TED5周年時点でのトップ20

http://blog.ted.com/2011/06/27/the-20-most-watched-tedtalks-so-far/




Sir Ken Robinson says schools kill creativity (2006): 8,660,010 views
Jill Bolte Taylor‘s stroke of insight (2008): 8,087,935
Pranav Mistry on the thrilling potential of SixthSense (2009): 6,747,410
Pattie Maes and Pranav Mistry demo SixthSense (2009): 6,731,153
David Gallo‘s underwater astonishments (2007): 6,411,705
Tony Robbins asks Why we do what we do (2006): 4,909,505
Hans Rosling shows the best stats you’ve ever seen (2006): 3,954,776
Arthur Benjamin does mathemagic (2005): 3,664,705
Jeff Han demos his breakthrough multi-touchscreen (2006): 3,592,795
Johnny Lee shows Wii Remote hacks for educators (2008): 3,225,864
Blaise Aguera y Arcas runs through the Photosynth demo (2007): 3,007,440
Elizabeth Gilbert on nurturing your genius (2009): 2,978,288
Dan Gilbert asks: Why are we happy? (2004): 2,903,993
Stephen Hawking asks big questions about the universe (2008): 2,629,230
Daniel Pink on the surprising science of motivation (2009): 2,616,363
Barry Schwartz on the paradox of choice (2005): 2,263,065
Richard St. John shares 8 secrets of success (2005): 2,252,911
Mary Roach 10 things you didn’t know about orgasm (2009): 2,223,822
Simon Sinek on how great leaders inspire action (2010): 2,187,868
Chimamanda Adichie shares the danger of a single story (2009): 2,143,763

ジョニー・リーが披露するWii リモコンHack

http://www.ted.com/talks/lang/ja/johnny_lee_demos_wii_remote_hacks.html


So, as researchers, something that we often do is use immense resources to achieve certain capabilities, or achieve certain goals. And this is essential to the progress of science, or exploration of what is possible. But it sort of creates this unfortunate situation where a tiny, tiny fraction of the world can actually participate in this exploration or can benefit from that technology. And something that motivates me, and what gets me really excited about my research, is when I see simple opportunities to drastically change that distribution and make the technology accessible to a much wider percentage of the population.

And I'm going to show you two videos that have gotten a lot of attention recently that I think embody this philosophy. And they actually use the Nintendo Wii remote. Now, for those of you who aren't familiar with this device, it's a $40 video game controller. And it's mostly advertised for its motion sensor capabilities: so you can swing a tennis racket, or hit a baseball bat. But what actually interests me a lot more is the fact that in the tip of each controller is a relatively high-performing infrared camera. And I'm going to show you two demos of why this is useful.

So here, I have my computer set up with the projector, and I have a Wii remote sitting on top of it. And, for example, if you're in a school that doesn't have a lot money, which is probably a lot of schools, or if you're in an office environment, and you want an interactive whiteboard, normally these cost about two to three thousand dollars. So what I'm going to show you how to do is how to create one with a Wii remote. Now, this requires another piece of hardware, which is this infrared pen. You can probably make this yourself for about five dollars with a quick trip to the Radio Shack. It's essentially got a battery, a button and an infrared LED, and it turns on -- you guys can't see it -- but it turns on whenever I push the button. Now, what this means is that if I run this piece of software, the camera sees the infrared dot, and I can register the location of the camera pixels to the projector pixels. And now this is like a whiteboard surface. (Applause) So for about $50 of hardware, you can have your own whiteboard. This is Adobe Photoshop. (Applause) Thank you. (Laughter)

Now, the software for this I've actually put on my website and have let people download it for free. And in the three months that this project has been public, it's been downloaded over half a million times. So teachers and students all around the world are already using this. (Applause) I want to quickly say that although it does do it for 50 dollars, there are some limitations of this approach. But you get about 80 percent of the way there, for about one percent of the cost. Another nice thing is that a camera can see multiple dots, so this is actually a multi-touch, interactive whiteboard system as well. (Applause)

For the second demo, I have this Wii remote that's actually next to the TV. So it's pointing away from the display, rather than pointing at the display. And why this is interesting is that if you put on, say, a pair of safety glasses, that have two infrared dots in them, what these two dots are essentially going to give you is, give the computer an approximation of your head location. And why this is interesting is I have this sort of application running on the computer monitor, which has a 3D room, with some targets floating in it. And you can see that it looks like a 3D room -- if you can see -- kind of like a video game, it sort of looks 3D, but for the most part, the image looks pretty flat, and bound to the surface of the screen. But if we turn on head tracking, the computer can change the image that's on the screen and make it respond to the head movements. So let's switch back to that. (Laughter) (Applause)

So this has actually been a little bit startling to the game development community. (Laughter) Because this is about 10 dollars of additional hardware if you already have a Nintendo Wii. So I'm looking forward to seeing some games, and actually Louis Castle, that's him down there, last week announced that Electronic Arts, one of the largest game publishers, is releasing a game in May that has a little Easter egg feature for supporting this type of head tracking. So -- and that's from less than five months from a prototype in my lab to a major commercial product. (Applause) Thank you.

But actually, to me, what's almost more interesting than either of these two products is how people actually found out about them. YouTube has really changed the way, or changed the speed, in which a single individual can actually spread an idea around the world. You know, I'm doing some research in my lab with a video camera, and within the first week, a million people had seen this work, and literally within days, engineers, teachers and students from around the world, were already posting their own YouTube videos of them using my system or derivatives of this work. So I hope to see more of that in the future, and hope online video distribution to be embraced by the research community. So thank you very much. (Applause)

デビッド・ホフマンがスプートニクマニアについて語る

http://www.ted.com/talks/lang/ja/david_hoffman_shares_his_sputnik_mania.html


Fifty years ago in the old Soviet Union, a team of engineers was secretly moving a large object through a desolate countryside. With it, they were hoping to capture the minds of people everywhere by being the first to conquer outer space. The rocket was huge. And packed in its nose was a silver ball with two radios inside.

On October 4, 1957, they launched their rocket. One of the Russian scientists wrote at the time: "We are about to create a new planet that we will call Sputnik. In the olden days, explorers like Vasco da Gama and Columbus had the good fortune to open up the terrestrial globe. Now we have the good fortune to open up space. And it is for those in the future to envy us our joy."

You're watching snippets from "Sputnik," my fifth documentary feature, which is just about completed. It tells the story of Sputnik, and the story of what happened to America as a result. For days after the launch, Sputnik was a wonderful curiosity. A man-made moon visible by ordinary citizens, it inspired awe and pride that humans had finally launched an object into space.

But just three days later, on a day they called Red Monday, the media and the politicians told us, and we believed, that Sputnik was proof that our enemy had beaten us in science and technology, and that they could now attack us with hydrogen bombs, using their Sputnik rocket as an IBM missile.

