TED2016
R. Luke DuBois: Insightful human portraits made from data
R. Luk Dubojs (R. Luke DuBois): Pronicljivi ljudski portreti sačinjeni od podataka
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Umetnik R. Luk Dubojs stvara jedinstvene portrete predsednika, gradova, samog sebe, pa čak Britni Spirs, na osnovu podataka i ličnosti. U ovom govoru, on deli devet projekata - od mapa zemlje sačinjenih pomoću informacija sa miliona profila za upoznavanje do pištolja koji ispaljuje ćorke svaki put neko prijavi pucnjavu u Nju Orleansu. Njegova poenta: način na koji koristimo tehnologiju odražava se na nas i našu kulturu, i svodimo druge da podatke na sopstvenu štetu.
R. Luke DuBois - Artist, composer, engineer
R. Luke DuBois weaves information from a multitude of sources into art and music exploring the tensions between algorithms, portraiture and temporal space. Full bio
R. Luke DuBois weaves information from a multitude of sources into art and music exploring the tensions between algorithms, portraiture and temporal space. Full bio
Double-click the English transcript below to play the video.
00:12
So I'm an artist,
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Ja sam umetnik,
00:14
but a little bit of a peculiar one.
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ali pomalo čudan.
00:16
I don't paint.
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Ne slikam.
00:18
I can't draw.
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Ne umem da crtam.
00:20
My shop teacher in high school
wrote that I was a menace
wrote that I was a menace
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Moj nastavnik tehničkog u srednjoj školi
napisao je da sam napast
napisao je da sam napast
00:24
on my report card.
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u mojoj knjižici.
00:25
You probably don't really
want to see my photographs.
want to see my photographs.
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Verovatno ne biste hteli
da vidite moje fotografije.
da vidite moje fotografije.
00:29
But there is one thing I know how to do:
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Ipak, jedno znam da radim -
znam kako da programiram kompjuter.
00:31
I know how to program a computer.
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Umem da kodiram.
00:33
I can code.
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00:34
And people will tell me
that 100 years ago,
that 100 years ago,
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Ljudi mi kažu da pre 100 godina
nisu postojali ljudi kao što sam ja,
00:38
folks like me didn't exist,
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00:39
that it was impossible,
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da je to bilo nemoguće,
00:41
that art made with data is a new thing,
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da umetnost sačinjena od podataka
predstavlja novinu,
predstavlja novinu,
00:44
it's a product of our age,
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da je to proizvod našeg doba,
00:46
it's something that's really important
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to je nešto o čemu je važno razmišljati
00:48
to think of as something
that's very "now."
that's very "now."
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kao o nečemu što pripada sadašnjici.
00:50
And that's true.
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To je istina.
Međutim, postoji oblik umetnosti
koji je veoma dugo prisutan,
koji je veoma dugo prisutan,
00:52
But there is an art form
that's been around for a very long time
that's been around for a very long time
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a koji podrazumeva korišćenje informacija,
00:56
that's really about using information,
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00:58
abstract information,
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apstraktnih informacija,
01:00
to make emotionally resonant pieces.
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da bi se sačinila dela
koja emocionalno ostavljaju utisak.
koja emocionalno ostavljaju utisak.
01:03
And it's called music.
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Naziva se muzika.
01:05
We've been making music
for tens of thousands of years, right?
for tens of thousands of years, right?
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Stvaramo muziku
desetinama hiljada godina, zar ne?
desetinama hiljada godina, zar ne?
01:09
And if you think about what music is --
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Ako razmislite o tome šta je muzika -
note, akordi, tonaliteti,
harmonije i melodije -
harmonije i melodije -
01:11
notes and chords and keys
and harmonies and melodies --
and harmonies and melodies --
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01:14
these things are algorithms.
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sve to su algoritmi.
01:15
These things are systems
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To su sistemi
01:17
that are designed to unfold over time,
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koji su osmišljeni
tako da se odvijaju vremenom,
tako da se odvijaju vremenom,
01:20
to make us feel.
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da izazovu osećanja.
01:22
I came to the arts through music.
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Ušao sam u umetnost kroz muziku.
01:23
I was trained as a composer,
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Učio sam da budem kompozitor
01:25
and about 15 years ago,
I started making pieces
I started making pieces
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i pre oko 15 godina
sam počeo da stvaram dela
sam počeo da stvaram dela
koja su osmišljena
tako da budu usmerena na ukrštanje
tako da budu usmerena na ukrštanje
01:28
that were designed to look
at the intersection
at the intersection
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zvuka i slike,
01:31
between sound and image,
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01:33
to use an image to unveil
a musical structure
a musical structure
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da koriste sliku
da bi otkrila muzičku strukturu
da bi otkrila muzičku strukturu
01:35
or to use a sound to show you
something interesting
something interesting
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ili da koriste zvuk
da bi vam pokazala nešto zanimljivo
da bi vam pokazala nešto zanimljivo
01:38
about something that's usually pictorial.
