์–ด. โ™ฌ
03:29
BD: โ™ซ It ainโ€™t no use to sit and wonder why, babe, โ™ซ
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๋ฐฅ ๋”œ๋Ÿฐ: โ™ฌ ์ž๊ธฐ์•ผ, ์ฃผ์ €์•‰์•„ ๊ทธ ์ด์œ ๋ฅผ ์ƒ๊ฐํ•ด๋ด๋„ ์†Œ์šฉ์ด ์—†์–ด โ™ฌ
03:35
โ™ซ if you don't know by now, โ™ซ
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โ™ฌ ์•„์ง๊นŒ์ง€ ๋ชฐ๋ž๋‹ค๋ฉด ๋ง์•ผ โ™ฌ
03:39
โ™ซ and it ain't no use to sit and wonder why, babe, โ™ซ
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โ™ฌ ์ง;์• . ์ฃผ์ € ์•‰์•„์„œ ์ƒ๊ฐํ•ด๋ด๋„ ์•„๋ฌด ์†Œ์šฉ์ด ์—†๋„ค โ™ฌ
03:44
โ™ซ it'll never do somehow. โ™ซ
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โ™ฌ ๋‹ฌ๋ผ์งˆ ๊ฒŒ ์—†๊ฑฐ๋“  โ™ฌ
03:47
KF: Okay, now, there's a lot of these.
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์ปค๋น„ ํผ๊ฑฐ์Šจ: ์ž, ์ด๋Ÿฐ ๊ฑด ๋งŽ์ด ์žˆ์–ด์š”.
03:50
It's been estimated that two thirds of the melodies
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๋ฐฅ ๋”œ๋Ÿฐ์˜ ์ดˆ๊ธฐ ๊ณก๋“ค ์ค‘ 2/3์— ํ•ด๋‹นํ•˜๋Š” ์„ ์œจ์€
03:52
Dylan used in his early songs were borrowed.
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๋นŒ๋ ค์“ด ๊ฑธ๋กœ ์ถ”์ •๋ฉ๋‹ˆ๋‹ค.
03:54
This is pretty typical among folk singers.
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์ด๋Ÿฐ ์ผ์€ ํฌํฌ์†ก ๊ฐ€์ˆ˜๋“ค์—๊ฒ ์ •๋ง ์ž์ฃผ ์žˆ๋Š” ์ผ์ด์ฃ .
03:56
Here's the advice of Dylan's idol, Woody Guthrie.
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๋ฐฅ ๋”œ๋Ÿฐ์˜ ์šฐ์ƒ์ธ ์šฐ๋”” ๊ฑฐ์Šค๋ฆฌ๊ฐ€ ๋‚จ๊ธด ๋ง์ด ์žˆ์Šต๋‹ˆ๋‹ค.
03:58
"The worlds are the important thing.
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" ๊ฐ€์žฅ ์ค‘์š”ํ•œ ๊ฑด ์ƒˆ๋กœ์šด ๊ฑฐ์ง€.
04:00
Don't worry about tunes. Take a tune,
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๊ณก์กฐ์— ๋Œ€ํ•ด์„  ๊ฑฑ์ •ํ•˜์ง€ ๋ง๊ณ , ํ•˜๋‚˜ ๊ฐ€์ ธ๋‹ค๊ฐ€
04:02
sing high when they sing low,
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์‚ฌ๋žŒ๋“ค์ด ๋‚ฎ๊ฒŒ ๋ถ€๋ฅผ ๋•Œ๋ฉด ๋†’๊ฒŒ ๋ถ€๋ฅด๊ณ 
04:03
sing fast when they sing slow, and you've got a new tune."
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์‚ฌ๋žŒ๋“ค์ด ์ฒœ์ฒœํžˆ ๋ถ€๋ฅด๋ฉด ๋นจ๋ฆฌ ๋ถ€๋ฅด๋ฉด ๋ผ. ๊ทธ๋Ÿผ ์ƒˆ๋กœ์šด ๊ณก์กฐ๋ฅผ ๋งŒ๋“ ๊ฑฐ์•ผ."
04:07
(Laughter) (Applause)
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(์›ƒ์Œ) (๋ฐ•์ˆ˜)
04:11
And that's, that's what Guthrie did right here,
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๊ทธ๋ฆฌ๊ณ , ์—ฌ๊ธฐ ์ด๊ฒŒ ๋ฐ”๋กœ ๊ฑฐ์Šค๋ฆฌ๊ฐ€ ํ•œ๊ฒ๋‹ˆ๋‹ค.
04:12
and I'm sure you all recognize the results.
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๊ทธ ๊ฒฐ๊ณผ๋Š” ์—ฌ๋Ÿฌ๋ถ„๋“ค๋„ ๋‹ค ์•Œ๊ณ  ์žˆ์œผ๋ฆฌ๋ผ ํ™•์‹ ํ•ฉ๋‹ˆ๋‹ค.
