My name is Kate Hartman. And I like to make devices that play with the ways that we relate and communicate. So I'm specifically interested in how we, as humans, relate to ourselves, each other and the world around us. (Laughter) So just to give you a bit of context, as June said, I'm an artist, a technologist and an educator. I teach courses in physical computing and wearable electronics. And much of what I do is either wearable or somehow related to the human form.
Zovem se Kejt Hartman i volim praviti uređaje koji se poigravaju načinama kojima se mi vezujemo i komuniciramo. Posebno sam zainteresovana u to, kako se mi, kao ljudi, odnosimo međusobno i prema svetu oko nas. (Smeh) Da bi vam dala malo konteksta, kao što je Džun rekla, ja sam umetnica, tehnolog i edukator. Držim predavanja fizičkog programiranja i nosive elektronike. Puno toga čime se bavim je ili nosivo ili nekako povezano sa ljudskim oblikom.
And so anytime I talk about what I do, I like to just quickly address the reason why bodies matter. And it's pretty simple. Everybody's got one -- all of you. I can guarantee, everyone in this room, all of you over there, the people in the cushy seats, the people up top with the laptops -- we all have bodies. Don't be ashamed. It's something that we have in common and they act as our primary interfaces for the world. And so when working as an interaction designer, or as an artist who deals with participation -- creating things that live on, in or around the human form -- it's really a powerful space to work within.
I uvek, kada pričam o tome čime se bavim, volim da se na brzinu obrazložim zašto su tela važna. Zapravo je jednostavno. Svi imaju jedno telo -- svi vi. Mogu da garantujem, svako u ovoj prostoriji, svi vi tamo, ljudi u udobnim stolicama, ljudi gore sa laptopima -- svi mi imamo tela. Nemojte se sramiti. To je nešto što nam je zajedničko i ona se ponašaju kao osnovni suočnici sa svetom. I tako radeći kao dizajner interakcija, ili kao umetnik koji se bavi učestvovanjem -- praveći stvari koje žive na, u, ili oko ljudskog oblika -- to je zaista moćno mesto za rad.
So within my own work, I use a broad range of materials and tools. So I communicate through everything from radio transceivers to funnels and plastic tubing. And to tell you a bit about the things that I make, the easiest place to start the story is with a hat. And so it all started several years ago, late one night when I was sitting on the subway, riding home, and I was thinking. And I tend to be a person who thinks too much and talks too little. And so I was thinking about how it might be great if I could just take all these noises -- like all these sounds of my thoughts in my head -- if I could just physically extricate them and pull them out in such a form that I could share them with somebody else. And so I went home, and I made a prototype of this hat. And I called it the Muttering Hat, because it emitted these muttering noises that were kind of tethered to you, but you could detach them and share them with somebody else.
Dakle, u okviru mog rada, koristim široki raspon materijala i alata. Tako, koristim sve od radio-odašiljača do levkova i plastičnih cevi. Da bih vam rekla nešto o stvarima koje pravim, najlakše je da krenem sa pričom o kapi. Tako je sve krenulo pre nekoliko godina, kada sam išla kući kasno jedne noći metroom i razmišljala. A sklona sam biti osoba koja previše razmišlja, a premalo priča. Razmišljala sam o tome kako bi bilo super kada bih mogla samo da uzmem svu ovu buku -- sve ove zvukove u mojim mislima -- kada bih mogla fizički da ih izdvojim i izvadim napolje u takvom obliku kako bih ih mogla podeliti sa drugima. Tako sam otišla kući i napravila prototip ove kape. Nazvala sam je Mrmljajuća kapa, zbog toga što emituje mrmljanje koje je na neki način privezano za vas, ali biste mogli da ih otkačite i podelite sa nekim.
(Laughter)
(Smeh)
So I make other hats as well. This one is called the Talk to Yourself Hat. (Laughter) It's fairly self-explanatory. It physically carves out conversation space for one. And when you speak out loud, the sound of your voice is actually channeled back into your own ears. (Laughter) And so when I make these things, it's really not so much about the object itself, but rather the negative space around the object. So what happens when a person puts this thing on? What kind of an experience do they have? And how are they transformed by wearing it?
Takođe sam napravila i drugačije kape. Ova kapa se naziva Pričaj sa sobom kapa. (Smeh) Sasvim sebe objašnjava. Ona fizički izrezuje prostor za razgovor. I kada progovorite naglas, zvuk vašeg glasa se zapravo prenosi nazad do vaših ušiju. (Smeh) Tako, kada napravim ovakve stvari, zapravo ne radi se toliko o samom objektu, koliko o negativnom prostoru oko objekta. Šta se dešava kada osoba to obuče? Kakvo iskustvo ima? I kako se menjaju noseći ih?
