Good morning. When I was a little boy, I had an experience that changed my life, and is in fact why I'm here today. That one moment profoundly affected how I think about art, design and engineering.
Dobro jutro. Kada sam bio mali dečak, doživeo sam iskustvo koje mi je promenilo život, i to je zapravo razlog zbog kojeg sam ovde. Taj jedan momenat duboko je uticao na moj način razmišljanja o umetnosti, dizajnu i inženjerstvu.
As background, I was fortunate enough to grow up in a family of loving and talented artists in one of the world's great cities. My dad, John Ferren, who died when I was 15, was an artist by both passion and profession, as is my mom, Rae. He was one of the New York School abstract expressionists who, together with his contemporaries, invented American modern art, and contributed to moving the American zeitgeist towards modernism in the 20th century. Isn't it remarkable that, after thousands of years of people doing mostly representational art, that modern art, comparatively speaking, is about 15 minutes old, yet now pervasive. As with many other important innovations, those radical ideas required no new technology, just fresh thinking and a willingness to experiment, plus resiliency in the face of near-universal criticism and rejection. In our home, art was everywhere. It was like oxygen, around us and necessary for life. As I watched him paint, Dad taught me that art was not about being decorative, but was a different way of communicating ideas, and in fact one that could bridge the worlds of knowledge and insight.
Da objasnim, bio sam te sreće da odrastam u porodici dragih i talentovanih umetnika u jednom od najvećih svetskih gradova. Moj otac, Džon Feren, koji je umro kada sam imao 15 godina, bio je umetnik po strasti i profesiji, kao i moja majka, Rej. Bio je jedan od apstraktnih ekspresionista njujošrke škole koji je zajedno sa svojim savremenicima osmislio američku modernu umetnost i doprineo pomeranju američkog duha vremena prema modernizmu u 20. veku. Zar nije fascinantno da nakon hiljada godina koliko su ljudi radili uglavnom na reprezentativnoj umetnosti, moderna umetnost, poređenja radi, je oko 15 minuta stara i sad još više prodorna. Kao i kod mnogih važnih inovacija, te radikalne ideje nisu zahtevale novu tehnologiju, već samo sveže razmišljanje i volju za eksperimentisanjem, kao i otpornost na skoro univerzalni kriticizam i odbijanje. Umetnost je bila svuda u našem domu. Bila je poput kiseonika, oko nas i neophodna za život. Dok sam ga gledao kako slika, otac me je naučio da umetnost ne znači biti dekorativan, već različit način komuniciranja idejama, i zapravo jedan od načina kojim možemo premostiti svetove znanja i opažanja.
Given this rich artistic environment, you'd assume that I would have been compelled to go into the family business, but no. I followed the path of most kids who are genetically programmed to make their parents crazy. I had no interest in becoming an artist, certainly not a painter. What I did love was electronics and machines -- taking them apart, building new ones, and making them work. Fortunately, my family also had engineers in it, and with my parents, these were my first role models. What they all had in common was they worked very, very hard. My grandpa owned and operated a sheet metal kitchen cabinet factory in Brooklyn. On weekends, we would go together to Cortlandt Street, which was New York City's radio row. There we would explore massive piles of surplus electronics, and for a few bucks bring home treasures like Norden bombsights and parts from the first IBM tube-based computers. I found these objects both useful and fascinating. I learned about engineering and how things worked, not at school but by taking apart and studying these fabulously complex devices. I did this for hours every day, apparently avoiding electrocution. Life was good.
