In this rather long sort of marathon presentation, I've tried to break it up into three parts: the first being a whole lot of examples on how it can be a little bit more pleasurable to deal with a computer and really address the qualities of the human interface. And these will be some simple design qualities and they will also be some qualities of, if you will, the intelligence of interaction. Then the second part will really just be examples of new technologies -- new media falling very much into that mold. Again, I will go through them as fast as possible. And then the last one will be some examples I've been able to collect, which I think illustrate this at least as best I can, in the world of entertainment. People have this belief -- and I share most of it -- that we will be using the TV screens or their equivalents for electronic books of the future. But then you think, "My God! What a terrible image you get when you look at still pictures on TV." Well, it doesn't have to be terrible. And that is a slide taken from a TV set and it was pre-processed to be very sympathetic to the TV medium, and it absolutely looks beautiful.
マラソンみたいに長い講演になりますので 3部に分けてお話しします 第1部では コンピューター操作を楽しくする方法や ヒューマン インターフェースの特徴について 例をたくさんあげて紹介します シンプルに設計されたものや 双方向性のある高度なインターフェースについても できれば紹介します 第2部では 新しい技術を紹介します 新しいメディアが間違いなく向かう方向です これも手短にお話しします 第3部は これまでの成果です 楽しむという事について 一番うまく説明できる例です 皆さんも 私もかなり信じている事があります 将来はテレビ画面などが電子書籍になる ということです 「テレビの静止画は汚い」と思うかもしれませんが 汚いとは限りません このスライドはテレビ画面を撮影したものです テレビに合うように前処理した画像ですから かなり綺麗です
Well, what's happened? How did people get into this mess? Where you are now, all of a sudden, sitting in front of personal computers and video text -- teletext systems, and somewhat horrified by what you see on the screen? Well, you have to remember that TV was designed to be looked at eight times the distance of the diagonal. So you get a 13-inch, 19-inch, whatever, TV, and then you should multiply that by eight and that's the distance you should sit away from the TV set. Now we've put people 18 inches in front of a TV, and all the artifacts that none of the original designers expected to be seen, all of a sudden, are staring you in the face: the shadow mask, the scan lines, all of that. And they can be treated very easily; there are actually ways of getting rid of them, there are actually ways of just making absolutely beautiful pictures. I'm talking here a little bit about display technologies.
なぜこんな問題が起きるのでしょう? 使用環境が急変したので パソコンの前や 文字多重放送システムの前に座って 画面を見るとなんだかガッカリするのです テレビは 対角線の8倍の長さだけ離れて 見るように設計されています 13インチでも19インチでもいいですが 8倍してください それだけ離れて見るものです でも 状況が変わって開発者が考えもしないほど 近い距離で画面を見るように なりました シャドーマスクや走査線もすぐ近くに見えます でも変更は簡単です 解決方法はあります かなり綺麗な画像を映す方法があるのです 少し ディスプレイ技術についてお話しします
Let me talk about how you might input information. And my favorite example is always fingers. I'm very interested in touch-sensitive displays. High-tech, high-touch. Isn't that what some of you said? It's certainly a very important medium for input, and a lot of people think that fingers are a very low-resolution sort of stylus for inputting to a display. In fact, they're not: it's really a very, very high-resolution input medium -- you have to just do it twice, you have to touch the screen and then rotate your finger slightly -- and you can move a cursor with great accuracy. And so when you see on the market these systems that have just a few light emitting diodes on the side and are very low resolution, it's nice that they exist because it still is better than nothing. But it, in some sense, misses the point: namely, that fingers are a very, very high-resolution input medium. Now, what are some of the other advantages? Well, the one advantage is that you don't have to pick them up, and people don't realize how important that is -- not having to pick up your fingers to use them. (Laughter)
