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Aparna Rao 談(富有幽默感)的高科技藝術

Aparna Rao: High-tech art (with a sense of humor)

 

Photo of three lions hunting on the Serengeti.

講者:Aparna Rao

2011年11月演講,2011年11月在TEDGlobal 2011上線

 

翻譯:洪曉慧

編輯:朱學恆

簡繁轉換:洪曉慧

後製:洪曉慧

字幕影片後制:謝旻均

 

影片請按此下載

MAC及手持裝置版本請按此下載

閱讀中文字幕純文字版本

 

關於這場演講

藝術家及TED會員Aparna Rao,以一種令人驚訝,且往往是幽默的方式,重新創造了熟悉的物體。Rao與合作夥伴Soren Pors,共同創造高科技藝術裝置-一台能發送emails的打字機,一台能在整個房間裡追蹤你,並使你在螢幕上隱形的攝影機-在一般物體和互動方式中加入了一些有趣的體驗。

 

關於Aparna Rao

班加羅爾藝術家雙人組Pors & Rao之一的Aparna Rao,以機電系統和互動裝置進行藝術創作。

 

為什麼要聽她演講

TED會員Aparna Rao巧妙運用科技來創作藝術裝置,讓人們體驗熟悉的物體,並以新穎而幽默方式與其互動。從她的聲敏「小矮人」,到雙人用的「叔叔專用電話」,Rao的作品鼓勵人們參與而非旁觀。藉由高科技和高雅藝術的結合,她在創作中融入了有趣的表達方式和古怪的行為。

 

Rao在印度阿默達巴德國家設計學院及義大利互動設計研究所做研究。2005年,她與Soren Pors成為研究夥伴,並從此開始共同進行創作。

 

Aparna Rao的英語網上資料

2011 TED Senior Fellows

 

[TED科技‧娛樂‧設計]

已有中譯字幕的TED影片目錄(繁體)(簡體)。請注意繁簡目錄是不一樣的。

 

Aparna Rao 談(富有幽默感)的高科技藝術

 

嗨,今天我要帶大家瀏覽一下,我與丹麥藝術家Soren Pors共同合作完成的八個計畫。我們自稱為Pors 和 Rao,在印度居住及工作。

 

我打算從最先完成的一件物體開始,我稱它為「叔叔專用電話」。這個靈感來自於我叔叔特殊的習慣:不斷要求我為他做一些事,幾乎就像我是他身體的延伸一樣。為他開燈,或端杯茶、拿包煙給他。當我長大後,情況越變越糟,我開始認為這彷彿是一種控制形式。但當然,我無法說什麼,因為在印度家庭裡叔叔是頗受敬重的人物。這種情況令我苦惱,最令我不解的就是他使用室內電話的習慣;他會握住話筒,期待我為他撥個電話號碼。所以作為給我叔叔的回應和禮物,我為他製造了「叔叔專用電話」。它相當長,需要兩個人一起使用,這正是我叔叔使用設計給單人使用的電話的方式。

 

但問題是,當我離開家鄉去唸大學,我開始想念他的命令,所以我為他做了一部黃金打字機,他可以藉此用email發送命令給世界各地的侄子和侄女。所以他得做的就是,拿起一張紙,將它捲進這個滾筒架上,打上自己的email或命令,然後將紙張拉出,這個裝置會自動以email形式發信給擬定的對象。所以你們可以在圖片中看到,我們嵌入了很多電子設備,它們能理解所有的機械操作,並將其轉換成數位形式,所以我叔叔只需操作機械介面。當然,這個物體必須非常豪華且具有形式主義感,正如我叔叔所喜歡的。

 

下一項作品是我們暱稱為「小矮人」的聲敏裝置,我們的創作概念是被一族非常害羞、敏感且甜美的生物環繞,因此我們進行的方式是,將這些鑲板裝在牆壁上,讓它們後方躲藏著這些小生物,一旦四周靜下來,它們就會稍微探出頭來;如果四周變得更安靜些,它們會伸出脖子;只要聽到一點聲音,它們就會再度躲藏起來。

 