U ovom bogatom umetničkom okruženju, pretpostavili biste da sam bio prinuđen da se bavim porodičnim poslom, ali ne. Pratio sam put većine dece koja su genetički programirana da izluđuju svoje roditelje. Nije me zanimalo da postanem umetnik, pogotovo ne slikar. Ja sam voleo elektroniku i mašine - njihovo rastavljanje, pravljenje novih, i osposobljavanje da funkcionišu. Srećom, moja porodica takođe je imala inženjere i pored roditelja, ovo su bili moji prvi uzori. Svima je zajedničko bilo to da su radili veoma naporno. Moj deda je držao i koordinisao fabriku metalnih kuhinjskih limova u Bruklinu. Vikendom bismo išli svi u ulicu Kortland, koja je bila njujorška radio baza. Tamo bismo istraživali ogromne komade ostataka elektronike i za nekoliko dolara bismo donosili blago poput Nordenove nišanske sprave i delova prvih IBM kompjutera na bazi cevčica. Smatrao sam ove predmete i korisnim i očaravajućim. Učio sam o inženjerstvu i kako stvari funkcionišu, ne u školi već rastavljajući i proučavajući ove čudesno kompleksne aparate. Satima sam se time bavio svakog dana očigledno izbegavajući strujni udar. Život je bio dobar.
However, every summer, sadly, the machines got left behind while my parents and I traveled overseas to experience history, art and design. We visited the great museums and historic buildings of both Europe and the Middle East, but to encourage my growing interest in science and technology, they would simply drop me off in places like the London Science Museum, where I would wander endlessly for hours by myself studying the history of science and technology.
Ipak, svakog leta, nažalost, mašine su ostajale dok smo moji roditelji i ja putovali preko okeana da iskusimo istoriju, umetnost i dizajn. Posetili smo velike muzeje i istorijske objekte Evrope i Bliskog istoka, ali kako bi podstakli moje rastuće interesovanje za nauku i tehnologiju, oni bi me jednostavno ostavljali u mestima poput Londonskog naučnog muzeja gde sam beskrajno lutao sam satima, proučavajući istoriju nauke i tehnologije.
Then, when I was about nine years old, we went to Rome. On one particularly hot summer day, we visited a drum-shaped building that from the outside was not particularly interesting. My dad said it was called the Pantheon, a temple for all of the gods. It didn't look all that special from the outside, as I said, but when we walked inside, I was immediately struck by three things: First of all, it was pleasantly cool despite the oppressive heat outside. It was very dark, the only source of light being an big open hole in the roof. Dad explained that this wasn't a big open hole, but it was called the oculus, an eye to the heavens. And there was something about this place, I didn't know why, that just felt special. As we walked to the center of the room, I looked up at the heavens through the oculus. This was the first church that I'd been to that provided an unrestricted view between God and man. But I wondered, what about when it rained? Dad may have called this an oculus, but it was, in fact, a big hole in the roof. I looked down and saw floor drains had been cut into the stone floor. As I became more accustomed to the dark, I was able to make out details of the floor and the surrounding walls. No big deal here, just the same statuary stuff that we'd seen all over Rome. In fact, it looked like the Appian Way marble salesman showed up with his sample book, showed it to Hadrian, and Hadrian said, "We'll take all of it." (Laughter)
Potom, kada sam imao oko 9 godina, otišli smo u Rim. Jednog posebno toplog letnjeg dana, posetili smo zgradu u obliku bubnja koja spolja nije naročito bila zanimljiva. Moj otac je rekao da se zove Panteon, hram svih bogova. Spolja nije izgledao baš posebno, kao što sam rekao, ali kada sam ušao unutra, momentalno sam bio privučen trima stvarima: pre svega, bilo je prijatno hladno uprkos teškoj vrućini napolju. Bilo je veoma mračno, a jedini izvor svetla bio je velika otvorena rupa na krovu. Otac mi je objasnio da to nije velika otvorena rupa, već se zove okulus, oko prema raju. I bilo je nešto u vezi sa tim mestom, nisam znao zašto, ali je delovalo posebno. Kako smo hodali ka centru prostorije, pogledao sam gore prema raju kroz okulus. Ovo je bila prva crkva u kojoj sam bio a koja je pružala neometan pogled između boga i čoveka. Ali sam se pitao, šta se dešava kad pada kiša? Tata je možda zvao ovo okulus, ali je to zapravo bila velika rupa u krovu. Pogledao sam dole i video podnu drenažu isečenu u kameni pod. Kako sam se navikavao na mrak, mogao sam da razlikujem detalje poda i zidova oko sebe. Nema tu ničega posebnog, iste vajarske stvari koje sam viđao širom Rima. Zapravo, izgledalo je kao da se prodavac mermera Apijskog puta pojavio sa prospektom, pokazao ga Hadrijanu, a on je rekao: "Uzećemo sve." (Smeh)
But the ceiling was amazing. It looked like a Buckminster Fuller geodesic dome. I'd seen these before, and Bucky was friends with my dad. It was modern, high-tech, impressive, a huge 142-foot clear span which, not coincidentally, was exactly its height. I loved this place. It was really beautiful and unlike anything I'd ever seen before, so I asked my dad, "When was this built?" He said, "About 2,000 years ago." And I said, "No, I mean, the roof." You see, I assumed that this was a modern roof that had been put on because the original was destroyed in some long-past war. He said, "It's the original roof."
