Difference between revisions of "Alan Kay at Aspen Institute/Kennedy Center Arts Summit "Science and Technology as Art" (2015)"
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+ | <subtitle id="0:0:5">one of the cool things Alan once said was when he was at</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:8"> xerox parc he was</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:11">doing the dynabook which is really the prototype for</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:14"> not only laptops for the ipad you</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:17"> know just but it was for individual creativity is for kid</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:20"> to take in the woods almost and make something beautiful with</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:23"> because he believed tools are empowering and</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:26"> empowerment mean to be able to create art but</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:29"> he was working at a research center owned</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:32"> by xerox there's always boss one of his bosses</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:35"> there i think it was said you know kept saying</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:38"> well how does this really going to help us what's the</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:41">like you know give me a report on the future</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:44"> and Alan's answer was the best way</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:47"> to predict the future is to invent it Alan</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:50"> Kay has done that thank you okay</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:56">so let me just</subtitle> | ||
+ | |||
+ | <subtitle id="0:0:59"> just get started</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:2"> one more time here so</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:5"></subtitle> | ||
+ | |||
+ | <subtitle id="0:1:8"> I'm</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:11"> very happy to be invited here this</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:14"> talk will be a little bit different it starts</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:17"> in the same domain that</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:20"> that</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:23"> this conference has been about</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:26"> but is</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:29"></subtitle> | ||
+ | |||
+ | <subtitle id="0:1:32"> going to be a little bit different in the</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:35"> way it approaches the</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:38"> idea</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:41"> is here and I'd like to dedicate this</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:44"> talk to Jerome Bruner many</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:47"> of you will know this name Jerry is now in</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:50"> his hundredth year of advancing civilization</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:53"> one of the most amazing people</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:56"> we've ever met we love you Jerry and</subtitle> | ||
+ | |||
+ | <subtitle id="0:1:59"> our gardener</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:2"> was a student of Jerry's as we all were in</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:5"> one one way or another I like to start</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:8"> off just by saying this talk is</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:11"> kind of a budget of metaphors</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:14"> because I'm going to have to go</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:17"> from areas</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:20"> that we are a little bit familiar with like this old metaphor</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:23"> from actually the 19th century about human</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:26"> memory which is actually</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:29"> not not so far from what actually goes</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:32"> on that rain comes down</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:35"> hits randomly</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:38"> on the ground one little place some</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:41"> stuff gets moved the moving</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:44"> of that stuff makes a little channel</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:47"> the channel funnels the rain more</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:50"> efficiently in the air and pretty soon you get one of these</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:53"> and we</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:56"> can wander around in it and</subtitle> | ||
+ | |||
+ | <subtitle id="0:2:59"> this pink context can</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:2"> actually seem to be everything that is</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:5"> in our world if we grew up in the game Grand</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:8"> Canyon we might never even think to look up</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:11"> it's all around and we wouldn't even</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:14"> know it was pink because</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:17"> as McLuhan said I don't know who discovered</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:20"> water but it wasn't a fish and</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:23"> so this first idea is this idea that</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:26"> we are always embedded in a context</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:29"> we're really aware of the</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:32"> extent of the context and because of</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:35"> our limitations in a variety of different</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:38"> ways even the context that were embedded</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:41"> in we only get to experience a little</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:44"> bit of its influence at any given time</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:47"> so here's an experiment</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:50">can actually do with your thumbs you don't need quarters</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:53"> if you hold up one quarter or one thumb</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:56"> twice as far away as the other and look</subtitle> | ||
+ | |||
+ | <subtitle id="0:3:59"> at them turns out on your retina the</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:2"> one that's further away will be half the size</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:5"> on your retina and Descartes actually</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:8"> peel the back of an ox's I in</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:11"> order to see if an a</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:14"> biological lens work the</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:17"> same way as a glass Walter knows all this it's</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:20"> great heaven yep so and yes it does</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:23"> and but in fact</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:26"> that I is connected to</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:29"> pachinko machine known as our brain and</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:32"> those optic those signals</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:35">nerve go to a lot of different places about a dozen</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:38"> different places that</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:41"> brain is actually active and</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:44"> the process that</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:47"> it gives rise</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:50"> to is</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:53"> made up of two things one is our beliefs</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:56"> I've colored it pink like the Grand Canyon these</subtitle> | ||
+ | |||
+ | <subtitle id="0:4:59"> are the things that we both genetically think</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:2"> are true and that we culturally</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:5"> think are true and those beliefs</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:8"> affect what we like to call reality</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:11"> but is actually a waking dream we</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:14"> are in fact hallucinating all of the time</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:17"> and if</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:20"> you've ever tried an isolation</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:23"> chamber tank in the 60s they're</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:26"> coming back by the way try them</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:29"> about 15 minutes in there without any ability</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:32"> to detect any sensing information at all you</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:35"> start hallucinating and go on the equivalent of an LSD</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:38"> trip because this waking dream is</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:41"> not just made up of our beliefs but it actually requires</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:44"> constant reference to</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:47"> the world around us in order to more or less stay on</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:50"> track otherwise it starts acting like a sleeping dream</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:53"> and so what happens to those two</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:56"> quarters is we know those two quarters</subtitle> | ||
+ | |||
+ | <subtitle id="0:5:59"> in our two thumbs are the same size and</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:2"> so we pass the information from our retina</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:5"> through our beliefs and in our waking dream</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:8"> the one that's half the size and</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:11"> our retina comes out being about eighty percent of the size</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:14"> of the one that's closer to us and</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:17"> this was one you cannot shake it</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:20"> is really hard to shake it you can mount the</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:23"> quarters on a ruler to make everything it is really</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:26"> really hard and there are dozens and dozens and dozens of</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:29"> these and so basically</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:32"> we cannot even see what's on our rack what that</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:35"> means is that in the context of the word sanity</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:38"> the best we can be is what core</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:41">zip ski termed unsane we</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:44"> were always unsane and we may be worse than that</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:47"> so there's one idea of the</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:50"> influence of context here and McLuhan</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:53"> had a great line he said in till I believe it I can't see</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:56"> it this is much more the case than</subtitle> | ||
+ | |||
+ | <subtitle id="0:6:59"> the way that that line tends to go and right</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:2"> outside my hotel a few days ago in New York</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:5"> this happened the guy with the hammer and</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:8"> as reported by the New</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:11"> York Times mr. O'Grady said he looked like he</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:14">trying to get away from the officers when he</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:17"> was shot I saw another mrs. calls</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:20"> us said I saw a man who was handcuffed</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:23"> being shot i am sorry Bea I'm crazy but that's that's</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:26"> what I saw and take</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:29"> a look at the upper right</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:32"> hand corner</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:35"></subtitle> | ||
+ | |||
+ | <subtitle id="0:7:38"> here's the guy chasing the cop with a hammer</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:41"> and here's the other cop shooting</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:44"> him I don't see any handcuffs</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:50">back dozens because</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:53"> it was captured by a camera this</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:56"> is going to lead into what science is all about</subtitle> | ||
+ | |||
+ | <subtitle id="0:7:59"> which is absolutely getting</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:2"> away from what we like to think about the</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:5"> world we have to use instruments to get around with what's wrong with</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:8"> their brains and those instruments are not just physical</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:11">instruments but some of the instruments are</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:14"> actually instruments</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:17"> to help us see things that</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:20"> cannot be seen so</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:23"> fortunately this was all captured and</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:26"> we got this perfect</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:29"> record published in</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:32"> The New York Times and with the video</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:35"> on youtube so you can</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:38"> actually check it out yourself and see that these memories</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:41"> was a right after it happened we're</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:44"> actually manufactured by what people believed</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:47"> as you know we're here</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:50"> today to honor mrs. flexer who you all know as</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:53">grade teacher she'll be here in just a</subtitle> | ||
+ | |||