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o nečemu što je najčešće slikovno.
01:40
So what you're seeing on the screen
is literally being drawn
is literally being drawn
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Dakle, ono što vidite na ekranu
bukvalno iscrtava
bukvalno iscrtava
01:44
by the musical structure
of the musicians onstage,
of the musicians onstage,
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muzička struktura muzičara na sceni,
01:47
and there's no accident
that it looks like a plant,
that it looks like a plant,
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a nije slučajno da ovo izgleda kao biljka,
01:49
because the underlying
algorithmic biology of the plant
algorithmic biology of the plant
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jer algoritamska biologija biljke
koja se nalazi u osnovi
koja se nalazi u osnovi
predstavlja ono što je muzičkoj strukturi
prvobitno dalo informaciju.
prvobitno dalo informaciju.
01:53
is what informed the musical structure
in the first place.
in the first place.
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Dakle, kada saznate kako to da radite,
kada znate kako da kodirate sa medijima,
kada znate kako da kodirate sa medijima,
01:56
So once you know how to do this,
once you know how to code with media,
once you know how to code with media,
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01:59
you can do some pretty cool stuff.
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možete da postignete neke sjajne stvari.
02:02
This is a project I did
for the Sundance Film Festival.
for the Sundance Film Festival.
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Ovo je projekat koji sam uradio
za filmski festival Sandens.
za filmski festival Sandens.
02:05
Really simple idea: you take
every Academy Award Best Picture,
every Academy Award Best Picture,
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Vrlo jednostavna ideja - uzmete svaki film
koji je dobio Oskara za najbolji film,
koji je dobio Oskara za najbolji film,
02:11
you speed it up to one minute each
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ubrzate svaki u jedan minut
02:13
and string them all together.
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i nanižete ih zajedno.
02:15
And so in 75 minutes, I can show you
the history of Hollywood cinema.
the history of Hollywood cinema.
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Tako vam za 75 minuta mogu prikazati
istoriju holivudskog bioskopa.
istoriju holivudskog bioskopa.
02:19
And what it really shows you
is the history of editing
is the history of editing
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Ono što vam zaista prikazuje
jeste istorija uređivanja
jeste istorija uređivanja
02:22
in Hollywood cinema.
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holivudskog bioskopa.
02:23
So on the left, we've got Casablanca;
on the right, we've got Chicago.
on the right, we've got Chicago.
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Sa leve strane imamo „Kazablanku“,
a sa desne strane imamo „Čikago“.
a sa desne strane imamo „Čikago“.
02:27
And you can see that Casablanca
is a little easier to read.
is a little easier to read.
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Možete videti da je „Kazablanku“
malo lakše razaznati.
malo lakše razaznati.
02:30
That's because the average length
of a cinematic shot in the 1940s
of a cinematic shot in the 1940s
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To je zato što je prosečna dužina
filmskog kadra 1940-ih godina
filmskog kadra 1940-ih godina
bila 26 sekundi,
02:34
was 26 seconds,
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02:35
and now it's around six seconds.
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a sada je oko šest sekundi.
Ovo je projekat koji je bio inspirisan
02:38
This is a project that was inspired
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02:40
by some work that was funded
by the US Federal Government
by the US Federal Government
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izvesnim radom koji je finansirala
federalna vlada SAD-a
federalna vlada SAD-a
02:43
in the early 2000s,
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ranih 2000-ih godina,
02:44
to look at video footage and find
a specific actor in any video.
a specific actor in any video.
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da pogledate video snimak i nađete
određenog glumca u bilo kom snimku.
određenog glumca u bilo kom snimku.
02:51
And so I repurposed this code
to train a system on one person
to train a system on one person
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Tako sam promenio cilj ovog koda
tako da nauči sistem o jednoj osobi
tako da nauči sistem o jednoj osobi
02:56
in our culture who would never need
to be surveilled in that manner,
to be surveilled in that manner,
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iz naše kulture koja nikad ne bi trebalo
da bude tako pod nadgledanjem,
da bude tako pod nadgledanjem,
03:00
which is Britney Spears.
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a to je Britni Spirs.
03:01
I downloaded 2,000 paparazzi
photos of Britney Spears
photos of Britney Spears
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Skinuo sam dve hiljade
paparaci fotografija Britni Spirs
paparaci fotografija Britni Spirs
i naučio svoj kompjuter
da pronađe njeno lice,
da pronađe njeno lice,
03:05
and trained my computer to find her face
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03:07
and her face alone.
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i to isključivo njeno lice.
03:09
I can run any footage of her through it
and will center her eyes in the frame,
and will center her eyes in the frame,
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Mogu da pokrenem bilo koji njen snimak
i centriraće njene oči u kadru,
i centriraće njene oči u kadru,
03:13
and this sort of is a little
double commentary
double commentary
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a to je na neki način dvostruki komentar
03:15
about surveillance in our society.
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u vezi sa prismotrom u našem društvu.