Ali je plafon bio zadivljujuć. Izgledao je kao geodezijska kupola instituta Bakminster Fuler koji sam ranije video, i Baki je prijatelj moga oca. Bio je moderan, impresivan, visokotehnološki ogromni luk od 43 metara što mu je i bila visina, ne baš slučajno. Voleo sam to mesto. Bilo je zaista prelepo i različito od bilo čega što sam ikada video pa sam pitao oca: "Kada je ovo izgrađeno?" Rekao je: "Pre oko 2000 godina." Rekao sam: "Ne, mislim na krov." Pretpostavio sam da je to moderan krov koji je stavljen jer je prvobitni uništen u nekom davno održanom ratu. Rekao je: "To je originalni krov."
That moment changed my life, and I can remember it as if it were yesterday. For the first time, I realized people were smart 2,000 years ago. (Laughter) This had never crossed my mind. I mean, to me, the pyramids at Giza, we visited those the year before, and sure they're impressive, nice enough design, but look, give me an unlimited budget, 20,000 to 40,000 laborers, and about 10 to 20 years to cut and drag stone blocks across the countryside, and I'll build you pyramids too. But no amount of brute force gets you the dome of the Pantheon, not 2,000 years ago, nor today. And incidentally, it is still the largest unreinforced concrete dome that's ever been built. To build the Pantheon took some miracles. By miracles, I mean things that are technically barely possible, very high-risk, and might not be actually accomplishable at this moment in time, certainly not by you.
Taj momenat mi je promenio život i mogu da se setim toga kao da je bilo juče. Po prvi put, shvatio sam da su ljudi bili pametni pre 2000 godina. (Smeh) Ovo mi nikada nije palo na pamet. Za mene su piramide u Gizi koje smo posetili godinu dana ranije svakako bile impresivne i dovoljno izdizajnirane ali ako biste mi dali neograničeni budžet, 20 000 do 40 000 radnika i oko 10 do 20 godina kako bi isekli i dovukli kamene blokove preko cele zemlje, i ja bih mogao da izgradim piramide. Ali nikakva količina grube snage ne može da stvori kupolu Panteona, kako ni pre 2000 godina, tako ni danas. Usput, to je još uvek najveća neojačana betonska kupola koja je ikada napravljena. Da bi se napravio Panteon, trebala su da se dese čuda. Pod čudima mislim na stvari koje su u suštini tehnički jedva moguće, visoko rizične i zapravo ne bi mogao niko da ih postigne danas, pogotovo ne vi.
For example, here are some of the Pantheon's miracles. To make it even structurally possible, they had to invent super-strong concrete, and to control weight, varied the density of the aggregate as they worked their way up the dome. For strength and lightness, the dome structure used five rings of coffers, each of diminishing size, which imparts a dramatic forced perspective to the design. It was wonderfully cool inside because of its huge thermal mass, natural convection of air rising up through the oculus, and a Venturi effect when wind blows across the top of the building. I discovered for the first time that light itself has substance. The shaft of light beaming through the oculus was both beautiful and palpable, and I realized for the first time that light could be designed. Further, that of all of the forms of design, visual design, they were all kind of irrelevant without it, because without light, you can't see any of them. I also realized that I wasn't the first person to think that this place was really special. It survived gravity, barbarians, looters, developers and the ravages of time to become what I believe is the longest continuously occupied building in history.