04:15
(Music)
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(์Œ์•…)
04:21
We know this tune, right? We know it?
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์ด ๊ณก์กฐ๊ฐ€ ๋ญ”์ง€ ์•Œ๊ณ  ์žˆ์ง€์š”? ๊ทธ๋ ‡์ฃ ?
04:23
Actually you don't.
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์‚ฌ์‹ค ๋ชจ๋ฅด์‹ค๊ฑฐ์—์š”.
04:25
That is "When the World's on Fire," a very old melody,
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์ด๊ฑด " ์„ธ์ƒ์ด ๋ถˆํƒ€๊ณ  ์žˆ์„ ๋•Œ"๋ผ๋Š” ์•„์ฃผ ์˜ค๋ž˜๋œ ๊ณก์ธ๋ฐ
04:28
in this case performed by the Carter Family.
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์—ฌ๊ธฐ์—์„œ๋Š” ์นดํ„ฐ ํŒจ๋ฐ€๋ฆฌ๊ฐ€ ๋ถˆ๋ €์ฃ .
04:30
Guthrie adapted it into "This Land Is Your Land."
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๊ฑฐ์Šค๋ฆฌ๋Š” ์ด๊ฑธ ๊ฐ€์ ธ๋‹ค๊ฐ€ "์ด ๋•…์€ ๋„ˆ์˜ ๋‚˜๋ผ" ๋ผ๋Š” ๊ณก์— ์‚ฌ์šฉํ–ˆ์–ด์š”.
04:32
So, Bob Dylan, like all folk singers, he copied melodies,
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๋‹ค๋ฅธ ๋ชจ๋“  ํฌํฌ ๊ฐ€์ˆ˜๋“ค์ฒ˜๋Ÿผ ๋ฐฅ๋”œ๋Ÿฐ์€ ์„ ์œจ์„ ๋ณต์‚ฌํ•ด์„œ
04:37
he transformed them, he combined them with new lyrics
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๋ณ€ํ˜•ํ•œ ํ›„์— ์ƒˆ๋กœ์šด ๊ฐ€์‚ฌ๋ฅผ ๋ถ™์˜€์Šต๋‹ˆ๋‹ค.
04:39
which were frequently their own concoction
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์ง€๋‚œ ๋‚ ์˜ ์žฌ๋ฃŒ๋ฅผ ์‚ฌ์šฉํ•ด์„œ ์ž์‹ ๋งŒ์˜ ์ƒˆ๋กœ์šด
04:42
of previous stuff.
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ํ˜ผํ•ฉ๋ฌผ์„ ๋งŒ๋“ ๊ฑฐ์ฃ .
04:44
Now, American copyright and patent laws run counter
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์ž, ๋ฏธ๊ตญ์˜ ์ €์ž‘๊ถŒ๋ฒ•์€ ๋‹ค๋ฅธ ์ด๋“ค์˜ ์ž‘ํ’ˆ์— ๋ฌด์–ธ๊ฐ€๋ฅผ ์ƒˆ๋กญ๊ฒŒ
04:48
to this notion that we build on the work of others.
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๋ง์ž…ํžˆ๋Š” ๊ฐœ๋…๊ณผ๋Š” ์ •๋ฐ˜๋Œ€๋กœ ๊ฐ€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
04:51
Instead, these laws and laws around the world
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์„ธ์ƒ์—์„œ ํ†ต์šฉ๋˜๋Š” ๋ฒ•๋“ค์€ ์†Œ์œ ๋ฌผ์— ๋Œ€ํ•œ
04:53
use the rather awkward analogy of property.
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๋ง๋„ ์•ˆ๋˜๋Š” ๋น„์œ ๋ฅผ ์‚ฌ์šฉํ•ฉ๋‹ˆ๋‹ค.
04:57
Now, creative works may indeed be kind of like property,
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์ด์ œ ์ฐฝ์กฐ์ž‘ํ’ˆ๋„ ์ผ์ข…์˜ ์†Œ์œ ๋ฌผ๊ณผ ๋น„์Šทํ•˜์ง€๋งŒ,
04:59
but it's property that we're all building on,
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๊ทธ๊ฑด ์šฐ๋ฆฌ๊ฐ€ ๋ชจ๋‘ ํ•จ๊ป˜ ๋งŒ๋“ค์–ด๊ฐ€๋Š” ์†Œ์œ ๋ฌผ์ด๋ฉฐ,
05:02
and creations can only take root and grow
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์ฐฝ์กฐ์ž‘์—…์€ ํ† ์–‘์ด ์ค€๋น„๊ฐ€ ๋˜์—ˆ์„ ๋•Œ์—๋งŒ
05:04
once that ground has been prepared.
