Golan Levin makes art that looks back at you

56,800 views ・ 2009-07-30

TED


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譯者: Boyang Zhu 審譯者: Shelley Krishna Tsang
00:12
Hello! My name is Golan Levin.
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大家好!我的名字是戈蘭 萊文。
00:15
I'm an artist and an engineer,
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我是一個藝術家和工程師。
00:17
which is, increasingly, a more common kind of hybrid.
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越來越普遍的一種誇領域的結合。
00:19
But I still fall into this weird crack
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不過我仍然常陷入這奇怪的夾縫中,
00:22
where people don't seem to understand me.
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人們似乎不理解我在做甚麼。
00:24
And I was looking around and I found this wonderful picture.
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我就到處搜索,發現了這幅美妙的圖片。
00:28
It's a letter from "Artforum" in 1967
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這是在1967年來自“藝術論壇”雜誌的一封信
00:31
saying "We can't imagine ever doing a special issue
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上面說“我們永遠不能想像做一份關於電子或電腦藝術的特別刊物。”
00:34
on electronics or computers in art." And they still haven't.
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這對他們來說至今仍然是無法想像。
00:37
And lest you think that you all, as the digerati, are more enlightened,
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如果而在座的各位都自認為是數字精英,比他們懂的多,
00:42
I went to the Apple iPhone app store the other day.
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我有一天登陸了蘋果的iPhone軟體商店。
00:45
Where's art? I got productivity. I got sports.
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哪裡有藝術方面的軟體?我找到生產力相關的軟體,也找到了運動類軟體。
00:49
And somehow the idea that one would want to make art for the iPhone,
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不知何故,為iPhone製作藝術類軟體的想法,
00:53
which my friends and I are doing now,
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我和我的朋友們現在正在進行的,
00:55
is still not reflected in our understanding
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並沒有在我們對電腦
00:58
of what computers are for.
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用途的理解中反映出來。
01:00
So, from both directions, there is kind of, I think, a lack of understanding
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從兩方面來講,我都覺得缺少了一些理解
01:02
about what it could mean to be an artist who uses the materials
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如果藝術家能夠使用他或她所處的時代的材料
01:04
of his own day, or her own day,
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進行創作意味著甚麼。
01:06
which I think artists are obliged to do,
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我覺得藝術家有責任要充分地
01:08
is to really explore the expressive potential of the new tools that we have.
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探索我們所擁有的新工具地表達潛力。
01:12
In my own case, I'm an artist,
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以我自己為例,我是一名藝術家,
01:14
and I'm really interested in
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我非常熱衷於
01:16
expanding the vocabulary of human action,
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擴展人類行為的語匯並
01:18
and basically empowering people through interactivity.
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通過交互來鼓動人們這樣做。
01:21
I want people to discover themselves as actors,
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我希望人們可以將自己看待成表演者,
01:24
as creative actors, by having interactive experiences.
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通過交互性的體驗,成為富有創意的表演者。
01:28
A lot of my work is about trying to get away from this.
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我的很多工作也是希望避免這種情況。
01:31
This a photograph of the desktop of a student of mine.
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這是一幅拍攝了我一個學生的桌面的照片。
01:33
And when I say desktop, I don't just mean
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當我講到桌面,我並不僅僅
01:35
the actual desk where his mouse has worn away the surface of the desk.
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是指實際上被他的滑鼠磨損的桌面。
01:38
If you look carefully, you can even see
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如果你仔細地觀察,你甚至會隱約發現
01:40
a hint of the Apple menu, up here in the upper left,
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在左上角蘋果系統菜單的跡象。
01:43
where the virtual world has literally
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在那裡虛擬世界真正的
01:45
punched through to the physical.
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穿越到了現實世界中。
01:47
So this is, as Joy Mountford once said,
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所以就像喬伊芒福德曾經說的,
01:51
"The mouse is probably the narrowest straw
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”滑鼠可能是最細小的吸管
01:53
you could try to suck all of human expression through."
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你能使用它來吸取所有人類的表達。“
01:55
(Laughter)
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笑聲
01:58
And the thing I'm really trying to do is enabling people to have more rich
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我真正像嘗試要做的就是能夠讓人們擁有
02:01
kinds of interactive experiences.