Na primer, ovde su neka od čuda Panteona. Da bi bio strukturno moguć, morali su da izmisle izrazito jak beton, i da kontrolišu težinu, varirajući gustinu agregata dok su je gradili uvis. Za snagu i lakoću, struktura kupole je koristila 5 prstenova pasorpcionih ploča, svaka manja od sledeće, što dizajnu daje dramatičnu snažnu perspektivu. Bilo je izuzetno hladno unutra, zbog njegove velike termalne mase, prirodne konvekcije vazduha koji se izdiže kroz okulus, i Venturijevog efekta kada vetar duva preko krova zgrade. Otkrio sam po prvi put da svetlo samo po sebi ima suštinu. Ovaj snop svetlosti koji zrači kroz okulus bio je i prelep i opipljiv i shvatio sam po prvi put da svetlo može da se dizajnira. Štaviše, sve vrste dizajna, vizuelnog dizajna, bile su nebitne bez njega, jer bez svetla ne možete videti bilo koje od njih. Takođe sam shvatio da nisam prva osoba koja misli da je to mesto istinski posebno. Preživljavalo je gravitaciju, varvare, pljačkaše, graditelje i pustoš vremena i verujem da je najduže okupirana zgrada u jednom vremenskom nizu u istoriji.
Largely because of that visit, I came to understand that, contrary to what I was being told in school, the worlds of art and design were not, in fact, incompatible with science and engineering. I realized, when combined, you could create things that were amazing that couldn't be done in either domain alone. But in school, with few exceptions, they were treated as separate worlds, and they still are. My teachers told me that I had to get serious and focus on one or the other. However, urging me to specialize only caused me to really appreciate those polymaths like Michelangelo, Leonardo da Vinci, Benjamin Franklin, people who did exactly the opposite. And this led me to embrace and want to be in both worlds.
Velikim delom zbog te posete, počeo sam da shvatam da, uprkos onome što mi je rečeno u školi, svetovi umetnosti i dizajna zapravo nisu neusaglašeni sa naukom i inženjerstvom. Shvatio sam da kada ih kombinujete možete stvoriti stvari koje su fantastične i koje ne mogu biti urađene u bilo kojoj od tih oblasti pojedinačno. Ali u školi, uz nekoliko izuzetaka, oni su bili tretirani kao razdvojeni svetovi, i dalje su. Nastavnici su mi rekli da moram da se uozbiljim i fokusiram na jednu ili drugu oblast. Ipak, podsticanje da se specijalizujem je samo uzrokovalo da istinski cenim svestranost ljudi poput Mikelanđela, Leonarda da Vinčija, Bendžanima Frenklina, ljudi koji su radili potpuno suprotno. Ovo me je podstaklo da obuhvatim oba sveta i da želim da budem deo njih.
So then how do these projects of unprecedented creative vision and technical complexity like the Pantheon actually happen? Someone themselves, perhaps Hadrian, needed a brilliant creative vision. They also needed the storytelling and leadership skills necessary to fund and execute it, and a mastery of science and technology with the ability and knowhow to push existing innovations even farther. It is my belief that to create these rare game changers requires you to pull off at least five miracles. The problem is, no matter how talented, rich or smart you are, you only get one to one and a half miracles. That's it. That's the quota. Then you run out of time, money, enthusiasm, whatever. Remember, most people can't even imagine one of these technical miracles, and you need at least five to make a Pantheon. In my experience, these rare visionaries who can think across the worlds of art, design and engineering have the ability to notice when others have provided enough of the miracles to bring the goal within reach. Driven by the clarity of their vision, they summon the courage and determination to deliver the remaining miracles and they often take what other people think to be insurmountable obstacles and turn them into features. Take the oculus of the Pantheon. By insisting that it be in the design, it meant you couldn't use much of the structural technology that had been developed for Roman arches. However, by instead embracing it and rethinking weight and stress distribution, they came up with a design that only works if there's a big hole in the roof. That done, you now get the aesthetic and design benefits of light, cooling and that critical direct connection with the heavens. Not bad. These people not only believed that the impossible can be done, but that it must be done.