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๋ฟŒ๋ฆฌ๋ฅผ ๋‚ด๋ฆฌ๊ณ  ์ž๋ž„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
05:07
Henry Ford once said, "I invented nothing new.
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์–ธ์  ๊ฐ€ ํ—จ๋ฆฌ ํฌ๋“œ๋Š” "๋‚˜๋Š” ์ƒˆ๋กœ์šด ๊ฒƒ์„ ๋ฐœ๋ช…ํ•œ ์  ์—†๋‹ค.
05:10
I simply assembled the discoveries of other men
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๋‚œ ๊ทธ์ € ์ˆ˜๋ฐฑ๋…„๊ฐ„์˜ ์ž‘ํ’ˆ๋“ค์„ ์‚ฌ์šฉํ•˜์—ฌ ์ƒˆ๋กœ์šด ๊ฑธ ๋ฐœ๊ฒฌํ•œ ์‚ฌ๋žŒ๋“ค์˜ ์ฐฝ์กฐ๋ฌผ์„
05:12
behind whom were centuries of work.
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์กฐ๋ฆฝํ–ˆ์„ ๋ฟ์ด๋‹ค."๋ผ๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
05:14
Progress happens when all the factors that make for it
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์ง„๋ณด๋ž€ ์ด๋ฅผ ๊ฐ€๋Šฅํ•˜๊ฒŒ ํ•˜๋Š” ๋ชจ๋“  ์š”์†Œ๊ฐ€ ์ค€๋น„๋˜์—ˆ์„ ๋•Œ์—๋งŒ ๋ฐœ์ƒํ•œ๋‹ค.
05:17
are ready and then it is inevitable."
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๊ทธ๋ ‡๊ธฐ์— ์ง„๋ณด๋ž€ ํ”ผํ•  ์ˆ˜ ์žˆ๋Š”๊ฒŒ ์•„๋‹ˆ๋‹ค."
05:21
2007. The iPhone makes it debut.
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2007๋…„์— ์šฐ๋ฆฐ ์ฒ˜์Œ์œผ๋กœ ์•„์ดํฐ์„ ๋ณด์•˜์Šต๋‹ˆ๋‹ค.
05:25
Apple undoubtedly brings this innovation to us early,
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์ด๋Ÿฌํ•œ ํ˜์‹ ์„ ์šฐ๋ฆฌ์—๊ฒŒ ์•ˆ๊ฒจ๋‹ค ์ค€ ๊ฒŒ ์• ํ”Œ์‚ฌ๋ž€ ๊ฑธ ์˜์‹ฌํ•  ์—ฌ์ง€๋Š” ์—†์Šต๋‹ˆ๋‹ค๋งŒ,
05:28
but its time was approaching because its core technology
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์ด๋ฅผ ์œ„ํ•œ ์‹œ๊ฐ„์€ ๋‹ค๊ฐ€์˜ค๊ณ  ์žˆ๋Š” ์ค‘์ด์—ˆ์Šต๋‹ˆ๋‹ค. ์™œ๋ƒํ•˜๋ฉด ์•„์ดํฐ์˜ ํ•ต์‹ฌ๊ธฐ์ˆ ์€
05:30
had been evolving for decades.
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๋ช‡ ์‹ญ๋…„๋™์•ˆ ๋ฐœ๋‹ฌํ•˜๊ณ  ์žˆ์—ˆ๊ฑฐ๋“ ์š”.
05:32
That's multi-touch, controlling a device
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ํ™”๋ฉด์„ ๋งŒ์ ธ์„œ ๊ธฐ๊ณ„๋ฅผ ์กฐ์ •ํ•˜๋Š”
05:34
by touching its display.
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๋ฉ€ํ‹ฐํ„ฐ์น˜ ์ž…๋ ฅ์žฅ์น˜๊ฐ€ ๊ทธ๊ฒƒ์ž…๋‹ˆ๋‹ค.
05:36
Here is Steve Jobs introducing multi-touch
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์Šคํ‹ฐ๋ธŒ ์žก์Šค๋Š” ๋ฉ€ํ‹ฐํ„ฐ์น˜ ์ž…๋ ฅ์žฅ์น˜๋ฅผ ์„ค๋ช…ํ•˜๋ฉด์„œ
05:39
and making a rather foreboding joke.
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์˜ˆ์–ธ๊ฐ™์€ ๋†๋‹ด๋„ ํ•ฉ๋‹ˆ๋‹ค.
05:41
Steve Jobs: And we have invented a new technology
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์Šคํ‹ฐ๋ธŒ ์žก์Šค: ์šฐ๋ฆฌ๊ฐ€ ๋‹ค์ค‘ํ„ฐ์น˜ ์ž…๋ ฅ์žฅ์น˜๋ผ๊ณ  ํ•˜๋Š”
05:44
called multi-touch.