So many of these devices really kind of focus on the ways in which we relate to ourselves. So this particular device is called the Gut Listener. And it is a tool that actually enables one to listen to their own innards. (Laughter) And so some of these things are actually more geared toward expression and communication. And so the Inflatable Heart is an external organ that can be used by the wearer to express themselves. So they can actually inflate it and deflate it according to their emotions. So they can express everything from admiration and lust to anxiety and angst. (Laughter) And some of these are actually meant to mediate experiences. So the Discommunicator is a tool for arguments. (Laughter) And so actually it allows for an intense emotional exchange, but is serves to absorb the specificity of the words that are delivered. (Laughter) And in the end, some of these things just act as invitations. So the Ear Bender literally puts something out there so someone can grab your ear and say what they have to say.
Većina ovih uređaja je zapravo fokusiranje na načine na koje se odnosimo međusobno. Ovaj urađaj se zove Slušač Stomaka. To je alat koji, zapravo, omogućuje nekom da sluša svoje iznutrice. (Smeh) Tako su neke od ovih stvari zapravo usmerene ka izražavanju i komunikaciji. Srce na naduvavanje je spoljašnji organ koji nosilac može iskoristiti kako bi se izrazio. Tako da oni zapravo mogu da ga naduvaju ili izduvaju u skladu sa svojim emocijama. Mogu da izraze sve od divljenja i požude do anksioznosti i ljutnje. (Smeh) Dok su neki zapravo namenjeni da posreduju iskustva. Tako da je Diskomunikator alatka za argumente. (Smeh) I zapravo omogućuje žestoku emocionalnu razmenu, ali služi da bi upio specifičnost reči koje su dostavljene. (Smeh) I na kraju, neke od ovih stvari se samo ponašaju kao pozivnice. Tako, Savijač ušiju, bukvalno stavlja nešto u vazduh kako bi neko mogao uhvatiti vaše uši i rekao ono što ima da kaže.
So even though I'm really interested in the relationship between people, I also consider the ways in which we relate to the world around us. And so when I was first living in New York City a few years back, I was thinking a lot about the familiar architectural forms that surrounded me and how I would like to better relate to them. And I thought, "Well, hey! Maybe if I want to better relate to walls, maybe I need to be more wall-like myself." So I made a wearable wall that I could wear as a backpack. And so I would put it on and sort of physically transform myself so that I could either contribute to or critique the spaces that surrounded me.
Iako sam zapravo zainteresovana za odnose između ljudi, takođe razmatram i načine na koje se mi odnosimo na svet oko nas. Kada sam prvi put živela u Njujorku pre nekoliko godina, puno sam razmišljala o poznatim arhitektonskim oblicima koji su me okruživali i o tome kako bih htela da se bolje povežem sa njima. Pomislila sam, ''Hej! Možda kada želim da se bolje povežem sa zidovima, treba da budem i sama više nalik zidu.'' Tako sam napravila noseći zid koji sam mogla da nosim kao ranac. I tako bih ga stavila na sebe i na neki način fizički se transformisala tako da bih mogla ili da doprinesem prostoru koji me okružuje, ili da ga kritikujem.
(Laughter)
(Smeh)
And so jumping off of that, thinking beyond the built environment into the natural world, I have this ongoing project called Botanicalls -- which actually enables houseplants to tap into human communication protocols. So when a plant is thirsty, it can actually make a phone call or post a message to a service like Twitter. And so this really shifts the human/plant dynamic, because a single house plant can actually express its needs to thousands of people at the same time.
I da pređem na nešto drugo, razmišljajući izvan izgrađenog okruženja u prirodni svet, imam u toku ovaj projekat, Botanikals (Botanicalls), koji omogućuje kućnim biljkama da se uključe u ljudske protokole komunikacija. Kada je biljka žedna, ona može zapravo telefonirati ili postaviti poruku na mrežu kao Tviter. I to zaista pomera dinamiku ljudi i biljaka jer jedna kućna biljka može zapravo da izrazi svoje potrebe hiljadama ljudi istovremeno.
And so kind of thinking about scale, my most recent obsession is actually with glaciers -- of course. And so glaciers are these magnificent beings, and there's lots of reasons to be obsessed with them, but what I'm particularly interested in is in human-glacier relations. (Laughter) Because there seems to be an issue. The glaciers are actually leaving us. They're both shrinking and retreating -- and some of them have disappeared altogether.
I tako, nekako razmišljajući o skali, moja najnovija opsesija je sa glečerima -- naravno. Glečeri su ova veličanstvena stvorenja i postoji gomila razloga za opsesiju njima, ali ono što mene posebno zanima su ljudsko-glečerski odnosi. (Smeh) Jer, čini se da postoji problem. Glečeri nas zapravo napuštaju. Oni se i skupljaju i povlače -- a neki od njih su i nestali.
