So I'm an artist, but a little bit of a peculiar one. I don't paint. I can't draw. My shop teacher in high school wrote that I was a menace on my report card. You probably don't really want to see my photographs. But there is one thing I know how to do: I know how to program a computer. I can code.
Ja sam umetnik, ali pomalo čudan. Ne slikam. Ne umem da crtam. Moj nastavnik tehničkog u srednjoj školi napisao je da sam napast u mojoj knjižici. Verovatno ne biste hteli da vidite moje fotografije. Ipak, jedno znam da radim - znam kako da programiram kompjuter. Umem da kodiram.
And people will tell me that 100 years ago, folks like me didn't exist, that it was impossible, that art made with data is a new thing, it's a product of our age, it's something that's really important to think of as something that's very "now." And that's true.
Ljudi mi kažu da pre 100 godina nisu postojali ljudi kao što sam ja, da je to bilo nemoguće, da umetnost sačinjena od podataka predstavlja novinu, da je to proizvod našeg doba, to je nešto o čemu je važno razmišljati kao o nečemu što pripada sadašnjici. To je istina.
But there is an art form that's been around for a very long time that's really about using information, abstract information, to make emotionally resonant pieces. And it's called music. We've been making music for tens of thousands of years, right? And if you think about what music is -- notes and chords and keys and harmonies and melodies -- these things are algorithms. These things are systems that are designed to unfold over time, to make us feel. I came to the arts through music. I was trained as a composer, and about 15 years ago, I started making pieces that were designed to look at the intersection between sound and image, to use an image to unveil a musical structure or to use a sound to show you something interesting about something that's usually pictorial.
Međutim, postoji oblik umetnosti koji je veoma dugo prisutan, a koji podrazumeva korišćenje informacija, apstraktnih informacija, da bi se sačinila dela koja emocionalno ostavljaju utisak. Naziva se muzika. Stvaramo muziku desetinama hiljada godina, zar ne? Ako razmislite o tome šta je muzika - note, akordi, tonaliteti, harmonije i melodije - sve to su algoritmi. To su sistemi koji su osmišljeni tako da se odvijaju vremenom, da izazovu osećanja. Ušao sam u umetnost kroz muziku. Učio sam da budem kompozitor i pre oko 15 godina sam počeo da stvaram dela koja su osmišljena tako da budu usmerena na ukrštanje zvuka i slike, da koriste sliku da bi otkrila muzičku strukturu ili da koriste zvuk da bi vam pokazala nešto zanimljivo o nečemu što je najčešće slikovno.
So what you're seeing on the screen is literally being drawn by the musical structure of the musicians onstage, and there's no accident that it looks like a plant, because the underlying algorithmic biology of the plant is what informed the musical structure in the first place. So once you know how to do this, once you know how to code with media, you can do some pretty cool stuff.
Dakle, ono što vidite na ekranu bukvalno iscrtava muzička struktura muzičara na sceni, a nije slučajno da ovo izgleda kao biljka, jer algoritamska biologija biljke koja se nalazi u osnovi predstavlja ono što je muzičkoj strukturi prvobitno dalo informaciju. Dakle, kada saznate kako to da radite, kada znate kako da kodirate sa medijima, možete da postignete neke sjajne stvari.
This is a project I did for the Sundance Film Festival. Really simple idea: you take every Academy Award Best Picture, you speed it up to one minute each and string them all together. And so in 75 minutes, I can show you the history of Hollywood cinema. And what it really shows you is the history of editing in Hollywood cinema. So on the left, we've got Casablanca; on the right, we've got Chicago. And you can see that Casablanca is a little easier to read. That's because the average length of a cinematic shot in the 1940s was 26 seconds, and now it's around six seconds.