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更豐富多樣的交互體驗。
02:03
How can we get away from the mouse and use our full bodies
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如何使用我們全身而不是鼠標作為
02:05
as a way of exploring aesthetic experiences,
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一種探索審美體驗的方式。
02:08
not necessarily utilitarian ones.
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並不一定是實用主義的。
02:10
So I write software. And that's how I do it.
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我編寫軟體,這是我創作的方式。
02:13
And a lot of my experiences
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我許多的試驗
02:15
resemble mirrors in some way.
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都從某方面再現了鏡子的概念。
02:17
Because this is, in some sense, the first way,
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因為在某種意義上,鏡子是人們最初
02:19
that people discover their own potential as actors,
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能觀察到他們自己的動作,發現自己
02:21
and discover their own agency.
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作為一個表演者的潛能的方式。
02:23
By saying "Who is that person in the mirror? Oh it's actually me."
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通過提問“誰是鏡子里的那個人?喔,這原來就是我。”
02:26
And so, to give an example,
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所以就拿去年的一個項目
02:28
this is a project from last year,
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來做一個例子。
02:30
which is called the Interstitial Fragment Processor.
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它被稱作縫隙碎片處理器。
02:32
And it allows people to explore the negative shapes that they create
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它能讓人們探索自己在做他們的日常動作
02:36
when they're just going about their everyday business.
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的時候所創造的負形狀。
02:53
So as people make shapes with their hands or their heads
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當人們用他們的雙手或者頭部,
02:55
and so forth, or with each other,
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或者互相一起創造形狀的時候。
02:57
these shapes literally produce sounds and drop out of thin air --
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這些形狀會產生聲音並憑空出現然後墜落。
03:00
basically taking what's often this, kind of, unseen space,
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這基本上是將未被看見的空間,
03:04
or this undetected space, and making it something real,
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或是未被察覺的空間,轉變成一種真實的物體,
03:07
that people then can appreciate and become creative with.
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人們可以欣賞並對其發揮創造力。
03:10
So again, people discover their creative agency in this way.
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所以再一次,人們這樣發現他們的創造性動作。
03:13
And their own personalities come out
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並且他們自身的人格也因此
03:15
in totally unique ways.
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以非常特別的方式顯現。
03:18
So in addition to using full-body input,
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除了使用全身來輸入之外,
03:21
something that I've explored now, for a while,
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我利用了一段時間探索了一些別的東西,
03:23
has been the use of the voice,
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就是對聲音的利用。
03:25
which is an immensely expressive system for us, vocalizing.
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有聲化是對我們來說非常具有表達力的系統。
03:29
Song is one of our oldest ways
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歌唱是我們所使用來互相聽見
03:31
of making ourselves heard and understood.
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並理解的最古老的方法之一。
03:34
And I came across this fantastic research by Wolfgang Köhler,
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我發現這個由格式塔心理學之父沃爾夫岡 科勒
03:36
the so-called father of gestalt psychology, from 1927,
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在1927年所進行的奇妙的研究。
03:40
who submitted to an audience like yourselves
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他發送如下2個圖形給
03:42
the following two shapes.
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像你們一樣的觀眾。
03:44
And he said one of them is called Maluma.
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他說其中一個叫做Maluma。
03:46
And one of them is called Taketa. Which is which?
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还有一个叫做Teketa,哪個是哪個呢?
03:48
Anyone want to hazard a guess?
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有誰想嘗試着猜一下嗎?
03:52
Maluma is on top. Yeah. So.
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Maluma是上邊的這個,對是這樣。
03:54
As he says here, most people answer without any hesitation.
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就像他說的,大部份人都能毫不猶豫地給出答案。
03:57
So what we're really seeing here is a phenomenon
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從中我們真正觀察到的是一個現象
03:59
called phonaesthesia,
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稱作音義聯覺,
04:01
which is a kind of synesthesia that all of you have.