Veoma smo opterećeni anksioznošću
vezanom za to da nas posmatraju,
vezanom za to da nas posmatraju,
03:17
We are very fraught with anxiety
about being watched,
about being watched,
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03:20
but then we obsess over celebrity.
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a onda opsedamo poznate ličnosti.
03:24
What you're seeing on the screen here
is a collaboration I did
is a collaboration I did
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Na ovom ekranu vidite
nešto što sam uradio u saradnji
nešto što sam uradio u saradnji
03:27
with an artist named Lián Amaris.
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sa umetnicom po imenu Lijan Amaris.
03:30
What she did is very simple
to explain and describe,
to explain and describe,
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Ona je uradila nešto
što je vrlo lako objasniti i opisati,
što je vrlo lako objasniti i opisati,
03:34
but very hard to do.
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ali vrlo teško uraditi.
03:35
She took 72 minutes of activity,
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Uzela je aktivnost od 72 minuta,
03:39
getting ready for a night out on the town,
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spremanje za izlazak u grad,
03:41
and stretched it over three days
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i to je rastegla na tri dana
03:43
and performed it on a traffic island
in slow motion in New York City.
in slow motion in New York City.
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i to odigrala kao na usporenom snimku
na saobraćajnom ostrvu u Njujorku.
na saobraćajnom ostrvu u Njujorku.
03:47
I was there, too, with a film crew.
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I ja sam bio tamo, sa filmskom ekipom.
Snimili smo sve to,
03:50
We filmed the whole thing,
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a zatim smo obrnuli proces,
ubrzavši to ponovo na 72 minuta,
ubrzavši to ponovo na 72 minuta,
03:51
and then we reversed the process,
speeding it up to 72 minutes again,
speeding it up to 72 minutes again,
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tako da izgleda da se ona kreće normalno,
03:54
so it looks like she's moving normally
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03:56
and the whole world is flying by.
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a ceo svet proleće pored nje.
03:59
At a certain point, I figured out
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U nekom trenutku sam shvatio
04:01
that what I was doing
was making portraits.
was making portraits.
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da sam u stvari pravio portrete.
04:05
When you think about portraiture,
you tend to think about stuff like this.
you tend to think about stuff like this.
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Kada pomislite na portretisanje,
skloni ste da pomislite na ovako nešto.
skloni ste da pomislite na ovako nešto.
Tip sa leve strane
se zove Gilbert Stjuart.
se zove Gilbert Stjuart.
04:09
The guy on the left
is named Gilbert Stuart.
is named Gilbert Stuart.
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On je nešto poput prvog pravog portretiste
u Sjedinjenim Državama.
u Sjedinjenim Državama.
04:11
He's sort of the first real portraitist
of the United States.
of the United States.
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Sa desne strane je njegov portret
Džordža Vašingtona iz 1796. godine.
Džordža Vašingtona iz 1796. godine.
04:14
And on the right is his portrait
of George Washington from 1796.
of George Washington from 1796.
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04:17
This is the so-called Lansdowne portrait.
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To je takozvani Lansdaunov portret.
04:19
And if you look at this painting,
there's a lot of symbolism, right?
there's a lot of symbolism, right?
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Ako pogledate ovu sliku,
tu je mnogo simbolizma, zar ne?
tu je mnogo simbolizma, zar ne?
Imamo dugu kroz prozor. Imamo mač.
04:22
We've got a rainbow out the window.
We've got a sword.
We've got a sword.
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04:25
We've got a quill on the desk.
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Imamo pero na stolu.
Sve te stvari je trebalo da dočaraju
04:27
All of these things are meant to evoke
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Džordža Vašingtona kao oca nacije.
04:29
George Washington
as the father of the nation.
as the father of the nation.
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04:31
This is my portrait of George Washington.
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Ovo je moj portret Džordža Vašingtona.
04:35
And this is an eye chart,
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To je test oštrine vida,
04:38
only instead of letters, they're words.
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samo što su tu reči umesto slova,
04:41
And what the words are is the 66 words
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a reči predstavljaju 66 reči
04:44
in George Washington's
State of the Union addresses
State of the Union addresses
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iz obraćanja Džordža Vašingtona
o stanju nacije
o stanju nacije
04:46
that he uses more
than any other president.
than any other president.
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koje koristi više
od bilo kod drugog predsednika.
od bilo kod drugog predsednika.
04:50
So "gentlemen" has its own symbolism
and its own rhetoric.
and its own rhetoric.
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Dakle, reč „gospodo“
ima sopstvenu simboliku i retoriku.
ima sopstvenu simboliku i retoriku.
04:54
And it's really kind of significant
that that's the word he used the most.
that that's the word he used the most.
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Zaista je nekako značajno
što je tu reč najviše koristio.
što je tu reč najviše koristio.
Ovo je test oštrine vida
za Džordža V. Buša,
za Džordža V. Buša,
04:58
This is the eye chart for George W. Bush,
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koji je bio predsednik
kada sam stvorio ovo delo.
kada sam stvorio ovo delo.
05:01
who was president when I made this piece.
