TED Fellows Retreat 2013
Aparna Rao: Art that craves your attention
Aparna Rao: Umjetnost koja traži vašu pažnju
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U ovom šarmantnom razgovoru, umjetnica Aparna Rao nam pokazuje svoje najnovije djelo: cool, skulpture poput crtića (s lijepim robotskim trikovima ispod njih) koje se igraju s vašom percepcijom -- i traže vašu pažnju. Uzmite nekoliko minuta da se jednostavno oduševite.
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
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
Double-click the English transcript below to play the video.
00:12
Hi. So today, I'd like to share
some works in progress.
some works in progress.
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Zdravo. Dakle, htjela bih podijeliti
s vama neke radove u nastajanju.
s vama neke radove u nastajanju.
00:15
Since we are still realizing these works,
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Budući da su ovi radovi još u nastajanju,
00:18
we are largely working within the realm
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uglavnom radimo u domeni
00:19
of intuition and mystery, still.
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intuicije i zagonetki, još uvijek.
00:22
So I'm going to try and describe
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Pokušat ću opisati
00:23
some of the experiences that we're looking for
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neka od iskustava koja tražimo
00:25
through each of the works.
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kroz svaki od radova.
00:27
So the first work is called the Imperial Monochromes.
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Prvi rad je Carski Monokromi.
00:30
A viewer sort of unsuspectingly walks into the room,
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Neki promatrač bezazleno ulazi u sobu,
00:33
and catches a glimpse of these panels
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i baci pogled na ove ploče
00:36
in a messy composition on the wall.
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u neurednoj kompoziciji na zidu.
00:38
Within seconds, as if the panels have noticed
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Tijekom nekoliko sekundi,
kao da su ploče primjetile
kao da su ploče primjetile
00:41
the presence of the viewer,
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prisutnost promatrača,
00:42
they appear to panic and sort of get into
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čini se da se uspaniče i nekako prijeđu u
00:45
a strict symmetry.
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strogu simetriju.
00:47
(Laughter)
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(Smijeh)
00:48
So this is the sketch of the two states.
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Tako da je ovo skica dva stanja.
00:51
One is total chaos. The other is absolute order.
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Jedno je potpuni kaos.
Drugo je apsolutni red.
Drugo je apsolutni red.
00:53
And we were interested in seeing how little change
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I zanimalo nas je koliko je malo promjene
00:56
it takes to move from one state to the other state.
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potrebno za prelazak
iz jednog stanja u drugo.
iz jednog stanja u drugo.
00:59
This also reminded us of two
very different pictorial traditions.
very different pictorial traditions.
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Ovo nas je također podsjetilo na
dvije vrlo različite slikovne tradicije.
dvije vrlo različite slikovne tradicije.
01:03
One is the altar tablets of the 15th century,
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Jedna su oltarne ploče iz 15. stoljeća,
01:06
and the other is about 100 years ago,
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a druga je prije otprilike 100 godina,
01:08
Malevich's abstract compositions.
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Maljevičeve apstraktne kompozicije.
01:11
So I'm just going to take you to a video.
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Sad ću vam samo pokazati video.
01:13
To give you a sense of scale,
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Da vam dočaram veličinu,
01:14
the largest panel is about two meters high.
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najveća ploča je visoka oko dva metra.
01:16
That's about this much.
And the smallest one is an A4.
And the smallest one is an A4.
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To je otprilike ovoliko. A najmanja je A4.
01:19
So a viewer enters the space,
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Tako da promatrač ulazi u prostor,
01:21
and they snap to attention.
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i one se prebacuju na pozornost.
01:24
And after a while, if the viewer continues
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I nakon nekog vremena,
ako promatrač nastavlja
ako promatrač nastavlja
01:25
to remain in the space,
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biti u prostoru,
01:27
the panels will sort of become immune
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ploče će nekako postati otporne
01:29
to the presence of the viewer
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na prisutnost promatrača
01:31
and become lax and autonomous again,
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i ponovno će postati labave i samostalne,
01:34
until they sort of sense a presence
in the room or a movement,
in the room or a movement,
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sve dok ne osjete prisutnost
u prostoriji ili neki pokret
u prostoriji ili neki pokret
01:37
when they will again snap to attention.
