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.
在這個相當長的,馬拉松似得演講中 我試著將它分為三個部份 第一部份是大量關於 怎樣更開心的使用電腦的例子 而且真正解決人機界面的品質。 這些會是一些簡單的設計 如果你願意,他們也可以是一些 聰明的互動 第二部分是一些關於新技術的例子 新媒體就像那個一樣 同樣,我會儘快的講完這些內容 最後的部份會是一些我能夠收集到的例子 我認為- 在娛樂界裡,我盡量用這些例子闡述清楚。 人們相信會這樣,我也分享給大家 在未來,我們會借助電視螢幕或者其他類似的東西 來使用電子書籍。但是,當你認為 "天哪,用電視來看圖片,是多麼糟糕啊" 恩,這並不一定是可怕的 這只是從電視裡放了一張幻燈片 它是經過預先處理而柔和的在電視上, 它看起來非常美
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.
好,發生了什麽事呢?人們是怎麼弄到一團糟呢? 你現在在的地方,突然 坐在一台個人電腦 和視頻文本,圖文電視系統前面 你被螢幕上看到的東西嚇到? 好,你必須想到當初電視是被設計成 八倍對角線的距離 所以你有13英寸,19英寸的電視,等等 然後你應該把它乘以八 這就是你應該離電視的距離 現在,我們讓人們坐在電視前18英寸的地方 還有原來設計者沒有想到的所有工件, 突然全都盯著你看 那個陰影遮罩,掃描線,所有的。 他們可以很簡單的使用 實際上有可以擺脫他們的方法 製作絕對漂亮圖片的方法是存在的 我在這稍微講一下顯示技術
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)
讓我講一下你可以輸入資料的方式。 我最偏愛的例子是手指 我對觸控螢幕情有獨鍾 高科技,高觸碰,這不是你所說的嗎? 這確實是一個非常重要的輸入媒介 並且很多人都認為手指擁有很低的解析度 類似手寫筆的輸入到螢幕 實際上,並不是這樣的。這是一個非常,非常高解析度的輸入媒介 你必須操作兩次。你必須觸碰到螢幕 然後輕輕的旋轉你的手指 並且你可以非常精確的移動你的游標 並且當你在銷售市場上看到這些系統的時候 他們僅僅在側邊有一些發光的二極管,并且是非常低的解析度 他們存在是很好,因為總比沒有強 但是在某種程度上缺失了重要的一點 那就是,手指是一個非常非常高解析度的輸入媒介 那其他的優勢有什麽呢? 顯然,其中一個優點就是你不需要拿起他們 然而人們卻並沒有意識到這是多麼的重要 不用撿起你的手指來使用他們
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.
當你在麥金塔電腦的滑鼠前短暫思考時 我不會批評滑鼠太多 當你正準備打字並且你想輸入些東西 首先你得找到滑鼠游標 你可能必須停止,也可能不需要突然停止 但是你必須找到滑鼠。然後你找到它 接著你要稍微的移動它一下 以便找到游標的位置 然後當你終於看到它了 你還必須移動它來使游標到達指定地點 然後“呯”,你必須點擊按鈕然後做你的事 這四個獨立的步驟和打字然後觸摸 然後打字,這全部只是做一個動作 或者是一個半,取決於你是怎麼計算的 再次強調的是,我現在所做的僅僅只是解釋 設計者們遇到的 關於新電腦系統和娛樂系統 還有教育系統的問題, 從介面的品質方面考量
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.
當然,另外一個優點是你使用手指,是因為你有十個手指 而且我們從不知道怎麼樣 "技術的" 使用它 所以這個幻燈片是假的 我們從沒成功的使用十根手指 但是顯然的你可以做一些特定的事 用超過一個手指輸入,是非常迷人的 我們偶然的發現了一些事 又是典型的電腦領域裡 就是當你犯了一個錯誤的時候,你不能解決掉它,所以把它轉換成一個功能 而且可能(笑聲) 可能滑鼠就是這樣的一種錯誤 但是那個錯誤在我們的案例中是在靈敏的觸控螢幕中 我們希望能夠畫,用你的手摩擦 螢幕來輸入連續的點 並且會有很多的摩擦 產生在你的手指和玻璃之間 如果玻璃是基板,它通常都是的。
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.