All hell broke loose. Sputnik quickly became one of the three great shocks to hit America -- historians say the equal of Pearl Harbor or 9/11. It provoked the missile gap. It exploded an arms race. It began the space race. Within a year, Congress funded huge weapons increases, and we went from 1,200 nuclear weapons to 20,000. And the reactions to Sputnik went far beyond weapons increases.

For example, some here will remember this day, June 1958, the National Civil Defense Drill, where tens of millions of people in 78 cities went underground. Or the Gallup Poll that showed that seven in 10 Americans believed that a nuclear war would happen, and that at least 50 percent of our population was going to be killed.

But Sputnik provoked wonderful changes as well. For example, some in this room went to school on scholarship because of Sputnik. Support for engineering, math and science -- education in general -- boomed. And Vint Cerf points out that Sputnik led directly to ARPA, and the Internet, and, of course, NASA.

My feature documentary shows how a free society can be stampeded by those who know how to use media. But it also shows how we can turn what appears at first to be a bad situation, into something that was overall very good for America. "Sputnik" will soon be released.

In closing, I would like to take a moment to thank one of my investors: longtime TEDster, Jay Walker. And I'd like to thank you all.

(Applause).

Thank you, Chris.

クリストファー・デシャーム 「リアルタイムの脳スキャナー」

http://www.ted.com/talks/lang/ja/christopher_decharms_scans_the_brain_in_real_time.html


Hi. I'm going to ask you to raise your arms and wave back, just the way I am -- kind of a royal wave. You can mimic what you can see. You can program the hundreds of muscles in your arm. Soon, you'll be able to look inside your brain and program, control the hundreds of brain areas that you see there. I'm going to tell you about that technology.

People have wanted to look inside the human mind, the human brain, for thousands of years. Well, coming out of the research labs just now, for our generation, is the possibility to do that. People envision this as being very difficult. You had to take a spaceship, shrink it down, inject it into the bloodstream. It was terribly dangerous. (Laughter) You could be attacked by white blood cells in the arteries. But now, we have a real technology to do this.

We're going to fly into my colleague Peter's brain. We're going to do it non-invasively using MRI. We don't have to inject anything. We don't need radiation. We will be able to fly into the anatomy of Peter's brain -- literally, fly into his body -- but more importantly, we can look into his mind. When Peter moves his arm, that yellow spot you see there is the interface to the functioning of Peter's mind taking place. Now you've seen before that with electrodes you can control robotic arms, that brain imaging and scanners can show you the insides of brains. What's new is that that process has typically taken days or months of analysis. We've collapsed that through technology to milliseconds, and that allows us to let Peter to look at his brain in real time as he's inside the scanner. He can look at these 65,000 points of activation per second. If he can see this pattern in his own brain, he can learn how to control it.

There have been three ways to try to impact the brain: the therapist's couch, pills and the knife. This is a fourth alternative that you are soon going to have. We all know that as we form thoughts, they form deep channels in our minds and in our brains. Chronic pain is an example. If you burn yourself, you pull your hand away. But if you're still in pain in six months' or six years' time, it's because these circuits are producing pain that's no longer helping you. If we can look at the activation in the brain that's producing the pain, we can form 3D models and watch in real time the brain process information, and then we can select the areas that produce the pain. So put your arms back up and flex your bicep.

Now imagine that you will soon be able to look inside your brain and select brain areas to do that same thing. What you're seeing here is, we've selected the pathways in the brain of a chronic pain patient. This may shock you, but we're literally reading this person's brain in real time. They're watching their own brain activation, and they're controlling the pathway that produces their pain. They're learning to flex this system that releases their own endogenous opiates. As they do it, in the upper left is a display that's yoked to their brain activation of their own pain being controlled. When they control their brain, they can control their pain. This is an investigational technology, but, in clinical trials, we're seeing a 44 to 64 percent decrease in chronic pain patients.

This is not "The Matrix." You can only do this to yourself. You take control. I've seen inside my brain. You will too, soon. When you do, what do you want to control? You will be able to look at all the aspects that make you yourself, all your experiences. These are some of the areas we're working on today that I don't have time to go into in detail. But I want to leave with you the big question. We are the first generation that's going to be able to enter into, using this technology, the human mind and brain. Where will we take it?

ジョセフ・レクトン： ケニアの寓話を語る。

http://www.ted.com/talks/lang/ja/joseph_lekuton_tells_a_parable_for_kenya.html


My name is Joseph, a Member of Parliament in Kenya. Picture a Maasai village, and one evening, government soldiers come, surround the village and ask each elder to bring one boy to school. That's how I went to school -- pretty much a government guy pointing a gun and told my father, "You have to make a choice." So, I walked very comfortably to this missionary school that was run by an American missionary, and the first thing the American missionary gave me was a candy. I had never in my life ever tasted candy. So I said to myself, with all these hundred other boys, this is where I belong. (Laughter) Stayed when everybody else was dropping out. My family moved; we're nomads. Every time school closed -- it was a boarding school and I was seven -- you had to travel until you find them. Fifty miles, 40 miles, it doesn't matter. You slept in the bush, but you kept going.

And I stayed. I don't know why I stayed, but I stayed. And all of a sudden I passed the national examination, found myself in a very beautiful high school in Kenya. And I finished high school. And just walking, I found a man who gave me a full scholarship to the United States. My mother still lives in a cow-dung hut, none of my brothers are going to school, and this man told me, "Here, go."

So I got a scholarship to St. Lawrence University, Upstate New York; finished that. And then after that I went to Harvard Graduate School; finished that. And then I worked in DC a little bit: I wrote a book for National Geographic and taught history, U.S. history. And every time, I kept going back home listening to the problems of these people -- sick people, people with no water, all this stuff -- and every time I go back to America, I kept thinking about them.

Then one day, an elder gave me a story and this story went like this: long time ago, there was a big war between tribes. And there was this specific tribe that was really afraid of this other Luhya tribe. And every time, they sent scouts out there to make sure no one attacked them. So one day, the scouts came running and told the villagers, "The enemies are coming. Only half an hour away, they'll be here." So people scrambled, took their things and ready to go, move out. But there were two men: one man was blind, one man had no legs -- he was born like that. The leader of the chiefs said, "No, sorry. We can't take you. You'll slow us down. We have to flee our women and children, we have to run." And they were left behind, waiting to die.

But these two people worked something out. The blind man said, "Look, I'm a very strong man but I can't see." The man with no legs says, "I can see as far as the end of the world, but I can't save myself from a cat, or whatever animals." So the blind man went down on his knees, down like this, and told the man with no legs to go over his back, and stood up. The man on top can see, the blind man can walk. And these guys took off, followed the footsteps of the villagers until they found and passed them.

So, this was told to me in a setup of elders. And it's a really poor area. I represent Northern Kenya: the most nomadic, remote areas you can even find. And that man told me, "So, here you are. You've got a good education from America, you have a good life in America; what are you going to do for us? We want you to be our eyes, we'll give you the legs. We'll walk you, you lead us."