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就好像你們大家都擁有的聯覺一樣。
04:03
And so, whereas Dr. Oliver Sacks has talked about
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奧利佛薩科斯博士曾提到
04:05
how perhaps one person in a million
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可能每一百萬人中只有一個人
04:07
actually has true synesthesia,
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真正地擁有聯覺,
04:09
where they hear colors or taste shapes, and things like this,
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他們可以聽見顏色或者品嘗到形狀之類。
04:11
phonaesthesia is something we can all experience to some extent.
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音義聯覺是我們所有人都能在某種程度上體驗的東西。
04:13
It's about mappings between different perceptual domains,
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這在不同的感知領域之間的映射,
04:16
like hardness, sharpness, brightness and darkness,
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比如硬度,鋒利感,明度以及黑暗,
04:19
and the phonemes that we're able to speak with.
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以及我們能發出的音素。
04:21
So 70 years on, there's been some research where
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70年來,通過一些研究
04:23
cognitive psychologists have actually sussed out
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認知心理學加已經弄清楚了
04:25
the extent to which, you know,
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這個現象。
04:27
L, M and B are more associated with shapes that look like this,
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L,M,B更多地於這種形狀聯繫在一起,
04:31
and P, T and K are perhaps more associated with shapes like this.
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P,T和K可能更多地和這種形狀相關連。
04:35
And here we suddenly begin to have a mapping between curvature
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突然間我們就開始有了一在不同地曲率之間映射
04:37
that we can exploit numerically,
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可以量化地來研究開發,
04:39
a relative mapping between curvature and shape.
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一個在語音和曲率之間的相對的映射。
04:42
So it occurred to me, what happens if we could run these backwards?
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我突然想到,如果我们把这个过程回放会是怎么样的?
04:45
And thus was born the project called Remark,
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由此这个称作Remark的項目就誕生了。
04:47
which is a collaboration with Zachary Lieberman
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我們與扎迦利還有
04:49
and the Ars Electronica Futurelab.
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電子藝術未來實驗室一起合作。
04:51
And this is an interactive installation which presents
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這個交互裝置呈現了一個
04:53
the fiction that speech casts visible shadows.
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語音會產生可見的陰影的幻象。
04:55
So the idea is you step into a kind of a magic light.
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這個理念是你走進一種魔幻的光線中,
04:58
And as you do, you see the shadows of your own speech.
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當你這樣做的時候,你會看見自己說出的言語的影子。
05:01
And they sort of fly away, out of your head.
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它們從你頭部飛出。
05:03
If a computer speech recognition system
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如果電腦的語音識別系統可以聽懂
05:06
is able to recognize what you're saying, then it spells it out.
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你在說甚麼,它就會講你所說的拼寫出來。
05:10
And if it isn't then it produces a shape which is very phonaesthetically
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如果電腦聽不懂,它就會按照音義聯覺的原理產生一個
05:12
tightly coupled to the sounds you made.
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與你發出的聲音相匹配的形狀。
05:14
So let's bring up a video of that.
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請播放一段關於這個項目的影片。
06:03
(Applause)
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(掌聲)
06:05
Thanks. So. And this project here,
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謝謝。在這一個作品中,
06:08
I was working with the great abstract vocalist, Jaap Blonk.
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我和非常厲害的抽象聲樂家,雅普 布朗克。
06:11
And he is a world expert in performing "The Ursonate,"
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他是一個世界級的表演“Ursonate”的專家,
06:14
which is a half-an-hour nonsense poem
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一首由柯特 舒維特在1920年所創作的
06:16
by Kurt Schwitters, written in the 1920s,
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長達半小時的無意義詩歌。
06:18
which is half an hour of very highly patterned nonsense.
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它是一段長達半小時的高度模式化的無意義的語音。
06:22
And it's almost impossible to perform.
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一般人幾乎是不可能表演出來的。
06:24
But Jaap is one of the world experts in performing it.
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不過雅普是少數能表演它的世界級專家之一。
06:27
And in this project we've developed
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在這個項目中我們開發了一種
06:29
a form of intelligent real-time subtitles.
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智能實時字幕。
06:32
So these are our live subtitles,
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這裡是我們的現場字幕,
06:35
that are being produced by a computer that knows the text of "The Ursonate" --
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它們是由一台瞭解“Ursonate”的文字的電腦所生成的。
06:38
fortunately Jaap does too, very well --
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幸好雅普也很瞭解這些文字。
06:41
and it is delivering that text at the same time as Jaap is.