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kada će opet se prebaciti na pozornost.
01:40
(Laughter)
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(Smijeh)
01:42
So here it appears as if it's the viewer
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Tako se ovdje čini kao da je promatrač
01:44
that's sort of instigating the sense
of order among the panels,
of order among the panels,
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taj koji potiče smisao
za red među pločama,
za red među pločama,
01:47
but it could also be the other way around,
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ali bi također moglo biti obrnuto,
01:49
that the panels are so stuck within
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da su ploče toliko ugođene u
01:52
their preconditioned behaviors
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u svoja pretpostavljena ponašanja
01:54
that they sort of thrust the
viewer with the role of a tyrant.
viewer with the role of a tyrant.
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da nekako guraju promatrača
u ulogu tiranina.
u ulogu tiranina.
01:59
So this brings me to a quieter, small work
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To me dovodi do tišeg, manjeg djela
02:02
called Handheld.
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zvanog Na Dlanu.
02:03
The viewer sees a piece of paper
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Promatrač vidi komad papira
02:05
that's mounted on the far end of the wall,
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koji je pričvršćen na drugom kraju na zid,
02:07
but when you go closer, you see that it's a blank
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ali kad se približite,
vidite da je to prazan
vidite da je to prazan
02:10
A4, or a letter-sized piece of paper,
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A4, ili papir veličine pisma,
02:12
that's held on either side
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kojeg sa svake strane drže
02:14
by two small hands
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dvije male ruke
02:15
that appear to be carved with a great deal
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koje su naizgled izrezbarene s velikom
02:18
of attention and care from a small block of wood.
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pozornošću i brigom iz
malog komada drveta.
malog komada drveta.
02:21
The viewer also sees that this entire sculpture
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Promatrač također vidi
da ova cijela skulptura
da ova cijela skulptura
02:24
is sort of moving very slightly,
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se nekako pomalo pomiče,
02:27
as if these two hands are trying
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kao da te dvije ruke pokušavaju
02:29
to hold the paper very still
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jako mirno držati papir
02:30
for a long period of time,
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duži vremenski period,
02:32
and somehow are not managing to.
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ali nekako ne uspijevaju.
02:35
So this instability in the movement
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Ta nestabilnost u pokretu
02:37
very closely resembles the unsteady nature
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je vrlo slična nestabilnoj prirodi
02:41
of images seen through a handheld camera.
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slika koje se vide kroz kompaktnu kameru.
02:43
So here I'm going to show you two tandem clips.
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Pokazat ću vam ovdje dva
uzastopna video isječka.
uzastopna video isječka.
02:46
One is through a still camera
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Jedan je kroz stabilnu kameru,
02:47
and the other is through a handheld camera.
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a drugi je kroz kameru držanu u ruci.
02:49
And you immediately see how the unsteady nature
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Odmah vidite kako nestabilna priroda
02:52
of the video suggests the presence
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video isječka nagoviještava prisutnost
02:55
of an observer and a subjective point of view.
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promatrača i subjektivnu perspektivu.
02:58
So we've just removed the camera
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Tako da smo samo maknuli kameru
02:59
and transferred that movement onto the panel.
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i prenijeli taj pokret na ploču.
03:02
So here's a video.
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Evo video isječka.
03:03
You have to imagine the other hand.
It's not there yet.
It's not there yet.
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Morate zamislitu drugu ruku.
Još nije ovdje.
Još nije ovdje.
03:06
But to us, we're sort of trying to evoke
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Ali za nas, mi nekako pokušavamo izazvati
03:08
a self-effacing gesture, as if there's a little person
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skromnu gestu, kao da je mala osoba
03:12
with outstretched arms
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s ispruženim rukama
03:13
behind this enormous piece of paper.
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iza ovog ogromnog komada papira.
03:16
That sort of likens it to the amount of strain
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To nekako pričinjava
njezinu količinu napora
njezinu količinu napora
03:19
to be at the service of the observer and present
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da bude na usluzi promatraču i prikaže
03:21
this piece of paper very delicately to the viewer
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vrlo pažljivo ovaj komad papira promatraču
03:24
in front of them.