情報を入力する方法の話です 指の話をよくするのですが 私はタッチセンサー式の ディスプレイが大好きです ハイテク ハイタッチという言い方をする人もいます もちろん非常に重要な入力手段ですが ディスプレイに入力するには 指では分解能が低いという人もいます でも実際は かなり高分解能です 2度しか操作は必要ありません 画面に触って指を少し回せば かなり正確にカーソルが動きます 端にダイオードがついた とても分解能の低いこんな装置を店で見たら 無いよりはましだと思うかもしれませんが それは思い違いです 指はとても分解能が高いのです ほかに特徴はあるでしょうか? 何も持たなくてよい事です この重要さに気づいてもらえないのですが 指を使う時に 指を持つ必要はないのです
When you think for a second of the mouse on Macintosh -- and I will not criticize the mouse too much -- when you're typing -- what you have -- you want to now put something -- first of all, you've got to find the mouse. You have to probably stop. Maybe not come to a grinding halt, but you've got to sort of find that mouse. Then you find the mouse, and you're going to have to wiggle it a little bit to see where the cursor is on the screen. And then when you finally see where it is, then you've got to move it to get the cursor over there, and then -- "Bang" -- you've got to hit a button or do whatever. That's four separate steps versus typing and then touching and typing and just doing it all in one motion -- or one-and-a-half, depending on how you want to count. Again, what I'm trying to do is just illustrate the kinds of problems that I think face the designers of new computer systems and entertainment systems and educational systems from the perspective of the quality of that interface.
マッキントッシュのマウスを思い出してください マウスをそんなに否定するつもりはありませんが タイピング中に何か付け加えようとしたら まずマウスを探します すると動作が止まります 長い時間ではありませんが マウスを見つける必要がありますし 見つけたら すこしグルグルさせて カーソルを探します 位置が分かったら カーソルを移動させて クリックします 何をするにもボタンを押しますから 4段階必要です それに比べてタイビングしてタッチして またタイピングするなら 1段階で済みます 1段階半かもしれませんが 数え方しだいです 繰り返しますが 私は 新しいコンピューターシステムや 娯楽システムや 教育システムの開発者たちが直面する問題を インターフェースの特徴という観点から 説明したいのです
And another advantage, of course, of using fingers is you have 10 of them. And we have never known how to do this technically, so this slide is a fake slide. We never succeeded in using ten fingers, but there are certain things you can do, obviously, with more than one-finger input, which is rather fascinating. What we did stumble across was something ... Again, which is typical of the computer field, is when you have a bug that you can't get rid of you turn it into a feature. And maybe ... (Laughter) maybe a mouse is a new kind of bug. But the bug in our case was in touch-sensitive displays: we wanted to be able to draw -- you know, rub your finger across the screen to input continuous points -- and there was just too much friction created between your finger and the glass -- if glass was the substrate, which it usually is.
指は10本あるので それも利点になりますが 技術的にどう扱うかは未知数です このスライドは見た目だけで まだ 10本の指を使うには至っていませんが 入力に2本以上の指を使ってできる事は もちろんありますし かなり面白いものです コンピューター分野では 解決できない問題点があっても それを仕様としてしまうことがよくあります (笑) マウスも新たな問題点といえるかもしれません 今回の例では タッチパネルに問題があります 指で画面をこすって 連続した点を描けるようにしたいと 思ったのですが 画面がガラスの場合 指とガラスの摩擦が 大きすぎるのです
So we found that that actually was a feature in the sense you could build a pressure-sensitive display. And when you touch it with your finger, you can actually, then, introduce all the forces on the face of that screen, and that actually has a certain amount of value. Let me see if I can load another disc and show you, quickly, an example. Now, imagine a screen, which is not only touch-sensitive now, it's pressure-sensitive. And it's pressure-sensitive to the forces both in the plane of the screen -- X, Y, and Z at least in one direction; we couldn't figure out how to come in the other direction. But let me get rid of the slide, and let's see if this comes on. OK. So there is the pressure-sensitive display in operation. The person's just, if you will, pushing on the screen to make a curve. But this is the interesting part.