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電腦在雅普發出聲音的同時呈現字幕。
06:53
So all the text you're going to see
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所有你將看到的字幕
06:55
is real-time generated by the computer,
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都是由電腦實時生成的,
06:57
visualizing what he's doing with his voice.
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將他的語音可視化。
08:10
Here you can see the set-up where there is a screen with the subtitles behind him.
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這裡你能看見在他身後佈置着一個有字幕的螢幕。
08:34
Okay. So ...
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好了。
08:36
(Applause)
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(掌聲)
08:41
The full videos are online if you are interested.
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如果你有興趣的話可以在網路上找到整部的影片。
08:43
I got a split reaction to that during the live performance,
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在現場表演的時候我碰到兩種截然不同的反映。
08:45
because there is some people who understand
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因為有些人理解實時字幕
08:47
live subtitles are a kind of an oxymoron,
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這個概念是有些自相矛盾的。
08:49
because usually there is someone making them afterwards.
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因為通常字幕都是有人在影片完成後來製作字幕。
08:52
And then a bunch of people who were like, "What's the big deal?
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還有一群人感覺:“這有甚麼大不了的?”
08:55
I see subtitles all the time on television."
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我每天都在電視上看到字幕。“
08:57
You know? They don't imagine the person in the booth, typing it all.
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他們想像不到有人在幕後編寫所有的字幕的情景。
09:00
So in addition to the full body, and in addition to the voice,
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除了全身和語音之外,
09:03
another thing that I've been really interested in,
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還有一件最近我非常有興趣的事情
09:05
most recently, is the use of the eyes,
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就是對眼睛的使用,
09:07
or the gaze, in terms of how people relate to each other.
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或者說注視,從人們互相之間如何聯繫來看。
09:11
It's a really profound amount of nonverbal information
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許多深刻的信息是用眼睛
09:13
that's communicated with the eyes.
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而不是語言來傳達的。
09:15
And it's one of the most interesting technical challenges
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這也是技術上最有意思的挑戰之一,
09:17
that's very currently active in the computer sciences:
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它是當下計算機科學領域非常熱門的問題。
09:19
being able to have a camera that can understand,
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能夠有一台攝像機,
09:21
from a fairly big distance away,
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可以在比較遠的距離就理解這些
09:23
how these little tiny balls are actually pointing in one way or another
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小小的眼睛在往哪裡看,
09:26
to reveal what you're interested in,
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來揭露你對甚麼感興趣,
09:28
and where your attention is directed.
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你的注意力集中在哪裡?
09:30
So there is a lot of emotional communication that happens there.
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在眼睛這個部位進行着許多情感上的交流。
09:33
And so I've been beginning, with a variety of different projects,
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所以我啓動了一些不同的項目,
09:37
to understand how people can relate to machines with their eyes.
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來瞭解人們如何通過眼睛與機器產生聯繫。
09:40
And basically to ask the questions:
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大概地問這樣一些問題,
09:43
What if art was aware that we were looking at it?
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如果一件藝術作品知道我們在看着它?
09:48
How could it respond, in a way,
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它會作何反映,在某種程度上,
09:50
to acknowledge or subvert the fact that we're looking at it?
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來知曉或者是顛覆我們在觀賞它的事實?
09:53
And what could it do if it could look back at us?
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如果它也看着我們會是怎樣?
09:56
And so those are the questions that are happening in the next projects.
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這些是下面這個項目里所發生的事情,
09:58
In the first one which I'm going to show you, called Eyecode,
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第一個我要展示給你們看的作品,被稱作眼睛編碼,
10:01
it's a piece of interactive software
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它是一個交互軟體
10:03
in which, if we read this little circle,
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如果我們讀一下這個圈小字,
10:05
"the trace left by the looking of the previous observer
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先前一個觀眾觀察時留下的痕跡看着
10:08
looks at the trace left by the looking of previous observer."
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先前一個觀眾觀察時留下的痕跡
10:11
The idea is that it's an image wholly constructed
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這個概念就是一個
10:13
from its own history of being viewed
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完全由被不同的觀眾觀察的過程
10:15
by different people in an installation.