So the opportunity came, and I was always thinking about that: "what can I do to help my people? Every time you go to an area where for 43 years of independence, we still don't have basic health facilities. A man has to be transported in a wheelbarrow 20, 30 kilometers for hospital. No clean drinking water.

So I said, "I'm going to dedicate myself. I'm leaving America. I'm going to run for office." So last July ... I moved from America in June, ran in July election and won. And I came for them, and that's my goal.

And right now I have in place, for the last nine months, a plan that in five years, every nomad will have clean drinking water. We're building dispensaries across that constituency. I'm asking my friends from America to help with bringing nurses or doctors to help us out. I'm trying to improve infrastructure. I'm using the knowledge I received from the United States and from my community to move them forward. I'm trying to develop homegrown solutions to our issues because we realize that people from outside can come and help us, but if we don't help ourselves, there's nothing we can do.

So my plan right now as I continue with introducing students to different fields -- some become doctors, some lawyers -- we want to produce a comprehensive group of people, students, who can come back and help us see a community grow that is in the middle of a huge economic recession.

So as I continue to be a Member of Parliament and as I continue listening to all of you talking about botany, talking about health, talking about democracy, talking about new inventions, I'm hoping that one day in my own little community -- which is 26,000 square kilometers, maybe five times the size of Rhode Island -- with no roads, we'll be able to become a model to help others develop. Thank you very much. (Applause)

アリサ・ミラー ニュースのニュースについて

http://www.ted.com/talks/lang/ja/alisa_miller_shares_the_news_about_the_news.html


How does the news shape the way we see the world? Here's the world based on the way it looks -- based on landmass. And here's how news shapes what Americans see. This map -- (Applause) -- this map shows the number of seconds that American network and cable news organizations dedicated to news stories, by country, in February of 2007 -- just one year ago. Now, this was a month when North Korea agreed to dismantle its nuclear facilities. There was massive flooding in Indonesia. And in Paris, the IPCC released its study confirming man's impact on global warming. The U.S. accounted for 79 percent of total news coverage. And when we take out the U.S. and look at the remaining 21 percent, we see a lot of Iraq -- that's that big green thing there -- and little else. The combined coverage of Russia, China and India, for example, reached just one percent.

When we analyzed all the news stories and removed just one story, here's how the world looked. What was that story? The death of Anna Nicole Smith. This story eclipsed every country except Iraq, and received 10 times the coverage of the IPCC report. And the cycle continues; as we all know, Britney has loomed pretty large lately.

So, why don't we hear more about the world? One reason is that news networks have reduced the number of their foreign bureaus by half. Aside from one-person ABC mini-bureaus in Nairobi, New Delhi and Mumbai, there are no network news bureaus in all of Africa, India or South America -- places that are home to more than two billion people.

The reality is that covering Britney is cheaper. And this lack of global coverage is all the more disturbing when we see where people go for news. Local TV news looms large, and unfortunately only dedicates 12 percent of its coverage to international news.

And what about the web? The most popular news sites don't do much better. Last year, Pew and the Colombia J-School analyzed the 14,000 stories that appeared on Google News' front page. And they, in fact, covered the same 24 news events. Similarly, a study in e-content showed that much of global news from U.S. news creators is recycled stories from the AP wire services and Reuters, and don't put things into a context that people can understand their connection to it.

So, if you put it all together, this could help explain why today's college graduates, as well as less educated Americans, know less about the world than their counterparts did 20 years ago. And if you think it's simply because we are not interested, you would be wrong. In recent years, Americans who say they closely follow global news most of the time grew to over 50 percent.

The real question: is this distorted worldview what we want for Americans in our increasingly interconnected world? I know we can do better. And can we afford not to? Thank you.

ヤコブ・トロールバックが音楽ビデオを再思考する

http://www.ted.com/talks/lang/ja/jakob_trollback_rethinks_the_music_video.html


I’m working a lot with motion and animation, and also I'm an old DJ and a musician. So, music videos are something that I always found interesting, but they always seem to be so reactive. So I was thinking, can you remove us as creators and try to make the music be the voice and have the animation following it? So with two designers, Tolga and Christina, at my office, we took a track -- many of you probably know it. It’s about 25 years old, and it's David Byrne and Brian Eno -- and we did this little animation. And I think that it's maybe interesting, also, that it deals with two problematic issues, which are rising waters and religion.

Song: Before God destroyed the people on the Earth, he warned Noah to build an Ark. And after Noah built his Ark, I believe he told Noah to warn the people that they must change all their wicked ways before he come upon them and destroy them. And when Noah had done built his Ark, I understand that somebody began to rend a song. And the song began to move on I understand like this. And when Noah had done built his Ark ... Move on ... In fact ... Concern ... So they get tired, has come dark and rain; they get weary and tired. And then he went and knocked an old lady house. And old lady ran to the door and say, "Who is it?" Jack say, "Me, Mama-san, could we spend the night here? Because we’re far from home, we’re very tired." And the old lady said, "Oh yes, come on in." It was come dark and rain, will make you weary and tired.

(Applause)

ジークフリード・ウォルドヘック：レオナルド・ダ・ヴィンチの本当の顔

http://www.ted.com/talks/lang/ja/siegfried_woldhek_shows_how_he_found_the_true_face_of_leonardo.html


Good morning. Let's look for a minute at the greatest icon of all, Leonardo da Vinci. We're all familiar with his fantastic work -- his drawings, his paintings, his inventions, his writings. But we do not know his face. Thousands of books have been written about him, but there's controversy, and it remains, about his looks. Even this well-known portrait is not accepted by many art historians.

So, what do you think? Is this the face of Leonardo da Vinci or isn't it? Let's find out. Leonardo was a man that drew everything around him. He drew people, anatomy, plants, animals, landscapes, buildings, water, everything. But no faces? I find that hard to believe. His contemporaries made faces, like the ones you see here -- en face or three-quarters. So, surely a passionate drawer like Leonardo must have made self-portraits from time to time. So let's try to find them.

I think that if we were to scan all of his work and look for self-portraits, we would find his face looking at us. So I looked at all of his drawings, more than 700, and looked for male portraits. There are about 120, you see them here. Which ones of these could be self-portraits? Well, for that they have to be done as we just saw, en face or three-quarters. So we can eliminate all the profiles. It also has to be sufficiently detailed. So we can also eliminate the ones that are very vague or very stylized. And we know from his contemporaries that Leonardo was a very handsome, even beautiful man. So we can also eliminate the ugly ones or the caricatures. (Laughter)

And look what happens -- only three candidates remain that fit the bill. And here they are. Yes, indeed, the old man is there, as is this famous pen drawing of the Homo Vitruvianus. And lastly, the only portrait of a male that Leonardo painted, "The Musician."