Kako su se onda ovi projekti presudne kreativne vizije i tehničke kompleksnosti poput Panteona zapravo dogodili? Nekome od njih, možda Hadrijanu, trebala je briljantna kreativna vizija. Trebale su im i narativne i liderske sposobnosti neophodne da ih finansiraju i izvedu, i savršenstvo nauke i tehnologije sa mogućnostima i znanjem da pomere postojeće inovacije napred. Verujem da je potrebno da izvedete makar pet čuda kako bi stvorili ove retke revolucionarne momente. Problem je, bez obzira koliko ste talentovani, bogati ili pametni, dobijate samo jedno do jednog ipo čuda. To je to. To je norma. Potom vam ponestane vremena, novca, entuzijazma, bilo čega. Zapamtite, većina ljudi čak ne može da zamisli jedno od ovih tehničkih čuda, a treba vam najmanje pet da biste napravili Panteon. Iz mog iskustva, ovi retki vizionari koji mogu da misle širom sveta umetnosti, dizajna i inženjerstva imaju mogućnost da primete kada su drugi stvorili dovoljno čuda kako bi približili cilj. Vođeni čistoćom svoje vizije, oni skupljaju hrabrost i odlučnost da prirede ostala čuda i često uzimaju ono što drugi ljudi smatraju nepremostivim preprekama i preokreću ih u alat. Uzmite okulus Panteona. Insistirajući na to bude u dizajnu, niste mogli da koristite mnogo strukturalne tehnologije koja je razvijena za rimske lukove. Ipak, umesto prihvatanja toga i razmatranja raspodele težine i opterećenja, došli su do dizajna koji jedino funkcioniše ako postoji velika rupa u krovu. Ovim dobijate estetski ugođaj i prednosti svetla, hlađenja i tu važnu direktnu vezu sa nebesima. Nije loše. Ovi ljudi nisu samo verovali da nemoguće može biti napravljeno već da mora biti napravljeno.
Enough ancient history. What are some recent examples of innovations that combine creative design and technological advances in a way so profound that they will be remembered a thousand years from now? Well, putting a man on the moon was a good one, and returning him safely to Earth wasn't bad either. Talk about one giant leap: It's hard to imagine a more profound moment in human history than when we first left our world to set foot on another.
Dosta sa starom istorijom. Koji su to skoriji primeri inovacija koje kombinuju kreativni dizajn i tehnološke napretke na tako dubok način da će biti upamćeni hiljadama godina od danas? Sletanje čoveka na mesec je bilo dobro i bezbedno vraćanje na Zemlju takođe nije loše. Zamislite taj veliki korak: teško je da zamislite upečatljiviji momenat u ljudskoj istoriji otkako smo prvi put napustili ovaj svet i kročili na drugi.
So what came after the moon? One is tempted to say that today's pantheon is the Internet, but I actually think that's quite wrong, or at least it's only part of the story. The Internet isn't a Pantheon. It's more like the invention of concrete: important, absolutely necessary to build the Pantheon, and enduring, but entirely insufficient by itself. However, just as the technology of concrete was critical in realization of the Pantheon, new designers will use the technologies of the Internet to create novel concepts that will endure. The smartphone is a perfect example. Soon the majority of people on the planet will have one, and the idea of connecting everyone to both knowledge and each other will endure.
