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TED Fellows Retreat 2013

Aparna Rao: Art that craves your attention

アパルナ・ラオ: 注目を集めようとするアート

August 6, 2013

アーティストのアパルナ・ラオが最新の作品をチャーミングに紹介します。内部に巧妙なロボット技術を組み込んだクールでコミカルな彫刻が、皆さんの知覚をあやつり、注目を集めようとします。少し時間をとって、心ゆくまで楽しんでください。

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

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Double-click the English subtitles below to play the video.
Hi. So today, I'd like to share
some works in progress.
今日は作品の制作過程を
ご覧いただきます
00:12
Since we are still realizing these works,
どの作品も具体化の途中で
00:15
we are largely working within the realm
今も直感を頼りに
00:17
of intuition and mystery, still.
手さぐりで制作しています
00:19
So I'm going to try and describe
これから説明したいのは
00:21
some of the experiences that we're looking for
作品を通して私達が探っている —
00:23
through each of the works.
体験についてです
00:25
So the first work is called the Imperial Monochromes.
1つ目の作品
『インペリアル・モノクローム』です
00:27
A viewer sort of unsuspectingly walks into the room,
観客は何も知らずに
部屋へ入ってきて
00:30
and catches a glimpse of these panels
壁にでたらめに配置された —
00:33
in a messy composition on the wall.
パネルを目にします
00:36
Within seconds, as if the panels have noticed
ところがパネルはすぐに
00:38
the presence of the viewer,
観客の存在に気づいたかのように
00:40
they appear to panic and sort of get into
あたふたしながら
00:42
a strict symmetry.
左右対称に整列します
00:45
(Laughter)
(笑)
00:47
So this is the sketch of the two states.
両方の状態のスケッチです
00:48
One is total chaos. The other is absolute order.
一方はバラバラ
一方は完ぺきな秩序です
00:50
And we were interested in seeing how little change
面白いのは
わずかな変化だけで
00:53
it takes to move from one state to the other state.
どちらの状態にも
なることです
00:55
This also reminded us of two
very different pictorial traditions.
ここで連想されるのは
全く違う2つの絵画様式です
00:59
One is the altar tablets of the 15th century,
1つは15世紀の祭壇画 ―
01:03
and the other is about 100 years ago,
もう1つは100年ほど前の
01:05
Malevich's abstract compositions.
マレーヴィチの抽象絵画です
01:08
So I'm just going to take you to a video.
スケール感がわかるように
01:11
To give you a sense of scale,
ビデオを用意しました
01:13
the largest panel is about two meters high.
大きなパネルの高さは約2m —
01:14
That's about this much.
And the smallest one is an A4.
一番小さいのはA4サイズです
01:16
So a viewer enters the space,
観客が展示室に入ると
01:19
and they snap to attention.
パネルは あっという間に整列します
01:21
And after a while, if the viewer continues
観客がその場に
01:23
to remain in the space,
しばらくいると
01:25
the panels will sort of become immune
観客の存在に
01:27
to the presence of the viewer
パネルが慣れてきて
01:29
and become lax and autonomous again,
どれも だらしなく
緩んできます
01:31
until they sort of sense a presence
in the room or a movement,
でも人の気配や
動きを感じたとたんに
01:34
when they will again snap to attention.
また サッと整列します
01:37
(Laughter)
(笑)
01:40
So here it appears as if it's the viewer
まるで観客が
01:41
that's sort of instigating the sense
of order among the panels,
パネルに緊張感を
与えているようです
01:44
but it could also be the other way around,
あるいは反対に
01:47
that the panels are so stuck within
パネルがあまりにも
01:49
their preconditioned behaviors
条件づけられた動きに
こだわるせいで
01:51
that they sort of thrust the
viewer with the role of a tyrant.
観客に暴君役を
押し付けているようにも見えます
01:53
So this brings me to a quieter, small work
これに続いて もっと
こぢんまりとした作品 ―
01:59
called Handheld.
『ハンドヘルド』を制作しました
02:01
The viewer sees a piece of paper
観客が目にするのは
02:03
that's mounted on the far end of the wall,
壁に貼ってある1枚の紙ですが
02:05
but when you go closer, you see that it's a blank
近づいていくと
A4か レターサイズの
02:07
A4, or a letter-sized piece of paper,
白い紙の両端を