+ | <subtitle id="0:8:59">everything good</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:2"></subtitle> | ||
+ | |||
+ | <subtitle id="0:9:5"> okay what does that look on her face</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:8"> what</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:11"> does the look she's</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:14"> phi frightened out of her mind</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:17"></subtitle> | ||
+ | |||
+ | <subtitle id="0:9:20"> because</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:23"> that pink</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:26"> world that she was in suddenly got violated</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:29"> and it got violated and</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:32"> that violation was detected by</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:35"> a fast working system that's part of</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:38"> the way our brain deals with things we</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:41"> have to deal with real-time things and a good way</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:44">with real-time things with pre-stored patterns we've</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:47"> got zillions of them most things we do in real time</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:50"> are dealt with in a more skillful</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:53"> way than a cognitive way and the transition</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:56"> here was some release</subtitle> | ||
+ | |||
+ | <subtitle id="0:9:59"> from that and then</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:2"> she's so happy you ever had this</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:5"> happen to you so these</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:8"> stage now she could have been listening to</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:11"> a piece of music and had</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:14"> the same reaction it's like holy shit</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:17"> where am I</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:20"> what's going on here well the fear</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:23"> reaction not only gets adrenaline going</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:26"> because you might have to run or fight but</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:29"> because you might have to fight it also gets dopamine</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:32"> and other neurotransmitters that are actually</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:35"> opiates and so the fear reaction</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:38"> actually dopes you up so you</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:41"> can contend with danger</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:44"> without feeling pain and</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:47"> when your cognitive system</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:50"> says hey there's no danger you're coked up</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:53"> and all of a sudden you have this fantastic</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:56"> feeling this</subtitle> | ||
+ | |||
+ | <subtitle id="0:10:59"> has been studied very carefully over the</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:2"> last 20 years using PET scans</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:5"> and functional MRIs and so it's a</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:8">interesting thing to think about and Daniel</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:11"> Kahneman wrote the book fast thinking and slow thinking</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:14"> again a metaphor here calls</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:17"> the fast thinker system one and the slow thinker</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:20"> system too and</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:23"> just so we remember</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:26"> that these are metaphors here's a book</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:29"> classical book called maps of the mind and has</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:32"> about 40 different theories</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:35"> of mind in it not all of them incompatible</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:38"> with each other and it doesn't even matter what the</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:41"> theories are the important thing is to realize that no matter what</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:44"> you throw at the mind there are other points</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:47"> of view on it and so a system one and system two is</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:50"> really a useful metaphor but</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:53"> here's the cool thing about system</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:56"> one and also the dangerous thing about system</subtitle> | ||
+ | |||
+ | <subtitle id="0:11:59"> one is it doesn't matter if you know you're safe</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:2"> these kids</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:5">absolutely would not get on that roller coaster if they thought</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:8"> there is any chance of them die but look at them</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:11">if we</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:14"> were to stand next to a door and I slam the door like</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:17"> this you would have this reaction even though</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:20"> you know it's just me slamming a door because system</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:23"> one is set up to respond among other things</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:26"> too loud noises genetically it's</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:29"> set up to respond to reptiles</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:32"> it's hard to shake that so</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:35"> one way to think about it is that system one is</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:38"> fast reacting and slow to train</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:41"> as anybody who's ever learned a musical instrument</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:44"> knows you play a musical instrument primarily</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:47"> with system one as far as all the technical stuff</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:50"> goes and it takes a while to train</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:53"> it and system two</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:56"> is much faster at learning but it's much slower</subtitle> | ||
+ | |||
+ | <subtitle id="0:12:59"> to react because it actually has to think about</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:2"> things so you can do peekaboo</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:5"> over and over over again and</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:8"> one one of the ways of</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:11"> thinking about what the arts and the sciences are</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:14"> partly about the joy there is the joy</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:17"> of this kind of supply surprise</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:20"> in this kind of release so</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:23"> now I'm going to make the Grand</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:26"> Canyon into a flat plane I'll</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:29"> have an aunt thinking its way along the</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:32"> end can run into a</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:35"> an obstacle</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:38"> i can plan its way around it can do many many</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:41"> things all the trappings of thinking and it</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:44">realizes that it's only thinking pink thoughts</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:47"> but the ant can wander</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:50"> along or be led along it</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:53"> could have a little blue thought and</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:56"> what the land has learned up to this</subtitle> | ||
+ | |||
+ | <subtitle id="0:13:59"> point is critical because the</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:2"> and has been to school the and has gone to</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:5"> church the aunt has been indoctrinated into</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:8"> the pink world chris flat that</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:11"> little blue thought gets wiped out but</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:14"> every once in a while you're taking a</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:17"> shower you out you're in a concert</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:20"> you're in some place where you're</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:23"> a little bit disassociated you can get a whips</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:26"> that whoops</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:29"> puts you into a different</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:32">context than the one you're in i'll call this the blue context can</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:35">bit different from the one you're in could be enormously</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:38"> different from the one you're in and the</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:41"> basic reactions to this are the reactions</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:44"> of that teacher so like</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:47"> the simplest one for instance is a joke a</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:50"> joke is bleeding somebody down the garden</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:53"> path and then revealing it's about something else</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:56"> but discovery</subtitle> | ||
+ | |||
+ | <subtitle id="0:14:59"> aha and there's in</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:2"> music you have em and</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:5"> I and oh and</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:8"> I wanted to commute because I didn't want to try and define art here</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:11">so I'm just going to stay with these sounds these</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:14"> are the sounds that people make when they're taken</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:17"> out of one context and put into another and I</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:20"> don't need to go any further</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:23"> important thing about if you're creating</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:26"> or running into one of these ideas from somebody</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:29"> else is the idea might be</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:32"> terrible it's independent</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:35"> just because you had this epiphany doesn't</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:38"> mean in fact many</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:41">people have these in the old days would start religions</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:44">because they seem to come from heaven but</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:47"> in fact most ideas</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:50">to bed and I think everybody here understands why</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:53"> it's just hard to have a good I idea</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:56"> and another part of</subtitle> | ||
+ | |||
+ | <subtitle id="0:15:59"> this and this goes against the myth particularly</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:2"> the American myth of doing everything</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:5"> spontaneously is can take a long</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:8"> time to have those whoops asst</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:11"> can take years of</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:14"> Basque round to have those whoops asst</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:17"> courage who is a theatrical Critic as well</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:20"> as a poet wrote in a review people</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:23"> go to bad theater hoping to forget</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:26">elevision</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:29"> but they got a good theater tingling</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:32"> to remember and so everybody</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:35"> here who has done theatre knows that what</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:38">doing is trying to set up what's called a magic</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:41"> mirror in theater which is to beam the audience's</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:44"> intelligence back out at them you're</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:47"> trying to wake them up you can't tell</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:50"> them anything like I can't tell you anything but</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:53">you to think of thoughts that might not have thought when</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:56"> you walked into the room you already have them</subtitle> | ||
+ | |||
+ | <subtitle id="0:16:59"> but their masked by other things that you're doing</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:2"> Paul Hindemith in a</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:5"> composers world was the guy who came up with</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:8"> the first time I saw this phrase in the 50s</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:11"> co-creation because that's what</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:14">happening when you're listening to music is your co-creating</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:17"> along with a composer and if</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:20"> it's completely random you get upset if it's</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:23"> completely predictable you get bored but</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:26"> if the composer puts in things that you didn't</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:29">anticipate but you can instantly see that</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:32"> they actually were part of this larger scheme you</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:35"> get catapulted into this other world the composer is showing</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:38">you something that you didn't anticipate but</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:41"> yet it fits into this thing so I think this is a good</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:44"> idea this to plane model</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:47"> is an idea of Arthur Koestler called</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:50"> it by association he was particularly interested</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:53"> in the whoops having a foot in both worlds</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:56"> but I think you can see you don't have to have a foot</subtitle> | ||