我們發現它實際上是一個優點 你可以創造一個有壓力感度的顯示屏 當你用你的手指觸碰它的時候 你實際上在屏幕上發力, 這樣會產生一定的數值 讓我看看是否可以載人另一張碟 快速的給你們展示一個例子 好,現在想像一個不僅是觸碰感應的顯示屏 而且它也是壓力感度的 它的壓力敏感分佈在所有屏幕面上 X,Y和Z,不只一個方向 我們無法弄清楚如何從其他方向過來 但是讓我拿掉幻燈片 我們看看它是否在 好,現在有一個操作的壓力感度顯示屏 那個人只是在屏幕上按 但是這是一個有趣的部份
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.
現在,好的,我想要停一會 因為這個視頻做的非常不好 而且這個的視頻是六年前製作的 當我們從一個房間移到另外一個房間的時候 一個相當壯的大漢坐在上面,它壞掉了 所有我們有的就是這個視頻 但是想像一下那個屏幕有很多的東西在上面 這個人觸碰了一個 N個中的一個,就像他在那兒做的。然後他按一下它 現在,想像一個程序 有一些東西非常重,一些非常輕 一個是在絨毛地毯上的鐵砧 另外一個是在一塊平滑玻璃上的乒乓球 當你碰它時,你必須非常用力的推 屏幕上的那個铁砧 然而,你輕輕的碰那個乒乓球 它就會滑過屏幕 那你可以做什麽,哎呀,我不是有意的 實際上你可以做的是反饋給使用者 物體的感覺 另外,他們不需要重量 他們可能試著移動部隊 而他是移動一個飛行器和一艘船 實際上,他們因為此原因而資助它
(Laughter)
笑聲
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.
接下來整個的概念在介面上 有物理特性的轉感器 在這個例子中是壓力和觸碰 使你在使用者面前展示你從未能展示的東西 所以,這不是簡單的強調質量,或是華麗的介面 實際上是在強調 “展示從前不能展示的東西” 我希望進入到下一個例子 不同種類的例子,我們嘗試使用電腦 和視頻技術產生一本新的書 具體想法是你將使這本書 如果你願意,變成活生生的 你將會給它注入生命 我們往往習慣於獨白 例如,電影製作人,是獨白的專家 你製作一部影片,它有很好的開始,中間,和結尾。 並且在某種程度上,它的藝術就在于此 然後你說,"你知道,現在有一個機會 用來製作對話電影。" 那,這意味著什麽呢? 它類似整個專業核心的一小部份 和此媒介的所有假設性 所以寫書是相同的事情
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.
我要很快地展示的是一種新型的書 所有的東西活生生地在裡面 但是你需要知道一些事 其中之一是這本書瞭解自己 好的,電影的每個框架擁有自己的信息。 所以它知道,或者至少有電腦可讀的信息 在媒介裏面。這不僅僅是一個靜止的電影框架。 這是一方面。另一方面你應該知道的是 它是一個隨機存取媒介 實際上你可以分支,擴大,鋪陳和簡化。 而我最喜歡的例子是食譜 "Larousse Gastronomique" 我發現我常使用這個例子 但是這是一個好的例子,因為它有一個經典的結尾在 這本小的百科全書式的食譜裡,它會教你如何烹煮,像是企鵝 並且你看到最後,它寫到“烹飪直到完成” 它將會是最好的示範方式 但沒多大的意義。你可能需要為我詳盡闡述 對那些不是專家的人說, "在380度上烹煮45分鐘" 對於一個新手,你會繼續下去 並且解釋更多。“打開烤爐,預熱,等到燈亮 打開門,不要打開太久 把企鵝放進去,然後關門“ 等等 有更多的詳細解釋,在你返回下一步驟前
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.
這是一種類似隨機存取 另一方面是你要用不同方法解釋相同的東西 如果你在一個教室內,有人問問題 最後你所做的就是重複你所說的 你試著使用不同的方式來說相同的事情 或者你知道特定學生的思維方式 你可能用你所想到的來表達 會與那個學生產生一個良好的碰撞 這裡有很多你會使用的技術 這是一個不同類型的分支 我給你展示的將是一本無聊的書 但是我認為有時候你不得不讀一些無聊的書 因為贊助商不一定對小說和娛樂性的書感興趣 這本書旨在怎樣修復變速器 現在,我甚至不知道老式變速器 但是請讓我很快的給你們展示一些,然後我們繼續
(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.