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所組成的圖像。
10:17
So let me just switch over so we can do the live demo.
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讓我切換過來,做一個現場演示。
10:22
So let's run this and see if it works.
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來試試看行不行。
10:26
Okay. Ah, there is lots of nice bright video.
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哦,嗯,這里有很多影像。
10:29
There is just a little test screen that shows that it's working.
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這只是一個用來顯示它正常工作的測試屏幕。
10:31
And what I'm just going to do is -- I'm going to hide that.
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我會把這個窗口隱藏掉,
10:33
And you can see here that what it's doing
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這樣你們就可以看見每當我眨眼的時候
10:35
is it's recording my eyes every time I blink.
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它就紀錄我的眼睛的圖像。
10:44
Hello? And I can ... hello ... okay.
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哈嘍? 我可以...哈嘍...好了。
10:48
And no matter where I am, what's really going on here
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不管我在甚麼位置,實際發生的是
10:50
is that it's an eye-tracking system that tries to locate my eyes.
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這個眼睛追蹤系統都在嘗試定位我的眼睛。
10:53
And if I get really far away I'm blurry.
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如果距離的比較遠我的眼睛就會變得模糊。
10:55
You know, you're going to have these kind of blurry spots like this
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屏幕上就會出現這些模糊的小點。
10:57
that maybe only resemble eyes in a very very abstract way.
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它們只是以非常抽象的方式再現了我的眼睛。
11:00
But if I come up really close and stare directly at the camera
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如果我靠的非常近並且盯這筆記型電腦上的
11:03
on this laptop then you'll see these nice crisp eyes.
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攝像機看,你們就會看到清晰的眼睛。
11:05
You can think of it as a way of, sort of, typing, with your eyes.
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你們可以把這看成是在用眼睛打字一樣。
11:09
And what you're typing are recordings of your eyes
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你所輸入的是當你在看別人的眼睛的時候
11:11
as you're looking at other peoples' eyes.
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對你眼睛的紀錄。
11:13
So each person is looking at the looking
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所以每個人都在看着
11:16
of everyone else before them.
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之前的人。
11:18
And this exists in larger installations
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這系統被應用在
11:20
where there are thousands and thousands of eyes
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更大的裝置里,有數千雙眼睛
11:22
that people could be staring at,
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供人觀看,
11:24
as you see who's looking at the people looking
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你看着那個看著之前
11:26
at the people looking before them.
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看著之前的人的人。
11:28
So I'll just add a couple more. Blink. Blink.
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我再加上幾雙眼睛,眨眼,眨眼。
11:31
And you can see, just once again, how it's sort of finding my eyes
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還有你能觀察到它又一次尋找到我的眼睛
11:34
and doing its best to estimate when it's blinking.
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並且盡可能估計我甚麼時候眨眼。
11:37
Alright. Let's leave that.
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好了,就這樣吧。
11:39
So that's this kind of recursive observation system.
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這就是一種循環觀察系統。
11:42
(Applause)
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(掌聲)
11:44
Thank you.
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謝謝
11:46
The last couple pieces I'm going to show
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最後幾個我相展示的是
11:48
are basically in the new realm of robotics -- for me, new for me.
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是在新的機器人領域,對我來說比較新。
11:50
It's called Opto-Isolator.
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叫做光電隔離體。
11:52
And I'm going to show a video of the older version of it,
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我先放一個影片來展示早先的版本。
11:55
which is just a minute long. Okay.
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大約一分鐘左右,好。
12:06
In this case, the Opto-Isolator is blinking
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在這個項目中,這個光電隔離器
12:08
in response to one's own blinks.
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在對眨眼的觀看者眨眼。
12:10
So it blinks one second after you do.
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在你眨眼後的一秒種它也眨眼。
12:13
This is a device which is intended to reduce
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這是設備的用意是
12:16
the phenomenon of gaze down to the simplest possible materials.