And so I actually live in Canada now, so I've been visiting one of my local glaciers. And this one's particularly interesting, because, of all the glaciers in North America, it receives the highest volume of human traffic in a year. They actually have these buses that drive up and over the lateral moraine and drop people off on the surface of the glacier.
Tako da sada živim u Kanadi, pa sam posećivala jedan od mojih lokalnih glečera. Ovaj je posebno zanimljiv zbog toga što od svih glečera u Severnoj Americi, on prima najveću godišnju zapreminu ljudskog saobraćaja. Oni imaju autobuse koji se voze do i preko bočne morene i ostavljaju ljude na površini glečera.
And this has really gotten me thinking about this experience of the initial encounter. When I meet a glacier for the very first time, what do I do? There's no kind of social protocol for this. I really just don't even know how to say hello. Do I carve a message in the snow? Or perhaps I can assemble one out of dot and dash ice cubes -- ice cube Morse code. Or perhaps I need to make myself a speaking tool, like an icy megaphone that I can use to amplify my voice when I direct it at the ice. But really the most satisfying experience I've had is the act of listening, which is what we need in any good relationship.
I to me je zaista navelo na razmišljanje o ovom iskustvu prvog susreta. Kada upoznam glečer po prvi put, šta da radim? Ne postoji nikakav društveni protokol za to. Ja zapravo, ne znam ni kako da kažem zdravo. Da li da urežem poruku u sneg? Ili možda mogu sastaviti poruku od tačkica i crtica ledenih kocki -- Morzeova azbuka pomoću ledenih kockica. Ili možda treba da sebi napravim alat za pričanje, kao ledeni megafon koji mogu iskoristiti da pojačam svoj glas kada se obratim ledu. Ali zaista najzadovoljnije iskustvo koje sam imala je čin slušanja, koji nam je potreban u bilo kojoj dobroj vezi.
And I was really struck by how much it affected me. This very basic shift in my physical orientation helped me shift my perspective in relation to the glacier. And so since we use devices to figure out how to relate to the world these days, I actually made a device called the Glacier Embracing Suit. (Laughter) And so this is constructed out of a heat reflected material that serves to mediate the difference in temperature between the human body and the glacial ice. And once again, it's this invitation that asks people to lay down on the glacier and give it a hug.
Zaista sam bila pogođena time koliko je ovo uticalo na mene. Ovaj osnovni pomeraj u mojoj fizičkoj orijentaciji mi je pomogao da pomerim svoje perspektive u odnosu na glečer. I pošto koristimo uređaje da bismo shvatili kako da se povežemo sa svetom ovih dana, ja sam napravila uređaj nazvan Odelo za Grljenje Glečera. (Smeh) Ovo je napravljeno od materijala koji odbija toplotu i služi kao posrednik u razlici temperatura između ljudskog tela i leda glečera. I još jednom, ovaj izum traži od ljudi da legnu na glečer i zagrle ga.
So, yea, this is actually just the beginning. These are initial musings for this project. And just as with the wall, how I wanted to be more wall-like, with this project, I'd actually like to take more a of glacial pace. And so my intent is to actually just take the next 10 years and go on a series of collaborative projects where I work with people from different disciplines -- artists, technologists, scientists -- to kind of work on this project of how we can improve human-glacier relations.
Tako da, ovo je zapravo samo početak. Ovo su početna razmišljanja o ovom projektu. Pa kao i sa zidom, kako sam želala da budem više nalik zidu, sa ovim projektom, želala bih da idem glečerskim tempom. Tako da je moja namera da uzmem sledećih deset godina i odem na niz zajedničkih projekata, sarađujući sa ljudima iz različitih disciplina -- umetnicima, tehnolozima, naučnicima -- da radimo na ovom projektu kako bismo popravili ljudsko-glečerske odnose.
So beyond that, in closing, I'd just like to say that we're in this era of communications and device proliferation, and it's really tremendous and exciting and sexy, but I think what's really important is thinking about how we can simultaneously maintain a sense of wonder and a sense of criticality about the tools that we use and the ways in which we relate to the world.
Tako da, na kraju, bih samo htela da kažem da smo u ovoj eri komunikacija i širenja uređaja i to je zaista ogromno, uzbudljivo i seksi, ali mislim da ono što je zapravo važno je razmišljati o tome kako bismo mogli istovremeno održavati odećaj divljenja i osećaj kritičnosti prema alatkama koje koristimo i načinima kojim se povezujemo sa svetom.
Thanks.
Hvala.
(Applause)
(Aplauz)