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05:04
And how you get there,
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Kako se stiže ovde,
05:05
from "gentlemen" to "terror"
in 43 easy steps,
in 43 easy steps,
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od „gospode“ do „terora“
u 43 jednostavna koraka,
u 43 jednostavna koraka,
05:08
tells us a lot about American history,
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govori nam dosta o američkoj istoriji
05:10
and gives you a different insight
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i daje vam drugačiji uvid
05:12
than you would have
looking at a series of paintings.
looking at a series of paintings.
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od onog koji biste imali
dok gledate niz slika.
dok gledate niz slika.
05:15
These pieces provide a history lesson
of the United States
of the United States
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Ova dela daju lekciju
o istoriji Sjedinjenih Država
o istoriji Sjedinjenih Država
05:19
through the political
rhetoric of its leaders.
rhetoric of its leaders.
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kroz političku retoriku
njihovih predvodnika.
njihovih predvodnika.
05:21
Ronald Reagan spent a lot of time
talking about deficits.
talking about deficits.
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Ronald Regan je trošio dosta vremena
pričajući o deficitima.
pričajući o deficitima.
Bil Klinton je dosta vremena
provodio pričajući o veku
provodio pričajući o veku
05:25
Bill Clinton spent a lot of time
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05:26
talking about the century in which
he would no longer be president,
he would no longer be president,
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u kome više neće biti predsednik,
ali će možda biti njegova žena.
05:30
but maybe his wife would be.
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05:33
Lyndon Johnson was the first President
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Lindon Džonson je bio prvi predsednik
koji je svoj govor o stanju nacije
držao na televiziji u udarnom terminu;
držao na televiziji u udarnom terminu;
05:35
to give his State of the Union addresses
on prime-time television;
on prime-time television;
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05:39
he began every paragraph
with the word "tonight."
with the word "tonight."
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svaki pasus je počinjao rečju „večeras“.
Ričard Nikson, ili tačnije,
njegov pisac govora,
njegov pisac govora,
05:41
And Richard Nixon,
or more accurately, his speechwriter,
or more accurately, his speechwriter,
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tip po imenu Vilijam Sefajer,
05:44
a guy named William Safire,
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provodio je dosta vremena
razmišljajući o jeziku
razmišljajući o jeziku
05:45
spent a lot of time
thinking about language
thinking about language
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05:47
and making sure that his boss
portrayed a rhetoric of honesty.
portrayed a rhetoric of honesty.
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i starajući se o tome da njegov šef
oslikava retoriku iskrenosti.
oslikava retoriku iskrenosti.
05:51
This project is shown
as a series of monolithic sculptures.
as a series of monolithic sculptures.
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Projekat je prikazan
kao niz monolitnih skulptura.
kao niz monolitnih skulptura.
05:54
It's an outdoor series of light boxes.
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To je niz svetlećih kutija
na otvorenom prostoru.
na otvorenom prostoru.
05:56
And it's important to note
that they're to scale,
that they're to scale,
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Važno je primetiti da su srazmerne,
pa ako ste udaljeni 6 metara i možete
da čitate između te dve crne linije,
da čitate između te dve crne linije,
05:59
so if you stand 20 feet back and you can
read between those two black lines,
read between those two black lines,
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imate vid 6/60.
06:02
you have 20/20 vision.
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06:04
(Laughter)
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(Smeh)
Ovo je portret. Ima mnogo ovoga.
06:05
This is a portrait.
And there's a lot of these.
And there's a lot of these.
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06:07
There's a lot of ways
to do this with data.
to do this with data.
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Mnogo toga se može uraditi
sa ovim podacima.
sa ovim podacima.
06:10
I started looking for a way
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Počeo sam da razmatram
06:12
to think about how I can do
a more democratic form of portraiture,
a more democratic form of portraiture,
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kako da napravim
demokratičniju formu portreta,
demokratičniju formu portreta,
06:17
something that's more about
my country and how it works.
my country and how it works.
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nešto što ima više veze sa mojom zemljom
i načinom njenog funkcionisanja.
i načinom njenog funkcionisanja.
06:21
Every 10 years, we make a census
in the United States.
in the United States.
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Svakih deset godina pravimo popis
u Sjedinjenim Državama.
u Sjedinjenim Državama.
06:25
We literally count people,
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Bukvalno prebrojavamo ljude,
06:27
find out who lives where,
what kind of jobs we've got,
what kind of jobs we've got,
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saznajemo ko gde živi, kakav posao ima,
kojim jezikom govori kod kuće.
kojim jezikom govori kod kuće.
06:30
the language we speak at home.
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To su važne stvari, zaista važne stvari,
06:31
And this is important stuff --
really important stuff.
really important stuff.
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ali nam zapravo ne govore o tome ko smo.
06:34
But it doesn't really tell us who we are.
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06:36
It doesn't tell us about our dreams
and our aspirations.
and our aspirations.
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Ne govore o našim snovima i težnjama.