因此,這是一個三面牆都裝了鑲板的房間,它們後方躲著五百多個像這樣的小矮人,所以這就是它運作的情形,這是裝置原型的影片。所以當四周靜下來時,它們會從鑲板後方稍稍探出頭來,它們聽覺作用的方式就跟人類或真正生物一樣,因此不久後,它們會對曾經嚇到它們的聲音免疫,而且它們對背景聲音不會有反應。你們不久後會聽到火車聲,它們對此不會有反應。(噪音)但它們會對前景聲音產生反應,你們快要聽到了。(口哨聲)所以我們相當努力地盡可能使它們逼真,所以每一個小矮人都擁有自己的行為模式、心理狀態、情緒波動和性格等,所以這是一個非常早期的原型;當然,之後它有很大的改進。我們讓它們跟人們互動,但我們發現人們跟它們互動時,表現的相當頑皮而天真。

 

這是一個被稱為「失蹤者」的錄影裝置。我們對隱形這個概念非常感興趣;如何才可能體驗隱形的感覺?因此,我們和一間監視器專業公司合作,要求他們跟我們合作開發一種軟體,用一台可觀察在房間中的人的攝影機,追蹤他們,並用背景取代另一個人,使他呈現隱形狀態。

 

所以我將要讓你們看一個非常早期的原型,你可以看到我的同事Soren在右邊,他確實在這個空間裡;在左邊,你們會在影片中看到攝影機讓他隱形的過程。Soren進入房間,砰!他隱形了。你們可以看到攝影機正在追蹤他,然後將他去除。這是一部非常早期的影片,所以我們還沒處理重疊等所有細節,但不久後,我們很快就將它改善完美。因此我們的做法是,在一個房間裡放置一部照著這個空間的攝影機,我們在每面牆上都放了一個螢幕,當人們走進房間時,他們會在螢幕中看到自己;除了一點不同,其中一個人無論移動到房間何處,都一直是隱形的。

 

所以這是一件被稱為「光影」的作品,它幾乎就像一張紙,就像以童趣手法繪製的漏油或太陽剪影。從正面看,這個物體顯得非常強壯有力;從側面看,它似乎顯得十分虛弱。所以當人們走進房間時,幾乎都會忽略它,認為它是某種懶洋洋躺著的廢物。但只要他們一走過,它就會開始以一種蠕動的姿勢爬上牆壁,然後它會筋疲力盡,每次都會癱倒在地。

 

(笑聲)

 

因此,這件作品是一個倒立的漫畫式人物,他的頭如此沉重,裝滿了沉重的想法,彷彿一頭栽進它的帽子裡,身體幾乎像從帽子裡長出的植物一樣。好,它所做的是,用它的頭,以一種爛醉的姿勢,及無法預知且極度緩慢的動作四處移動。它多少被限制在這個圈子裡,因為如果沒有這個圈子,地板是非常平整的,它會開始在這個空間裡漫步;其中並沒有裝電線。我讓你們看一個實際示範-當人們進入房內時,會激起這個物體的反應;它的反應很慢,幾分鐘後,有點痛苦的立起,然後它開始動作,看起來幾乎就像快倒了下去。這是個重要時刻,因為我們希望灌輸觀眾一種想伸手幫助或拯救這個物體的本能。但它並非真的需要,因為它再次設法將自己拉起。

 

因此,這項作品對我們來說是真正的技術挑戰,我們非常努力地製作,就像這些年來我們大部份作品一樣,試著使其中的力學、平衡和動力恰到好處。建立讓它倒下的正確時刻對我們來說非常重要,因為如果我們用一種會使它翻倒的方式,會損壞它本身;如果它倒下的幅度不夠,就無法將那種宿命感,或想要去幫助它的感覺灌輸進去。所以我要讓你們看一段非常簡短的影片,就是我們進行測試的情形-速度快多了。這是我的同事,他放開它,現在他緊張起來,所以打算伸手扶它,但他並不需要這麼做,因為它會自己設法立起來。

 