Šta je došlo nakon meseca? U iskušenju sam da kažem da je internet Panteon našeg doba ali zapravo mislim da je to prilično pogrešno, ili je makar samo deo priče. Internet nije Panteon. Više je poput izuma betona: važan, veoma neophodan da bi se izgradio Panteon, i snažan, ali potpuno nedovoljan sam za sebe. Ipak, kako je i tehnologija betona bila kritična za realizaciju Panteona, novi dizajneri će tako korisititi tehnologije interneta da bi stvorili nove koncepte koji će biti postojani. Smartfon je savršen primer. Uskoro će većina ljudi na svetu imati jedan i ideja povezivanja svakoga međusobno, kao i sa znanjem, će trajati.
So what's next? What imminent advance will be the equivalent of the Pantheon? Thinking about this, I rejected many very plausible and dramatic breakthroughs to come, such as curing cancer. Why? Because Pantheons are anchored in designed physical objects, ones that inspire by simply seeing and experiencing them, and will continue to do so indefinitely. It is a different kind of language, like art. These other vital contributions that extend life and relieve suffering are, of course, critical, and fantastic, but they're part of the continuum of our overall knowledge and technology, like the Internet.
Šta je sledeće? Koji neminovni napredak će biti ekvivalent Panteonu? Razmišljajući o tome, odbio sam mnoge moguće i dramatične buduće proboje kao što je izlečenje raka. Zašto? Jer su Panteoni utemeljeni u dizajnirane fizičke objekte, one koji inspirišu jednostavnim pogledom i iskušavanjem toga i koji će nastaviti da to rade u beskonačnost. To je različita vrsta jezika, poput umetnosti. Drugi doprinosi koji produžuju život i olakšavaju patnju su kritični i fantastični ali su deo neprekidnog medijuma svog znanja i tehnologije, poput interneta.
So what is next? Perhaps counterintuitively, I'm guessing it's a visionary idea from the late 1930s that's been revived every decade since: autonomous vehicles. Now you're thinking, give me a break. How can a fancy version of cruise control be profound? Look, much of our world has been designed around roads and transportation. These were as essential to the success of the Roman Empire as the interstate highway system to the prosperity and development of the United States. Today, these roads that interconnect our world are dominated by cars and trucks that have remained largely unchanged for 100 years. Although perhaps not obvious today, autonomous vehicles will be the key technology that enables us to redesign our cities and, by extension, civilization. Here's why: Once they become ubiquitous, each year, these vehicles will save tens of thousands of lives in the United States alone and a million globally. Automotive energy consumption and air pollution will be cut dramatically. Much of the road congestion in and out of our cities will disappear. They will enable compelling new concepts in how we design cities, work, and the way we live. We will get where we're going faster and society will recapture vast amounts of lost productivity now spent sitting in traffic basically polluting.
Šta je sledeće? Možda suprotno od intuicije, pretpostavljam da je to vizionarska ideja iz kasnih '30-ih koja je oživljena svakom decenijom: autonomno vozilo. Sad mislite, ma daj. Kako savremena verzija tempomata može da bude značajna? Većina sveta je bila stvarana oko puteva i prevoza. Oni su bili jednako bitni za uspeh Rimskog carstva kao sistem autoputeva unutar države za prosperitet i razvoj SAD-a. Danas, ovim putevima koji povezuju naš svet dominiraju automobili i kamioni koji se nisu mnogo promenili već 100 godina. Iako danas nije toliko očigledno, autonomna vozila će biti ključna tehnologija koja će nam omogućiti da redizajniramo naše gradove i još više, civilizaciju. Evo i zašto. Kada postanu sveprisutna, svake godine, ova vozila će spasiti desetine hiljada života samo u SAD, i milion globalno. Korišćenje automobilske energije i zagađenje vazduha će biti drastično smanjeno. Nestaće većina gužvi u saobraćaju u našim gradovima i van njih. Omogućiće nove ubedljive koncepte za to kako projektujemo gradove, radimo i kako živimo. Stizaćemo tamo kuda idemo brže i društvo će vratiti ogromne količine izgubljene produktivnosti potrošene sedenjem u saobraćaju, zapravo zagađujući okolinu.