Ovo je projekat koji sam uradio za filmski festival Sandens. Vrlo jednostavna ideja - uzmete svaki film koji je dobio Oskara za najbolji film, ubrzate svaki u jedan minut i nanižete ih zajedno. Tako vam za 75 minuta mogu prikazati istoriju holivudskog bioskopa. Ono što vam zaista prikazuje jeste istorija uređivanja holivudskog bioskopa. Sa leve strane imamo „Kazablanku“, a sa desne strane imamo „Čikago“. Možete videti da je „Kazablanku“ malo lakše razaznati. To je zato što je prosečna dužina filmskog kadra 1940-ih godina bila 26 sekundi, a sada je oko šest sekundi.
This is a project that was inspired by some work that was funded by the US Federal Government in the early 2000s, to look at video footage and find a specific actor in any video. And so I repurposed this code to train a system on one person in our culture who would never need to be surveilled in that manner, which is Britney Spears. I downloaded 2,000 paparazzi photos of Britney Spears and trained my computer to find her face and her face alone. I can run any footage of her through it and will center her eyes in the frame, and this sort of is a little double commentary about surveillance in our society. We are very fraught with anxiety about being watched, but then we obsess over celebrity.
Ovo je projekat koji je bio inspirisan izvesnim radom koji je finansirala federalna vlada SAD-a ranih 2000-ih godina, da pogledate video snimak i nađete određenog glumca u bilo kom snimku. Tako sam promenio cilj ovog koda tako da nauči sistem o jednoj osobi iz naše kulture koja nikad ne bi trebalo da bude tako pod nadgledanjem, a to je Britni Spirs. Skinuo sam dve hiljade paparaci fotografija Britni Spirs i naučio svoj kompjuter da pronađe njeno lice, i to isključivo njeno lice. Mogu da pokrenem bilo koji njen snimak i centriraće njene oči u kadru, a to je na neki način dvostruki komentar u vezi sa prismotrom u našem društvu. Veoma smo opterećeni anksioznošću vezanom za to da nas posmatraju, a onda opsedamo poznate ličnosti.
What you're seeing on the screen here is a collaboration I did with an artist named Lián Amaris. What she did is very simple to explain and describe, but very hard to do. She took 72 minutes of activity, getting ready for a night out on the town, and stretched it over three days and performed it on a traffic island in slow motion in New York City. I was there, too, with a film crew. We filmed the whole thing, and then we reversed the process, speeding it up to 72 minutes again, so it looks like she's moving normally and the whole world is flying by.
Na ovom ekranu vidite nešto što sam uradio u saradnji sa umetnicom po imenu Lijan Amaris. Ona je uradila nešto što je vrlo lako objasniti i opisati, ali vrlo teško uraditi. Uzela je aktivnost od 72 minuta, spremanje za izlazak u grad, i to je rastegla na tri dana i to odigrala kao na usporenom snimku na saobraćajnom ostrvu u Njujorku. I ja sam bio tamo, sa filmskom ekipom. Snimili smo sve to, a zatim smo obrnuli proces, ubrzavši to ponovo na 72 minuta, tako da izgleda da se ona kreće normalno, a ceo svet proleće pored nje.
At a certain point, I figured out that what I was doing was making portraits. When you think about portraiture, you tend to think about stuff like this. The guy on the left is named Gilbert Stuart. He's sort of the first real portraitist of the United States. And on the right is his portrait of George Washington from 1796. This is the so-called Lansdowne portrait. And if you look at this painting, there's a lot of symbolism, right? We've got a rainbow out the window. We've got a sword. We've got a quill on the desk. All of these things are meant to evoke George Washington as the father of the nation.
U nekom trenutku sam shvatio da sam u stvari pravio portrete. Kada pomislite na portretisanje, skloni ste da pomislite na ovako nešto. Tip sa leve strane se zove Gilbert Stjuart. On je nešto poput prvog pravog portretiste u Sjedinjenim Državama. Sa desne strane je njegov portret Džordža Vašingtona iz 1796. godine. To je takozvani Lansdaunov portret. Ako pogledate ovu sliku, tu je mnogo simbolizma, zar ne? Imamo dugu kroz prozor. Imamo mač. Imamo pero na stolu. Sve te stvari je trebalo da dočaraju Džordža Vašingtona kao oca nacije.