Zato sam 2010. godine odlučio
da napravim svoj popis.
da napravim svoj popis.
06:39
And so in 2010, I decided
to make my own census.
to make my own census.
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06:42
And I started looking for a corpus of data
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Počeo sam da tražim zbirku podataka
koja sadrži mnogo opisa
koje su napisali obični Amerikanci.
koje su napisali obični Amerikanci.
06:46
that had a lot of descriptions
written by ordinary Americans.
written by ordinary Americans.
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Ispostavilo se
06:49
And it turns out
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da postoji takva zbirka podataka
06:50
that there is such a corpus of data
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koja samo čeka da se preuzme.
06:52
that's just sitting there for the taking.
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Zove se onlajn upoznavanje.
06:54
It's called online dating.
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06:56
So in 2010, I joined 21 different
online dating services,
online dating services,
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Tako sam se 2010. godine priključio
21 servisu za onlajn upoznavanje,
21 servisu za onlajn upoznavanje,
07:01
as a gay man, a straight man,
a gay woman and a straight woman,
a gay woman and a straight woman,
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kao gej muškarac, strejt muškarac,
gej žena i strejt žena,
gej žena i strejt žena,
na svakom poštanskom broju u Americi
07:04
in every zip code in America
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07:06
and downloaded about
19 million people's dating profiles --
19 million people's dating profiles --
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i skinuo sam oko 19 miliona
profila za upoznavanje -
profila za upoznavanje -
07:09
about 20 percent of the adult population
of the United States.
of the United States.
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oko 20 posto odraslog stanovništva
Sjedinjenih Država.
Sjedinjenih Država.
Imam opsesivno-kompulzivni poremećaj.
07:13
I have obsessive-compulsive disorder.
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To će postati vrlo očigledno.
Samo me pratite.
Samo me pratite.
07:15
This is going to become
really freaking obvious. Just go with me.
really freaking obvious. Just go with me.
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(Smeh)
07:18
(Laughter)
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Dakle, sortirao sam sve to
prema poštanskom broju.
prema poštanskom broju.
07:19
So what I did was I sorted
all this stuff by zip code.
all this stuff by zip code.
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Zatim sam pogledao analizu reči.
07:23
And I looked at word analysis.
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07:25
These are some dating profiles from 2010
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Ima izvesnih profila za upoznavanje
iz 2010. godine
iz 2010. godine
07:28
with the word "lonely" highlighted.
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sa naglašenom rečju „usamljen“.
07:30
If you look at these things
topographically,
topographically,
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Ako ovo sagledate topografski,
07:33
if you imagine dark colors to light colors
are more use of the word,
are more use of the word,
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ako zamislite da tamne i svetle boje
predstavljaju upotrebu te reči,
predstavljaju upotrebu te reči,
07:36
you can see that Appalachia
is a pretty lonely place.
is a pretty lonely place.
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možete videti da je Apalačija
prilično usamljeno mesto.
prilično usamljeno mesto.
07:41
You can also see
that Nebraska ain't that funny.
that Nebraska ain't that funny.
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Takođe možete videti
da Nebraska nije baš tako smešna.
da Nebraska nije baš tako smešna.
07:48
This is the kinky map,
so what this is showing you
so what this is showing you
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Ovo je „nastrana“ mapa,
tako da vam ovo pokazuje
tako da vam ovo pokazuje
07:54
is that the women in Alaska
need to get together
need to get together
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da žene iz Aljaske treba da se spoje
sa muškarcima iz južnog Novog Meksika
07:57
with the men in southern New Mexico,
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i da se zabave.
07:58
and have a good time.
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08:00
And I have this
at a pretty granular level,
at a pretty granular level,
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Ovo sam sproveo na vrlo detaljnom nivou,
pa vam mogu reći da su muškarci
iz istočne polovine Long Ajlanda
iz istočne polovine Long Ajlanda
08:03
so I can tell you that the men
in the eastern half of Long Island
in the eastern half of Long Island
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mnogo zainteresovaniji da dobiju po guzi
08:06
are way more interested in being spanked
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nego muškarci
iz zapadne polovine Long Ajlanda.
iz zapadne polovine Long Ajlanda.
08:08
than men in the western half
of Long Island.
of Long Island.
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To će biti nešto što ćete poneti sa sobom
sa cele ove konferencije.
sa cele ove konferencije.
08:11
This will be your one takeaway
from this whole conference.
from this whole conference.
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08:14
You're going to remember
that fact for, like, 30 years.
that fact for, like, 30 years.
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Pamtićete ovu činjenicu jedno 30 godina.
08:17
(Laughter)
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(Smeh)
08:20
When you bring this down
to a cartographic level,
to a cartographic level,
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Kada ovo svedete na kartografski nivo,
možete da pravite mape i izvedete
iste trikove kao i ja sa testovima za vid.
iste trikove kao i ja sa testovima za vid.
08:23
you can make maps and do the same trick
I was doing with the eye charts.
I was doing with the eye charts.