+ | |||
+ | <subtitle id="0:17:59"> in both worlds you don't have to have an analogy that takes</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:2"> you from one together and then of course people</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:5">Richard Feynman have pointed out for many many years</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:8"> that hey these are the same</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:11"> this is what scientists feel scientists</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:14"> have all of these reactions and so by</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:17"> any reasonable sense of things</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:20"> the science and mathematics</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:23"> and technology our arts like</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:26"> the rest of them some of them are more recent</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:29">hey're a little bit different in a way I'm going to try and show you</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:32"> but first to get away from the</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:35"> words here and back to something that's a little</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:38"> more sensual one of my friends is a glassblower</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:41"> and we were fooling around this</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:44"> is called a gather yeah it's just one of the</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:47"> most beautiful things I'm he's beautiful to blow</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:50"> glass but a gather and</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:53"> he he held this thing up like</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:56"> this and he said you know if I could I would take a</subtitle> | ||
+ | |||
+ | <subtitle id="0:18:59"> bite out of this because</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:2"> he loved it and when you're in love you</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:5"> want to merge with your beloved that's</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:8"> another way of thinking about art this is the way scientists</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:11"> think about science and</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:14"> so that adds another exclamation</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:17"> to all recipes</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:20"> so</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:23"> sensuality these</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:26"> are dominant ones of touch the</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:29"> earliest forms of sensing</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:32"> most of</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:35"> them are in the census of the Arts we know today I</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:38"> apologize to the artist who</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:41"> made this for only drawing on it for</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:44"> a couple of seconds as an example is really</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:47"> ugly to not</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:50"> take the time to enjoy each</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:53"> one of these here's another visual</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:56">known what was going to happen this morning I would have</subtitle> | ||
+ | |||
+ | <subtitle id="0:19:59"> done this a little bit differently but</subtitle> | ||
+ | |||
+ | <subtitle id="0:20:14">here</subtitle> | ||
+ | |||
+ | <subtitle id="0:20:17"> we see something marvelous happening in time</subtitle> | ||
+ | |||
+ | <subtitle id="0:20:20"> visuals and music together and I'd like the sound</subtitle> | ||
+ | |||
+ | <subtitle id="0:20:23"> up quite a bit more for this next one</subtitle> | ||
+ | |||
+ | <subtitle id="0:20:26"> music doesn't actually need visuals that music</subtitle> | ||
+ | |||
+ | <subtitle id="0:20:29"> actually really was aided by British</subtitle> | ||
+ | |||
+ | <subtitle id="0:20:32"> dick off I think but</subtitle> | ||
+ | |||
+ | <subtitle id="0:20:35"> imagine now instead</subtitle> | ||
+ | |||
+ | <subtitle id="0:20:38">of having these lights here that we're all in san</subtitle> | ||
+ | |||
+ | <subtitle id="0:20:41"> marco cathedral in venice with our eyes closed</subtitle> | ||
+ | |||
+ | <subtitle id="0:20:44"> and and we might hear something like this</subtitle> | ||
+ | |||
+ | <subtitle id="0:20:50">you</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:17">I just</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:20"> love this music from the late</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:23"> 16th century it's the most incredible</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:26"> stuff but it's</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:29"> still sensual it's invisible</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:32"> Leonardo called music the science of the invisible</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:35"> but it's audible but</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:38"></subtitle> | ||
+ | |||
+ | <subtitle id="0:21:41"> God</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:44"> Walters got all the stuff covered in his books but</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:47"> here's a great story</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:50"> that's Einstein at age four and</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:53"> when he was recovering from</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:56"> an illness he was given one of these and</subtitle> | ||
+ | |||
+ | <subtitle id="0:21:59"> here's what he said I can</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:2"> still remember that this experience made a deep and lasting impression</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:5"> on me something deeply hidden had</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:8"> to be high be behind things and here's</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:11"> the problem the problem with</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:14"> what we're talking about here with science and</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:17"> technology is that almost everything important about it</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:20"> is not just invisible it's non central</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:23"> my friend</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:26"> Frank Oppenheimer many of you will have known him</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:29"> in the past did this marvelous place</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:32"> call the exploratorium in the exploratorium</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:35"> when it originally started out had 500 exhibits</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:38"> each one devoted to just one thing which is the</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:41"> world as not as it seems and</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:44"> the sponsors complained they said we wanted</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:47">to science museum and you made a nosh pit we're</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:50"> always children running around bashing on things</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:53"> and Frank said you don't understand the</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:56"> Gateway to science is to</subtitle> | ||
+ | |||
+ | <subtitle id="0:22:59"> understand that the world is not as it seems in the most</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:2"> profound fashion you have to start</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:5"> from there because otherwise you're constantly</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:8"> being distracted by how the world does see and</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:11"> so these are the arts</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:14"> of nonsense and the</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:17"> arts of non story for the most part</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:20"> their narratives about scientists</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:23"> but scientific knowledge mathematical</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:26">knowledge it's really isn't in a narrative form is</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:29"> actually what von Neumann call relationships about relation</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:32"> chips and I'll look at that in a in</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:35"> a little bit and it's not about</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:38"> this this is what this form</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:41"> here is made for we are around a campfire right</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:44"> now and I'm using oral means</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:47"> and we heard that oil</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:50">means are very important and they are they're</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:53"> important for telling stories and those are I</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:56"> don't want to replace those a lot</subtitle> | ||
+ | |||
+ | <subtitle id="0:23:59"> of our joy about being human beings is about</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:2">alking about I'm talking about something different</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:5"> something really different it's an additive</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:8"> one of the biggest additives</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:11"> the human race has ever come up with and every part</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:14"> of it has to be approached through this</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:17"> nonsense way</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:20"> of dealing with things and</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:23"> here's one of my favorite so</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:26"> this is back in the 18th century I have one of these</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:29"> I love this this</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:32"> may be its last trip because</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:35"> they're made out of paper</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:38"> on here</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:41"> so this is</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:44"> well two hundred some-odd years ago</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:47"> in the late 18th century</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:50"> people in coffee shops in England</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:53"> and Europe had these little globes they could</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:56"> take them out and they would talk about what the earth</subtitle> | ||
+ | |||
+ | <subtitle id="0:24:59"> looks like from space they knew because</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:2"> when we went out there just as was</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:5"> described the</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:8"> most interesting thing to scientists was there</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:11"> was no surprise it looked just exactly</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:14"> the way Chesley bone still had</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:17">painted those pictures that looked exactly the way</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:20"> the earth had been mapped out no</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:23"> surprises of any kind and</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:26"> the picture on the right is engineering</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:29"> picture on the left is science</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:32">so</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:35"> we can think of this as the birth of a baby being</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:38"> able to find out things that you can't find</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:41"> out by really direct means and here's a nice picture</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:44"> of how India was</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:47"> mapped and using</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:50"> various various instruments</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:53"></subtitle> | ||
+ | |||
+ | <subtitle id="0:25:56"> chronometer 'he's sextants</subtitle> | ||
+ | |||
+ | <subtitle id="0:25:59"> to find out where you are and</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:2"> viata lights to measure things</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:5">and was done by piecing together evidence and</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:8"> a critical idea here</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:11"> is that the</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:14"> we can think about what science math</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:17"> and engineering are from</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:20"> considering this diagram that the</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:23">content of all these areas is kind of like this it's a system</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:26"> there isn't really a narrative here see it's a it's more</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:29"> complicated than there there's no place to begin and end everything</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:32"> is related in mathematics you</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:35"> can get this point to</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:38"> be in the same place because you're not reasoning</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:41"> about the real world in mathematics you're only reasoning</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:44"> about how relationships work with</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:47"> each other abstractly in science you</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:50"> can never get those points together and an</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:53"> engineering you can never get those points together</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:56"> for two different reasons</subtitle> | ||
+ | |||