Before we go into these faces, I should explain why I have some right to talk about them. I've made more than 1,100 portraits myself for newspapers, over the course of 300 -- 30 years, sorry, 30 years only. (Laughter) But there are 1,100, and very few artists have drawn so many faces. So I know a little about drawing and analyzing faces. OK, now let's look at these three portraits. And hold onto your seats, because if we zoom in on those faces, remark how they have the same broad forehead, the horizontal eyebrows, the long nose, the curved lips and the small, well-developed chin.

I couldn't believe my eyes when I first saw that. There is no reason why these portraits should look alike. All we did was look for portraits that had the characteristics of a self-portrait, and look, they are very similar. Now, are they made in the right order? The young man should be made first. And as you see here from the years that they were created, it is indeed the case. They are made in the right order. What was the age of Leonardo at the time? Does that fit? Yes, it does. He was 33, 38 and 63 when these were made.

So we have three pictures, potentially of the same person of the same age as Leonardo at the time. But how do we know it's him, and not someone else? Well, we need a reference. And here's the only picture of Leonardo that's widely accepted. It's a statue made by Verrocchio, of David, for which Leonardo posed as a boy of 15. And if we now compare the face of the statue, with the face of the musician, you see the very same features again. The statue is the reference, and it connects the identity of Leonardo to those three faces.

Ladies and gentlemen, this story has not yet been published. It's only proper that you here at TED hear and see it first. The icon of icons finally has a face. Here he is: Leonardo da Vinci. (Applause)

ヨシ・バーディ「小さな温暖化対策」

http://www.ted.com/talks/lang/ja/yossi_vardi_fights_local_warming.html


We are going to talk today about the sequel of "Inconvenient Truth." It's time again to talk about "Inconvenient Truth," a truth that everyone is concerned about, but nobody is willing to talk about. Somebody has to take the lead, and I decided to do it. If you are scared by global warming, wait until we learn about local warming. We will talk today about local warming.

Important health message: blogging may be hazardous to your health, especially if you are a male. This message is given as a public service. Blogging affects your posture. We start with the posture. This is the posture of ladies who are not blogging; this is the posture of ladies who are blogging. (Laughter) This is the natural posture of a man sitting, squatting for ventilation purposes. (Laughter) And this is the natural posture of a standing man, and I think this picture inspired Chris to insert me into the lateral thinking session. This is male blogging posture sitting, and the result is, "For greater comfort, men naturally sit with their legs farther apart than women, when working on laptop. However, they will adopt a less natural posture in order to balance it on their laps, which resulted in a significant rise of body heat between their thighs." This is the issue of local warming. (Laughter)

This is a very serious newspaper; it's Times of England -- very serious. This is a very -- (Laughter) -- gentlemen and ladies, be serious. This is a very serious research, that you should read the underline. And be careful, your genes are in danger. Will geeks become endangered species? The fact: population growth in countries with high laptop -- (Laughter) I need Hans Rosling to give me a graph. (Applause) Global warming fun. (Laughter) But let's keep things in proportion.

How to take care in five easy steps: first of all, you can use natural ventilation. You can use body breath. You should stay cool with the appropriate clothing. You should care about your posture -- this is not right. Can you extract from Chris another minute and a half for me, because I have a video I have to show you. (Applause)

You are great. This is the correct posture. Another benefit of Wi-Fi, we learned yesterday about the benefits of Wi-Fi. Wi-Fi enables you to avoid the processor. And there are some enhanced protection measures, which I would like to share with you, and I would like, in a minute, to thank Philips for helping. This is a research which was done in '86, but it's still valid. Scrotal temperature reflects intratesticular temperature and is lowered by shaving.

By the way, I must admit, my English is not so good, I didn't know what is scrotal; I understand it's a scrotum. I guess in plural it's scrotal, like medium and media. Digital scrotum, digital media. And only last year I recognized that I'm a proud scrotum owner. (Laughter)

And this research is being precipitated by the U.S. government, so you can see that your tax man is working for good causes.

Video: Man: The Philips Bodygroom has a sleek, ergonomic design for a safe and easy way to trim those scruffy underarm hairs, the untidy curls on and around your [bleep], as well as the hard to reach locks on the underside of your [bleep] and [bleep]. Once you use the Bodygroom, the world looks different. And so does your [bleep]. These days, with a hair-free back, well-groomed shoulders and an extra optical inch on my [bleep], well, let's just say life has gotten pretty darn cozy.

Yossi Vardi: This is one of the most popular viral advertisement of last year, known as the optical inch by Philips. Let's applaud Philips -- (Applause) -- for this gesture for humanity. And this is how they are promoting the product. This is -- I didn't touch it, this is original. Laptop use to solve overpopulation. And if everything failed, there are some secondary uses.

And then our next talk, our next TED if you invite me will be why you should not carry a cell phone in your pocket. And this is what the young generation says. (Applause) And I just want to show you that I'm not just preaching, but I also practice. (Laughter) 4 am in the morning. (Laughter) You cannot use this picture. (Applause)

Now, I have some mini TED Prizes, this is the Philips Bodygroom, one for our leader. (Applause) Anybody feels threatened, anybody really need it? (Laughter) Any lady, any lady? Thank you very much. (Applause)