でも 圧力検知ディスプレイを作るなら これを長所として利用できるのです 指で触った時に ある強さでいろんな力を 画面に伝えることができるのです ディスクを入れ替えて 一例を紹介しましょう 接触だけでなく圧力も検知できる画面を 想像してください 画面に沿うXY平面内と 奥に向かうZ方向の少なくとも1方向に 圧力を検知します 手前方向は検知できません このスライドは消しましょう さて映るでしょうか 圧力検知ディスプレイで入力しているところです 必要に応じて画面を押します 面白い映像です
I want to stop it for a second because the movie is very badly made. And the particular display was built about six years ago, and when we moved from one room to another room, a rather large person sat on it and it got destroyed. So all we have is this record. (Laughter) But imagine that screen having lots of objects on it and the person has touched an object -- one of N -- like he did there, and then pushed on it. Now, imagine a program where some of those objects are physically heavy and some are light: one is an anvil on a fuzzy rug and the other one is a ping-pong ball on a sheet of glass. And when you touch it, you have to really push very hard to move that anvil across the screen, and yet you touch the ping-pong ball very lightly and it just scoots across the screen. And what you can do -- oops, I didn't mean to do that -- what you can do is actually feed back to the user the feeling of the physical properties. So again, they don't have to be weight; they could be a general trying to move troops, and he's got to move an aircraft carrier versus a little boat. In fact, they funded it for that very reason.
ちょっと停止させましょう 映像がかなり悪いですね このディスプレイは6年前に作ったものですが 部屋を移した時に 大きな人が座って壊したので この映像しか残っていません いろんな項目が画面に表示されますので さっきの人みたいに どれかに触れて ぐっと押すのです ここで 表示されたものが 重かったり軽かったりしたらどうでしょう 一つは じゅうたんに置いた金床で もう一つは ガラスに置いたピンポン玉だとします 画面の金床に触って移動させるには かなり強い力が必要です でも ピンポン玉ならサッと動かして 画面上を 飛びまわらせることができます 何ができるかといえば -- おっとこれじゃない 操作する人が物理的な特徴を感じるように フィードバックするのです 重さとは限りません 軍の指揮官なら 小型船と空母を区別して動かせます まさしくそんな理由で投資してくれています
(Laughter)
(笑)
The whole notion, then, is one that at the interface there are physical properties in that transducer -- in this case it's pressure and touches -- that allow you to present things to the user that you could never present before. So it's not simply looking at the quality or, if you will, the luxury of that interface, but it's actually looking at the idea of presenting things that previously couldn't be presented before. I want to move on to another example, which is one of a different sort, where we're trying to use computer and video disc technology now to come up with a new kind of book. Here, the idea is that you're going to take this book, if you will, and it's going to come alive. You're going to sort of breathe life into it. We are so used to doing monologues. Filmmakers, for example, are the experts in monologue making: you make a film and it has a well-formed beginning, middle and end, and in some sense the art of it is that. And you then say, "There's an opportunity for making conversational movies." Well, what does that mean? And it sort of nibbles at the core of the whole profession and all the assumptions of that medium. So, book writing is the same thing.