+ | <subtitle id="0:26:59"> so you have this idea of tolerance</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:2"> and yet what you get out of this</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:5"> is plausibility so India</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:8"> is represented here and in the maps</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:11"> today is plausibly similar to</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:14"> a very very high degree with what's</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:17"> actually there it's not exact but it's better</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:20"> than any form of falsehood from</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:23"> the past and</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:26"> here's one of the great books of all time most</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:29">people have never read it most people are never trained</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:32"> to read it and yet it was</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:35"> had as big an</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:38"> impact on human thought</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:41"> as anything a person could think</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:44"> of you I put it in the top five every part</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:47"> of this is a beautiful and yet</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:50"> you have to understand some mathematics</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:53"> you have to actually be willing</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:56"> to plow through it take some years of preparation it</subtitle> | ||
+ | |||
+ | <subtitle id="0:27:59"> has all the trappings of what it takes to</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:2"> appreciate classical music and other developed</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:5"> forms and if you don't do that for</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:8">instance one way of thinking about if system one isn't</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:11"> fluent with a lot of the trappings of this</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:14"> stuff system to never gets a chance because there's just too</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:17"> much stuff there</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:20"> similarly what's interesting about magnetism isn't</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:23"> what the iron filings show</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:26"> or even what Faraday</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:29"> and Earth's dad found</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:32"> out that by putting a current through a wire a</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:35"> magnetic field is somehow created that</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:38"> acts as though a magnet has happened</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:41"> what's interesting here is that the</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:44"> only descriptions that we know of this that are any</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:47"> good are in the forms of mathematics that is a</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:50"> very very cold desert to</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:53"> learn how to eat</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:56"> because what you have to what you're envisioning</subtitle> | ||
+ | |||
+ | <subtitle id="0:28:59"> here is not anything that its physical</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:2"> you're in visiting what the relationships of this</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:5"> particular kind of mathematics have</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:8"> so as Galileo said the language of nature is</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:11"> written in mathematics and most people don't read</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:14"> that language similarly in what's interesting</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:17"> in molecular biology</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:20"> here this is charles darwin as a younger man endless</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:23"> forms most beautiful the problem is the wavelengths</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:26"> of light are such that the</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:29">detail that's shown here had to be simulated</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:32"> because we can't see them directly even with</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:35">at has to be found out the same way the</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:38"> world was mapped and by using electron</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:41"> microscopy which unfortunately kills the animals</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:44"> in order to see some</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:47"> of the details on them computing so</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:50"> much similar to what biology</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:53"> is about modern biology I wound</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:56"> up getting degrees in both of them and they</subtitle> | ||
+ | |||
+ | <subtitle id="0:29:59">parallel on them</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:2"> and as beautiful as this wafer</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:5">is it has nothing to do with computing as</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:8"> beautiful as silicon transistors are has nothing</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:11"> to do with computing you can make computers out of rope to</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:14"> make computers out of paper clips what's</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:17"> really beautiful about computing is what</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:20"> it can do and how it how</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:23"> it actually does it abstractly so</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:26"> a metaphor here is the computer is an instrument like</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:29"> a musical instrument whose music is ideas</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:32"> this is something that ADA when Ava said</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:35"> the analytical</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:38"> engine weaves algebraic patterns</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:41"> the way the jacquard loom weaves</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:44"> flowers and leaves she understood</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:47">what the extent because it's the projection out</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:50"> of the mirror machinery that counts</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:53"> so here's a an</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:56"> image of four intertwined systems</subtitle> | ||
+ | |||
+ | <subtitle id="0:30:59"> that we live in because now we're getting that the one</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:2">of the lingua franca for talking about these areas</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:5"> that this this session is about is</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:8"> actually systems it's not really even just science</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:11"> or engineering so on the on the right there</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:14"> is the system of the universe nature</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:17"> in the middle in</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:20"> the back is our social systems on</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:23"> the right hand side is our technological</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:26"> system that is a self-portrait of the internet</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:29"> and then there's us so we could call this</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:32"> the systems that we live in and the systems</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:35"> we are there is a way of thinking about</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:38"> all of these ideas</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:41"> and</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:44"> the thing that most closely approaches this is</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:47"> writing and see I would</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:50"> disagree with Megan and she didn't actually make it up with</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:53"> the internet is not the most important thing</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:56">it's the most</subtitle> | ||
+ | |||
+ | <subtitle id="0:31:59"> important thing since the printing press writing</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:2"> is much more important than either of those but</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:5"> the printing</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:8"> press is a great amplifier for it and part</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:11"> of it is that getting fluent getting system one again fluent</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:14">with what it means to become a reader and writer</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:17"> changes us cognitively and</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:20"> here's something that we did as a systems</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:23"> design quite a long</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:26"> time ago and it's just wonderful that</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:29"> you can I've</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:32">got it here I love that you can just hold the thing up and</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:35"></subtitle> | ||
+ | |||
+ | <subtitle id="0:32:38"> it's an operating system for</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:41"> us you can think of it as the</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:44"> tcp/ip for the human race as a</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:47"> start not a perfect system but</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:50"> what was interesting is not just the result</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:53"> but actually how they arrived at the result</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:56"> and the</subtitle> | ||
+ | |||
+ | <subtitle id="0:32:59"> Constitutional Convention by</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:2"> the way recommend James Madison's notes</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:5">which of the most comprehensive notes taken</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:8"> on this secret proceeding they set</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:11">hings up in really interesting ways and occasionally</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:14"> with correctives to try and damp</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:17"> out the natural tendencies of human beings</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:20"> and they did it in a fantastic way</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:23"> and it's something we should talk about because this is this</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:26"> process of making progress in the face of disagreement</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:29"> this is almost a lost art</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:32"> Franklin as I</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:35"> got this from I got this from Walters book</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:38"> we are sent hither to consult not</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:41"> to contend and then here's his</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:44"> famous statement and</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:47"> then the thing to realize is that every time we do one of these</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:50"> things we were just making a new context so it's a gully and</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:53"> we shouldn't act as though it's sacred and not to be</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:56"> not to be changed I</subtitle> | ||
+ | |||
+ | <subtitle id="0:33:59"> time is short here</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:2"> but I could could not</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:5"> find a way of</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:8"> not digressing for one second</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:11">and just because</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:14"> that's the nature of this stuff</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:17"> so I think many people</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:20"> have learned about the Constitution</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:23"> everything else but there are 55</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:26">they weren't all there at the same time but in any given time there</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:29"> 20 to 40 how</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:32"> did they vet the drafts</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:35"> think about it the</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:38"> thing that's in the library</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:41"> of congress is written by out by hand</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:44"> so that they have 40 people</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:47"> copying each draft no</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:50"> way they type set overnight</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:53"> each draft they use</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:56"> the next technology the technology that they weren't</subtitle> | ||
+ | |||
+ | <subtitle id="0:34:59"> going to write the official thing in the</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:2"> technology they could have actually used to</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:5"> put out the thing but it just wasn't official it was too</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:8"> new but in order to make</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:11"> it readable they each draft and this</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:14"> is a copy of the first draft of the thing was done like this with</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:17">room for making notes and cross outs and everything</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:20"> else something to think about what about</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:23"> technology okay so</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:26"> the problem of course is us and</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:29"> as I've been portraying</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:32"> us we are kind of like cave people with briefcases</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:35"> in our brief cases are</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:38"> remnants of our hunting and gathering past a</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:41"> distaste for the other in concentric</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:44"> circles going out from our</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:47"> siblings our family our neighborhood our</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:50"> country all of these lead to rivalries</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:53"> of various kinds we love revenge we</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:56"> just decided to take revenge on the Boston</subtitle> | ||
+ | |||