ポール・ロスマンド「DNAに魔法をかける」

http://www.ted.com/talks/lang/ja/paul_rothemund_casts_a_spell_with_dna.html

There's an ancient and universal concept that words have power, that spells exist, and that if we could only pronounce the right words, then -- whooosh -- you know, an avalanche would come and wipe out the hobbits, right? So this is a very attractive idea because we're very lazy, like the sorcerer's apprentice, or the world's greatest computer programmer. And so this idea has a lot of traction with us. We love the idea that words, when pronounced -- they're just little more than pure information, but they evoke some physical action in the real world that helps us do work. And so, of course, with lots of programmable computers and robots around this is an easy thing to picture. So how many of you know what I'm talking about? Raise your right hand. OK. How many of you don't know what I'm talking about? Raise your left hand. So that's great. So that was too easy. You guys have very insecure computers, OK? So now, the thing is that this is a different kind of spell. This is a computer program made of zeros and ones. It can be pronounced on a computer. It does something like this. The important thing is we can write it in a high-level language. A computer magician can write this thing. It can be compiled into this -- into zeros and ones -- and pronounced by a computer. And that's what makes computers powerful: these high-level languages that can be compiled. And so, I'm here to tell you, you don't need a computer to actually have a spell. In fact, what you can do at the molecular level is that if you encode information -- you encode a spell or program as molecules -- then physics can actually directly interpret that information and run a program. That's what happens in proteins. When this amino acid sequence gets pronounced as atoms, these little letters are sticky for each other. It collapses into a three-dimensional shape that turns it into a nanomachine that actually cuts DNA. And the interesting thing is that if you change the sequence, you change the three-dimensional folding. You get now a DNA stapler instead. These are the kind of molecular programs that we want to be able to write, but the problem is, we don't know the machine language of proteins. We don't have a compiler for proteins. So I've joined a growing band of people that try to make molecular spells using DNA. We use DNA because it's cheaper. It's easier to handle. It's something that we understand really well. We understand it so well, in fact, that we think we can actually write programming languages for DNA and have molecular compilers. So then, we think we can do that. And my first question doing this -- or one of my questions doing this -- was how can you make an arbitrary shape or pattern out of DNA? And I decided to use a type of DNA origami, where you take a long strand of DNA and fold it into whatever shape or pattern you might want. So here's a shape. I actually spent about a year in my home, in my underwear, coding, like Linus [Torvalds], in that picture before. And this program takes a shape, spits out 250 DNA sequences. These short DNA sequences are what are going to fold the long strand into this shape that we want to make. So you send an e-mail with these sequences in it to a company, and what it does -- the company pronounces them on a DNA synthesizer. It's a machine about the size of a photocopier. And what happens is, they take your e-mail and every letter in your e-mail, they replace with 30-atom cluster -- one for each letter, A, T, C, and G in DNA. They string them up in the right sequence, and then they send them back to you via FedEx. So you get 250 of these in the mail in little tubes. I mix them together, add a little bit of salt water, and then add this long strand I was telling you about, that I've stolen from a virus. And then what happens is, you heat this whole thing up to about boiling. You cool it down to room temperature, and as you do, what happens is those short strands, they do the following thing: each one of them binds that long strand in one place, and then has a second half that binds that long strand in a distant place, and brings those two parts of the long strand close together so that they stick together. And so the net effect of all 250 of these strands is to fold the long strand into the shape that you're looking for. It'll approximate that shape. We do this for real in the test tube. In each little drop of water you get 50 billion of these guys. You can look with a microscope and see them on a surface. And the neat thing is that if you change the sequence and change the spell, you just change the sequence of the staples. You can make a molecule that looks like this, and, you know, he likes to hang out with his buddies, right. And a lot of them are actually pretty good. If you change the spell again, you change the sequence again. You get really nice 130 nanometer triangles. If you do it again, you can get arbitrary patterns. So on a rectangle you can paint patterns of North and South America, or the words, "DNA." So that's DNA origami. That's one way. There are many ways of casting molecular spells using DNA. What we really want to do in the end is learn how to program self-assembly so that we can build anything, right? We want to be able to build technological artifacts that are maybe good for the world. We want to learn how to build biological artifacts, like people and whales and trees. And if it's the case that we can reach that level of complexity, if our ability to program molecules gets to be that good, then that will truly be magic. Thank you very much. (Applause)

ウィリアム・カンカンバの風車について

http://www.ted.com/talks/lang/ja/william_kamkwamba_on_building_a_windmill.html


Chris Anderson: William, hi. Good to see you.

William Kamkwamba: Thanks.

CA: So, we've got a picture, I think? Where is this?

WK: This is my home. This is where I live.

CA: Where? What country?

WK: In Malawi, Kasungu. In Kasungu. Yeah, Mala.

CA: OK. Now, you're 19 now?

WK: Yeah. I'm 19 years now.

CA: Five years ago you had an idea. What was that?

WK: I wanted to make a windmill.

CA: A windmill?

WK: Yeah.

CA: What, to power -- for lighting and stuff?

WK: Yeah.

CA: So what did you do? How did you realize that?

WK: After I dropped out of school, I went to library, and I read a book that would -- "Using Energy," and I get information about doing the mill. And I tried, and I made it.

(Applause)

CA: So you copied -- you exactly copied the design in the book.

WK: Ah, no. I just --

CA: What happened?

WK: In fact, a design of the windmill that was in the book, it has got four -- ah -- three blades, and mine has got four blades.

CA: The book had three, yours had four.

WK: Yeah.

CA: And you made it out of what?

WK: I made four blades, just because I want to increase power.

CA: OK.

WK: Yeah.

CA: You tested three, and found that four worked better?

WK: Yeah. I test.

CA: And what did you make the windmill out of? What materials did you use?

WK: I use a bicycle frame, and a pulley, and plastic pipe, what then pulls --

CA: Do we have a picture of that? Can we have the next slide?

WK: Yeah. The windmill.

CA: And so, and that windmill, what -- it worked?

WK: When the wind blows, it rotates and generates.

CA: How much electricity?

WK: 12 watts.

CA: And so, that lit a light for the house? How many lights?

WK: Four bulbs and two radios.

CA: Wow.

WK: Yeah.

(Applause) CA: Next slide -- so who's that?

WK: This is my parents, holding the radio.

CA: So what did they make of -- that you were 14, 15 at the time -- what did they make of this? They were impressed?

WK: Yeah.

CA: And so what's your -- what are you going to do with this?

WK: Um --

CA: What do you -- I mean -- do you want to build another one?

WK: Yeah, I want to build another one -- to pump water and irrigation for crops.

CA: So this one would have to be bigger?

WK: Yeah.

CA: How big?

WK: I think it will produce more than 20 the watts.

CA: So that would produce irrigation for the entire village?

WK: Yeah.

CA: Wow. And so you're talking to people here at TED to get people who might be able to help in some way to realize this dream?

WK: Yeah, if they can help me with materials, yeah.

CA: And as you think of your life going forward, you're 19 now, do you picture continuing with this dream of working in energy?

WK: Yeah. I'm still thinking to work on energy.

CA: Wow. William, it's a real honor to have you at the TED conference. Thank you so much for coming.

WK: Thank you.

(Applause)

水中の驚き by デイビッド・ガロ

http://www.ted.com/talks/lang/ja/david_gallo_shows_underwater_astonishments.html


We're going to go on a dive to the deep sea, and anyone that's had that lovely opportunity knows that for about two and half hours on the way down, it's a perfectly positively pitch-black world. And we used to see the most mysterious animals out the window that you couldn't describe: these blinking lights -- a world of bioluminescence, like fireflies. Dr. Edith Widder -- she's now at the Ocean Research and Conservation Association -- was able to come up with a camera that could capture some of these incredible animals, and that's what you're seeing here on the screen.

That's all bioluminescence. So, like I said: just like fireflies. There's a flying turkey under a tree. (Laughter) I'm a geologist by training. But I love that. And you see, some of the bioluminescence they use to avoid being eaten, some they use to attract prey, but all of it, from an artistic point of view, is positively amazing. And a lot of what goes on inside ... there's a fish with glowing eyes, pulsating eyes. Some of the colors are designed to hypnotize, these lovely patterns. And then this last one, one of my favorites, this pinwheel design. Just absolutely amazing, every single dive.

That's the unknown world, and today we've only explored about 3 percent of what's out there in the ocean. Already we've found the world's highest mountains, the world's deepest valleys, underwater lakes, underwater waterfalls -- a lot of that we shared with you from the stage. And in a place where we thought no life at all, we find more life, we think, and diversity and density than the tropical rainforest, which tells us that we don't know much about this planet at all. There's still 97 percent, and either that 97 percent is empty or just full of surprises.