このインターフェースの包括的な概念は 変換装置が物理的特徴を利用するという事です 今の例では圧力と接触です これによって今までになかったものを実現できます 性能 つまりインターフェースの使いやすさだけに注目するのではなく 今までになかったものを 生み出していこうと考えているのです では 別の例を紹介しましょう コンピューターやビデオディスク技術を利用した 新しい形態の書籍を作り出そうとしています 考え方としては 普通の本に 命を 吹き込むのです 一方的な伝達手段はよく目にします 映画会社は一方向に情報を伝える作品を作っています 始まり 中盤 終わりをよく練って映画を作成します いってみれば その巧みさこそが本質です 「双方向形式の映画を作る可能性もあるよ」 という人もいますが どういう意味でしょう? まるで映画とは何か 何を表現したいかという核心部分を 覆してしまうかのような意見です 書籍も同じことです
What I'll show you very quickly is a new kind of book where it is mixed now with ... all sorts of things live in there, but you have to keep a few things in mind. One is that this book knows about itself. Each frame of the movie has information about itself. So it knows, or at least there is computer-readable information in the medium itself. It's just not a static movie frame. That's one thing. The other is that you have to realize that it is a random access medium, and you can, in fact, branch and expand and elaborate and shrink. And here -- again, my favorite example -- is the cookbook, the "Larousse Gastronomique." And I think I use the example all too often, but it's a great one because there is a classic ending in that little encyclopedia-style cookbook that tells you how to do something like penguin, and you get to the end of the recipe and it says, "Cook until done." Now, that would be, if you will, the top green track, which doesn't mean too much. But you might have to elaborate for me or for somebody who isn't an expert, and say, "Cook at 380 degrees for 45 minutes." And then for a real beginner, you would go down even further and elaborate more -- say, "Open the oven, preheat, wait for the light to go out, open the door, don't leave it open too long, put the penguin in and shut the door ..." (Laughter) whatever. And that's a much more elaborate one than you dribble back.
そこで 新形態の書籍に触れておきたいと思います あらゆるものがここに集約されています ただ 少し心に留めておいてほしい事があります 一つ目は この書籍が自分を分かっているという事です 映画の各フレームにも自身の情報は入っていますが この書籍には 少なくともコンピューターで読める情報が 入っています 固定された映画のフレームとは違います 二つ目は お気づきのように ランダムアクセス可能な記憶媒体だという事です 分岐 拡張 詳細化 短縮などが可能です 私は料理本ラルース ガストロノミックがお気に入りで 例として使いすぎかもしれませんが 事典のようなこの料理本は お約束の台詞が最後に出てくるのでちょうどいいのです ペンギンなんかのレシピの最後に 「火が通るまで加熱」と書いてあるのです 一番上の緑のトラックがその表現だとしましょう 漠然とした表現ですから 初心者にはもっと 詳しい説明が必要です 「380度で45分加熱する」 もっと初心者なら さらに詳しく説明します 「オーブンを開ける 予熱する ランプが消えるまで待つ 扉を開ける 長時間放置しない ペンギンを中に入れる 扉を閉める」 読み返すよりも分かりやすくなります
That's one kind of use of random access. And the other is where you want to explain the same thing in different ways. If you're in a classroom situation and somebody asks a question, the last thing you do is repeat what you just said. You try and think of a different way of saying the same thing, or if you know the particular student and that student's cognitive style, then you might say it in a way that you think would have a good impedance match with that student. There are all sorts of techniques you will use -- and again, this is a different kind of branching. So, what I will show you is ... it's a rather boring book, but I'm afraid sometimes you have to do boring books because your sponsors aren't necessarily interested in fiction and entertainment. And this is a book on how to repair a transmission. Now, I don't even know what vintage the transmission is, but let me just show you very quickly some of it, and we'll move on.
これがランダムアクセスを利用した一例です 次は 言い方を変えて説明する例です 学校で誰かに質問されたら 同じ事を ただ繰り返すことはしません 言い方を変えて説明する方法を考えたり その学生を知っていて考え方も分かっているなら その学生の理解に合わせて 説明したりしますね いろんな手法が使えます これは分岐の一例です さて もっとつまらない本を紹介しましょう 残念ですが つまらない本を何度か見ていただきます スポンサーが 小説や娯楽本を好まない場合も あるからです これは変速機の修理法です 変速機の価値は知りませんが 一部をざっとお見せします では行きましょう
(Video) Narrator: And continue to get descriptions for each of these chapters. Nicholas Negroponte: Now, this is his table of contents. Just a picture of the transmission, and as you rub your finger across the transmission it highlights the various parts.