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ispred nje.
03:27
The next work is Decoy.
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Sljedeći rad je Mamac.
03:29
This is a cardboard model, so the object
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Ovo je kartonski model, pa je objekt
03:31
is about as tall as I am.
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visok otpriliko koliko i ja.
03:33
It has a rounded body, two arms,
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Ima okruglo tijelo, dvije ruke,
03:35
and a very tall, head-like antenna,
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i vrlo visoku antenu nalik na glavu,
03:37
and its sole purpose is to
attract attention towards itself.
attract attention towards itself.
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a jedina mu je svrha
privlačenje pozornosti.
privlačenje pozornosti.
03:41
So when a viewer passes by,
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Tako da kad promatrač prolazi,
03:43
it sort of tilts from side to side,
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nekako se naginje s jedne strane na drugu,
03:45
and moves its arms more and more frantically
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i sve žustrije pomiče ruke
03:48
as the person gets closer.
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dok se osoba približava.
03:51
So here is the first test scenario.
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Ovdje je prva testna situacija.
03:53
You see the two movements integrated,
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Vidite objedinjena ta dva pokreta,
03:55
and the object seems to be employing
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i čini se da je objekt angažirao
03:57
its entire being in this expression of desperation.
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cijelog sebe u ovom izražaju očaja.
04:02
But the idea is that once it's
got the person's attention,
got the person's attention,
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Ali ideja je da jednom
kad zadobije pozornost osobe,
kad zadobije pozornost osobe,
04:05
it's no longer interested, and it looks for the next person whose attention to get.
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nije više zainteresiran, i traži iduću
osobu čiju će pozornost zadobiti.
osobu čiju će pozornost zadobiti.
04:09
(Laughter)
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(Smijeh)
04:12
So this is the final fabricated body of the Decoy.
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Ovo je konačno proizvedeno tijelo Mamca.
04:15
It appears to be mass-manufactured
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Čini se kao da je rezultat
masovne proizvodnje,
masovne proizvodnje,
04:17
like it came out of a factory
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kao da je izašlo iz tvornice
04:19
like vacuum cleaners and washing machines.
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poput usisivača i perilica za rublje.
04:21
Because we are always working
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Budući da uvijek radimo
04:23
from a very personal space,
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u jako osobno prostoru,
04:24
we like how this consumer aesthetic
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sviđa nam se kako ova potrošačka estetika
04:27
sort of depersonalizes the object
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nekako depersonalizira predmet
04:29
and gives us a bit of distance
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i daje nam malo distance
04:30
in its appearance, at least.
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barem u svom izgledu.
04:32
And so to us this is a kind of sinister being
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I tako da je to za nas neko nastrano biće
04:35
which is trying to distract you from the things
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koje vas pokušava odvratiti od stvari
04:37
that actually need your attention,
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koje zapravo trebaju vašu pozornost,
04:38
but it could also be a figure that needs a lot of help.
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ali također može biti i figura
koja treba mnogo pomoći.
koja treba mnogo pomoći.
04:43
The next work is an object,
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Sljedeće dijelo je predmet,
04:45
that's also a kind of sound instrument.
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koji je također vrsta zvučnog instrumenta.
04:48
In the shape of an amphitheater
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U obliku amfiteatra
04:50
that's scaled to the size of an audience
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koji je veličine publike
04:52
as perceived from somebody from the stage.
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viđene iz perspektive nekoga sa pozornice.
04:54
So from where I'm standing,
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Sa mjesta gdje stojim,
04:55
each of you appears to be this big,
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svatko od vas se čini toliko velik,
04:57
and the audience sort of takes the entire
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i publika zapravo zauzima cijelo
04:59
field of my vision.
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moje vizualno polje.
05:01
Seated in this audience are 996 small figures.
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U ovoj publici sjedi 996 malih figurica.
05:05
They're mechanically enabled to clap
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Mehinički im je omogućeno da plješću
05:07
of their own free will.
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svojom slobodnom voljom.