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์ƒˆ๋กœ์šด ๊ธฐ์ˆ ์„ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
05:46
You can do multi-fingered gestures on it,
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์—ฌ๋Ÿฌ ๊ฐœ์˜ ์†๊ฐ€๋ฝ์„ ํ•œ๊บผ๋ฒˆ์— ์˜ฌ๋ ค๋†“๊ณ  ์›€์ง์ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
05:48
and boy have we patented it. (Laughter)
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ํŠนํ—ˆ๋“ฑ๋ก๋„ ํ–ˆ๋‹ต๋‹ˆ๋‹ค. (์›ƒ์Œ)
05:52
KF: Yes. And yet, here is multi-touch in action.
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์ปค๋น„ ํผ๊ฑฐ์Šจ: ๊ทผ๋ฐ ์—ฌ๊ธฐ ์‹œ๋ฒ” ์ค‘์ธ ๋ฉ€ํ‹ฐํ„ฐ์น˜ ์ž…๋ ฅ์žฅ์น˜๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
05:56
This is at TED, actually, about a year earlier.
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ํ…Œ๋“œ์—์„œ์˜ ์ผ์ธ๋ฐ ์‹ค์ œ๋กœ ์ผ๋…„ ์ •๋„ ์ผ์ฐ ์žˆ์—ˆ์ฃ .
05:58
This is Jeff Han, and, I mean, that's multi-touch.
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์ด ์‚ฌ๋žŒ์€ ์ œํ”„ ํ•œ์ด๊ณ , ์ €๊ฑด ๋‹ค์ค‘ํ„ฐ์น˜ ์ž…๋ ฅ์žฅ์น˜์ž…๋‹ˆ๋‹ค.
06:01
It's the same animal, at least.
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์ ์–ด๋„ ๋˜‘๊ฐ™๋‹ค๊ณ  ๋ด์•ผ๊ฒ ๋„ค์š”.
06:02
Let's hear what Jeff Han has to say about this
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์ œํ”„ ํ•œ์ด ์ด ์‹ ๊ธฐ๋กœ์šด ์ƒˆ๊ธฐ์ˆ ์— ๋Œ€ํ•ด์„œ
06:04
newfangled technology.
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๋ญ๋ผ๊ณ  ํ•˜๋Š”์ง€ ๋“ค์–ด๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
06:06
Jeff Han: Multi-touch sensing isn't anything --
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์ œํ”„ ํ•œ: ๋‹ค์ค‘ ํ„ฐ์น˜ ๊ธฐ์ˆ ์€ ๊ฒฐ์ฝ” ์ƒˆ๋กœ์šด ๊ฒŒ ์•„๋‹™๋‹ˆ๋‹ค.
06:08
isn't completely new. I mean, people like Bill Buxton
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ๋นŒ ๋ฒ…์Šคํ†ค ๊ฐ™์€ ์‚ฌ๋žŒ๋“ค์€
06:10
have been playing around with it in the '80s.
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1980๋…„๋Œ€์— ์ด๊ฑธ ๊ฐ€์ง€๊ณ  ๋†€์•˜์Šต๋‹ˆ๋‹ค.
06:12
The technology, you know, isn't the most exciting thing here
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์•„์‹œ๊ฒ ์ง€๋งŒ ์—ฌ๊ธฐ์„œ ์‚ฌ์šฉ๋œ ๊ธฐ์ˆ ์€ ์ ‘๊ทผ๋ฐฉ์‹์ด ์ƒˆ๋กญ๋‹ค๋Š” ๊ฒƒ ๋ง๊ณ ๋Š”
06:15
right now other than probably its newfound accessibility.
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๊ทธ๋ฆฌ ๋Œ€๋‹จํ•œ ๊ฒŒ ์•„๋‹™๋‹ˆ๋‹ค.
06:18
KF: So he's pretty frank about it not being new.
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์ปค๋น„ ํผ๊ฑฐ์Šจ: ๋‹ค์ค‘ํ„ฐ์น˜์ž…๋ ฅ์žฅ์น˜๊ฐ€ ์ƒˆ๋กœ์šด ๊ฒŒ ์•„๋‹ˆ๋ž€ ์ ์„ ์ƒ๋‹นํžˆ ์†”์งํ•˜๊ฒŒ ์‹œ์ธํ–ˆ์Šต๋‹ˆ๋‹ค.
06:20
So it's not multi-touch as a whole that's patented.