(視頻) 現在,這是他的目錄表,可以嗎? 只是一個變速器的照片,當你輕輕用手指滑過變速器 它會顯示出很多部份
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.
旁白:當我找到想要看的章節 只要碰一下文字,系統會產生頁面供我閱讀 紅色的字和詞組是解釋 所以只是碰一下它,我可以得到不同的定義 定義一出現,並疊加在圖片上
NN: This is about the oil pan, or the oil filter and all that. This is relatively important because it sets the page ...
尼古拉斯 尼葛洛龐帝:這個是關於油底盤或濾淨器 這個相當重要因為它設定了
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 --
旁白:這是另外一個有註釋的頁面 用紅色顯示出來 我可以碰它們一下來獲得定義 定義會在圖片角落顯示 我可以回到插圖,但是這個情況下它不是單個框架 這是有人在修復的實際畫面 那是以文字描述 這個控制桿是一個可以控制速度的東西,可以讓我在觀看影片時 用不同的速度,前進或後退 影片是以全屏放映的 我可以返回到影片開始,以全速看電影 這是另外一個程序,僅僅在這個例子中
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.
NN:你看,每個人都聽到聲音同步的電影 這是文本同步電影,所以當電影播放的時候,文本會同時顯示出來 當播放電影的時候我們顯示文本 (視頻):不要太遠。最好前面的洞 不要鬆開他們太多,如果鬆開太多,你會有麻煩的 我懷疑大部分的人根本不懂那種語言
(Laughter)
(笑聲)
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,
好。現在進入第三個也是最後一個部份 就像我說的我會嘗試給你們一些例子 他們可能更接近娛樂界 當然,好的教育一定帶來好的娛樂 所以我的第一個例子是來自最近的一個實驗 這個是我們在塞內加爾所做的 我們一直嘗試使用個人電腦 來做為教學媒體,但不是用來教學的電腦 我的意思是,整個概念是使用它作為設備 一個完全相反的角色 孩子是老師,機器是學生 電腦程式技術是一種載體 接近思考,關於思考的東西 但是,教育孩子本身是完全不相干的課程 這兒有一些幻燈片我想要展示
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.
有一個故事我想要講一下,那就是 我們在任何發展中國家做這個之前 實際上現在我們在三個發展中國家做 巴基斯坦,哥倫比亞,塞內加爾 我們也在紐約的一些落後的社區做 一個孩子,他的名字我忘記了,他大概有七到八歲 確定被認定為弱智的 不能讀,甚至不能在低年級讀 虽然身在学校,心已经飞走了。 但他經常在電腦教室旁邊出現 這個教室只有很少的電腦, 學這種叫做 "Logo" 的語言 很輕鬆的學習,並且發現有很多樂趣 這非常有趣,偶然有一天 有一些來自NIE ,穿著雙排扣西裝的參觀者 觀看這些設備。沒有一個孩子在那 除了這個孩子
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."
他說:"讓我來給你們展示這怎麼使用" 然後他們聽到了關於 "Logo" 非常棒的描述 那個孩子只是展示給他們所有的東西 直到他們問他怎麼操作那些他不能解釋的東西 然後他翻了翻使用手冊,找到解釋 然後輸入指令,做到了這些參觀者的要求 他們很高興,到了要去見校長時 這是他們真正應該去看的,而不是電腦室 他們走上樓,並且說 "你知道,這絕對是卓越出色的 那孩子非常清楚的展示給我們看 甚至他可以使用手冊來處理那些 他做不到的。這簡直是太棒了"
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."
校長說:"你知道,這可能有誤會 因為那個孩子不會讀 顯然你們被矇騙了 或者你是說另一個孩子" 然後他們都起身下樓 那個孩子仍然在那。然後他們做了一些很聰明的事 他們問那個孩子:"你會讀嗎?" 那個孩子說道:"我不會" 然後他們說,“但是等一下,你 剛剛查閱那個手冊了啊。你找到… 他接著說:"哦,但是那不是閱讀" 他們也接著說:"哦,如果那不是閱讀,那?" 他說:"閱讀是讀他們給我的這些一小本一小本的垃圾 完全不切實際,我學不到任何東西,好嗎? 但是這個,只要努力一下,我就會得到很多"
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.