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Možete zameniti ime svakog grada
u Sjedinjenim Državama
u Sjedinjenim Državama
08:26
You can replace the name
of every city in the United States
of every city in the United States
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rečju koju ljudi više koriste u tom gradu
nego bilo gde drugde.
nego bilo gde drugde.
08:29
with the word people use more
in that city than anywhere else.
in that city than anywhere else.
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Ako ste se ikada zabavljali sa nekim
iz Sijetla, ovo savršeno ima smisla.
iz Sijetla, ovo savršeno ima smisla.
08:32
If you've ever dated anyone
from Seattle, this makes perfect sense.
from Seattle, this makes perfect sense.
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Imate „lep“. Imate „slomljeno srce“.
08:35
You've got "pretty."
You've got "heartbreak."
You've got "heartbreak."
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08:38
You've got "gig." You've got "cigarette."
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Imate „svirka“. Imate „cigareta“.
08:40
They play in a band and they smoke.
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Sviraju u bendu i puše.
08:43
And right above that you can see "email."
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Tačno iznad možete videti „imejl“.
To je Redmond u Vašingtonu,
08:45
That's Redmond, Washington,
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a to je sedište korporacije Majkrosoft.
08:46
which is the headquarters
of the Microsoft Corporation.
of the Microsoft Corporation.
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Neke možete pogoditi -
tako, Los Anđeles je „gluma“,
tako, Los Anđeles je „gluma“,
08:49
Some of these you can guess --
so, Los Angeles is "acting"
so, Los Angeles is "acting"
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08:52
and San Francisco is "gay."
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a San Francisko je „gej“.
08:54
Some are a little bit more heartbreaking.
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Neki su malo više srceparajući.
U Baton Ružu govore o oblinama,
08:56
In Baton Rouge, they talk
about being curvy;
about being curvy;
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nizvodno u Nju Orleansu
još govore o poplavi.
još govore o poplavi.
08:58
downstream in New Orleans,
they still talk about the flood.
they still talk about the flood.
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09:01
Folks in the American capital
will say they're interesting.
will say they're interesting.
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Ljudi u američkoj prestonici
reći će da su zanimljivi.
reći će da su zanimljivi.
Ljudi iz Baltimora u Merilendu
reći će da su uplašeni.
reći će da su uplašeni.
09:03
People in Baltimore, Maryland,
will say they're afraid.
will say they're afraid.
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09:06
This is New Jersey.
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Ovo je Nju Džerzi.
09:08
I grew up somewhere
between "annoying" and "cynical."
between "annoying" and "cynical."
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Odrastao sam negde
između „iritantnog“ i „ciničnog“
između „iritantnog“ i „ciničnog“
09:10
(Laughter) (Applause)
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(Smeh)
(Aplauz)
09:15
And New York City's
number one word is "now,"
number one word is "now,"
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A reč broj jedan u Njujorku je „sada“,
09:17
as in, "Now I'm working as a waiter,
but actually I'm an actor."
but actually I'm an actor."
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kao na primer: „Sada radim kao konobar,
ali u stvari sam glumac.“
ali u stvari sam glumac.“
09:21
(Laughter)
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(Smeh)
09:22
Or, "Now I'm a professor of engineering
at NYU, but actually I'm an artist."
at NYU, but actually I'm an artist."
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Ili: „Sada sam profesor inženjerstva
na Njujorškom univerzitetu,
na Njujorškom univerzitetu,
ali zapravo sam umetnik.“
Ako krenete ka severu države,
videćete „dinosaurus“. To je Sirakuza.
videćete „dinosaurus“. To je Sirakuza.
09:26
If you go upstate, you see "dinosaur."
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09:28
That's Syracuse.
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Najbolje mesto sa hranom
u Sirakuzi u Njujorku
u Sirakuzi u Njujorku
09:29
The best place to eat
in Syracuse, New York,
in Syracuse, New York,
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09:31
is a Hell's Angels barbecue joint
called Dinosaur Barbecue.
called Dinosaur Barbecue.
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je roštiljarnica „Anđela pakla“
po imenu „Roštilj dinosaurus“.
po imenu „Roštilj dinosaurus“.
09:34
That's where you would
take somebody on a date.
take somebody on a date.
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Tamo biste odveli nekog na sastanak.
Živim negde između „bezuslovnog“
i „sredine leta“ u centru Menhetna.
i „sredine leta“ u centru Menhetna.
09:36
I live somewhere between "unconditional"
and "midsummer," in Midtown Manhattan.
and "midsummer," in Midtown Manhattan.
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09:40
And this is gentrified North Brooklyn,
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Ovo je renovirani severni Bruklin,
09:42
so you've got "DJ" and "glamorous"
and "hipsters" and "urbane."
and "hipsters" and "urbane."
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tako da tu imate „di-džeja“,
„glamurozno“, „hipstere“ i „urbane“.
„glamurozno“, „hipstere“ i „urbane“.
09:46
So that's maybe
a more democratic portrait.
a more democratic portrait.
