A computer is an incredibly powerful means of creative expression, but for the most part, that expression is confined to the screens of our laptops and mobile phones. And I'd like to tell you a story about bringing this power of the computer to move things around and interact with us off of the screen and into the physical world in which we live.
Kompjuter je izuzetno moćno sredstvo kreativnog izražaja, ali je taj izražaj uglavnom sveden na ekrane naših laptopova i mobilnih telefona. A ja bih želeo da vam ispričam priču o osposobljavanju te kompjuterske moći da pomera predmete i reaguje sa nama izvan naših ekrana i u sam fizički svet u kojem živimo.
A few years ago, I got a call from a luxury fashion store called Barneys New York, and the next thing I knew, I was designing storefront kinetic sculptures for their window displays.
Pre nekoliko godina zvali su me iz luksuznog butika zvanog "Barneys New York", i pre nego što sam znao, kreirao sam kinetičke skulpture za njihove izloge.
This one's called "The Chase." There are two pairs of shoes, a man's pair and a woman's pair, and they play out this slow, tense chase around the window in which the man scoots up behind the woman and gets in her personal space, and then she moves away. Each of the shoes has magnets in it, and there are magnets underneath the table that move the shoes around.
Ova se zove "Jurnjava". Vidimo dva para cipela, jedan muški i jedan ženski, koji se polako i napeto jure po tom izlogu u kojoj muškarac pojuri za ženom i uđe u njen lični prostor a zatim se ona udalji. Svaka cipela ima u sebi magnete i postoje magneti ispod stola koji pomeraju cipele.
My friend Andy Cavatorta was building a robotic harp for Bjork's Biophilia tour and I wound up building the electronics and motion control software to make the harps move and play music. The harp has four separate pendulums, and each pendulum has 11 strings, so the harp swings on its axis and also rotates in order to play different musical notes, and the harps are all networked together so that they can play the right notes at the right time in the music.
Moj prijatelj Endi Kavatorta je pravio robotsku harfu za turneju Bjork pod nazivom "Biofilija", a ja sam se našao na izgradnji elektronike i softvera za kontrolu pokreta koji pomera harfe i svira muziku. Harfa ima četiri odvojena viska i svaki visak ima po 11 žica, tako da se harfa vrti oko svoje ose ali i rotira kako bi svirala razne muzičke note, dok su sve harfe povezane u mrežu da bi svirale odgovarajuće note u pravo vreme u toj muzici.
I built an interactive chemistry exhibit at the Museum of Science and Industry in Chicago, and this exhibit lets people use physical objects to grab chemical elements off of the periodic table and bring them together to cause chemical reactions to happen. And the museum noticed that people were spending a lot of time with this exhibit, and a researcher from a science education center in Australia decided to study this exhibit and try to figure out what was going on. And she found that the physical objects that people were using were helping people understand how to use the exhibit, and were helping people learn in a social way.
Napravio sam i eksponat interaktivne hemije u Muzeju nauke i industrije u Čikagu, koji omogućava da putem fizičkih objekata uzmemo hemijske elemente iz periodnog sistema i dovedemo ih u dodir da bismo prouzrokovali hemijske reakcije. I muzej je primetio da su ljudi provodili puno vremena nad ovim eksponatom, i naučnica iz naučno obrazovnog centra u Australiji je odlučila da proučava eksponat i pokuša da razume o čemu se radi. Otkrila je da su ti fizički objekti pomogli ljudima koji ih koriste da shvate kako da koriste taj eksponat i da im pomaže da uče na društveni način.
And when you think about it, this makes a lot of sense, that using specialized physical objects would help people use an interface more easily. I mean, our hands and our minds are optimized to think about and interact with tangible objects. Think about which you find easier to use, a physical keyboard or an onscreen keyboard like on a phone?
I kad o tome razmislimo, razumljivo je da upotreba specijalizovanih fizičkih predmeta olakšava ljudima upotrebu takvog interfejsa. Naše šake i naš um su optimizovani za razmišljanje i interakciju sa opipljivim predmetima. Pomislite samo šta vam je lakše da koristite, fizičku tastaturu ili onu na ekranu, kao na mobilnom?
But the thing that struck me about all of these different projects is that they really had to be built from scratch, down to the level of the electronics and the printed circuit boards and all the mechanisms all the way up to the software. I wanted to create something where we could move objects under computer control and create interactions around that idea without having to go through this process of building something from scratch every single time.
Ali posebno me je iznenadilo, u vezi sa svim ovim različitim projektima, to da su svi oni pravljeni od nule, počevši od nivoa elektronike i štampanih tabli, strujnih kola, preko svih mehanizama sve do softvera. Ja sam želeo da kreiram nešto gde bismo mogli da pomeramo predmete pod kompjuterskom kontrolom i stvorimo interakcije oko te ideje zaobilazeći taj proces stvaranja nečega od nule baš svaki put.
So my first attempt at this was at the MIT Media Lab with Professor Hiroshi Ishii, and we built this array of 512 different electromagnets, and together they were able to move objects around on top of their surface. But the problem with this was that these magnets cost over 10,000 dollars. Although each one was pretty small, altogether they weighed so much that the table that they were on started to sag. So I wanted to build something where you could have this kind of interaction on any tabletop surface.