05:09
This means that each of them can decide
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To znači da svatko od njih može odlučiti
05:11
if and when they want to clap,
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ako žele i kada žele pljeskati,
05:12
how hard, for how long,
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koliko jako, koliko dugo,
05:14
how they want to be influenced by
those around them or influence others,
those around them or influence others,
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kako žele da na njih utječu
drugi ili da utječu na druge,
drugi ili da utječu na druge,
05:18
and if they want to contribute to innovation.
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i žele li doprinijeti ovaciji.
05:22
So when the viewer steps in front of the audience,
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Tako da kad promatrač
stane ispred publike,
stane ispred publike,
05:24
there will be a response.
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bit će odgovora.
05:26
It could be a few claps or a strong applause,
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To može biti malo pljeskanja
ili veliki pljesak,
ili veliki pljesak,
05:29
and then nothing happens until the viewer
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i potom se ništa ne događa dok promatrač
05:31
leaves the stage, and again
the audience will respond.
the audience will respond.
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ne ode sa pozornice,
i tada će publika opet reagirati.
i tada će publika opet reagirati.
05:34
It could be anything from a few feeble claps
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To može biti bilo što
od malo slabog pljeskanja
od malo slabog pljeskanja
05:36
from members in the audience,
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od strane članova publike,
05:38
or it could be a very loud ovation.
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ili može biti vrlo glasna ovacija.
05:42
So to us, I think we're really looking
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Tako da za nas,
mislim da zapravo gledamo
mislim da zapravo gledamo
05:44
at an audience as its own object
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na publiku kao zaseban predmet
05:46
or its own organism
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zaseban organizam
05:48
that's also got a sort of musical-like quality to it,
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koji također ima neke
glazbene karakteristike,
glazbene karakteristike,
05:52
an instrument.
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jedan instrument.
05:53
So the viewer can play it
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Tako da ga promatrač može svirati
05:55
by eliciting quite complex and varied,
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izazivanjem vrlo složenih i različitih,
05:57
nuanced musical or sound patterns,
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nijansiranih glazbenih
ili zvukovnih obrazaca,
ili zvukovnih obrazaca,
06:00
but cannot really provoke the audience
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ali ne može zapravo isprivocirati publiku
06:02
into any particular kind of response.
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na bilo kakav specifičan odgovor.
06:05
So there's a sense of judgment and capriciousness
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Tu je uključeno osjećanje
presude i hirovitosti
presude i hirovitosti
06:08
and uneasiness involved.
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te nelagode.
06:10
It also has an alluring and trap-like quality to it.
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Također ima primamljivu
karakteristiku nalik na zamku.
karakteristiku nalik na zamku.
06:14
So here if you see we're quite excited about
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Tako da smo ovdje, ako vidite,
jako uzbuđeni zbog
jako uzbuđeni zbog
06:16
the image of the head splitting
to form the two hands.
to form the two hands.
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slike glave koja se cijepa
i formira dvije ruke.
i formira dvije ruke.
06:20
So here's a small visual animation,
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Ovdje je mala vizualna animacija,
06:22
as if the two sides of the brain are sort of clashing
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kao da se dvije strane mozga
nekako sukobavljaju
nekako sukobavljaju
06:26
against each other to kind of make sense
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jedna protiv druge kako bi dali smisao
06:28
of the duality and the tension.
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dvojnosti i napetosti.
06:31
And here is a prototype.
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I evo prototipa.
06:33
So we can't wait to be engulfed by 996 of them.
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Tako da jedva čekamo da
nas zahvati 996 njih.
nas zahvati 996 njih.
06:38
Okay, this is the last work.
It's called the Framerunners.
It's called the Framerunners.
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Dobro, ovo je zadnji rad.
Zove se Trkači u Rešetci.
Zove se Trkači u Rešetci.
06:41
It comes out of the idea of a window.
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Proizašao je iz ideje prozora.
06:44
This is an actual window in our studio,
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Ovo je stvarni prozor u našem studiju,
06:46
and as you can see, it's made up of three
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i kao što možete vidjeti,
sastoji se od tri
sastoji se od tri
06:48
different thicknesses of wooden sections.
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različito debelih drvenih dijelova.
06:50
So we used the same window vocabulary
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Tako smo koristili isti prozorski rječnik
06:52
to construct our own frame or grid
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kako bismo napravili svoj
vlastiti okvir ili rešetku
vlastiti okvir ili rešetku
06:55
that's suspended in the room and that can
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koji visi u sobi i koji se može
06:57
be viewed from two sides.