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用最簡單的材料來表現注視的現象。
12:19
Just one eye,
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僅僅是一隻眼睛
12:21
looking at you, and eliminating everything else about a face,
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看着你,去掉了其他任何臉部的東西。
12:23
but just to consider gaze in an isolated way
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只是單獨來思考注視
12:26
as a kind of, as an element.
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就好像是,一種元素。
12:29
And at the same time, it attempts to engage in what you might call
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於此同時,它嘗試參與到我們所熟悉的
12:32
familiar psycho-social gaze behaviors.
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社會心理注視行為中。
12:34
Like looking away if you look at it too long
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如果你盯着它看太久它就看別的地方
12:36
because it gets shy,
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因為它會害羞
12:38
or things like that.
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或諸如此類。
12:41
Okay. So the last project I'm going to show
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好了,最後一個要給你們看的項目
12:44
is this new one called Snout.
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是這個叫做長鼻子。
12:47
(Laughter)
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(笑聲)
12:49
It's an eight-foot snout,
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它是一個八尺高的長鼻子,
12:51
with a googly eye.
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加上一個曲棍球做眼睛。
12:53
(Laughter)
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(笑聲)
12:54
And inside it's got an 800-pound robot arm
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在它裡面有一台我借來的800磅重的
12:57
that I borrowed,
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機械臂,
12:59
(Laughter)
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(笑聲)
13:00
from a friend.
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從一個朋友那裡。
13:02
(Laughter)
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(笑聲)
13:03
It helps to have good friends.
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有好的朋友確是會幫到很多。
13:05
I'm at Carnegie Mellon; we've got a great Robotics Institute there.
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我在卡耐基梅隆大學。我們有非常棒的機器人研究所。
13:08
I'd like to show you thing called Snout, which is --
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我想展示給你們這個叫長鼻子的東西
13:10
The idea behind this project is to
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這個項目背後的概念是做一個
13:12
make a robot that appears as if it's continually surprised to see you.
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好像是一直很驚訝地看着你地機器人。
13:16
(Laughter)
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(笑聲)
13:20
The idea is that basically --
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這個概念基本上來說
13:22
if it's constantly like "Huh? ... Huh?"
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如果他一直表現出“啊?...嗯?“
13:24
That's why its other name is Doubletaker, Taker of Doubles.
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這就是為甚麼它的綽號是反覆打量,打量兩次。
13:28
It's always kind of doing a double take: "What?"
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它好像總是在反覆地打量着:”甚麼啊?“
13:30
And the idea is basically, can it look at you
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這概念大概就是它會看着你
13:32
and make you feel as if like,
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然後讓你覺得好像,
13:34
"What? Is it my shoes?"
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”怎麼了?是我的鞋子有問題嗎?“
13:36
"Got something on my hair?" Here we go. Alright.
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“還是頭髮上黏了甚麼東西?”開始了,好。
14:10
Checking him out ...
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看看他...
14:20
For you nerds, here's a little behind-the-scenes.
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電腦迷們,這就是幕後的樣子。
14:22
It's got a computer vision system,
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它有一套電腦視覺系統,
14:24
and it tries to look at the people who are moving around the most.
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它盡可能地盯着活動幅度最大的人。
14:39
Those are its targets.
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這些是它的目標。
14:42
Up there is the skeleton,
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上邊是一個骨架系統,
14:44
which is actually what it's trying to do.
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就是它實際所要做的。
14:54
It's really about trying to create a novel body language for a new creature.
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這件作品嘗試為一種新的生物創造一種新穎的肢體語言。
14:57
Hollywood does this all the time, of course.
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當然好萊塢經常做這種事情。
14:59
But also have the body language communicate something
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但同時也能使用這肢體語言與看着它的人
15:01
to the person who is looking at it.
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來交流一些事情。
15:03
This language is communicating that it is surprised to see you,
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這語言所表達的是它看到你很驚訝,
15:05
and it's interested in looking at you.
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同時也很有興趣來觀察你。
15:08
(Laughter)
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笑聲
15:10
(Applause)
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掌聲
15:19
Thank you very much. That's all I've got for today.
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非常感謝,以上就是我今天所有要講的內容。
15:21
And I'm really happy to be here. Thank you so much.
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我很高興能在這裡演講,謝謝大家!
15:24
(Applause)
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掌聲
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