02:10
that's held on either side
2つの小さな手が
支えているのが見えます
02:12
by two small hands
2つの小さな手が
支えているのが見えます
02:13
that appear to be carved with a great deal
細心の注意を払って
02:15
of attention and care from a small block of wood.
小さな木片から
彫り出したように見えます
02:18
The viewer also sees that this entire sculpture
また 観客は
作品全体が わずかに
02:21
is sort of moving very slightly,
動いていることに気づきます
02:24
as if these two hands are trying
まるで2つの手が
02:26
to hold the paper very still
紙を動かさないように
ずっと支えていて
02:28
for a long period of time,
紙を動かさないように
ずっと支えていて
02:30
and somehow are not managing to.
ついに耐えきれなく
なったようにも見えます
02:32
So this instability in the movement
この不安定な動きは
02:35
very closely resembles the unsteady nature
手持ちカメラを通して見た
映像が不安定なのと
02:37
of images seen through a handheld camera.
とてもよく似ています
02:40
So here I'm going to show you two tandem clips.
2つの映像を見比べてください
02:43
One is through a still camera
1つは固定カメラ ―
02:46
and the other is through a handheld camera.
もう1つは手持ちカメラで撮りました
02:47
And you immediately see how the unsteady nature
お気づきだと思いますが
02:49
of the video suggests the presence
映像が不安定だと
撮影者の主観的な
02:52
of an observer and a subjective point of view.
視点が表れてくるのです
02:55
So we've just removed the camera
そこで私達はカメラを通さず
02:57
and transferred that movement onto the panel.
紙自体が不安定に
動くようにしました
02:59
So here's a video.
ビデオをご覧ください
03:01
You have to imagine the other hand.
It's not there yet.
反対の手は
想像してください
03:03
But to us, we're sort of trying to evoke
これによって
恥ずかしがる様子を
03:05
a self-effacing gesture, as if there's a little person
表現しようとしています
まるで両腕を
03:08
with outstretched arms
いっぱいに広げた小人が
03:12
behind this enormous piece of paper.
巨大な紙の背後にいるみたいです
03:13
That sort of likens it to the amount of strain
この動きは緊張度も表しています
03:16
to be at the service of the observer and present
見ている人の役に立とうと
03:18
this piece of paper very delicately to the viewer
目の前の観客に この紙を
03:21
in front of them.
そっと見せようとしているのです
03:24
The next work is Decoy.
次は『おとり』です
03:27
This is a cardboard model, so the object
こちらは模型ですが
03:29
is about as tall as I am.
私と同じ位の背丈です
03:31
It has a rounded body, two arms,
体は丸く2本の腕と
03:33
and a very tall, head-like antenna,
頭に見える長いアンテナがあります
03:34
and its sole purpose is to
attract attention towards itself.
このオブジェの唯一の狙いは
人の注意をひくことです
03:37
So when a viewer passes by,
だから観客が通りかかると
03:41
it sort of tilts from side to side,
体を左右に揺らします
03:42
and moves its arms more and more frantically
そして その人が近づくにつれて
03:45
as the person gets closer.
ますます激しく
腕を振ります
03:47
So here is the first test scenario.
これは初回の動作テストです
03:51
You see the two movements integrated,
体と腕が一緒に動くようになり
03:53
and the object seems to be employing
オブジェが全身を使って
03:55
its entire being in this expression of desperation.
必死にアピールして
いるように見えます
03:57
But the idea is that once it's
got the person's attention,
でも一度 注意を
ひいてしまったら
04:02
it's no longer interested, and it looks for the next person whose attention to get.
もう興味を失って
別の人を探します
04:05
(Laughter)
(笑)
04:09
So this is the final fabricated body of the Decoy.
これが完成した
『おとり』の外観です
04:12
It appears to be mass-manufactured
まるで大量生産された
製品のようです
04:15
like it came out of a factory
工場から出荷される —
04:17
like vacuum cleaners and washing machines.
掃除機や洗濯機みたいです
04:19
Because we are always working
私達は いつも個人の領域を
起点に制作しています
04:21
from a very personal space,
私達は いつも個人の領域を
起点に制作しています
04:23
we like how this consumer aesthetic
ですから消費者向けの
デザインのせいで
04:24
sort of depersonalizes the object
オブジェが個性を失い
04:26
and gives us a bit of distance
一見 人との間に
04:29
in its appearance, at least.