But I want to jump up to shallow water now and look at some creatures that are positively amazing. Cephalopods -- head-foots. As a kid I knew them as calamari, mostly. (Laughter) This is an octopus -- this is the work of Dr. Roger Hanlon at the Marine Biological Lab -- and it's just fascinating how cephalopods can, with their incredible eyes, sense their surroundings, look at light, look at patterns. Here's an octopus moving across the reef, finds a spot to settle down, curls up and then disappears into the background. Tough thing to do.

In the next bit, we're going to see a couple squid. These are squid. Now males, when they fight, if they're really aggressive, they turn white. And these two males are fighting, they do it by bouncing their butts together, which is an interesting concept. Now, here's a male on the left and a female on the right, and the male has managed to split his coloration so the female only always sees the kinder gentler squid in him. And the male ... (Laughter) We're going to see it again. Let's take a look at it again. Watch the coloration: white on the right, brown on the left. He takes a step back -- so he's keeping off the other males by splitting his body -- and comes up on the other side ... Bingo! Now I'm told that's not just a squid phenomenon with males, but I don't know. (Laughter)

Cuttlefish. I love cuttlefish. This is a Giant Australian Cuttlefish. And there he is, his droopy little eyes up here. But they can do pretty amazing things, too. Here we're going to see one backing into a crevice, and watch his tentacles -- he just pulls them in, makes them look just like algae. Disappears right into the background. Positively amazing. Here's two males fighting. Once again, they're smart enough, these cephalopods; they know not to hurt each other. But look at the patterns that they can do with their skin. That's an amazing thing.

Here's an octopus. Sometimes they don't want to be seen when they move because predators can see them. Here, this guy actually can make himself look like a rock, and, looking at his environment, can actually slide across the bottom, using the waves and the shadows so he can't be seen. His motion blends right into the background -- the moving rock trick. So, we're learning lots new from the shallow water. Still exploring the deep, but learning lots from the shallow water. There's a good reason why: the shallow water's full of predators -- here's a barracuda -- and if you're an octopus or a cephalopod, you need to really understand how to use your surroundings to hide.

In the next scene, you're going to see a nice coral bottom. And you see that an octopus would stand out very easily there if you couldn't use your camouflage, use your skin to change color and texture. Here's some algae in the foreground ... and an octopus. Ain't that amazing? Now, Roger spooked him so he took off in a cloud of ink, and when he lands the octopus says, "Oh, I've been seen. The best thing to do is to get as big as I can get." That big brown makes his eyespot very big. So, he's bluffing. Let's do it backwards -- I thought he was joking when he first showed it to me. I thought it was all graphics -- so here it is in reverse. Watch the skin color; watch the skin texture. Just an amazing animal, it can change color and texture to match the surroundings. Watch him blend right into this algae. One, two, three. (Applause) And now he's gone, and so am I. Thank you very much.

ラクシュミ・プラチュアリの「文通」

http://www.ted.com/talks/lang/ja/lakshmi_pratury_on_letter_writing.html


So I thought, "I will talk about death." Seemed to be the passion today. Actually, it's not about death. It's inevitable, terrible, but really what I want to talk about is, I'm just fascinated by the legacy people leave when they die. That's what I want to talk about.

So Art Buchwald left his legacy of humor with a video that appeared soon after he died, saying, "Hi! I'm Art Buchwald, and I just died." And Mike, who I met at Galapagos, a trip which I won at TED, is leaving notes on cyberspace where he is chronicling his journey through cancer. And my father left me a legacy of his handwriting through letters and a notebook. In the last two years of his life, when he was sick, he filled a notebook with his thoughts about me. He wrote about my strengths, weaknesses, and gentle suggestions for improvement, quoting specific incidents, and held a mirror to my life.

After he died, I realized that no one writes to me anymore. Handwriting is a disappearing art. I'm all for email and thinking while typing, but why give up old habits for new? Why can't we have letter writing and email exchange in our lives? There are times when I want to trade all those years that I was too busy to sit with my dad and chat with him, and trade all those years for one hug. But too late. But that's when I take out his letters and I read them, and the paper that touched his hand is in mine, and I feel connected to him.

So maybe we all need to leave our children with a value legacy, and not a financial one. A value for things with a personal touch -- an autograph book, a soul-searching letter. If a fraction of this powerful TED audience could be inspired to buy a beautiful paper -- John, it'll be a recycled one -- and write a beautiful letter to someone they love, we actually may start a revolution where our children may go to penmanship classes.

So what do I plan to leave for my son? I collect autograph books, and those of you authors in the audience know I hound you for them -- and CDs too, Tracy. I plan to publish my own notebook. As I witnessed my father's body being swallowed by fire, I sat by his funeral pyre and wrote. I have no idea how I'm going to do it, but I am committed to compiling his thoughts and mine into a book, and leave that published book for my son.

I'd like to end with a few verses of what I wrote at my father's cremation. And those linguists, please pardon the grammar, because I've not looked at it in the last 10 years. I took it out for the first time to come here. "Picture in a frame, ashes in a bottle, boundless energy confined in the bottle, forcing me to deal with reality, forcing me to deal with being grown up. I hear you and I know that you would want me to be strong, but right now, I am being sucked down, surrounded and suffocated by these raging emotional waters, craving to cleanse my soul, trying to emerge on a firm footing one more time, to keep on fighting and flourishing just as you taught me. Your encouraging whispers in my whirlpool of despair, holding me and heaving me to shores of sanity, to live again and to love again." Thank you.

ディーン・ケーメンが最新の義手をお披露目する

http://www.ted.com/talks/lang/ja/dean_kamen_previews_a_new_prosthetic_arm.html


I got a visit almost exactly a year ago, a little over a year ago, from a very senior person at the Department of Defense. Came to see me and said, "1,600 of the kids that we've sent out have come back missing at least one full arm. Whole arm. Shoulder disarticulation. And we're doing the same thing we did for -- more or less, that we've done since the Civil War, a stick and a hook. And they deserve more than that." And literally, this guy sat in my office in New Hampshire and said, "I want you to give me something that we can put on these kids that'll pick up a raisin or a grape off a table, they'll be able to put it in their mouth without destroying either one, and they'll be able to know the difference without looking at it." You know, had efferent, afferent, and haptic response.

He finishes explaining that, and I'm waiting for the big 300 pound paper proposal, and he said, "That's what I want from you." I said, "Look, you're nuts. That technology's just not available right now. And it can't be done. Not in an envelope of a human arm, with 21 degrees of freedom, from your shoulder to your fingertips." He said, "About two dozen of these 1,600 kids have come back bilateral. You think it's bad to lose one arm? That's an inconvenience compared to having both of them gone." I got a day job, and my nights and weekends are already filled up with things like, let's supply water to the world, and power to the world, and educate all the kids, which, Chris, I will not talk about. I don't need another mission.