對這個孩子而言,意義重大 事實證明那個孩子能閱讀的很好了 而且非常有競爭力。所以這真的非常有意義 這個故事有很多其他類似的奇聞異事 電腦教育的未來就在這兒 當它對孩子是有意義的時候 有一個神話,並且是真正的神話 我們相信——而且我相信這個房間內的很多人都相信—— 比起說來,讀和寫非常難 但並非如此。我們認為演講——我的天,孩子們不知怎麼地開始 在兩歲的時候,他們在這個方面表現的一般。 在三歲和四歲的時候,他們可以合理的講一些 然後你需要到學校學習怎麼讀 你坐在一個教室里然後有人教你 因此這一定很難。好,這並不難 事實是,說對孩子而言非常重要 孩子在與你交流的時候可以學到很多
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.
閱讀和寫作完全沒用 除了盲目的信仰,根本沒理由要孩子閱讀和寫作 這會幫助你 會發生的事是,你到學校去,然後人們說 "你知道,相信我,你會喜歡上它的 你會喜歡閱讀,僅僅閱讀,閱讀" 另一方面,你給一個三歲孩子一台電腦 然後他們鍵入一些指令,然後產生結果 一下子,你可能不會叫那個做讀和寫 但是在屏幕上鍵入和讀出一些東西 有巨大的回報,和很大的樂趣 實際上這是一個非常強大的教育設備 在塞內加爾一個傳統的班級 120個孩子,三個孩子一桌,一個老師,一些粉筆 這個學生是我們早期學生之一 在左邊斜靠在板子上的女孩 她到了那裡兩天 我想給你看看她編寫的程序 記住她的髮型,好嗎?這就是她編寫的程序
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,
這對她有特殊的意義,做她的髮型 做了兩天,每天一小時 這對她來說 完全是最有意義的一段 但是根本來說,她一點知識都不懂 她正在學幾何 並且僅僅是數學和邏輯,和一些其他的 關於這個課題我可以說三個小時 接下來是我最後一個例子 我最後一個例子 --- 一些我之前的同事 他們在這裡,想像到這將會是什麽 是的這是我們的工作,就在之前 它仍是我最喜歡的專案,電話會議 它是我最喜歡的原因是 我們被要求去做一個電話會議系統 你會有以下的情況 五個人在五個不同的地點,他們彼此認識 你需要讓他們在電話會議系統上 每個人需要完全相信 其他的四個親臨現場 現在這是可行的,你知道 可笑的是我們顯然跳入圈套,我們也做了 事實上我們知道那些人 我們不得不採取迪士尼的經驗 我們真的去建立CRT顯示器 以人們的臉為外型 所以如果我想打電話給我朋友 Peter Sprague 我的秘書會把他的頭取出來,把他安置在桌子上
(Laughter)
(笑聲)
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,
這是為這一場合使用的電視機 它超怪的,我很難解釋給你聽 你和那個 3D 螢幕上的臉 的眼神相交時 接下來我需要做的是說服他們 這個需要空間的直接對應關係 但是這是不自然的 在電話通訊或者思考的風格上 這是一個建築或空間概念 當你坐在桌子旁時你必須要知道 人們的位置是非常重要的 當他們站起來去接電話的時候 或者去洗手間或做別的事,空的座位會變成 那個人。然後你面向那個空的座位 然後你說 “他或她不同意” 那個空椅子就是那個人。所以空間性非常重要。 所以我們說 “這會在圓桌上 的順序必須一樣。 在我的位置上,我是真的 其他的位置上就是這些塑膠頭 那些塑料頭,有時候你想要向他們表達 很多計劃,我不想多說。
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.
但這就是我們最終會使用的 我們會投射到屏幕的後面 這些會被做成人臉模型,就是那個人的臉型 我會展示給你們一些實際上應用的幻燈片 叫做硬照片的東西是屏幕 現在我們追蹤這個人的頭部活動 我們傳輸頭部位置的視頻 這個頭在兩個軸上移動 當我突然轉向我左邊的人 然後和他說話,那麼我右邊的那個人 他會看到這二個塑膠頭在互相聊天 如果那個人打斷,這兩個頭可能會轉向 這就是重建後的,比較精準的電話會議。