(映像) これは目次です 変速機の絵だけです 指でなぞると各部位が強調されます
Narrator: When I find a chapter that I want to see, I just touch the text and the system will format pages for me to read. The words or phrases that are lit up in red are glossary words, so I can get a different definition by just touching the word, and the definition appears, superimposed over the illustration.
見たい章があれば その文字に触れると 装置がページを用意します 赤い語句には解説集が用意されていますので 語句に触れるといろんな定義が表示されます 定義は絵に重なって表示されます
NN: This is about the oil pan, or the oil filter and all that. This is relatively important because it sets the page ...
これは油の受け皿や濾過機などの説明です これは比較的重要なもので --
Narrator: This is another example of a page with glossary words highlighted in red. I can get a definition of these words just by touching them, and the definition will appear in the illustration corner. I can get back to the illustration, but in this case it's not a single frame, but it's actually a movie of someone coming into the frame and doing the repair that's described in the text. The two-headed slider is a speed control that allows me to watch the movie at various speeds, in forward or reverse. And the movie is displayed as a full frame movie. I can go back to the beginning ... and play the movie at full speed. Here's another step-by-step procedure, only in this case --
このページでは 用語集が用意されている語句が 赤く表示されています 触るだけで言葉の意味が分かります 定義はこの描画領域に表示されます さっきの絵にも戻せます この場合静止画ではなく 解説文どおりに修理する様子が 動画で表示されます 2方向スライダーで速度を調節できます 動画の速度や再生方向を変えます 全画面で表示します 最初に戻せますし 高速再生もできます これは別の手順です --
NN: Okay, this movie is ... Everybody's heard of sound-sync movies -- this is text-sync movies, so as the movie plays, the text gets highlighted. We highlight the text as we go through the movie. Repairman: ... Not too far out. Front poles, preferably. Don't loosen them too far. If you loosen them too far, you'll have a big mess. NN: I suspect that some of you might not even understand that language.
音声と同期した動画はご存じだと思いますが これは文章と動画が同期します 動画が再生されると 動画に合わせて文章が強調されます 離しすぎないでください 前側のポールがいいでしょう 緩めすぎないように 緩めすぎると大変なことになります 言ってる事は よく分からないかもしれませんね
(Laughter)
(笑)
OK. I'm at the third and last part of this, which I said I would make an attempt to at least give you some examples that may be more directly related to the world of entertainment. And of course, good education has got to be good entertainment, so my first example will be drawn from a very recent experiment that we've been doing -- in this case, in Senegal -- where we have tried to use personal computers as a pedagogical medium. But not as teaching machines at all; the whole notion is to use this as an instrument where there is a complete reversal of roles -- the child is, if you will, the teacher and the machine is the student -- and the art of computer programming is a vehicle that sort of approximates thinking about thinking. But teaching kids programming per se is utterly irrelevant. And there are just a few slides I want to go through,
さて 3番目です これで最後です いくつか例をお見せすると言いましたが これはもっと遊びに近いものです 良い教育とは よく楽しめるものでなければなりません 最初の例は 最近の実験結果です セネガルで パソコンを教材として使ってみました 機械に教えてもらうわけではなく 道具として使うのが目的ですから 立場が逆転します この子が教師で 機械が生徒なのです プログラミング技術は 思考に似た手段ではありますが 子どもに プログラミング自体を教えるのは絶対に間違いです スライドは少ししかありませんが
but there's a story I'd like to tell. And that was when, before we did this in any developing countries -- we're doing it, in fact, in three developing countries right now: Pakistan, Colombia and Senegal -- we did it in some pretty rough areas of New York City. And one child, whose name I've forgotten, was about seven or eight years old, absolutely considered mentally handicapped -- couldn't read, didn't even make it in the lowest section of the school's classes -- and was pretty much not in school, though physically there. But did hang around the, quote, "computer room," where there were quite a few computers, and learned this particular language called Logo -- and learned it with great ease and found it a lot of fun, it was very interesting. And one day, by chance, some visitors from the NIE came by in their double-breasted suits looking at this setup, and none of the children who were normally there, except for this one child, were there.