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Ovo može biti demokratičniji portret.
09:48
And the idea was, what if we made
red-state and blue-state maps
red-state and blue-state maps
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Ideja je bila - šta ako napravimo
mape crvenih i plavih država
mape crvenih i plavih država
na osnovu toga šta bismo radili
petkom uveče?
petkom uveče?
09:51
based on what we want to do
on a Friday night?
on a Friday night?
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Ovo je autoportret.
09:53
This is a self-portrait.
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09:55
This is based on my email,
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Baziran je na mom imejlu,
09:57
about 500,000 emails sent over 20 years.
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oko 500 000 imejlova
poslatih tokom više od 20 godina.
poslatih tokom više od 20 godina.
10:00
You can think of this
as a quantified selfie.
as a quantified selfie.
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Možete ovo smatrati
kvantifikovanim selfijem.
kvantifikovanim selfijem.
10:03
So what I'm doing is running
a physics equation
a physics equation
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Ono što radim jeste primena
jednačine iz fizike
jednačine iz fizike
na osnovu mojih ličnih podataka.
10:06
based on my personal data.
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10:07
You have to imagine everybody
I've ever corresponded with.
I've ever corresponded with.
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Morate da zamislite sve ljude
sa kojima sam se ikada dopisivao.
sa kojima sam se ikada dopisivao.
10:10
It started out in the middle
and it exploded with a big bang.
and it exploded with a big bang.
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Počelo je u sredini
i eksplodiralo je kao veliki prasak.
i eksplodiralo je kao veliki prasak.
10:13
And everybody has gravity to one another,
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Svako ima silu teže u odnosu na druge,
10:15
gravity based on how much
they've been emailing,
they've been emailing,
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zasnovanu na tome koliko su mejlova slali,
10:18
who they've been emailing with.
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sa kime su se dopisivali.
Takođe se vrši i sentimentalna analiza,
10:19
And it also does sentimental analysis,
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tako da ako kažem „volim te“,
imate veću težinu za mene
imate veću težinu za mene
10:21
so if I say "I love you,"
you're heavier to me.
you're heavier to me.
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10:23
And you attract to my email
addresses in the middle,
addresses in the middle,
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i privlače vas
moje imejl adrese u sredini,
moje imejl adrese u sredini,
koje deluju kao glavne zvezde.
10:26
which act like mainline stars.
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10:28
And all the names are handwritten.
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Sva imena su ručno ispisana.
10:30
Sometimes you do this data
and this work with real-time data
and this work with real-time data
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Ponekad dolazite do tih podataka
i radite sa podacima u realnom vremenu
i radite sa podacima u realnom vremenu
10:34
to illuminate a specific problem
in a specific city.
in a specific city.
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da biste rasvetlili određeni problem
u određenom gradu.
u određenom gradu.
10:38
This is a Walther PPK 9mm
semiautomatic handgun
semiautomatic handgun
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Ovo je poluautomatski pištolj
Volter PPK od 9 mm
Volter PPK od 9 mm
10:40
that was used in a shooting
in the French Quarter of New Orleans
in the French Quarter of New Orleans
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koji je korišćen u pucnjavi
u francuskoj četvrti u Nju Orleansu
u francuskoj četvrti u Nju Orleansu
10:43
about two years ago on Valentine's Day
in an argument over parking.
in an argument over parking.
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pre oko dve godine na Dan zaljubljenih
u raspravi zbog parkiranja.
u raspravi zbog parkiranja.
To su moje cigarete.
10:47
Those are my cigarettes.
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10:48
This is the house
where the shooting took place.
where the shooting took place.
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Ovo je kuća gde se dogodila pucnjava.
Ovaj projekat je podrazumevao
i malo inženjeringa.
i malo inženjeringa.
10:50
This project involved
a little bit of engineering.
a little bit of engineering.
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Imam lanac bicikla koji je montiran
kao bregasta osovina,
kao bregasta osovina,
10:53
I've got a bike chain
rigged up as a cam shaft,
rigged up as a cam shaft,
237
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2215
10:55
with a computer driving it.
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1316
sa kompjuterom koji ga pokreće.
10:56
That computer and the mechanism
are buried in a box.
are buried in a box.
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Taj kompjuter i mehanizam
su smešteni u kutiji.
su smešteni u kutiji.
10:59
The gun's on top welded to a steel plate.
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Pištolj je na vrhu zavaren
za čeličnu ploču.
za čeličnu ploču.
11:01
There's a wire going
through to the trigger,
through to the trigger,
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Žica prolazi do okidača,
11:04
and the computer in the box is online.
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a kompjuter u kutiji
je povezan sa internetom.
je povezan sa internetom.
11:06
It's listening to the 911 feed
of the New Orleans Police Department,
of the New Orleans Police Department,
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On osluškuje telefonsku liniju
policijske uprave Nju Orleansa,
policijske uprave Nju Orleansa,
11:09
so that anytime there's a shooting
reported in New Orleans,
reported in New Orleans,
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tako da svaki put kada neko prijavi
pucnjavu u Nju Orleansu,
pucnjavu u Nju Orleansu,
11:12
(Gunshot sound)
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(Zvuk pucnja)
pištolj opali.