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ํŠนํ—ˆ๋“ฑ๋ก์ด ๋œ ๊ฒƒ์€ ์ „์ฒด๋กœ์„œ์˜ ๋‹ค์ค‘ํ„ฐ์น˜์ž…๋ ฅ์žฅ์น˜๊ฐ€ ์•„๋‹ˆ๋ผ
06:23
It's the small parts of it that are,
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์ž‘์€ ์ผ๋ถ€๋ถ„์ธ๋ฐ,
06:25
and it's in these small details where
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์—ฌ๊ธฐ ์ด ์ž‘์€ ์ผ๋ถ€๋ถ„์ด ๋ฌด์—‡์ธ์ง€๋ฅผ ์ž์„ธํžˆ ๋ณด๊ฒŒ ๋˜๋ฉด
06:26
we can clearly see patent law contradicting its intent:
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ํŠนํ—ˆ๋ฒ•์ด ์›๋ž˜์˜ ์˜๋„์ธ ์œ ์šฉํ•œ ๊ธฐ์ˆ ๋ฐœ์ „ ๋„๋ชจ์—
06:29
to promote the progress of useful arts.
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๋ชจ์ˆœ๋œ๋‹ค๋Š” ๊ฑธ ๋ถ„๋ช…ํžˆ ์•Œ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
06:33
Here is the first ever slide-to-unlock.
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์ด๊ฑด ์†๊ฐ€๋ฝ์„ ์›€์ง์—ฌ ์ „ํ™”๊ธฐ๋ฅผ ์ž ๊ทธ๋Š” ์ตœ์ดˆ์˜ ๊ธฐ์ˆ ์ž…๋‹ˆ๋‹ค.
06:36
That is all there is to it. Apple has patented this.
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๊ทธ๊ฒŒ ์ „๋ถ€์ธ๋ฐ ์• ํ”Œ์‚ฌ๋Š” ์ด๊ฑธ ํŠนํ—ˆ๋กœ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
06:39
It's a 28-page software patent, but I will summarize
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28์ชฝ์งœ๋ฆฌ ์†Œํ”„ํŠธ์›จ์–ด ํŠนํ—ˆ์ธ๋ฐ์š”. ๋ฌด์—‡์„ ๋งํ•˜๋Š”์ง€
06:41
what it covers. Spoiler alert: Unlocking your phone
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์ œ๊ฐ€ ์š”์•ฝํ•ด ๋“œ๋ฆฌ์ฃ . ์•Œ์•„์„œ๋Š” ์•ˆ ๋˜๋Š” ์‚ฌ์‹ค: ์†๊ฐ€๋ฝ์œผ๋กœ
06:45
by sliding an icon with your finger. (Laughter)
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ํ•˜๋‚˜์˜ ์•„์ด์ฝ˜์„ ๋ฏธ๋„๋Ÿฌ์ง€๊ฒŒ ํ•ด์„œ ์ „ํ™”๊ธฐ๋ฅผ ์ž ๊ทผ๋‹ค. (์›ƒ์Œ)
06:48
I'm only exaggerating a little bit. It's a broad patent.
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์ œ๊ฐ€ ์กฐ๊ธˆ ๊ณผ์žฅ์„ ํ–ˆ์ง€๋งŒ ์ด ํŠนํ—ˆ๋Š” ๋งŽ์€ ๊ฑธ ํฌํ•จํ•ฉ๋‹ˆ๋‹ค.
06:51
Now, can someone own this idea?
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๊ทธ๋Ÿผ ๋ˆ„๊ฐ€ ์ด ์ƒ๊ฐ์„ ์†Œ์œ ํ•  ์ˆ˜ ์žˆ์„๊นŒ์š”?
06:54
Now, back in the '80s, there were no software patents,
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80๋…„๋Œ€์—๋Š” ์†Œํ”„ํŠธ์›จ์–ด ํŠนํ—ˆ๋ฒ•์ด ์—†์—ˆ๊ณ ,
06:57
and it was Xerox that pioneered the graphical user interface.
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์ œ๋ก์Šค์‚ฌ๋Š” ์ตœ์ดˆ๋กœ ์‚ฌ์šฉ์ž์™€ ์ƒํ˜ธ์ž‘์šฉํ•  ์ˆ˜ ์žˆ๋Š” ๊ทธ๋ž˜ํ”ฝ์„ ๊ฐœ๋ฐœํ–ˆ์Šต๋‹ˆ๋‹ค.
07:00
What if they had patented pop-up menus,
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๊ทธ๋“ค์ด ๋งŒ์•ฝ ํŒ์—… ๋ฉ”๋‰ด, ์Šค์ฝœ๋กœ ๋ฐ”, ์„œ๋ฅ˜์ฒ ์ฒ˜๋Ÿผ ๋ณด์ด๋Š”
07:03
scrollbars, the desktop with icons that look like folders
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์•„์ด์ฝ˜์ด ์žˆ๋Š” ํ™”๋ฉด์„ ํŠนํ—ˆ๋กœ ๋งŒ๋“ค์—ˆ๋‹ค๋ฉด
07:07
and sheets of paper?
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์–ด๋–ป๊ฒŒ ๋˜์—ˆ์„๊นŒ์š”?