ぜひお伝えしたい話があります 今はパキスタン コロンビア セネガル 3ヶ国で実施していますが これは その途上国でやる前の ニューヨークのかなり荒れた地域での話です 名前は忘れましたが7歳か8歳ぐらいの 知的障害があって字が読めず 低い学年でもついていけないと見られていた子がいました 学校には来ても 参加していないに等しい状態でしたが 「コンピューター室」に出入りしていました コンピューターがあったので そこでLogoという言語を学習していました すぐに理解して楽しんでもいました 驚きますね ある日 NIEのお偉いさんたちが たまたまその部屋に立ち寄って装置を見ていました 普段から誰もいない部屋ですが その子だけはいましたから
He was, and he said, "Let me show you how this works," and they got an absolutely ingenuous, wonderful description of Logo. And the child was just zipping right through it, showing them all sorts of things until they asked him how to do something which he couldn't explain and so he flipped through the manual, found the explanation and typed the command and got it to do what they asked. They were delighted, and by the time it was time to go see the principal, whom they'd actually come to see -- not the computer room -- they went upstairs and they said, "This is absolutely remarkable! That child was very articulate and showed us and even dealt with the things he couldn't do automatically with that manual. It was just absolutely fantastic."
「どうやるかみせてあげるよ」と 実に分かりやすく見事に Logoについて解説したのです すごい勢いで全部説明しました 説明できなかったところを質問されれば マニュアルで説明を見つけて コマンドを打ち込んで 実行して見せたのです 実はコンピューター室ではなく校長室に行く予定でしたが 彼らは校長に会う前にすっかり満足してしまいました 上の階に行くと 「素晴らしいですね あの子が 流暢に説明してくれて実演もしてくれました できない事は自分でマニュアルを見て対応したり ほんとうにすごいです」と伝えると
The principal said, "There's a dreadful mistake, because that child can't read. And you obviously have been hoodwinked or you've talked about somebody else." And they all got up and they all went downstairs and the child was still there. And they did something very intelligent: they asked the child, "Can you read?" And the child said, "No, I can't." And then they said, "But wait a minute. You just looked through that manual and you found ... " and he said, "Oh, but that's not reading." And so they said, "Well, what's reading then?" He says, "Well, reading is this junk they give me in little books to read. It's absolutely irrelevant, (Laughter) and I get nothing for it. But here, with a little bit of effort I get a lot of return."
校長は「そんなはずはありませんよ あの子は字が読めませんから きっとだまされたか 別の子だと思いますよ」と返しました 皆で下の階に降りると その子がまだいたので ちょっと試してみました 「字が読めるかい」と聞いたら 「よめないよ」とその子は答えました 「ちょっとまってよ マニュアルを見て理解してたじゃない」と言ったら 「よんでいるんじゃないよ」とその子は答えるのです 「じゃあ 読むって何?」と聞いたら その子は「つまらない本でやらされるんだ いみがないから やりたくないんだ でもこっちは ちょっとやってみたら いろんなことがわかるんだ」
And it really meant something to the child. The child read beautifully, it turned out, and was really very competent. So it actually meant something. And that story has many other anecdotes that are similar, but wow. The key to the future of computers in education is right there, and it is: when does it mean something to a child? There is a myth, and it truly is a myth: we believe -- and I'm sure a lot of you believe in this room -- that it is harder to read and write than it is to learn how to speak. And it's not, but we think speech -- "My God, little children pick it up somehow, and by the age of two they're doing a mediocre job, and by three and four they're speaking reasonably well. And yet you've got to go to school to learn how to read, and you have to sit in a classroom and somebody has to teach you. Hence, it must be harder." Well, it's not harder. What the truth is is that speaking has great value to a child; the child can get a great deal by talking to you.