This is my portrait of George Washington. And this is an eye chart, only instead of letters, they're words. And what the words are is the 66 words in George Washington's State of the Union addresses that he uses more than any other president. So "gentlemen" has its own symbolism and its own rhetoric. And it's really kind of significant that that's the word he used the most. This is the eye chart for George W. Bush, who was president when I made this piece. And how you get there, from "gentlemen" to "terror" in 43 easy steps, tells us a lot about American history, and gives you a different insight than you would have looking at a series of paintings. These pieces provide a history lesson of the United States through the political rhetoric of its leaders. Ronald Reagan spent a lot of time talking about deficits. Bill Clinton spent a lot of time talking about the century in which he would no longer be president, but maybe his wife would be. Lyndon Johnson was the first President to give his State of the Union addresses on prime-time television; he began every paragraph with the word "tonight." And Richard Nixon, or more accurately, his speechwriter, a guy named William Safire, spent a lot of time thinking about language and making sure that his boss portrayed a rhetoric of honesty.
Ovo je moj portret Džordža Vašingtona. To je test oštrine vida, samo što su tu reči umesto slova, a reči predstavljaju 66 reči iz obraćanja Džordža Vašingtona o stanju nacije koje koristi više od bilo kod drugog predsednika. Dakle, reč „gospodo“ ima sopstvenu simboliku i retoriku. Zaista je nekako značajno što je tu reč najviše koristio. Ovo je test oštrine vida za Džordža V. Buša, koji je bio predsednik kada sam stvorio ovo delo. Kako se stiže ovde, od „gospode“ do „terora“ u 43 jednostavna koraka, govori nam dosta o američkoj istoriji i daje vam drugačiji uvid od onog koji biste imali dok gledate niz slika. Ova dela daju lekciju o istoriji Sjedinjenih Država kroz političku retoriku njihovih predvodnika. Ronald Regan je trošio dosta vremena pričajući o deficitima. Bil Klinton je dosta vremena provodio pričajući o veku u kome više neće biti predsednik, ali će možda biti njegova žena. Lindon Džonson je bio prvi predsednik koji je svoj govor o stanju nacije držao na televiziji u udarnom terminu; svaki pasus je počinjao rečju „večeras“. Ričard Nikson, ili tačnije, njegov pisac govora, tip po imenu Vilijam Sefajer, provodio je dosta vremena razmišljajući o jeziku i starajući se o tome da njegov šef oslikava retoriku iskrenosti.
This project is shown as a series of monolithic sculptures. It's an outdoor series of light boxes. And it's important to note that they're to scale, so if you stand 20 feet back and you can read between those two black lines, you have 20/20 vision.
Projekat je prikazan kao niz monolitnih skulptura. To je niz svetlećih kutija na otvorenom prostoru. Važno je primetiti da su srazmerne, pa ako ste udaljeni 6 metara i možete da čitate između te dve crne linije, imate vid 6/60.
(Laughter)
(Smeh)
This is a portrait. And there's a lot of these. There's a lot of ways to do this with data. I started looking for a way to think about how I can do a more democratic form of portraiture, something that's more about my country and how it works. Every 10 years, we make a census in the United States. We literally count people, find out who lives where, what kind of jobs we've got, the language we speak at home. And this is important stuff -- really important stuff. But it doesn't really tell us who we are. It doesn't tell us about our dreams and our aspirations.
Ovo je portret. Ima mnogo ovoga. Mnogo toga se može uraditi sa ovim podacima. Počeo sam da razmatram kako da napravim demokratičniju formu portreta, nešto što ima više veze sa mojom zemljom i načinom njenog funkcionisanja. Svakih deset godina pravimo popis u Sjedinjenim Državama. Bukvalno prebrojavamo ljude, saznajemo ko gde živi, kakav posao ima, kojim jezikom govori kod kuće. To su važne stvari, zaista važne stvari, ali nam zapravo ne govore o tome ko smo. Ne govore o našim snovima i težnjama.