I keep thinking about these kids with no arms. He says to me, "We've done some work around the country. We've got some pretty amazing neurology and other people." I said, "I'll take a field trip, I'll go see what you got." Over the next month I visited lots of places, some out here, around the country, found the best of the best. I went down to Washington. I saw these guys, and said, "I did what you asked me. I looked at what's out there. I still think you're nuts. But not as nuts as I thought."

I put a team together, a little over 13 months ago, got up to 20 some-odd people. We said, we're going to build a device that does what he wants. We have 14 out of the 21 degrees of freedom; you don't need the ones in the last two fingers. We put this thing together. A couple of weeks ago we took it down to Walter Reed, which is unfortunately more in the news these days. We showed it to a bunch of guys. One guy who described himself as being lucky, because he lost his left arm, and he's a righty. He sat at a table with seven or eight of these other guys. Said he was lucky, because he had his good arm, and then he pushed himself back from the table. He had no legs. These kids have attitudes that you just can't believe.

So I'm going to show you now, without the skin on it, a 30-second piece, and then I'm done. But understand what you're looking at we made small enough to fit on a 50th percentile female, so that we could put it in any of these people. It's going to go inside something that we use in CAT scans and MRIs of whatever is their good arm, to make silicon rubber, then coat it, and paint it in 3D -- exact mirror image of their other limb. So, you won't see all the really cool stuff that's in this series elastic set of 14 actuators, each one which has its own capability to sense temperature and pressure. It also has a pneumatic cuff that holds it on, so the more they put themselves under load, the more it attaches. They take the load off, and it becomes, again, compliant. I'm going to show you a guy doing a couple of simple things with this that we demonstrated in Washington. Can we look at this thing?

Watch the fingers grab. The thumb comes up. Wrist. This weighs 6.9 pounds. Going to scratch his nose. It's got 14 active degrees of freedom. Now he's going to pick up a pen with his opposed thumb and index finger. Now he's going to put that down, pick up a piece of paper, rotate all the degrees of freedom in his hand and wrist, and read it. (Applause)

アリソン・ハントが（新しい）股関節を手に入れる

http://www.ted.com/talks/lang/ja/allison_hunt_gets_a_new_hip.html


Allison Hunt: My three minutes hasn't started yet, has it?

Chris Anderson: No, you can't start the three minutes. Reset the three minutes, that's just not fair.

AH: Oh my God, it's harsh up here. I mean I'm nervous enough as it is.

But I am not as nervous as I was five weeks ago. Five weeks ago I had total hip replacement surgery. Do you know that surgery? Electric saw, power drill, totally disgusting unless you're David Bolinsky, in which case it's all truth and beauty. Sure David, if it's not your hip, it's truth and beauty.

Anyway, I did have a really big epiphany around the situation, so Chris invited me to tell you about it. But first you need to know two things about me. Just two things. I'm Canadian, and I'm the youngest of seven kids. Now, in Canada, we have that great healthcare system. That means we get our new hips for free. And being the youngest of seven, I have never been at the front of the line for anything. OK?

So my hip had been hurting me for years. I finally went to the doctor, which was free. And she referred me to an orthopedic surgeon, also free. Finally got to see him after 10 months of waiting -- almost a year. That is what free gets you. I met the surgeon, and he took some free X-rays, and I got a good look at them. And you know, even I could tell my hip was bad, and I actually work in marketing. So he said, "Allison, we've got to get you on the table. I'm going to replace your hip -- it's about an 18-month wait." 18 more months. I'd already waited 10 months, and I had to wait 18 more months.

You know, it's such a long wait that I actually started to even think about it in terms of TEDs. I wouldn't have my new hip for this TED. I wouldn't have my new hip for TEDGlobal in Africa. I would not have my new hip for TED2008. I would still be on my bad hip. That was so disappointing.

So, I left his office and I was walking through the hospital, and that's when I had my epiphany. This youngest of seven had to get herself to the front of the line. Oh yeah.

Can I tell you how un-Canadian that is? We do not think that way. We don't talk about it. It's not even a consideration. In fact, when we're traveling abroad, it's how we identify fellow Canadians. "After you." "Oh, no, no. After you." Hey, are you from Canada? "Oh, me too! Hi!" "Great! Excellent!"

So no, suddenly I wasn't averse to butting any geezer off the list. Some 70-year-old who wanted his new hip so he could be back golfing, or gardening. No, no. Front of the line.

So by now I was walking the lobby, and of course, that hurt, because of my hip, and I kind of needed a sign. And I saw a sign. In the window of the hospital's tiny gift shop there was a sign that said, "Volunteers Needed." Hmm. Well, they signed me up immediately. No reference checks. None of the usual background stuff, no. They were desperate for volunteers because the average age of the volunteer at the hospital gift shop was 75. Yeah. They needed some young blood.

So, next thing you know, I had my bright blue volunteer vest, I had my photo ID, and I was fully trained by my 89-year-old boss. I worked alone. Every Friday morning I was at the gift shop. While ringing in hospital staff's Tic Tacs, I'd casually ask, "What do you do?" Then I'd tell them, "Well, I'm getting my hip replaced -- in 18 months. It's gonna be so great when the pain stops. Ow!" All the staff got to know the plucky, young volunteer.

My next surgeon's appointment was, coincidentally, right after a shift at the gift shop. So, naturally, I had my vest and my identification. I draped them casually over the chair in the doctor's office. And you know, when he walked in, I could just tell that he saw them. Moments later, I had a surgery date just weeks away, and a big fat prescription for Percocet.

Now, word on the street was that it was actually my volunteering that got me to the front of the line. And, you know, I'm not even ashamed of that. Two reasons. First of all, I am going to take such good care of this new hip. But also I intend to stick with the volunteering, which actually leads me to the biggest epiphany of them all. Even when a Canadian cheats the system, they do it in a way that benefits society.

ステファン・ローラー「マイクロソフト バーチャルアース ツアー」

http://www.ted.com/talks/lang/ja/stephen_lawler_tours_microsoft_virtual_earth.html


What I want to talk to you about today is virtual worlds, digital globes, the 3-D Web, the Metaverse. What does this all mean for us? What it means is the Web is going to become an exciting place again. It's going to become super exciting as we transform to this highly immersive and interactive world. With graphics, computing power, low latencies, these types of applications and possibilities are going to stream rich data into your lives. So the Virtual Earth initiative, and other types of these initiatives, are all about extending our current search metaphor.

When you think about it, we're so constrained by browsing the Web, remembering URLs, saving favorites. As we move to search, we rely on the relevance rankings, the Web matching, the index crawling. But we want to use our brain! We want to navigate, explore, discover information. In order to do that, we have to put you as a user back in the driver's seat. We need cooperation between you and the computing network and the computer.

So what better way to put you back in the driver's seat than to put you in the real world that you interact in every day? Why not leverage the learnings that you've been learning your entire life? So Virtual Earth is about starting off creating the first digital representation, comprehensive, of the entire world. What we want to do is mix in all types of data. Tag it. Attribute it. Metadata. Get the community to add local depth, global perspective, local knowledge. So when you think about this problem, what an enormous undertaking. Where do you begin? Well, we collect data from satellites, from airplanes, from ground vehicles, from people. This process is an engineering problem, a mechanical problem, a logistical problem, an operational problem.