その子にとっては価値があったのです その子は見事に読みこなして すごく身についたのですから 有意義だったのです この出来事には 他にも逸話がたくさんあって コンピューターを使うこれからの教育にとって 重要な事が まさにここにあります では 子どもが価値を感じるのはいつでしょうか ここで ある誤解があります 私も皆さんも ほとんどが信じている事です 話すことより 読み書きのほうが難しいと信じていますが 違います 小さな子は勝手に言葉を使いだして 2歳までには つたなく話し出し 3歳から4歳までには それなりに話すようになりますが 学校で読むことを習うようになると 教室に座って 授業を聞く必要があります だから難しくなるのです でも本当は難しくありません しゃべることは子どもにとってすごく価値があります しゃべれば相手から得る事がたくさんありますが
Reading and writing is utterly useless. There is no reason for a child to read and write except blind faith, and that it's going to help you. (Laughter) So what happens is you go to school and people say, "Just believe me, you're going to like it. You're going to like reading," and just read and read. On the other hand, you give a kid -- a three-year-old kid -- a computer and they type a little command and -- Poof! -- something happens. And all of a sudden ... You may not call that reading and writing, but a certain bit of typing and reading stuff on the screen has a huge payoff, and it's a lot of fun. And in fact, it's a powerful educational instrument. Well, in Senegal we found that this was the traditional classroom: 120 kids -- three per desk -- one teacher, a little bit of chalk. This student was one of our first students, and it's the girl on the left leaning with her chalkboard, and she came ... within two days -- I want to show you the program she wrote, and remember her hairstyle. And that is the program she made.
読み書きは役に立ちません 意味がないから 機械的にやるしかないのです まあ後で役には立ちます 学校ではこう言われます 「信じなさい だんだん好きになるから だんだん好きになるから どんどん読みなさい」と これとは違って 3歳の子でもコンピューターを使えば コマンドを入力すれば パッと何かが起きます すぐです こういうのを読み書きとは言わないでしょうが 画面に少し打ち込んだり読んだりするだけで 大きな成果があって すごく楽しいのです 実に 効果的な教材です セネガルでも経験しました こちらは普通の教室です 子どもが120人 各机に3人 先生が1人 チョークが少し この子は 私たちが初めて受け持った生徒です 左の女の子は黒板を使って学習をしています 彼女が2日で作ったプログラムを お見せしましょう 髪形を覚えておいてください プログラムはこちら
That's what meant something to her, is doing the hair pattern, and actually did it within two days -- an hour each day -- and found it was, to her, absolutely the most meaningful piece ... But rooted in that, little did she know how much knowledge she was acquiring about geometry and just math and logic and all the rest. And again, I could talk for three hours about this subject. I will come to my last example and then quit. And my last example -- as some of my former colleagues, whom I see in the room, can imagine what it will be. Yes, it is. It's our work -- that was a while ago, and it still is my favorite project -- of teleconferencing. And the reason it remains a favorite project is that we were asked to do a teleconferencing system where you had the following situation: you had five people at five different sites -- they were known people -- and you had to have these people in teleconference, such that each one was utterly convinced that the other four were physically present. Now, that is sufficiently zany that we would, obviously, jump to the bait, and we did. And the fact that we knew the people -- we had to take a page out of the history of Walt Disney -- we actually went so far as to build CRTs in the shapes of the people's faces. So if I wanted to call my friend Peter Sprague on the phone, my secretary would get his head out and bring it and set it on the desk,