07:09
Would a young and inexperienced Apple
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์ Š๊ณ  ๊ฒฝํ—˜์ด ๋งŽ์ง€ ์•Š์€ ์• ํ”Œ์‚ฌ๋Š”
07:11
have survived the legal assault from a much larger
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์ œ๋ก์Šค์‚ฌ์™€ ๊ฐ™์€ ํ›จ์”ฌ ํฌ๊ณ  ๊ฑฐ๋Œ€ํ•œ ํšŒ์‚ฌ์™€์˜
07:14
and more mature company like Xerox?
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๋ฒ•์  ๊ณต๋ฐฉ์—์„œ ์‚ด์•„ ๋‚จ์„ ์ˆ˜ ์žˆ์—ˆ์„๊นŒ์š”?
07:18
Now, this idea that everything is a remix might sound
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๋ชจ๋“  ๊ฒƒ์ด ๋ฆฌ๋ฏน์Šค๋ผ๋Š” ๋ง์€ ์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ์†์ˆ˜ ๋ฆฌ๋ฏน์Šค๋ฅผ
07:21
like common sense until you're the one getting remixed.
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ํ•˜๊ธฐ ์ „๊นŒ์ง€๋Š” ํ‰๋ฒ”ํ•œ ์ƒ๊ฐ์ฒ˜๋Ÿผ ๋“ค๋ฆด๊ฒ๋‹ˆ๋‹ค.
07:25
For example ...
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์˜ˆ๋ฅผ ๋“ค๋ฉด,
07:27
SJ: I mean, Picasso had a saying.
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์Šคํ‹ฐ๋ธŒ ์žก์Šค: ํ”ผ์นด์†Œ๊ฐ€ ๋‚จ๊ธด ๋ง์ด ์žˆ์–ด์š”.
07:28
He said, "Good artists copy. Great artists steal."
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๊ทธ๋Š” "์‹ค๋ ฅ์žˆ๋Š” ์˜ˆ์ˆ ๊ฐ€๋Š” ๋ณต์‚ฌํ•˜์ฃ . ์œ„๋Œ€ํ•œ ์˜ˆ์ˆ ๊ฐ€๋Š” ๋„์ ์งˆํ•˜์ฃ ."๋ผ๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
07:31
And we have, you know,
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์—ฌ๋Ÿฌ๋ถ„์ด ์•„์‹œ๋‹ค์‹œํ”ผ,
07:34
always been shameless about stealing great ideas.
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์ „ํฌ๋Š” ํ•ญ์ƒ ์œ„๋Œ€ํ•œ ์ƒ๊ฐ ํ›”์น˜๊ธฐ๋ฅผ ์ˆ˜์น˜์Šค๋Ÿฝ๊ฒŒ ์ƒ๊ฐํ•˜์ง€ ์•Š์•˜์–ด์š”.
07:37
KF: Okay, so that's in '96. Here's in 2010.
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์ปค๋น„ ํผ๊ฑฐ์Šจ: 1996๋…„๋„์˜ ์ผ์ž…๋‹ˆ๋‹ค. ์ง€๊ธˆ์€ 2010๋…„์ด์ฃ .
07:39
"I'm going to destroy Android because it's a stolen product."
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"์ „ ์•ˆ๋“œ๋กœ์ด๋“œ๋ฅผ ๋ถ€์…”๋ฒ„๋ฆด๊ฒ๋‹ˆ๋‹ค. ์™œ๋ƒ๋ฉด ๊ทธ๊ฑด ํ›”์นœ ์ œํ’ˆ์ด๊ฑฐ๋“ ์š”."
07:42
(Laughter)
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(์›ƒ์Œ)
07:43
"I'm willing to go thermonuclear war on this." (Laughter)
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"์ €๋Š” ์ˆ˜์†Œํญํƒ„์„ ๊ฐ€์ง€๊ณ  ์ด ์ „์Ÿ์— ๋‚˜๊ฐˆ๊ฒ๋‹ˆ๋‹ค." (์›ƒ์Œ)
07:47
Okay, so in other words, great artists steal, but not from me.
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๊ทธ๋ ‡์ฃ . ๋ฐ”๊ฟ” ๋งํ•˜๋ฉด, ์œ„๋Œ€ํ•œ ์˜ˆ์ˆ ๊ฐ€๋Š” ๋„์ ์งˆํ•˜์ง€๋งŒ ๋‚˜๋กœ๋ถ€ํ„ฐ๋Š” ์•ˆ ๋œ๋‹ค๋Š” ๊ฑฐ์ฃ .
07:50
(Laughter)
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(์›ƒ์Œ)
07:53
Now, behavioral economists might refer to this sort of thing as loss aversion
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ํ–‰๋™๊ฒฝ์ œํ•™์ž๋“ค์€ ์–ด์ฉŒ๋ฉด ์ด๋Ÿฐ ๋ฅ˜์˜ ๋Œ€์‘์„ ์†์‹ค์— ๋Œ€ํ•œ ์ฆ์˜ค๋ผ๊ณ  ํ• ์ง€๋„ ๋ชจ๋ฅด๊ฒ ์Šต๋‹ˆ๋‹ค.