+ | <subtitle id="0:35:59"> bomber</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:2"> instead of a spear we have an atomic weapon</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:5"> and the combination of these two is disastrous</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:8"></subtitle> | ||
+ | |||
+ | <subtitle id="0:36:11"> we have the same old brain we have to ask what's</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:14"> a better context for surely not pink</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:17"> and that brain can</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:20"> also think itself out of the context that it's been in</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:23">several we just haven't made it stick</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:26"> with the larger population we have not been</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:29">to improve the Constitution to the extent that it needs to</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:32"> be improved and we have not been able to improve our</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:35">conception and vision of what we should be thanked</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:50">thank</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:53"> you very much Alan and now to</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:56"> give a bit of a counterpoint</subtitle> | ||
+ | |||
+ | <subtitle id="0:36:59"> view is somebody I'm very proud to del</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:2"> call professor because sarah lewis</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:5"> as of july first will be the professor of</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:8">architecture and African and African American Studies at</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:11"> Harvard University which he has</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:14"> been a de bois scholar and</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:17"> knowing about the Dubois scholars</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:20"> I was particularly interested in how much</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:23"> you've drawn in your book the rise which everybody should</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:26"> read which is about creativity and</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:29"> the foundations of creativity one of which is even failure</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:32"> but how you drew from Frederick Douglass</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:35"> and his connection to the beauty of art</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:38">which he fully understood which I did not know until last night</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:41"> when I read your book and the connection of art</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:44"> to policy technology so professor</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:47"> Sarah Lewis thank you</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:53"> so much Walter for that</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:56"> generous introduction and I have</subtitle> | ||
+ | |||
+ | <subtitle id="0:37:59">I felt as though i received my first test after</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:2"> accepting the position to be a professor at Harvard when Damien</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:5">walsall gave me the invitation to do a response as</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:8"> an art historian to a panel presentation</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:11"> on technology</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:14"> and hopefully I'll pass we'll</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:17"> see but you know Alan gave</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:20"> a beautifully wide-ranging presentation and I won't</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:23">respond to all the different points but I will</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:26"> say one of his comments made me flash back to that</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:29"> moment when Damien invited me when he said we are all loose</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:32"> inated all the time</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:35"> system one was going on in my mind when</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:38"> Damien asked me to present right</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:41"> but system two prevailed when I realized</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:44"> that ultimately the work that I'm up to is understanding</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:47"> how art is a technology for getting us to</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:50"> see around our collective failures right</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:53"> to come together when we</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:56"> might prefer not to so</subtitle> | ||
+ | |||
+ | <subtitle id="0:38:59"> speak today is art as a technology for justice in historical</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:2"> terms and I'll do</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:5"> so briefly so we'll have time for a wrap-up panel</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:8"> as well the walter kindly mentioned i began</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:11"> this investigation when i started to look at the really improbable</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:14"> foundations of iconic rises in the history</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:17"> of creative endeavors i learned</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:20"> some things i didn't know i learned for example that</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:23">ellington's said about his landmark music I merely</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:26"> took the energy it takes to pout and I</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:29"> wrote some blues I learned</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:32"> that this now legendary RKO</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:35"> screen test from the 1930s said about</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:38"> a particular dancer can't sing can't</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:41"> act balding condense</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:44"> a little and this was in reference to Fred</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:47"> Astaire there's so many of these stories</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:50"> one of which really gripped me when I saw it</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:53"> at sotheby's was that Martin Luther King received seized</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:56"> in a transcript of A's and B's</subtitle> | ||
+ | |||
+ | <subtitle id="0:39:59"> during seminary right and I thought about</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:2"> these improbable failures but as an art historian I</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:5"> think I was most struck by learning that the start</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:8"> of the communications revolution The Telegraph</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:11"> you might say began with the failed pursuit</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:14"> of a painter namely Samuel</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:17"> Morse so as you might be able</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:20"> to see from the Telegraph model the stretcher</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:23"> bars of one of his failed canvases comprise the</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:26"> actual frame of this device</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:29"> Samuel Morse didn't just want to be a painter</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:32"> he wanted to be a painter of great renowned Rembrandt</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:35"> Titian as he wrote to his parents and he</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:38"> felt jilted by his first love at</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:41"> that altar he was unable to</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:44"> support himself and his family sent his</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:47"> family to live in New Haven while he struggled to make a living in</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:50"> New York might sound familiar it's</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:53"> a kind of timeless theme he was NYU's first</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:56"> professor of painting in fact but one</subtitle> | ||
+ | |||
+ | <subtitle id="0:40:59"> day his students started to notice that batteries and wires</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:2">populated that small studio in Washington Square</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:5"> as much as paint brushes and pigments</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:8"> Morse didn't see any difference between</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:11"> innovation with artistic means and what we might now call</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:14"> technological means Morse</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:17">ffectively knew what we are holding a summit about today that</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:20"> their art and Technology are inextricably bound and</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:23"> as Walter Isaacson beautifully wrote</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:26"> in the innovators the truest creativity of</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:29">digital age came from those who were able to connect</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:32"> the arts and the sciences many</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:35"> have been arguing for the needs to bring the Arts and Sciences</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:38"> together but I would argue that the</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:41">urgency to do so comes from the fact that they were</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:44"> once never so far apart right mae</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:47"> Jemison i think puts this most beautifully</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:50"> she writes explaining</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:53">she took with her on her first trip to space a</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:56"> poster of a dancer and choreographer Judith</subtitle> | ||
+ | |||
+ | <subtitle id="0:41:59"> Jamison the artistic director</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:2"> of Alvin Ailey until recently and a bundu statue from Sierra</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:5"> Leone the creativity that allowed us to</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:8"> conceive and build and launch the space</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:11">shuttle Springs on the same source as the</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:14"> imagination analysis it took to carve a bundu statue</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:17"> or the ingenuity to design choreograph</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:20"> and stage and Alvin Ailey Dance cry</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:23"> that's what we have to reconcile</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:26"> in our minds how these things fit together</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:29"> so</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:32"> a few years back when I was curating at</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:35"> the Tate Modern and then moma I created</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:38"> a show kill curated a biennial that</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:41"> really looked at the connection between art and technology explicitly</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:44"> it was called the dissolve and I was fortunate enough</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:47"> to have David Adjaye design the</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:50"> space but recently I've begun to be</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:53"> productively inspired by the tension</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:56"> you might say between art and technology and how</subtitle> | ||
+ | |||
+ | <subtitle id="0:42:59"> it gives us an opportunity to look at the unique mechanism</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:2"> of an object itself of art</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:5">itself and how it offers a sense of connectivity</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:8"> when we might not otherwise come together and</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:11"> how does it do this that's what I'll focus on really for the last</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:14"> few minutes here but to do that I just want to</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:17"> go back to San o mores for a minute this is a painting</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:20"> of his from 18 22 / 23 the</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:23"> House of Representatives it was a painting</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:26"> that he created to offer a sense</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:29"> of his excellence he wanted to receive a commission</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:32"> to paint works that now still</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:35"> reside in the Capitol building but John</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:38"> Quincy Adams rejected him beyond hope of appeal more</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:41"> sense so this is what you</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:44"> might call failed painting but now I'm</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:47"> going into art history class mode you</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:50"> might notice it has a very odd compositional focus right</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:53"> what's really at the center is</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:56"> not a portrait of any of the many luminaries</subtitle> | ||
+ | |||
+ | <subtitle id="0:43:59"> that were on that floor but instead is her</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:2"> pointer here hmm a man preoccupied</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:5"> by currents at the center of that painting</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:8"> it's unusual</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:11"> really it Telegraph's where he was going to go</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:14"> his own career but it also implement</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:17"> eyeses the function of the Arts which</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:20"> is to get us to focus with</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:23"> immersive concentration to</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:26"> fall into ourselves and to create a kind of private domain</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:29"> the art of tech</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:32"> the art as a technology offers us a way</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:35"> to access this kind of interior tea and in</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:38"> this sense I think back to what Thomas</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:41">he was standing in front of the painting and described</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:44"> how he lost his sense of time completely in</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:47"> so doing it makes me think about the</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:50"> way in which jennifer roberts my new colleague at harvard</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:53"> and why she asks her art historian</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:56"> students to sit in front of a painting for three</subtitle> | ||