彼女にとっては髪形を決めることが重要なのです 1日1時間だけ作業して 2日で作り上げました 彼女にとっては これが一番重要な事なのです そこから 幾何学 数学 論理学などいろんな事を どれだけ学習したか 彼女にはまだ分からないかと思います これについて3時間はお話しができます では 最後の例を紹介しましょう ここにいるかつての同僚たちなら 想像がつくと思います 私たちが取り組んだ これまで そして今でも 大好きなプロジェクトです そうテレビ会議システムです なぜ今でも好きかというと 次のような状況のテレビ会議システムを実現するよう 依頼されたのです 知り合い5人がそれぞれ別の場所にいるのに 他の4人も現実にそばにいると それぞれの人を完全に信じ込ませて テレビ会議をさせるのです そんな誘いにのったらばかだと思うかもしれませんが のってしまいましたし 実際にそんな人たちと知り合いになりました ウォルト ディズニーの歴史から学ぶ必要もありました 人の顔をしたブラウン管までも 作ったりしました 友人のピーター スピローグに電話を掛けるときには 秘書が机まで彼の頭部を抱えてきます
(Laughter)
(笑)
and that would be the TV used for the occasion. And it's uncanny: there's no way I can explain to you the amount of eye contact you get with that physical face projected on a 3D CRT of that sort. The next thing that we had to do is to persuade them that there needed to be spatial correspondence, which is straightforward, but again, it's something that didn't fall naturally out of a telecommunications or computing style of thinking; it was a very, if you will, architectural or spatial concept. And that was to recognize that when you sit around the table, the actual location of the people becomes rather important. And when somebody gets up, in fact, to go answer a phone or use a bathroom or something, the empty seat becomes, if you will, that person. And you point frequently to the empty seat and you say, "He or she wouldn't agree," and the empty chair is that person and the spatiality is crucial. So we said, "Well, these will be on round tables and the order around the table had to be the same, so that at my site, I would be, if you will, real and then at each other's site you'd have these plastic heads. And the plastic heads, sometimes you want to project them. And there are a number of schemes, which I don't want to dwell on,
そのために用意されたテレビです おかしなことではありません 言うまでもなく 3次元テレビに映し出された現実味のある顔と じっくり目を見合わせることができます 次に 空間の同期が必要だという提案もしました これは単純な話ですが 遠距離通信や コンピューターシステムの 概念から自然に導かれるものではありません まさに設計思想とか空間的概念の話になります テーブルに座った時の 実際の位置がとても重要だと理解するための概念です 誰かが席を立って電話に出たりトイレに行くとき 空席とその人を結びつけることも現実にあります 空席を何度も指さしながら 「この人は賛成しないよ」と言うこともありますね 空席が人を意味するので 空間内の位置が重要です だから「丸テーブルで使用するなら テーブルの周りの 座る位置の対応がとれないといけない」と言ったのです 自分のいる所には 実在の自分がいて 別の人がいる所には 樹脂で作った頭部が置かれます 樹脂で作った頭部でも 投影した頭部でもよく 手段はいろいろありますが長々とお話はしません
but this is the one that we finally used where we projected onto rear screen material that was molded in the face -- literally in the face of the person. And I'll show you one more slide, where this is actually made from something called a solid photograph and is the screen. Now, we track, on the person's head, the head motions -- so we transmit with a video the head positions -- and so this head moves in about two axes. So if I, all of a sudden, turn to the person to my left and start talking to that person, then at the person to my right's site, he'll see these two plastic heads talking to each other. And then if that person interrupts, then those two heads may turn. And it really is reconstructing, quite accurately, teleconferencing.
最終的にはこれを使いました 後方から投影するタイプのディスプレイで 表面が顔の形に立体成形されています もう1枚スライドをお見せしましょう 立体写真といわれるもので画面でもあります 頭部の動きを検出して 映像と一緒に頭部の位置を送信します この頭部は2軸に沿って動きます 突然 私が左を向いて 左の人と話し始めると 右にいる人にはまるで 二つの樹脂製の頭部が 会話をしているように見えるのです その人が会話に割り込むと 二つの頭部が振り返ります これでテレビ会議をとても正確に再構築できます