But why now? Why do we think this is ready? Because over the last 30 years, people from outside the automotive industry have spent countless billions creating the needed miracles, but for entirely different purposes. It took folks like DARPA, universities, and companies completely outside of the automotive industry to notice that if you were clever about it, autonomy could be done now. So what are the five miracles needed for autonomous vehicles? One, you need to know where you are and exactly what time it is. This was solved neatly by the GPS system, Global Positioning System, that the U.S. Government put in place. You need to know where all the roads are, what the rules are, and where you're going. The various needs of personal navigation systems, in-car navigation systems, and web-based maps address this. You must have near-continuous communication with high-performance computing networks and with others nearby to understand their intent. The wireless technologies developed for mobile devices, with some minor modifications, are completely suitable to solve this. You'll probably want some restricted roadways to get started that both society and its lawyers agree are safe to use for this. This will start with the HOV lanes and move from there. But finally, you need to recognize people, signs and objects. Machine vision, special sensors, and high-performance computing can do a lot of this, but it turns out a lot is not good enough when your family is on board. Occasionally, humans will need to do sense-making. For this, you might actually have to wake up your passenger and ask them what the hell that big lump is in the middle of the road. Not so bad, and it will give us a sense of purpose in this new world. Besides, once the first drivers explain to their confused car that the giant chicken at the fork in the road is actually a restaurant, and it's okay to keep driving, every other car on the surface of the Earth will know that from that point on.
Ali zašto sad? Zašto smatramo da je ovo spremno? Zato što su tokom poslednjih 30 godina ljudi izvan automobilske industrije potrošili milijarde stvarajući neophodna čuda, ali za potpuno drugačije namene. Bili su potrebni ljudi iz DARPA-e, univerziteta i kompanija potpuno izvan automobilske industrije kako bi otkrili da ako ste pametni u vezi sa tim, autonomija bi mogla biti gotova sad. Kojih je 5 neophodnih čuda za autonomna vozila? Prvo, treba da znate gde ste i tačno koje je vreme. Ovo je elegantno rešeno GPS sistemom, sistemom globalnog pozicioniranja, kojeg je lansirala vlada SAD. Treba da znate gde su svi putevi, koja su pravila i kuda idete. Različite potrebe ličnih navigacionih sistema, navigacioni sistemi u kolima i internet mape su tu da reše ovo. Morate da imate skoro stalnu komunikaciju sa mrežama računara visokih performansi i sa drugima u okolini kako biste shvatili njihove namere. Bežične tehnologije su se razvile za mobline uređaje ali su sa minimalnim modifikacijama potpuno prilagođene da ovo reše. Verovatno ćete želeti neke ograđene puteve za početak, one za koje se društvo i njegovi advokati slažu da su sigurni za ovu upotrebu. Ovo će početi sa HOV putevima i nastaviti odatle. Na kraju, treba da prepoznate ljude, znake i objekte. Mašinska vizija, posebni senzori i računarstvo visokih performansi mogu da učine mnogo toga, ali izgleda da mnogo nije dovoljno dobro kada je vaša porodica u automobilu. Povremeno, ljudi će morati da se bave razmišljanjem. Za ovo ćete možda zapravo morati da probudite vašeg putnika i pitate ga šta je zaboga ta velika džomba na sredini puta. Nije tako loše, i daće nam osećaj smisla u ovom novom svetu. Pored toga, kada prvi vozači objasne svojim zbunjenim kolima da je ogromno pile na viljušci na putu zapravo restoran i da je u redu nastaviti vožnju, svako drugo vozilo na površini Zemlje će to znati od tog trenutka.
Five miracles, mostly delivered, and now you just need a clear vision of a better world filled with autonomous vehicles with seductively beautiful and new functional designs plus a lot of money and hard work to bring it home. The beginning is now only a handful of years away, and I predict that autonomous vehicles will permanently change our world over the next several decades.