所以這是一個我們非常感興趣的作品,在充滿美感的毛皮中嵌入上千個大小不同的微小光纖,就像夜空裡閃爍的星光。這是仿照夜空的規模,因此我們將光纖纏繞成似斑點的形式。它的外型是一隻泰迪熊,被懸掛在天花板上。這個想法是,以某種非常寒冷、遙遠而抽象的東西,像宇宙;跟泰迪熊這個人們非常熟悉的形式對比;它令人有撫慰和親密的感覺。這個想法是,在某個時刻,你眼中看到的不再是泰迪熊的形式,你幾乎會感覺它是空間中的一個洞,彷彿你正向外注視著閃爍的夜空。

 

所以這是最後一件作品,正在進行中,它被稱為「填空者」。好,想像一個小立方體,大約這麼大,立在你面前,在這個房間中央。當你走近它時,它會試著嚇唬你,脹成一個高度是原來兩倍、體積是原來四倍的立方體。所以這個物體會不斷地擴張和收縮,創造一種與四周人群互動的狀態,彷彿它正試著在接縫處等地方隱藏一個祕密。

 

因此我們運用了大量科技,但我們並不十分喜愛科技,因為這些年來它讓我們在工作過程中吃了不少苦頭。但我們使用它,因為我們感興趣的是,它能幫助我們表達情緒,並將行為模式呈現在我們創造的生物上。當某種生物突然浮現在我腦海時,幾乎就像這個創作過程,是為了發現這種生物真正希望存在的方式,以及它希望以什麼形式存在、什麼方式移動。

 

謝謝。

 

(掌聲)

 

以下為系統擷取之英文原文

About this Talk

Artist and TED Fellow Aparna Rao re-imagines the familiar in surprising, often humorous ways. With her collaborator Soren Pors, Rao creates high-tech art installations -- a typewriter that sends emails, a camera that tracks you through the room only to make you invisible on screen -- that put a playful spin on ordinary objects and interactions.

About the Speaker

A part of the Bangalore-based artist duo Pors & Rao, Aparna Rao works with electro-mechanical systems and interactive installations. Full bio and more links

Transcript

Hi. Today, I'm going to take you through glimpses of about eight of my projects, done in collaboration with Danish artist Soren Pors. We call ourselves Pors & Rao, and we live and work in India.

I'd like to begin with my very first object, which I call "The Uncle Phone." And it was inspired by my uncle's peculiar habit of constantly asking me to do things for him, almost like I were an extension of his body -- to turn on the lights or to bring him a glass of water, a pack of cigarettes. And as I grew up, it became worse and worse, And I started to think of it as a form of control. But of course, I could never say anything, because the uncle is a respected figure in the Indian family. And the situation that irked me and mystified me the most was his use of a landline telephone. He would hold on to the receiver and expect me to dial a number for him. And so as a response and as a gift to my uncle, I made him "The Uncle Phone." It's so long that it requires two people to use it. It's exactly the way my uncle uses a phone that's designed for one person.

But the problem is that, when I left home and went to college, I started missing his commands. And so I made him a golden typewriter through which he could dispense his commands to nephews and nieces around the world as an email. So what he had to do was take a piece of paper, roll it into the carriage, type his email or command and pull the paper out. This device would automatically send the intended person the letter as an email. So here you can see, we embedded a lot of electronics that understands all of the mechanical actions and converts it to digital. So my uncle is only dealing with a mechanical interface. And of course, the object had to be very grand and have a sense of ritualism, the way my uncle likes it.

The next work is a sound-sensitive installation that we affectionately call "The Pygmies." And we wanted to work with a notion of being surrounded by a tribe of very shy, sensitive and sweet creatures. So how it works is we have these panels, which we have on the wall, and behind them, we have these little creatures which hide. And as soon as it's silent, they sort of creep out. And if it's even more silent, they stretch their necks out. And at the slightest sound, they hide back again.

So we had these panels on three walls of a room. And we had over 500 of these little pygmies hiding behind them. So this is how it works. This is a video prototype. So when it's quiet, it's sort of coming out from behind the panels. And they hear like humans do, or real creatures do. So they get immune to sounds that scare them after awhile. And they don't react to background sounds. You'll hear a train in moment that they don't react to. (Noise) But they react to foreground sounds. You'll hear that in a second. (Whistling) So we worked very hard to make them as lifelike as possible. So each pygmy has its own behavior, psyche, mood swings, personalities and so on. So this is a very early prototype. Of course, it got much better after that. And we made them react to people, but we found that people were being quite playful and childlike with them.