+ | |||
+ | <subtitle id="0:44:59"> hours as an exercise to</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:2"> get them to consider what comes to them because our creates</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:5"> a private domain in us i've</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:8"> been told i need to close now okay</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:11"> there's</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:14"> so much to say here but these private domains are</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:17"> crucial because they offer a pathway to iconic plastic</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:20"> decision making right the kind that we</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:23"> can't make when faced with potential collective descent</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:26"> our gardener</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:29"> speaks about in his book changing minds the invisible</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:32"> quality of the gradual shifts in our</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:35"> judgments and decisions and I think</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:38">the private domains that occur in response</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:41"> to the arts is one of the ways that this takes place</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:44"> think about what occurred for example with</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:47"> Charles black when he went to go listen to louis armstrong</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:50"> one day in 1931 the private domain that was</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:53"> created in him charles block went on to become one</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:56">lawyers for Brown versus Board of Education he</subtitle> | ||
+ | |||
+ | <subtitle id="0:45:59"> says because he noticed the genius coming</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:2"> out of Louis Armstrong's horn during a</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:5"> period of here we go again segregation right</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:8"> he knew that segregation was wrong in that moment</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:11"> because of that genius and describes that his</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:14"> trumpet playing let him start walking</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:17"> towards justice that day</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:20"> when he went on to teach at Columbia and Yale he</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:23">would hold an Armstrong listening night to remind</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:26"> his colleagues and students of the private domains that</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:29"> the arts can create and the technology that allows us to walk</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:32"> towards justice as a result I could go</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:35"> on and on but I would simply really ask how many movements</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:38"> have begun when one impactful</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:41"> work of art one work</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:44">of aesthetic force of any kinds indelibly change</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:47"> our sense of the world think for example the</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:50"> abolitionist print the slaveship brooks that</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:53"> was used in parliament as evidence to</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:56"> show with graphic precision the inhumanity</subtitle> | ||
+ | |||
+ | <subtitle id="0:46:59"> of slavery right to show how</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:2"> 734 men women and children were fit into the halls</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:5"> of a ship that could hold 450 think</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:8"> about as we've heard earlier the galvanizing</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:11"> force of the image that we now call earth</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:14"> rise from the Apollo aid and how it sparked the environmental</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:17"> movement I really</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:20"> want to close by reminding us</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:23">I think it's so important to honor the private domains that come</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:26"> from our aesthetic force as it</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:29"> relates to technology it's</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:32"> because we're in a moment where we have increased access</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:35"> to the arts that can offer us this</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:38"> kind of impact but I wonder if there</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:41"> is a bystander effect that occurs because</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:44"> of the glut of images that we have I</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:47"> think of this in</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:50"> a particular sense consider the fact that we've now</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:53"> been able to witness firsthand crimes and</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:56"> and justices that decades before might have been unimaginable</subtitle> | ||
+ | |||
+ | <subtitle id="0:47:59"> to see with your own eyes our gardeners</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:2"> killing for example but</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:5"> I don't sense an increased outrage necessarily</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:8"> I wonder as allen spoke earlier about</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:11"> the instruments technology as an instrument to get us around</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:14"> what's wrong with our</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:17"> own cognitive perception I wonder</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:20"> if instruments are also creating problems with</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:23"> how we process the world around us</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:26"> psychologists might call this the bystander effect right</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:29"> a collective</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:32"> looking at an injustice might consider the fact</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:35"> that someone else might run</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:38"> to the rescue of a person who's being harmed and</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:41"> therefore no one does anything at all</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:44"> for me this is a concern because the</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:47"> importance of the Arts the access that we can create to</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:50">technology is a huge opportunity but I think that it might short-circuit</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:53"> the impact that an individual work of art can have</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:56"> when we experience it physically and more</subtitle> | ||
+ | |||
+ | <subtitle id="0:48:59"> so as for we</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:2"> can speak more about prescriptions in a bed and</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:5"> perhaps i'll leave it there but i want to remind us that this is a</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:8"> historical idea it's an idea that certainly</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:11"> Frederick Douglas had long before any</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:14"> of us did on American soil about the importance of the Arts for</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:17">justice he argued during the Civil War in</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:20"> a speech pictures in progress that art was what</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:23"> was needed most for America to have a new vision of</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:26"> itself and I think our work with</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:29"> technology is to understand precisely what</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:32"> that contribution has been one</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:35"> of the endeavors i have now at harvard</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:38"> both through teaching and in an initiative i hope</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:41"> to create is to see whether or not we could harness the</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:44"> power of technology to quantify</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:47"> so that we don't just use</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:50"> anecdotal sort of evidence to quantify</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:53">the role of the Arts in connecting groups</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:56"> the fantastic</subtitle> | ||
+ | |||
+ | <subtitle id="0:49:59"> book by bill Bishop the big sort</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:2"> has shown us that we have not by choice</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:5"> but by circumstance have</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:8">come to live in an increasingly polarized climate</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:11"> right we now no longer live or</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:14"> come into contact with people who have divergent political</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:17"> or religious views as often so</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:20"> for example in 1976 he</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:23"> reminds us less than one quarter of Americans lived in landslides</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:26"> political counties in 2004</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:29"> 48.3 percent of Americans</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:32"> did right I wonder if technology can help us</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:35"> to understand how the arts have always integrated us allowing</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:38"> us to see as Charles black did when</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:41"> he heard Louis Armstrong's horn that we have</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:44"> far more reasons to connect us to each other than we do</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:47"> have reasons to stay apart and I hope we</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:50">about the productive quality of technology in that regard</subtitle> | ||
+ | |||
+ | <subtitle id="0:50:53"> and in many more aspects thank</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:2">we've got to get right and we're standing between you</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:5"> all in one so I'm going to just do if I may a</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:8">informal thing and then we'll have this will stand up</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:11"> and then we'll have this panel actually devolve into</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:14"> lunch where you can ask your own questions of Sarah</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:17"> and Alan but just real</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:20"> quickly you mentioned</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:23"> Martin Luther King and you found his transcripts</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:26">couple of scenes but I've actually read your book and</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:29"> what astounded me is what the two seas were yeah</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:32"> there were two seasoned oratory class yeah</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:35"> that'd be probably order well</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:38"> you know there he actually experienced many different</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:41">kinds of failure of course but we don't know precisely what</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:44"> his response was to receiving those seas in</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:47"> oratory class this is why I wrote the book the rise I</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:50">was curious to understand the impactful force of</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:53"> so-called failure in people's lives the and how much were deprived of</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:56">road maps we need by not knowing these stories but perhaps</subtitle> | ||
+ | |||
+ | <subtitle id="0:51:59"> I mean more significant is the fact that he developed that</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:2"> speech impediment you know later in his life and Harry</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:5"> Belafonte asked him at one point how he overcame</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:8"> it and he ultimately said it was about surrender</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:11"> really to what his mission was you know and that</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:14"> speech impediment went away I think that King</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:17">really is looking at the techno I mean he's maybe our greatest</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:20"> exemplar of oratory as a technology</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:23">bringing us together as an artistic process and</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:26"> you mentioned Charles black jr. hearing Louis</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:29"> Armstrong and he said it was</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:32"> because he could see genius but was also the music</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:35"> right I mean how does that inform even</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:38"> social justice well you know</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:41"> I've spoken about this before Aristotle</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:44"> really was consumed by the power of the Arts and</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:47"> said it this way reason</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:50"> alone is not enough to make men good you know that's</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:53"> a cool and what</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:56"> he was getting at is that the arts when something</subtitle> | ||