Pet čuda, uglavnom ostvarenih a vama sad treba samo jasna vizija boljeg sveta punog autonomnih vozila sa zavodljivo lepim i novim funkcionalnim dizajnima plus mnogo novca i teškog rada da se to ostvari. Početak je sada udaljen samo nekoliko godina i predviđam da će autnomna vozila zauvek promeniti naš svet tokom budućih nekoliko decenija.
In conclusion, I've come to believe that the ingredients for the next Pantheons are all around us, just waiting for visionary people with the broad knowledge, multidisciplinary skills, and intense passion to harness them to make their dreams a reality. But these people don't spontaneously pop into existence. They need to be nurtured and encouraged from when they're little kids. We need to love them and help them discover their passions. We need to encourage them to work hard and help them understand that failure is a necessary ingredient for success, as is perseverance. We need to help them to find their own role models, and give them the confidence to believe in themselves and to believe that anything is possible, and just as my grandpa did when he took me shopping for surplus, and just as my parents did when they took me to science museums, we need to encourage them to find their own path, even if it's very different from our own.
Da zaključim, došao sam do uverenja da su sastojci sledećih Panteona svuda oko nas, a samo čekaju vizionare sa širokim znanjem, multidisciplinarnim veštinama i velikom strašću da ih iskoriste kako bi ostvarili svoje snove. Ali ovi ljudi ne nastaju samo tako. Treba da se neguju i podstiču od malih nogu. Treba da ih volimo i pomažemo im da otkriju svoje strasti. Treba da ih ohrabrimo da rade naporno i pomognemo im da shvate da poraz predstavlja neophodni sastojak za uspeh, kao i istrajnost. Treba da im pomognemo da nađu svoje uzore, i damo im pouzdanje da veruju u sebe i da veruju da je sve moguće, i kao što je moj deda uradio kada me je odveo u kupovinu rezervnih delova, i kao što su moji roditelji uradili kada su me odveli u naučne muzeje, treba da ih ohrabrimo da nađu svoj put, čak iako je veoma različit od našeg.
But a cautionary note: We also need to periodically pry them away from their modern miracles, the computers, phones, tablets, game machines and TVs, take them out into the sunlight so they can experience both the natural and design wonders of our world, our planet and our civilization. If we don't, they won't understand what these precious things are that someday they will be resopnsible for protecting and improving. We also need them to understand something that doesn't seem adequately appreciated in our increasingly tech-dependent world, that art and design are not luxuries, nor somehow incompatible with science and engineering. They are in fact essential to what makes us special.
Ali evo i upozorenja - takođe treba da ih ponekad odvlačimo od njihovih modernih čuda, kompjutera, telefona, tableta, konzola i TV-a, da ih izvedemo na svetlost da mogu da iskuse i prirodna i dizajnerska čuda našeg sveta, naše planete i civilizacije. Ako to ne učinimo, oni neće shvatiti šta su te dragocene stvari za koje će jednog dana biti odgovorni, da ih čuvaju i unapređuju. Treba da shvate nešto što se čini da se ne poštuje dovoljno u našem tehnološki zavisnom svetu - da umetnost i dizajn nisu luksuz, niti nekako nekompatibilne sa naukom i inženjerstvom. One su ono suštinsko što nas čini posebnim.
Someday, if you get the chance, perhaps you can take your kids to the actual Pantheon, as we will our daughter Kira, to experience firsthand the power of that astonishing design, which on one otherwise unremarkable day in Rome, reached 2,000 years into the future to set the course for my life.
Jednog dana, ako budete imali priliku možda možete da odvedete svoju decu do pravog Panteona, kao što ćemo mi svoju ćerku Kiru, da iskusi iz prve ruke snagu tog zadivljujućeg dizajna, koji je jednog sasvim običnog dana u Rimu posegao 2 000 godina u budućnost kako bi odredio kurs mog života.
Thank you.
Hvala vam.
(Applause)
(Aplauz)