07:56
We have a strong predisposition towards protecting
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์ž๊ธฐ ๊ฒƒ์ด๋ผ๊ณ  ๋Š๊ปด์ง€๋ฉด ์šฐ๋ฆฐ ๊ฐ•๋ ฅํ•œ ๋ณดํ˜ธ๊ฒฝํ–ฅ์„
07:58
what we feel is ours.
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๋“œ๋Ÿฌ๋ƒ…๋‹ˆ๋‹ค.
08:00
We have no such aversion towards copying
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๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์˜ ์†Œ์œ ๋ฌผ์„ ๋ฒ ๋ผ๋Š” ์ผ์—๋Š” ์ด๋Ÿฐ ํ˜์˜ค๊ฐ์ด ์—†์Šต๋‹ˆ๋‹ค.
08:02
what other people have, because we do that nonstop.
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์™œ๋ƒ๋ฉด ์šฐ๋ฆฐ ์‰ผ์—†์ด ๊ทธ๋Ÿฌ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
08:05
So here's the sort of equation we're looking at.
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์—ฌ๊ธฐ์„œ ์šฐ๋ฆฐ ์ผ์ข…์˜ ๋ฐฉ์ •์‹์„ ํ’€๋ ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
08:08
We've got laws that fundamentally treat creative works as property,
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์šฐ๋ฆฌ์—๊ฒ ๊ทผ๋ณธ์ ์œผ๋กœ ์ฐฝ์กฐ๋ฌผ์„ ์žฌ์‚ฐ์œผ๋กœ ๊ฐ„์ฃผํ•˜๋Š” ๋ฒ•์ด ์žˆ์Šต๋‹ˆ๋‹ค.
08:10
plus massive rewards or settlements
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๋”๊ตฐ๋‹ค๋‚˜ ์žฌ์‚ฐ๊ถŒ ์นจํ•ด์— ์žˆ์–ด์„œ๋Š” ์–ด๋งˆ์–ด๋งˆํ•œ ๋ณด์ƒ๊ธˆ๊ณผ ํ•ฉ์˜๊ธˆ์ด ๋”ฐ๋ผ์˜ต๋‹ˆ๋‹ค.
08:13
in infringement cases, plus huge legal fees
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๋˜ํ•œ ๋ฒ•์ •์—์„œ ์šฐ๋ฆฌ๋ฅผ ๋ณดํ˜ธํ•˜๊ธฐ ์œ„ํ•œ ์—„์ฒญ๋‚œ
08:15
to protect yourself in court,
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๋ฒ•์ • ๋น„์šฉ๋„ ์ƒ๊ฐํ•ด์•ผํ•ฉ๋‹ˆ๋‹ค.
08:17
plus cognitive biases against perceived loss.
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๊ฒŒ๋‹ค๊ฐ€ ์ธ์‹๋œ ์†์‹ค์— ๋Œ€ํ•œ ์ธ์‹ ๋ก ์  ํŽธ๊ฒฌ๋„ ๊ฐ๋‹นํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
08:20
And the sum looks like this.
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์ด๋“ค์˜ ์ดํ•ฉ์€ ์ด๋ ‡์Šต๋‹ˆ๋‹ค.
08:22
That is the last four years of lawsuits
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์ง€๋‚œ ์‚ฌ๋…„ ๊ฐ„ ์ง„ํ–‰๋œ
08:25
in the realm of smartphones.
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๋ฒ•์ •์†Œ์†ก์ž…๋‹ˆ๋‹ค.
08:28
Is this promoting the progress of useful arts?
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์ด๋Ÿฐ ๊ฒŒ ์˜ˆ์ˆ ์˜ ์ง„๋ณด๋ฅผ ์œ ์šฉํ•œ ์ชฝ์œผ๋กœ ์ด๋Œ๊นŒ์š”?
08:34
1983. Bob Dylan is 42 years old, and his time
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1983๋…„์— ๋ฐฅ ๋”œ๋Ÿฐ์€ 42์‚ด์ด ๋๊ณ 
08:39
in the cultural spotlight is long since past.