11:13
the gun fires.
246
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11:15
Now, there's a blank,
so there's no bullet.
so there's no bullet.
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U pitanju je ćorak, tako da nema metka.
11:18
There's big light, big noise
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2074
Tu je veliko svetlo, glasna buka
11:20
and most importantly, there's a casing.
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2322
i, što je najvažnije, tu je kutija.
11:22
There's about five shootings
a day in New Orleans,
a day in New Orleans,
250
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2396
Dnevno ima oko 5 pucnjava u Nju Orleansu,
tako da se, tokom četiri meseca
otkako je ovo delo postavljeno,
otkako je ovo delo postavljeno,
11:24
so over the four months
this piece was installed,
this piece was installed,
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11:27
the case filled up with bullets.
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1611
kutija ispunila mecima.
11:29
You guys know what this is --
you call this "data visualization."
you call this "data visualization."
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Znate šta je ovo; to nazivate
„vizualizacija podataka“.
„vizualizacija podataka“.
11:34
When you do it right, it's illuminating.
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2008
Kada je dobro sprovodite, rasvetljava.
11:36
When you do it wrong, it's anesthetizing.
255
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2436
Kada je sprovodite loše, obesvešćuje.
11:39
It reduces people to numbers.
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Svodi ljude na brojeve.
11:41
So watch out.
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Stoga pazite.
11:44
One last piece for you.
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1356
Poslednje delo za vas.
11:46
I spent the last summer
as the artist in residence
as the artist in residence
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Proveo sam poslednje leto
kao umetnik koji obitava
kao umetnik koji obitava
11:49
for Times Square.
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1216
na Tajms skveru.
11:50
And Times Square in New York
is literally the crossroads of the world.
is literally the crossroads of the world.
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Tajms skver u Njujorku
je bukvalno raskršće sveta.
je bukvalno raskršće sveta.
11:54
One of the things
people don't notice about it
people don't notice about it
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Ono što ljudi ne primećuju u vezi sa njim
11:56
is it's the most Instagrammed
place on Earth.
place on Earth.
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je da je to mesto na zemlji
koje je najzastupljenije na Instagramu.
koje je najzastupljenije na Instagramu.
11:59
About every five seconds,
someone commits a selfie
someone commits a selfie
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Otprilike na svakih pet sekundi,
neko napravi selfi
neko napravi selfi
12:02
in Times Square.
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na Tajms skveru.
12:04
That's 17,000 a day, and I have them all.
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To je 17 000 dnevno, a ja imam sve njih.
12:07
(Laughter)
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(Smeh)
12:08
These are some of them
with their eyes centered.
with their eyes centered.
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Ovo su neki od njih sa centriranim očima.
Svaka civilizacija
12:11
Every civilization,
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će iskoristiti maksimalni nivo
dostupne tehnologije za umetnost.
dostupne tehnologije za umetnost.
12:12
will use the maximum level
of technology available to make art.
of technology available to make art.
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12:15
And it's the responsibility
of the artist to ask questions
of the artist to ask questions
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Odgovornost je umetnika da postavi pitanja
12:17
about what that technology means
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o tome šta ta tehnologija znači
12:19
and how it reflects our culture.
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i kako odražava našu kulturu.
Ostavljam vas sa ovim -
mi predstavljamo više od brojeva.
mi predstavljamo više od brojeva.
12:21
So I leave you with this:
we're more than numbers.
we're more than numbers.
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12:24
We're people, and we have
dreams and ideas.
dreams and ideas.
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Mi smo ljudi i imamo snove i ideje.
12:26
And reducing us to statistics
is something that's done
is something that's done
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Naše svođenje na statistiku
je nešto što se radi
je nešto što se radi
12:29
at our peril.
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na našu štetu.
12:30
Thank you very much.
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Hvala vam mnogo.
12:31
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
R. Luke DuBois - Artist, composer, engineerR. Luke DuBois weaves information from a multitude of sources into art and music exploring the tensions between algorithms, portraiture and temporal space.
Why you should listen
R. Luke DuBois is a multidisciplinary artist mining the intersection of art, culture and technology, often expanding or contracting perspectives or timespans to accentuate aspects of each work. As a musician, he has produced a spectrum of electro-acoustic works with a multitude of artists, including Bora Yoon, Bang on a Can and the Freight Elevator Quartet.
As an artist, DuBois focuses on exposing the long narratives created by arcs of data, in the same way that time-lapse photographs expose long swaths of motion in a single image. As a programmer, DuBois is co-author of Jitter, a software suite that allows real-time manipulation of video and 3D imagery.
DuBois teaches at New York University, where he co-directs the Integrated Digital Media program at the Tandon School of Engineering. His artwork is represented by bitforms gallery in New York City.
R. Luke DuBois | Speaker | TED.com