And so in 2010, I decided to make my own census. And I started looking for a corpus of data that had a lot of descriptions written by ordinary Americans. And it turns out that there is such a corpus of data that's just sitting there for the taking. It's called online dating.
Zato sam 2010. godine odlučio da napravim svoj popis. Počeo sam da tražim zbirku podataka koja sadrži mnogo opisa koje su napisali obični Amerikanci. Ispostavilo se da postoji takva zbirka podataka koja samo čeka da se preuzme. Zove se onlajn upoznavanje.
So in 2010, I joined 21 different online dating services, as a gay man, a straight man, a gay woman and a straight woman, in every zip code in America and downloaded about 19 million people's dating profiles -- about 20 percent of the adult population of the United States. I have obsessive-compulsive disorder. This is going to become really freaking obvious. Just go with me.
Tako sam se 2010. godine priključio 21 servisu za onlajn upoznavanje, kao gej muškarac, strejt muškarac, gej žena i strejt žena, na svakom poštanskom broju u Americi i skinuo sam oko 19 miliona profila za upoznavanje - oko 20 posto odraslog stanovništva Sjedinjenih Država. Imam opsesivno-kompulzivni poremećaj. To će postati vrlo očigledno. Samo me pratite.
(Laughter)
(Smeh)
So what I did was I sorted all this stuff by zip code. And I looked at word analysis. These are some dating profiles from 2010 with the word "lonely" highlighted. If you look at these things topographically, if you imagine dark colors to light colors are more use of the word, you can see that Appalachia is a pretty lonely place. You can also see that Nebraska ain't that funny. This is the kinky map, so what this is showing you is that the women in Alaska need to get together with the men in southern New Mexico, and have a good time. And I have this at a pretty granular level, so I can tell you that the men in the eastern half of Long Island are way more interested in being spanked than men in the western half of Long Island. This will be your one takeaway from this whole conference. You're going to remember that fact for, like, 30 years.
Dakle, sortirao sam sve to prema poštanskom broju. Zatim sam pogledao analizu reči. Ima izvesnih profila za upoznavanje iz 2010. godine sa naglašenom rečju „usamljen“. Ako ovo sagledate topografski, ako zamislite da tamne i svetle boje predstavljaju upotrebu te reči, možete videti da je Apalačija prilično usamljeno mesto. Takođe možete videti da Nebraska nije baš tako smešna. Ovo je „nastrana“ mapa, tako da vam ovo pokazuje da žene iz Aljaske treba da se spoje sa muškarcima iz južnog Novog Meksika i da se zabave. Ovo sam sproveo na vrlo detaljnom nivou, pa vam mogu reći da su muškarci iz istočne polovine Long Ajlanda mnogo zainteresovaniji da dobiju po guzi nego muškarci iz zapadne polovine Long Ajlanda. To će biti nešto što ćete poneti sa sobom sa cele ove konferencije. Pamtićete ovu činjenicu jedno 30 godina.
(Laughter)
(Smeh)
When you bring this down to a cartographic level, you can make maps and do the same trick I was doing with the eye charts. You can replace the name of every city in the United States with the word people use more in that city than anywhere else. If you've ever dated anyone from Seattle, this makes perfect sense. You've got "pretty." You've got "heartbreak." You've got "gig." You've got "cigarette." They play in a band and they smoke. And right above that you can see "email." That's Redmond, Washington, which is the headquarters of the Microsoft Corporation. Some of these you can guess -- so, Los Angeles is "acting" and San Francisco is "gay." Some are a little bit more heartbreaking. In Baton Rouge, they talk about being curvy; downstream in New Orleans, they still talk about the flood. Folks in the American capital will say they're interesting. People in Baltimore, Maryland, will say they're afraid. This is New Jersey. I grew up somewhere between "annoying" and "cynical."