This is a video installation called "The Missing Person." And we were quite intrigued with playing with the notion of invisibility. How would it be possible to experience a sense of invisibility? So we worked with a company that specializes in camera surveillance, and we asked them to develop a piece of software with us, using a camera that could look at people in the room, track them and replace one person with the background, rendering them invisible.

So I'm just going to show you a very early prototype. On the right side you can see my colleague Soren, who's actually in the space. And on the left side, you'll see the processed video where the camera has made him invisible. Soren enters the room. Pop! He goes invisible. And you can see that the camera is tracking him and erasing. It's a very early video, so we haven't yet dealt with the overlap and all of that, but that got refined pretty soon, later. So how we used it was in a room where we had a camera looking into the space, and we had one monitor, one on each wall. And as people walked into the room, they would see themselves in the monitor, except with one difference: one person was constantly invisible wherever they moved in the room.

So this is a work called "The Sun Shadow." And it was almost like a sheet of paper, like a cutout of a childlike drawing of an oil spill or a sun. And from the front, this object appeared to be very strong and robust, and from the side, it almost seemed very weak. So people would walking into the room and they'd almost ignore it, thinking it was some crap laying around. But as soon as they passed by, it would start to climb up the wall in jerky fashion. And it would get exhausted, and it would collapse every time.

(Laughter)

So this work is a caricature of an upside-down man. His head is so heavy, full of heavy thoughts, that it's sort of fallen into his hat, and his body's grown out of him almost like a plant. Well what he does is he moves around in a very drunken fashion on his head in a very unpredictable and extremely slow movement. And it's kind of constrained by that circle. Because if that circle weren't there, and the floor was very even, it would start to wander about in the space. And there's no wires. So I'll just show you an instance -- so when people enter the room, it activates this object. And it very slowly, over a few minutes, sort of painfully goes up, and then it gains momentum and it looks like it's almost about to fall. And this is an important moment, because we wanted to instill in the viewer an instinct to almost go and help, or save the subject. But it doesn't really need it, because it, again, sort of manages to pull itself up.

So this work was a real technical challenge for us, and we worked very hard, like most of our works, over years to get the mechanics right and the equilibrium and the dynamics. And it was very important for us to establish the exact moment that it would fall, because if we made it in a way that it would topple over, then it would damage itself, and if it didn't fall enough, it wouldn't instill that fatalism, or that sense of wanting to go and help it. So I'm going to show you a very quick video where we are doing a test scenario -- it's much faster. That's my colleague. He's let it go. Now he's getting nervous, so he's going to go catch it. But he doesn't need to, because it manages to lift itself up on its own.

So this is a work that we were very intrigued with, working with the aesthetic of fur embedded with thousands of tiny different sizes of fiber optics, which twinkle like the night sky. And it's at the scale of the night sky. So we wrapped this around a blob-like form, which is in the shape of a teddy bear, which was hanging from the ceiling. And the idea was to sort of contrast something very cold and distant and abstract like the universe into the familiar form of a teddy bear, which is very comforting and intimate. And the idea was that at some point you would stop looking at the form of a teddy bear and you would almost perceive it to be a hole in the space, and as if you were looking out into the twinkling night sky.

So this is the last work, and a work in progress, and it's called "Space Filler." Well imagine a small cube that's about this big standing in front of you in the middle of the room, and as you approached it, it tried to intimidate you by growing into a cube that's twice its height and four times its volume. And so this object is constantly expanding and contracting to create a dynamic with people moving around it -- almost like it were trying to conceal a secret within its seams or something.

So we work with a lot of technology, but we don't really love technology, because it gives us a lot of pain in our work over years and years. But we use it because we're interested in the way that it can help us to express the emotions and behavioral patterns in these creatures that we create. And once a creature pops into our minds, it's almost like the process of creation is to discover the way this creature really wants to exist and what form it wants to take and what way it wants to move.

Thank you.

(Applause)
 


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