Here is an example of our aerial camera. This is panchromatic. It's actually four color cones. In addition, it's multi-spectral. We collect four gigabits per second of data, if you can imagine that kind of data stream coming down. That's equivalent to a constellation of 12 satellites at highest res capacity. We fly these airplanes at 5,000 feet in the air. You can see the camera on the front. We collect multiple viewpoints, vantage points, angles, textures. We bring all that data back in.

We sit here -- you know, think about the ground vehicles, the human scale -- what do you see in person? We need to capture that up close to establish that what it's like-type experience. I bet many of you have seen the Apple commercials, kind of poking at the PC for their brilliance and simplicity. So a little unknown secret is -- did you see the one with the guy, he's got the Web cam? The poor PC guy. They're duct taping his head. They're just wrapping it on him. Well, a little unknown secret is his brother actually works on the Virtual Earth team. (Laughter). So they've got a little bit of a sibling rivalry thing going on here. But let me tell you -- it doesn't affect his day job.

We think a lot of good can come from this technology. This was after Katrina. We were the first commercial fleet of airplanes to be cleared into the disaster impact zone. We flew the area. We imaged it. We sent in people. We took pictures of interiors, disaster areas. We helped with the first responders, the search and rescue. Often the first time anyone saw what happened to their house was on Virtual Earth. We made it all freely available on the Web, just to -- it was obviously our chance of helping out with the cause.

When we think about how all this comes together, it's all about software, algorithms and math. You know, we capture this imagery but to build the 3-D models we need to do geo-positioning. We need to do geo-registering of the images. We have to bundle adjust them. Find tie points. Extract geometry from the images. This process is a very calculated process. In fact, it was always done manual. Hollywood would spend millions of dollars to do a small urban corridor for a movie because they'd have to do it manually. They'd drive the streets with lasers called LIDAR. They'd collected information with photos. They'd manually build each building. We do this all through software, algorithms and math -- a highly automated pipeline creating these cities. We took a decimal point off what it cost to build these cities, and that's how we're going to be able to scale this out and make this reality a dream.

We think about the user interface. What does it mean to look at it from multiple perspectives? An ortho-view, a nadir-view. How do you keep the precision of the fidelity of the imagery while maintaining the fluidity of the model? I'll wrap up by showing you the -- this is a brand-new peek I haven't really shown into the lab area of Virtual Earth. What we're doing is -- people like this a lot, this bird's eye imagery we work with. It's this high resolution data. But what we've found is they like the fluidity of the 3-D model. A child can navigate with an Xbox controller or a game controller.

So here what we're trying to do is we bring the picture and project it into the 3-D model space. You can see all types of resolution. From here, I can slowly pan the image over. I can get the next image. I can blend and transition. By doing this I don't lose the original detail. In fact, I might be recording history. The freshness, the capacity. I can turn this image. I can look at it from multiple viewpoints and angles.

What we're trying to do is build a virtual world. We hope that we can make computing a user model you're familiar with, and really derive insights from you, from all different directions. I thank you very much for your time. (Applause)

アナンド・アガラワラ: BumpTopデスクトップのデモ

http://www.ted.com/talks/lang/ja/anand_agarawala_demos_his_bumptop_desktop.html


So, I kind of believe that we're in like the "cave-painting" era of computer interfaces. Like, they're very kind of -- they don't go as deep or as emotionally engaging as they possibly could be and I'd like to change all that. Hit me. OK. So I mean, this is the kind of status quo interface, right? It's very flat, kind of rigid. And OK, so you could sex it up and like go to a much more lickable Mac, you know, but really it's the kind of same old crap we've had for the last, you know, 30 years. (Laughter) (Applause) Like I think we really put up with a lot of crap with our computers. I mean it's point and click, it's like the menus, icons, it's all the kind of same thing.

And so one kind of information space that I take inspiration from is my real desk. It's so much more subtle, so much more visceral -- you know, what's visible, what's not. And I'd like to bring that experience to the desktop. So I kind of have a -- this is BumpTop. It's kind of like a new approach to desktop computing. So you can bump things -- they're all physically, you know, manipulable and stuff. And instead of that point and click, it's like a push and pull, things collide as you'd expect them. Just like on my real desk, I can -- let me just grab these guys -- I can turn things into piles instead of just the folders that we have. And once things are in a pile I can browse them by throwing them into a grid, or you know, flip through them like a book or I can lay them out like a deck of cards. When they're laid out, I can pull things to new locations or delete things or just quickly sort a whole pile, you know, just immediately, right? And then, it's all smoothly animated, instead of these jarring changes you see in today's interfaces.

Also, if I want to add something to a pile, well, how do I do that? I just toss it to the pile, and it's added right to the top. It's a kind of nice way. Also some of the stuff we can do is, for these individual icons we thought -- I mean, how can we play with the idea of an icon, and push that further? And one of the things I can do is make it bigger if I want to emphasize it and make it more important.

But what's really cool is that since there's a physics simulation running under this, it's actually heavier. So the lighter stuff doesn't really move but if I throw it at the lighter guys, right? (Laughter) So it's cute, but it's also like a subtle channel of conveying information, right? This is heavy so it feels more important. So it's kind of cool.

Despite computers everywhere paper really hasn't disappeared, because it has a lot of, I think, valuable properties. And some of those we wanted to transfer to the icons in our system. So one of the things you can do to our icons, just like paper, is crease them and fold them, just like paper. Remember, you know, something for later. Or if you want to be destructive, you can just crumple it up and, you know, toss it to the corner. Also just like paper, around our workspace we'll pin things up to the wall to remember them later, and I can do the same thing here, and you know, you'll see post-it notes and things like that around people's offices. And I can pull them off when I want to work with them.

So, one of the criticisms of this kind of approach to organization is that, you know, "Okay, well my real desk is really messy. I don't want that mess on my computer." So one thing we have for that is like a grid align, kind of -- so you get that more traditional desktop. Things are kind of grid aligned. More boring, but you still have that kind of colliding and bumping. And you can still do fun things like make shelves on your desktop.

Let's just break this shelf. Okay, that shelf broke. I think beyond the icons, I think another really cool domain for this software -- I think it applies to more than just icons and your desktop -- but browsing photographs. I think you can really enrich the way we browse our photographs and bring it to that kind of shoebox of, you know, photos with your family on the kitchen table kind of thing. I can toss these things around. They're so much more tangible and touchable -- and you know I can double-click on something to take a look at it. And I can do all that kind of same stuff I showed you before. So I can pile things up, I can flip through it, I can, you know -- okay, let's move this photo to the back, let's delete this guy here, and I think it's just a much more rich kind of way of interacting with your information.

And that's BumpTop. Thanks!