Kada ovo svedete na kartografski nivo, možete da pravite mape i izvedete iste trikove kao i ja sa testovima za vid. Možete zameniti ime svakog grada u Sjedinjenim Državama rečju koju ljudi više koriste u tom gradu nego bilo gde drugde. Ako ste se ikada zabavljali sa nekim iz Sijetla, ovo savršeno ima smisla. Imate „lep“. Imate „slomljeno srce“. Imate „svirka“. Imate „cigareta“. Sviraju u bendu i puše. Tačno iznad možete videti „imejl“. To je Redmond u Vašingtonu, a to je sedište korporacije Majkrosoft. Neke možete pogoditi - tako, Los Anđeles je „gluma“, a San Francisko je „gej“. Neki su malo više srceparajući. U Baton Ružu govore o oblinama, nizvodno u Nju Orleansu još govore o poplavi. Ljudi u američkoj prestonici reći će da su zanimljivi. Ljudi iz Baltimora u Merilendu reći će da su uplašeni. Ovo je Nju Džerzi. Odrastao sam negde između „iritantnog“ i „ciničnog“
(Laughter) (Applause)
(Smeh) (Aplauz)
And New York City's number one word is "now," as in, "Now I'm working as a waiter, but actually I'm an actor."
A reč broj jedan u Njujorku je „sada“, kao na primer: „Sada radim kao konobar, ali u stvari sam glumac.“
(Laughter)
(Smeh)
Or, "Now I'm a professor of engineering at NYU, but actually I'm an artist." If you go upstate, you see "dinosaur." That's Syracuse. The best place to eat in Syracuse, New York, is a Hell's Angels barbecue joint called Dinosaur Barbecue. That's where you would take somebody on a date. I live somewhere between "unconditional" and "midsummer," in Midtown Manhattan. And this is gentrified North Brooklyn, so you've got "DJ" and "glamorous" and "hipsters" and "urbane." So that's maybe a more democratic portrait. And the idea was, what if we made red-state and blue-state maps based on what we want to do on a Friday night?
Ili: „Sada sam profesor inženjerstva na Njujorškom univerzitetu, ali zapravo sam umetnik.“ Ako krenete ka severu države, videćete „dinosaurus“. To je Sirakuza. Najbolje mesto sa hranom u Sirakuzi u Njujorku je roštiljarnica „Anđela pakla“ po imenu „Roštilj dinosaurus“. Tamo biste odveli nekog na sastanak. Živim negde između „bezuslovnog“ i „sredine leta“ u centru Menhetna. Ovo je renovirani severni Bruklin, tako da tu imate „di-džeja“, „glamurozno“, „hipstere“ i „urbane“. Ovo može biti demokratičniji portret. Ideja je bila - šta ako napravimo mape crvenih i plavih država na osnovu toga šta bismo radili petkom uveče?
This is a self-portrait. This is based on my email, about 500,000 emails sent over 20 years. You can think of this as a quantified selfie. So what I'm doing is running a physics equation based on my personal data. You have to imagine everybody I've ever corresponded with. It started out in the middle and it exploded with a big bang. And everybody has gravity to one another, gravity based on how much they've been emailing, who they've been emailing with. And it also does sentimental analysis, so if I say "I love you," you're heavier to me. And you attract to my email addresses in the middle, which act like mainline stars. And all the names are handwritten.
Ovo je autoportret. Baziran je na mom imejlu, oko 500 000 imejlova poslatih tokom više od 20 godina. Možete ovo smatrati kvantifikovanim selfijem. Ono što radim jeste primena jednačine iz fizike na osnovu mojih ličnih podataka. Morate da zamislite sve ljude sa kojima sam se ikada dopisivao. Počelo je u sredini i eksplodiralo je kao veliki prasak. Svako ima silu teže u odnosu na druge, zasnovanu na tome koliko su mejlova slali, sa kime su se dopisivali. Takođe se vrši i sentimentalna analiza, tako da ako kažem „volim te“, imate veću težinu za mene i privlače vas moje imejl adrese u sredini, koje deluju kao glavne zvezde. Sva imena su ručno ispisana.