Tako, moj prvi pokušaj na tome se desio u Medijskoj laboratoriji MIT-a, sa profesorom Hiroši Išijem, gde smo napravili uređaj od 512 raznih elektromagneta koji su bili sposobni da pomeraju predmete na svojoj površini. No, problem sa tim je bio da su ti magneti koštali preko 10 000 dolara. Iako je svaki bio prilično mali, zajedno su bili toliko teški da je sto na kojima su oni bili počeo da se povija. Zato sam hteo da napravim nešto gde se postiže ova vrsta interakcije na bilo kojoj površini stola.
So to explore this idea, I built an army of small robots, and each of these robots has what are called omni wheels. They're these special wheels that can move equally easily in all directions, and when you couple these robots with a video projector, you have these physical tools for interacting with digital information. So here's an example of what I mean. This is a video editing application where all of the controls for manipulating the video are physical. So if we want to tweak the color, we just enter the color mode, and then we get three different dials for tweaking the color, or if we want to adjust the audio, then we get two different dials for that, these physical objects. So here the left and right channel stay in sync, but if we want to, we can override that by grabbing both of them at the same time. So the idea is that we get the speed and efficiency benefits of using these physical dials together with the flexibility and versatility of a system that's designed in software.
Znači, da bih istražio ovu ideju, napravio sam bataljon malih robota, gde svaki od njih ima takozvane omni-točkiće. To su posebni točkići koji mogu lako da se kreću u svim smerovima i kad se ovi roboti povežu sa video projektorom, dobijemo te fizičke alatke za interakciju sa digitalnim informacijama. Ovde vidimo primer toga o čemu pričam. Ovo je program za izmenu video snimaka gde su sve kontrole za manipulisanje videom fizičke. Tako, ako hoćemo da menjamo boju, samo uđemo u opciju boja i dobijemo tri dugmeta za menjanje boje, ili ako hoćemo da regulišemo zvuk, dobijemo dva dugmeta za to. Ovde levi i desni kanal ostaju sinhronizovani, ali ako hoćemo, to možemo promeniti time što ćemo zgrabiti oba istovremeno. Ideja je da dobijemo na brzini i efikasnosti koristeći ovu fizičku dugmad, kao i na fleksibilnosti i mnogostranosti sistema koji je dizajniran u softveru.
And this is a mapping application for disaster response. So you have these physical objects that represent police, fire and rescue, and a dispatcher can grab them and place them on the map to tell those units where to go, and then the position of the units on the map gets synced up with the position of those units in the real world.
A ovo je aplikacija za mapiranje za reakciju na katastrofe. Tu su fizički predmeti koji predstavljaju policiju, vatrogasce i spasioce pa dispečer može da ih uzme i postavi ih na mapu da bi obavestio trupe gde da idu, i tada se njihova pozicija na mapi uskladi sa pozicijama tih trupa u stvarnom svetu.
This is a video chat application. It's amazing how much emotion you can convey with just a few simple movements of a physical object.
Ovo je aplikacija za video čet. Neverovatno koliko emocija možemo iskazati sa nekoliko jednostavnih pokreta jednog fizičkog predmeta.
With this interface, we open up a huge array of possibilities in between traditional board games and arcade games, where the physical possibilities of interaction make so many different styles of play possible.
Sa ovim interfejsom, otvaramo čitav niz mogućnosti između klasičnih društvenih i arkadnih igara gde ta mogućnost fizičke interakcije pruža mnoge druge stilove igre.
But one of the areas that I'm most excited about using this platform for is applying it to problems that are difficult for computers or people to solve alone. One example of those is protein folding. So here we have an interface where we have physical handles onto a protein, and we can grab those handles and try to move the protein and try to fold it in different ways. And if we move it in a way that doesn't really make sense with the underlying molecular simulation, we get this physical feedback where we can actually feel these physical handles pulling back against us. So feeling what's going on inside a molecular simulation is a whole different level of interaction.
Ali jedna oblast koja me posebno uzbuđuje u vezi sa upotrebom ove platforme je njena primenljivost na probleme koji su teški i za kompjutere i za ljude da ih sami reše. Jedan od primera je savijanje proteina. Tako ovde imamo interfejs gde imamo fizičke ručke u proteinu, koje možemo da uhvatimo i pomerimo protein i pokušamo da ga savijemo na različite načine. I ako ga pomerimo na način koji nema smisla u odnosu na načela molekularne simulacije, dobijemo fizički odgovor gde u stvari možemo fizički da osetimo te ručke kako nam se suprotstavljaju. Taj osećaj šta se događa unutar molekularne simulacije je potpuno novi nivo interakcije.
So we're just beginning to explore what's possible when we use software to control the movement of objects in our environment. Maybe this is the computer of the future. There's no touchscreen. There's no technology visible at all. But when we want to have a video chat or play a game or lay out the slides to our next TED Talk, the objects on the table come alive.
Ali tek smo na početku istraživanja toga šta je moguće kad koristimo softver da bismo upravljali kretanjem predmeta u našem okruženju. Možda je ovo kompjuter budućnosti. Nema ekrana na dodir. Nema uopšte vidljive tehnologije. Ali kad poželimo da četujemo preko videa ili igramo igru ili projektujemo slajdove na sledećem TED govoru, predmeti na stolu ožive.
Thank you.
Hvala vam.
(Applause)
(Aplauz)