+ | |||
+ | <subtitle id="0:52:59"> is impactful as Louie Armstrong is</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:2"> playing it kind of slips in the back door rational</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:5"> thought you know that in for some like</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:8"> Charles blacks friend who refused to</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:11"> really see Louie Armstrong as a genius gets</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:14"> them because of the prejudice of the day gets them</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:17"> to understand common humanity right because you're no</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:20"> longer to seeing the cypher of a body that's raced</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:23"> that says that this is someone who's a lower class</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:26">than you and gets you to connect on a different non-rational</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:29"> non sensible they're absolutely</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:32"> use Allen's term level you know Alan</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:35"> one of the things people may not know about you is</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:38"> that you started as a jazz musician langless</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:41"> Armstrong I hope a little bit to</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:44">extent was playing as a jazz musician connected</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:47"> to technology in your mind or to</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:50"> what extent it well formed I mean other people</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:53"> have said this but my mother was</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:56"> an artist and a musician of my father was a physiologist in</subtitle> | ||
+ | |||
+ | <subtitle id="0:53:59"> so the house I grew up at my grandfather</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:2"> was a writer for the house I grew up in didn't</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:5"> have any special rooms for one</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:8"> of the other four and there anything well so</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:11"> as I said I most scientists</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:14"> don't make any distinction from</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:17"> the standpoint of the feelings and</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:20"> many of the impulses the thing that's</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:23"> different in the</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:26"> arts is how much how</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:29"> much do you have to learn</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:32"> in order to be a participant in each art</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:35"> some of the arts are learnable</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:38"> very readily some of the arts require</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:41"> years in order to get in</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:44"> there because of the amendment vast number of things</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:47"> so in in jazz</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:50"> the thing that you have</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:53"> to develop jazz improvisation is like</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:56"> driving an all-terrain vehicle at night</subtitle> | ||
+ | |||
+ | <subtitle id="0:54:59"> over out in the fields with a</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:2"> 5 watt bulb in order to it</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:5"> is rather than ahead of you it's rather like</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:8">learning to drive in the first place where anybody</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:11"> can drive a car at one mile an hour the problem</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:14"> is the handle all of the things and to learn how to</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:17"> drive you have to have a part</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:20">mind trained to recognize stop signs children</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:23"> things in the street listen to the</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:26"> person talking next to you what gear you in and most</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:29"> learning of developed</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:32"> things has this character so I when</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:35">think of the arts I don't think of something at differentiates</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:38"> between standard arts and science I think of the arts</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:41"> as how much work do you have to put in</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:44"> to be a full-fledged fluent participant</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:47"> and the most interesting thing about jazz improvisation</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:50"> is how it both</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:53"> matches up and differentiates from composition</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:56"> in some cases it can be the</subtitle> | ||
+ | |||
+ | <subtitle id="0:55:59"> same thing some of the best organ pieces ever</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:2"> written were written down by books to hooters students</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:5"> listening to him improvise and they are fantastic</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:8"> but some may</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:11"> be better organ pieces were written very carefully by</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:14"> Bach who differ was a great improviser</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:17">completely differentiated the two processes</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:20"> and I think this is true in most other developed forms</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:23"> because the difference is how much planning</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:26"> can you actually do and there's a limit to the</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:29">amount of planning you can do when you're improvising and so tinkering</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:32"> things together which is what I think the</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:35"> American myth is about is not</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:38"> the whole story and it shouldn't be so as a lot we</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:41"> learned partly improvised of improvisational</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:44"> team and you saw that you were at Utah</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:47"> where universal gear to up which is where the graphical</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:50"> came together with the technology and we create</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:53"> a great graphical user interface as one of your great</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:56"> predecessors and technology was JCR Licklider looking</subtitle> | ||
+ | |||
+ | <subtitle id="0:56:59"> at light of MIT who created the first wheel</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:2"> graphical interfaces interactive computers</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:5"> things like that and he used to say just like you did</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:8"> that you stand in front of a painting for three</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:11"> hours at a time he made his MIT students look</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:14"> at a painting for three hours I'm going to end the</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:17">n we'll all just hang out need</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:20"> but with the formal part you said you wanted to talk about prescriptions</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:23"> Frederick Douglass in your</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:26"> writing and stuff actually takes photographs</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:29"> and uses that is the tool for social</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:32"> justice how would you extend that to prescriptions</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:35"> hmmm it's a great point well I should clarify Douglas</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:38"> a was also a photographer right</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:41">deeply invested in this idea but his idea was that</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:44"> the arts are impactful not just because</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:47"> of the power of an artist to show us something that we might not ordinarily see</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:50"> but because of how it creates images in</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:53"> us right his idea was that the</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:56"> arts are powerful because they create what he called thought pictures</subtitle> | ||
+ | |||
+ | <subtitle id="0:57:59"> it's beautiful really he's looking at</subtitle> | ||
+ | |||
+ | <subtitle id="0:58:2"> the phenomenology apart so what</subtitle> | ||
+ | |||
+ | <subtitle id="0:58:5">erms of prescription I think what's most important</subtitle> | ||
+ | |||
+ | <subtitle id="0:58:8"> is that we yes focus on</subtitle> | ||
+ | |||
+ | <subtitle id="0:58:11">the access the technology offers to artists to get their work out</subtitle> | ||
+ | |||
+ | <subtitle id="0:58:14"> there but that we encourage artists to make sure that their vision</subtitle> | ||
+ | |||
+ | <subtitle id="0:58:17"> and that their ambition is large right and</subtitle> | ||
+ | |||
+ | <subtitle id="0:58:20"> take on the social issues of the day such</subtitle> | ||
+ | |||
+ | <subtitle id="0:58:23"> that when it impacts us it can create a thought picture</subtitle> | ||
+ | |||
+ | <subtitle id="0:58:26"> that might as Douglas was arguing really change the world and what</subtitle> | ||
+ | |||
+ | <subtitle id="0:58:29">you've really said is that both technology</subtitle> | ||
+ | |||
+ | <subtitle id="0:58:32"> and are both tools for</subtitle> | ||
+ | |||
+ | <subtitle id="0:58:35">we humans are going to make of it first really want to thank both</subtitle> |
Latest revision as of 23:55, 6 December 2017
one of the cool things Alan once said was when he was at
xerox parc he was
doing the dynabook which is really the prototype for
not only laptops for the ipad you
know just but it was for individual creativity is for kid
to take in the woods almost and make something beautiful with
because he believed tools are empowering and
empowerment mean to be able to create art but
he was working at a research center owned
by xerox there's always boss one of his bosses
there i think it was said you know kept saying
well how does this really going to help us what's the
like you know give me a report on the future
and Alan's answer was the best way
to predict the future is to invent it Alan
Kay has done that thank you okay
so let me just
just get started
one more time here so
I'm
very happy to be invited here this
talk will be a little bit different it starts
in the same domain that
that
this conference has been about
but is
going to be a little bit different in the
way it approaches the
idea
is here and I'd like to dedicate this
talk to Jerome Bruner many
of you will know this name Jerry is now in
his hundredth year of advancing civilization
one of the most amazing people
we've ever met we love you Jerry and
our gardener
was a student of Jerry's as we all were in
one one way or another I like to start
off just by saying this talk is
kind of a budget of metaphors
because I'm going to have to go
from areas
that we are a little bit familiar with like this old metaphor
from actually the 19th century about human
memory which is actually
not not so far from what actually goes
on that rain comes down
hits randomly
on the ground one little place some
stuff gets moved the moving
of that stuff makes a little channel
the channel funnels the rain more
efficiently in the air and pretty soon you get one of these
and we
can wander around in it and
this pink context can
actually seem to be everything that is
in our world if we grew up in the game Grand
Canyon we might never even think to look up
it's all around and we wouldn't even
know it was pink because
as McLuhan said I don't know who discovered
water but it wasn't a fish and
so this first idea is this idea that
we are always embedded in a context
we're really aware of the
extent of the context and because of
our limitations in a variety of different
ways even the context that were embedded
in we only get to experience a little
bit of its influence at any given time
so here's an experiment
can actually do with your thumbs you don't need quarters
if you hold up one quarter or one thumb
twice as far away as the other and look
at them turns out on your retina the
one that's further away will be half the size
on your retina and Descartes actually
peel the back of an ox's I in
order to see if an a
biological lens work the
same way as a glass Walter knows all this it's
great heaven yep so and yes it does
and but in fact
that I is connected to
pachinko machine known as our brain and
those optic those signals
nerve go to a lot of different places about a dozen
different places that
brain is actually active and
the process that
it gives rise
to is
made up of two things one is our beliefs
I've colored it pink like the Grand Canyon these
are the things that we both genetically think
are true and that we culturally
think are true and those beliefs
affect what we like to call reality
but is actually a waking dream we
are in fact hallucinating all of the time
and if
you've ever tried an isolation
chamber tank in the 60s they're
coming back by the way try them
about 15 minutes in there without any ability
to detect any sensing information at all you
start hallucinating and go on the equivalent of an LSD
trip because this waking dream is
not just made up of our beliefs but it actually requires
constant reference to
the world around us in order to more or less stay on
track otherwise it starts acting like a sleeping dream
and so what happens to those two
quarters is we know those two quarters
in our two thumbs are the same size and
so we pass the information from our retina
through our beliefs and in our waking dream
the one that's half the size and
our retina comes out being about eighty percent of the size
of the one that's closer to us and
this was one you cannot shake it
is really hard to shake it you can mount the
quarters on a ruler to make everything it is really
really hard and there are dozens and dozens and dozens of
these and so basically
we cannot even see what's on our rack what that
means is that in the context of the word sanity
the best we can be is what core
zip ski termed unsane we
were always unsane and we may be worse than that
so there's one idea of the
influence of context here and McLuhan
had a great line he said in till I believe it I can't see
it this is much more the case than
the way that that line tends to go and right
outside my hotel a few days ago in New York
this happened the guy with the hammer and
as reported by the New