Sometimes you do this data and this work with real-time data to illuminate a specific problem in a specific city. This is a Walther PPK 9mm semiautomatic handgun that was used in a shooting in the French Quarter of New Orleans about two years ago on Valentine's Day in an argument over parking. Those are my cigarettes. This is the house where the shooting took place. This project involved a little bit of engineering. I've got a bike chain rigged up as a cam shaft, with a computer driving it. That computer and the mechanism are buried in a box. The gun's on top welded to a steel plate. There's a wire going through to the trigger, and the computer in the box is online. It's listening to the 911 feed of the New Orleans Police Department, so that anytime there's a shooting reported in New Orleans,
Ponekad dolazite do tih podataka i radite sa podacima u realnom vremenu da biste rasvetlili određeni problem u određenom gradu. Ovo je poluautomatski pištolj Volter PPK od 9 mm koji je korišćen u pucnjavi u francuskoj četvrti u Nju Orleansu pre oko dve godine na Dan zaljubljenih u raspravi zbog parkiranja. To su moje cigarete. Ovo je kuća gde se dogodila pucnjava. Ovaj projekat je podrazumevao i malo inženjeringa. Imam lanac bicikla koji je montiran kao bregasta osovina, sa kompjuterom koji ga pokreće. Taj kompjuter i mehanizam su smešteni u kutiji. Pištolj je na vrhu zavaren za čeličnu ploču. Žica prolazi do okidača, a kompjuter u kutiji je povezan sa internetom. On osluškuje telefonsku liniju policijske uprave Nju Orleansa, tako da svaki put kada neko prijavi pucnjavu u Nju Orleansu,
(Gunshot sound)
(Zvuk pucnja)
the gun fires. Now, there's a blank, so there's no bullet. There's big light, big noise and most importantly, there's a casing. There's about five shootings a day in New Orleans, so over the four months this piece was installed, the case filled up with bullets. You guys know what this is -- you call this "data visualization." When you do it right, it's illuminating. When you do it wrong, it's anesthetizing. It reduces people to numbers. So watch out.
pištolj opali. U pitanju je ćorak, tako da nema metka. Tu je veliko svetlo, glasna buka i, što je najvažnije, tu je kutija. Dnevno ima oko 5 pucnjava u Nju Orleansu, tako da se, tokom četiri meseca otkako je ovo delo postavljeno, kutija ispunila mecima. Znate šta je ovo; to nazivate „vizualizacija podataka“. Kada je dobro sprovodite, rasvetljava. Kada je sprovodite loše, obesvešćuje. Svodi ljude na brojeve. Stoga pazite.
One last piece for you. I spent the last summer as the artist in residence for Times Square. And Times Square in New York is literally the crossroads of the world. One of the things people don't notice about it is it's the most Instagrammed place on Earth. About every five seconds, someone commits a selfie in Times Square. That's 17,000 a day, and I have them all.
Poslednje delo za vas. Proveo sam poslednje leto kao umetnik koji obitava na Tajms skveru. Tajms skver u Njujorku je bukvalno raskršće sveta. Ono što ljudi ne primećuju u vezi sa njim je da je to mesto na zemlji koje je najzastupljenije na Instagramu. Otprilike na svakih pet sekundi, neko napravi selfi na Tajms skveru. To je 17 000 dnevno, a ja imam sve njih.
(Laughter)
(Smeh)
These are some of them with their eyes centered.
Ovo su neki od njih sa centriranim očima.
Every civilization, will use the maximum level of technology available to make art. And it's the responsibility of the artist to ask questions about what that technology means and how it reflects our culture.
Svaka civilizacija će iskoristiti maksimalni nivo dostupne tehnologije za umetnost. Odgovornost je umetnika da postavi pitanja o tome šta ta tehnologija znači i kako odražava našu kulturu.
So I leave you with this: we're more than numbers. We're people, and we have dreams and ideas. And reducing us to statistics is something that's done at our peril.
Ostavljam vas sa ovim - mi predstavljamo više od brojeva. Mi smo ljudi i imamo snove i ideje. Naše svođenje na statistiku je nešto što se radi na našu štetu.
Thank you very much.
Hvala vam mnogo.
(Applause)
(Aplauz)