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๋ฌธํ™”์  ์กฐ๋ช…์„ ํ•œ ๋ชธ์— ๋ฐ›๋˜ ๊ทธ์˜ ์‹œ๋Œ€๋Š” ์˜ค๋žœ ๊ณผ๊ฑฐ๊ฐ€ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
08:43
He records a song called "Blind Willie McTell,"
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๊ทธ๋Š” ๋ธ”๋ฃจ์Šค ๊ฐ€์ˆ˜์˜ ์ด๋ฆ„์„ ๋”ฐ์„œ ์ œ๋ชฉ์„ ๋ถ™์€
08:45
named after the blues singer, and the song
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"๋ˆˆ๋จผ ์žฅ๋‹˜ ์œŒ๋ฆฌ ๋งฅํ…”" ์ด๋ž€ ๊ณก์„ ๋งŒ๋“ค์—ˆ๋Š”๋ฐ,
08:48
is a voyage through the past, through a much darker time,
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๊ทธ๊ฑด ๊ณผ๊ฑฐ๋ฅผ ํ†ตํ•œ, ๋ณด๋‹ค ์•”์šธํ–ˆ๋˜ ์‹œ๋Œ€๋ฅผ ์ง€๋‚˜๊ฐ€๋Š” ์—ฌ์ •์— ๋Œ€ํ•œ ๊ณก์ด์—ˆ์ง€๋งŒ,
08:51
but a simpler one, a time when musicians like Willie McTell
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ํ›จ์”ฌ ๋” ๋‹จ์ˆœํ•œ ๊ณก์œผ๋กœ, ์œŒ๋ฆฌ ๋งฅํ…” ๊ฐ™์€ ์Œ์•…๊ฐ€๋“ค์ด
08:54
had few illusions about what they did.
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์ž์‹ ๋“ค์˜ ๊ณผ๊ฑฐ์— ๋Œ€ํ•œ ํ™˜์ƒ์— ๋Œ€ํ•ด ๋งํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
08:57
"I jump 'em from other writers
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"๋‚˜๋Š” ๋‹ค๋ฅธ ์ด๋“ค๋กœ๋ถ€ํ„ฐ ๊ทธ๊ฑธ ๋–ผ์–ด๋‚ด์„œ๋Š”
08:59
but I arrange 'em my own way."
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๋‚ด ๋ฐฉ์‹๋Œ€๋กœ ์กฐ์ •ํ•˜์ง€."
09:02
I think this is mostly what we do.
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์ „ ์ด๊ฒŒ ๋Œ€์ฒด๋กœ ์šฐ๋ฆฌ๊ฐ€ ํ•˜๋Š” ์ผ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
09:03
Our creativity comes from without, not from within.
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์ฐฝ์กฐ์„ฑ์€ ์™ธ๋ถ€๋กœ๋ถ€ํ„ฐ ์ƒ๊ธฐ์ง€ ์•ˆ์—์„œ ์ƒ๊ฒจ๋‚˜๋Š”๊ฒŒ ์•„๋‹™๋‹ˆ๋‹ค.
09:07
We are not self-made. We are dependent on one another,
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์šฐ๋ฆฌ๊ฐ€ ์šฐ๋ฆฌ ์ž์‹ ์„ ์ฐฝ์กฐํ•˜์ง„ ์•Š์•˜์Šต๋‹ˆ๋‹ค. ์„œ๋กœ๊ฐ€ ์„œ๋กœ์—๊ฒŒ ์˜์ง€ํ–ˆ๊ธฐ ๋•Œ๋ฌธ์ด๋ฉฐ,
09:10
and admitting this to ourselves isn't an embrace
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์ด๋ฅผ ์ธ์ •ํ•˜๋Š” ๊ฒŒ ํ‰๋ฒ”ํ•จ๊ณผ ๋ชจ๋ฐฉ์„
09:13
of mediocrity and derivativeness.
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์ˆ˜๊ธํ•˜๊ฒ ๋‹ค๋Š” ๊ฑด ์•„๋‹™๋‹ˆ๋‹ค.
09:15
It's a liberation from our misconceptions,
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๊ทธ๊ฑด ์šฐ๋ฆฌ๊ฐ€ ์ง€๋‹ˆ๊ณ  ์žˆ๋Š” ์˜คํ•ด๋กœ๋ถ€ํ„ฐ์˜ ํ•ด๋ฐฉ์ด๊ณ ,
09:18
and it's an incentive to not expect so much from ourselves
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์šฐ๋ฆฌ ์Šค์Šค๋กœ๋ถ€ํ„ฐ ๋„ˆ๋ฌด ๋งŽ์€ ๊ฑธ ๊ธฐ๋Œ€ํ•˜์ง€ ์•Š๊ณ  ๊ทธ๋ƒฅ ํ•ด ๋ณด๋„๋ก
09:21
and to simply begin.
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์ด๋Œ์–ด์ค๋‹ˆ๋‹ค.
09:24
Thank you so much. It was an honor to be here.
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์ •๋ง ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. ์ด ๊ณณ์— ์„ค ์ˆ˜ ์žˆ์–ด์„œ ์˜๊ด‘์ž…๋‹ˆ๋‹ค.
09:27
Thank you. (Applause)
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. (๋ฐ•์ˆ˜)
09:30
Thank you. Thank you. (Applause)
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. (๋ฐ•์ˆ˜)
09:33
Thank you. (Applause)
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. (๋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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