距離ができる点を
気に入っています
04:30
And so to us this is a kind of sinister being
これには少し悪意があります
04:32
which is trying to distract you from the things
注意を払うべきものから
04:35
that actually need your attention,
私達の目を
逸らせようとするからです
04:37
but it could also be a figure that needs a lot of help.
一方で 多くの助けを
必要とする存在でもあります
04:38
The next work is an object,
次の作品は
04:43
that's also a kind of sound instrument.
オブジェであり 楽器でもあります
04:45
In the shape of an amphitheater
この円形劇場の大きさは
04:48
that's scaled to the size of an audience
舞台の上から見た
お客さんのサイズに
04:49
as perceived from somebody from the stage.
合わせています
04:51
So from where I'm standing,
私が立っている場所からだと
04:53
each of you appears to be this big,
皆さんは この位のサイズです
04:55
and the audience sort of takes the entire
私の視野一杯に
04:57
field of my vision.
観衆が広がっています
04:59
Seated in this audience are 996 small figures.
席には996体の
人形が腰掛けます
05:01
They're mechanically enabled to clap
人形はそれぞれが意志をもって
05:05
of their own free will.
拍手する仕組みになっています
05:07
This means that each of them can decide
つまり拍手をするかどうか —
05:09
if and when they want to clap,
いつ拍手するか —
05:11
how hard, for how long,
強さや長さはどうするか —
05:12
how they want to be influenced by
those around them or influence others,
周りに合わせるのか
自分が影響を与えるのか —
05:14
and if they want to contribute to innovation.
新たな拍手に参加するかは
それぞれが自分で決定します
05:18
So when the viewer steps in front of the audience,
見に来た人が
観衆の前に出ると
05:22
there will be a response.
反応が返ってきます
05:24
It could be a few claps or a strong applause,
拍手は まばらな時も
大きい時もありますが
05:26
and then nothing happens until the viewer
その後は何も起きません
05:28
leaves the stage, and again
the audience will respond.
見に来た人がステージを去る時
観衆は再び反応します
05:31
It could be anything from a few feeble claps
数人がパラパラと
05:34
from members in the audience,
拍手するだけの時もあれば
05:36
or it could be a very loud ovation.
盛大な拍手喝采の時もあります
05:38
So to us, I think we're really looking
そして私達は
05:42
at an audience as its own object
観衆全体をオブジェや
05:44
or its own organism
生き物として見る事になります
05:46
that's also got a sort of musical-like quality to it,
また 観衆は音楽的な
要素も持つようになります
05:48
an instrument.
楽器というわけです
05:52
So the viewer can play it
作品を見る人は
05:53
by eliciting quite complex and varied,
とても複雑で多様で微妙な
05:55
nuanced musical or sound patterns,
音のパターンを引き出せます
05:57
but cannot really provoke the audience
でも観衆から思い通りの反応を
06:00
into any particular kind of response.
引き出す事はできないので
06:02
So there's a sense of judgment and capriciousness
評価される感覚や
気まぐれな感じ —
06:05
and uneasiness involved.
そして 不安がつきまといます
06:07
It also has an alluring and trap-like quality to it.
魅力的でありながら
罠のようでもあります
06:10
So here if you see we're quite excited about
頭が2つに割れて
06:14
the image of the head splitting
to form the two hands.
両手になるイメージには
ワクワクします
06:16
So here's a small visual animation,
これが完成イメージです
06:20
as if the two sides of the brain are sort of clashing
まるで左脳と右脳が
ぶつかり合うことで
06:22
against each other to kind of make sense
二重性と緊張関係を
06:26
of the duality and the tension.
理解しているようです
06:28
And here is a prototype.
これがプロトタイプです
06:30
So we can't wait to be engulfed by 996 of them.
早く996体に囲まれてみたいものです
06:33
Okay, this is the last work.
It's called the Framerunners.
さて次が最後の作品
『フレーム・ランナー』です
06:38
It comes out of the idea of a window.
発想のきっかけは窓でした
06:41
This is an actual window in our studio,
これはスタジオにある実際の窓です
06:43
and as you can see, it's made up of three
ご覧の通り幅の違う —
06:46
different thicknesses of wooden sections.
3種類の木枠で出来ています
06:48
So we used the same window vocabulary
この窓と同じ構造に基づいて
06:50
to construct our own frame or grid