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gledati s dvije strane.
06:59
This grid is inhabited by a tribe of small figures.
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Ovu rešetku nastanjuje
pleme malih figura.
pleme malih figura.
07:02
They're also made up of three different sizes,
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Također dolaze u tri različite veličine,
07:04
as if to suggest a kind of perspective
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kao da predočavaju neku perspektivu
07:07
or landscape on the single plain.
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ili pejzaž u jednoj ravnini.
07:10
Each of these figures can also run backward
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Svaka od figura se također može ići nazad
07:12
and forward in the track
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i naprijed u svojoj stazi
07:14
and hide behind two adjacent tracks.
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ili se sakriti iza dviju susjednih staza.
07:17
So in contrast to this very tight grid,
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Dakle u suprotnošću s ovom
ograničenom rešetkom,
ograničenom rešetkom,
07:19
we wanted to give these figures a very comical
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htjeli smo dati ovim figurama vrlo komičnu
07:22
and slapstick-like quality,
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i otkačenu karakteristiku,
07:24
as if a puppeteer has taken them
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kao da ih je lutkar uzeo
07:26
and physically animated them down the path.
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i fizički ih animirao na putu.
07:28
So we like the idea of these figures
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Tako da nam se sviđa ideja ovih figura
07:31
sort of skipping along
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koje zapravo skakuću uz put
07:32
like they're oblivious and carefree
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kao da su nesvjesne i bez briga
07:34
and happy-go-lucky and content,
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i stvarno bezbrižno zadovoljne
07:37
until they sort of sense a movement from the viewer
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dok nekako ne osjete pokrete promatrača
07:40
and they will hide behind the fastest wall.
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kada će se sakriti iza najbržeg zida.
07:44
So to us, this work also presents
its own contradiction.
its own contradiction.
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Zato za nas ovaj rad predstavlja
svoju vlastitu proturječnost.
svoju vlastitu proturječnost.
07:48
These figures are sort of entrapped
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Ove figure su zapravo zarobljene
07:50
within this very strong grid,
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unutar ove vrlo snažne rešetke
07:52
which is like a prison, but also a fortress,
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koja je kao zatvor, ali također i utvrda
07:55
because it allows them to be oblivious
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jer im dopušta da budu nesvjesni
07:57
and naive and carefree and quite oblivious
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naivni i bezbrižni i vrlo nesvjesni
07:59
of the external world.
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vanjskog svijeta.
08:02
So all these real life qualities that I talk about
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Tako da sve ove karakteristike
stvarnog svijeta o kojima pričam
stvarnog svijeta o kojima pričam
08:05
are sort of translated to a very specific
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su zapravo prevedene u vrlo specifičnu
08:07
technical configuration,
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tehničku konfiguraciju,
08:09
and we were very lucky to collaborate
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i imali smo sreće da smo surađivali
08:11
with ETH Zurich to develop the first prototype.
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sa ETH iz Züricha kako
bi razvili prvi prototip.
bi razvili prvi prototip.
08:14
So you see they extracted the motion cogs
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Vidite, oni su razvili zupčanike za pokrete
08:16
from our animations and created a wiggle
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iz naših animacija i stvorili spravicu
08:18
that integrated the head-bobbing movement
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koja je spojila pokret klimanja glavom
08:20
and the back-and-forth movement.
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te pokret naprijed i nazad.
08:22
So it's really quite small.
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Tako da je jako mala.
08:24
You can see it can fit into the palm of my hand.
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Kao što vidite može stati na moj dlan.
08:26
So imagine our excitement when we saw it
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možete zamisliti naše
uzbuđenje kad smo ju vidjeli
uzbuđenje kad smo ju vidjeli
08:28
really working in the studio, and here it is.
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kako stvarno radi u studiju, i evo je.
08:33
(Laughter)
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(Smijeh)
08:37
Thank you.
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Hvala vam.
08:38
(Applause)
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(Pljesak)
ABOUT THE SPEAKER
Aparna Rao - ArtistA 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.
Aparna Rao | Speaker | TED.com