オリジナルの枠を作り
06:52
that's suspended in the room and that can
部屋に吊るして両側から
06:55
be viewed from two sides.
見えるようにしました
06:57
This grid is inhabited by a tribe of small figures.
この枠の中には
小さな人形の一族が住んでいます
06:59
They're also made up of three different sizes,
この一族にも
サイズが3種類あって
07:02
as if to suggest a kind of perspective
1つの平面上なのに
07:04
or landscape on the single plain.
遠近感や風景を表すようです
07:07
Each of these figures can also run backward
人形はそれぞれフレーム上を
07:09
and forward in the track
行き来することができ
07:12
and hide behind two adjacent tracks.
中間に隠れる事ができます
07:13
So in contrast to this very tight grid,
とても堅固なフレームとは対照的に
07:17
we wanted to give these figures a very comical
人形はドタバタ喜劇風の
07:19
and slapstick-like quality,
コミカルな動きを目指しました
07:22
as if a puppeteer has taken them
人形つかいが手に持って
07:24
and physically animated them down the path.
操っているような動きです
07:25
So we like the idea of these figures
私達が気に入ったのは
こんなアイデアです
07:28
sort of skipping along
人形達は
07:30
like they're oblivious and carefree
何も気にせず 心配もなく
07:32
and happy-go-lucky and content,
のんきに スキップしています
07:34
until they sort of sense a movement from the viewer
でも観客の気配を感じたとたん —
07:37
and they will hide behind the fastest wall.
一番近くの壁に
隠れてしまうのです
07:40
So to us, this work also presents
its own contradiction.
この作品には矛盾があります
07:44
These figures are sort of entrapped
人形たちは 牢獄のような
07:48
within this very strong grid,
頑丈な枠に囚われていますが
07:50
which is like a prison, but also a fortress,
そこは砦でもあるのです
07:52
because it allows them to be oblivious
枠があるおかげで
07:55
and naive and carefree and quite oblivious
心配もなく 純粋に
07:57
of the external world.
外の世界を忘れていられるからです
07:59
So all these real life qualities that I talk about
まるで生き物のようですが
08:02
are sort of translated to a very specific
その性質は特殊な機構で
08:05
technical configuration,
表現しています
08:07
and we were very lucky to collaborate
幸運にも試作段階で
08:09
with ETH Zurich to develop the first prototype.
チューリッヒ工科大学の
協力を得られました
08:11
So you see they extracted the motion cogs
アニメを見て
彼らが機構を作り
08:14
from our animations and created a wiggle
頭が上下する動きと
08:16
that integrated the head-bobbing movement
前後移動を組み合わせて
08:18
and the back-and-forth movement.
ちょこまかした動きができました
08:20
So it's really quite small.
とても小さくて
手のひらにのる程です
08:22
You can see it can fit into the palm of my hand.
とても小さくて
手のひらにのる程です
08:24
So imagine our excitement when we saw it
アトリエで実際に動くところを
08:26
really working in the studio, and here it is.
見た時は興奮しました
これが その様子です
08:28
(Laughter)
(笑)
08:33
Thank you.
どうもありがとう
08:37
(Applause)
(拍手)
08:38
Translator:Kazunori Akashi
Reviewer:Yuka Ito

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Aparna Rao - Artist
A part of the Bangalore-based artist duo Pors & Rao, TED Senior Fellow Aparna Rao works with electro-mechanical systems and interactive installations.

Why you should listen

With the clever use of technology, TED Fellow Aparna Rao creates art installations that let people experience familiar objects and interactions in refreshingly humorous ways. From her sound-sensative "Pygmies" to her 2-person "Uncle Phone," Rao's work encourages participation rather than spectatorship. By combining high-tech and high-art, she imbues her creations with playful expression and quirky behaviors.

Rao studied at the National Institute of Design in Ahmedabad, India, and at Interaction Design Institute in Italy. In 2005 she partnered with Soren Pors and they've worked in collaboration ever since as Pors & Rao.

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