York Times mr. O'Grady said he looked like he
trying to get away from the officers when he
was shot I saw another mrs. calls
us said I saw a man who was handcuffed
being shot i am sorry Bea I'm crazy but that's that's
what I saw and take
a look at the upper right
hand corner
here's the guy chasing the cop with a hammer
and here's the other cop shooting
him I don't see any handcuffs
back dozens because
it was captured by a camera this
is going to lead into what science is all about
which is absolutely getting
away from what we like to think about the
world we have to use instruments to get around with what's wrong with
their brains and those instruments are not just physical
instruments but some of the instruments are
actually instruments
to help us see things that
cannot be seen so
fortunately this was all captured and
we got this perfect
record published in
The New York Times and with the video
on youtube so you can
actually check it out yourself and see that these memories
was a right after it happened we're
actually manufactured by what people believed
as you know we're here
today to honor mrs. flexer who you all know as
grade teacher she'll be here in just a
everything good
okay what does that look on her face
what
does the look she's
phi frightened out of her mind
because
that pink
world that she was in suddenly got violated
and it got violated and
that violation was detected by
a fast working system that's part of
the way our brain deals with things we
have to deal with real-time things and a good way
with real-time things with pre-stored patterns we've
got zillions of them most things we do in real time
are dealt with in a more skillful
way than a cognitive way and the transition
here was some release
from that and then
she's so happy you ever had this
happen to you so these
stage now she could have been listening to
a piece of music and had
the same reaction it's like holy shit
where am I
what's going on here well the fear
reaction not only gets adrenaline going
because you might have to run or fight but
because you might have to fight it also gets dopamine
and other neurotransmitters that are actually
opiates and so the fear reaction
actually dopes you up so you
can contend with danger
without feeling pain and
when your cognitive system
says hey there's no danger you're coked up
and all of a sudden you have this fantastic
feeling this
has been studied very carefully over the
last 20 years using PET scans
and functional MRIs and so it's a
interesting thing to think about and Daniel
Kahneman wrote the book fast thinking and slow thinking
again a metaphor here calls
the fast thinker system one and the slow thinker
system too and
just so we remember
that these are metaphors here's a book
classical book called maps of the mind and has
about 40 different theories
of mind in it not all of them incompatible
with each other and it doesn't even matter what the
theories are the important thing is to realize that no matter what
you throw at the mind there are other points
of view on it and so a system one and system two is
really a useful metaphor but
here's the cool thing about system
one and also the dangerous thing about system
one is it doesn't matter if you know you're safe
these kids
absolutely would not get on that roller coaster if they thought
there is any chance of them die but look at them
if we
were to stand next to a door and I slam the door like
this you would have this reaction even though
you know it's just me slamming a door because system
one is set up to respond among other things
too loud noises genetically it's
set up to respond to reptiles
it's hard to shake that so
one way to think about it is that system one is
fast reacting and slow to train
as anybody who's ever learned a musical instrument
knows you play a musical instrument primarily
with system one as far as all the technical stuff
goes and it takes a while to train
it and system two
is much faster at learning but it's much slower
to react because it actually has to think about
things so you can do peekaboo
over and over over again and
one one of the ways of
thinking about what the arts and the sciences are
partly about the joy there is the joy
of this kind of supply surprise
in this kind of release so
now I'm going to make the Grand
Canyon into a flat plane I'll
have an aunt thinking its way along the
end can run into a
an obstacle
i can plan its way around it can do many many
things all the trappings of thinking and it
realizes that it's only thinking pink thoughts
but the ant can wander
along or be led along it
could have a little blue thought and
what the land has learned up to this
point is critical because the
and has been to school the and has gone to
church the aunt has been indoctrinated into
the pink world chris flat that
little blue thought gets wiped out but
every once in a while you're taking a
shower you out you're in a concert
you're in some place where you're
a little bit disassociated you can get a whips
that whoops
puts you into a different
context than the one you're in i'll call this the blue context can
bit different from the one you're in could be enormously
different from the one you're in and the
basic reactions to this are the reactions
of that teacher so like
the simplest one for instance is a joke a
joke is bleeding somebody down the garden
path and then revealing it's about something else
but discovery
aha and there's in
music you have em and
I and oh and
I wanted to commute because I didn't want to try and define art here
so I'm just going to stay with these sounds these
are the sounds that people make when they're taken
out of one context and put into another and I
don't need to go any further
important thing about if you're creating
or running into one of these ideas from somebody
else is the idea might be
terrible it's independent
just because you had this epiphany doesn't
mean in fact many
people have these in the old days would start religions
because they seem to come from heaven but
in fact most ideas
to bed and I think everybody here understands why
it's just hard to have a good I idea
and another part of
this and this goes against the myth particularly
the American myth of doing everything
spontaneously is can take a long
time to have those whoops asst
can take years of
Basque round to have those whoops asst
courage who is a theatrical Critic as well
as a poet wrote in a review people
go to bad theater hoping to forget
elevision
but they got a good theater tingling
to remember and so everybody
here who has done theatre knows that what
doing is trying to set up what's called a magic
mirror in theater which is to beam the audience's
intelligence back out at them you're
trying to wake them up you can't tell
them anything like I can't tell you anything but
you to think of thoughts that might not have thought when
you walked into the room you already have them
but their masked by other things that you're doing
Paul Hindemith in a
composers world was the guy who came up with
the first time I saw this phrase in the 50s
co-creation because that's what
happening when you're listening to music is your co-creating
along with a composer and if
it's completely random you get upset if it's
completely predictable you get bored but
if the composer puts in things that you didn't
anticipate but you can instantly see that
they actually were part of this larger scheme you
get catapulted into this other world the composer is showing
you something that you didn't anticipate but
yet it fits into this thing so I think this is a good
idea this to plane model
is an idea of Arthur Koestler called
it by association he was particularly interested
in the whoops having a foot in both worlds
but I think you can see you don't have to have a foot
in both worlds you don't have to have an analogy that takes
you from one together and then of course people
Richard Feynman have pointed out for many many years
that hey these are the same
this is what scientists feel scientists
have all of these reactions and so by
any reasonable sense of things
the science and mathematics
and technology our arts like
the rest of them some of them are more recent
hey're a little bit different in a way I'm going to try and show you
but first to get away from the
words here and back to something that's a little
more sensual one of my friends is a glassblower
and we were fooling around this
is called a gather yeah it's just one of the
most beautiful things I'm he's beautiful to blow
glass but a gather and
he he held this thing up like
this and he said you know if I could I would take a
bite out of this because
he loved it and when you're in love you
want to merge with your beloved that's
another way of thinking about art this is the way scientists
think about science and
so that adds another exclamation
to all recipes
so
sensuality these
are dominant ones of touch the
earliest forms of sensing
most of
them are in the census of the Arts we know today I
apologize to the artist who
made this for only drawing on it for
a couple of seconds as an example is really
ugly to not
take the time to enjoy each
one of these here's another visual
known what was going to happen this morning I would have
done this a little bit differently but
here
we see something marvelous happening in time
visuals and music together and I'd like the sound
up quite a bit more for this next one
music doesn't actually need visuals that music
actually really was aided by British
dick off I think but
imagine now instead
of having these lights here that we're all in san
marco cathedral in venice with our eyes closed
and and we might hear something like this
you
I just
love this music from the late
16th century it's the most incredible
stuff but it's
still sensual it's invisible
Leonardo called music the science of the invisible
but it's audible but
God
Walters got all the stuff covered in his books but
here's a great story
that's Einstein at age four and
when he was recovering from
an illness he was given one of these and
here's what he said I can
still remember that this experience made a deep and lasting impression
on me something deeply hidden had
to be high be behind things and here's
the problem the problem with
what we're talking about here with science and
technology is that almost everything important about it
is not just invisible it's non central
my friend
Frank Oppenheimer many of you will have known him
in the past did this marvelous place
call the exploratorium in the exploratorium
when it originally started out had 500 exhibits
each one devoted to just one thing which is the
world as not as it seems and
the sponsors complained they said we wanted
to science museum and you made a nosh pit we're
always children running around bashing on things
and Frank said you don't understand the
Gateway to science is to
understand that the world is not as it seems in the most
profound fashion you have to start
from there because otherwise you're constantly
being distracted by how the world does see and
so these are the arts
of nonsense and the
arts of non story for the most part
their narratives about scientists
but scientific knowledge mathematical
knowledge it's really isn't in a narrative form is
actually what von Neumann call relationships about relation
chips and I'll look at that in a in
a little bit and it's not about
this this is what this form
here is made for we are around a campfire right
now and I'm using oral means
and we heard that oil
means are very important and they are they're
important for telling stories and those are I
don't want to replace those a lot
of our joy about being human beings is about
alking about I'm talking about something different
something really different it's an additive
one of the biggest additives
the human race has ever come up with and every part
of it has to be approached through this
nonsense way
of dealing with things and
here's one of my favorite so
this is back in the 18th century I have one of these
I love this this
may be its last trip because
they're made out of paper
on here
so this is
well two hundred some-odd years ago
in the late 18th century
people in coffee shops in England
and Europe had these little globes they could
take them out and they would talk about what the earth
looks like from space they knew because
when we went out there just as was
described the
most interesting thing to scientists was there
was no surprise it looked just exactly
the way Chesley bone still had
painted those pictures that looked exactly the way
the earth had been mapped out no
surprises of any kind and
the picture on the right is engineering
picture on the left is science
so
we can think of this as the birth of a baby being
able to find out things that you can't find
out by really direct means and here's a nice picture
of how India was
mapped and using
various various instruments
chronometer 'he's sextants
to find out where you are and
viata lights to measure things
and was done by piecing together evidence and
a critical idea here
is that the
we can think about what science math
and engineering are from
considering this diagram that the
content of all these areas is kind of like this it's a system
there isn't really a narrative here see it's a it's more
complicated than there there's no place to begin and end everything
is related in mathematics you
can get this point to
be in the same place because you're not reasoning
about the real world in mathematics you're only reasoning
about how relationships work with
each other abstractly in science you
can never get those points together and an
engineering you can never get those points together
for two different reasons
so you have this idea of tolerance
and yet what you get out of this
is plausibility so India
is represented here and in the maps
today is plausibly similar to
a very very high degree with what's
actually there it's not exact but it's better
than any form of falsehood from
the past and
here's one of the great books of all time most
people have never read it most people are never trained
to read it and yet it was
had as big an
impact on human thought
as anything a person could think
of you I put it in the top five every part
of this is a beautiful and yet
you have to understand some mathematics
you have to actually be willing
to plow through it take some years of preparation it
has all the trappings of what it takes to
appreciate classical music and other developed
forms and if you don't do that for
instance one way of thinking about if system one isn't
fluent with a lot of the trappings of this
stuff system to never gets a chance because there's just too
much stuff there
similarly what's interesting about magnetism isn't
what the iron filings show
or even what Faraday
and Earth's dad found
out that by putting a current through a wire a
magnetic field is somehow created that
acts as though a magnet has happened
what's interesting here is that the
only descriptions that we know of this that are any
good are in the forms of mathematics that is a
very very cold desert to
learn how to eat
because what you have to what you're envisioning
here is not anything that its physical
you're in visiting what the relationships of this
particular kind of mathematics have
so as Galileo said the language of nature is
written in mathematics and most people don't read
that language similarly in what's interesting
in molecular biology
here this is charles darwin as a younger man endless
forms most beautiful the problem is the wavelengths
of light are such that the
detail that's shown here had to be simulated
because we can't see them directly even with
at has to be found out the same way the
world was mapped and by using electron
microscopy which unfortunately kills the animals
in order to see some
of the details on them computing so
much similar to what biology
is about modern biology I wound
up getting degrees in both of them and they
parallel on them
and as beautiful as this wafer
is it has nothing to do with computing as
beautiful as silicon transistors are has nothing
to do with computing you can make computers out of rope to
make computers out of paper clips what's
really beautiful about computing is what
it can do and how it how
it actually does it abstractly so
a metaphor here is the computer is an instrument like
a musical instrument whose music is ideas
this is something that ADA when Ava said
the analytical
engine weaves algebraic patterns
the way the jacquard loom weaves
flowers and leaves she understood
what the extent because it's the projection out
of the mirror machinery that counts
so here's a an
image of four intertwined systems
that we live in because now we're getting that the one
of the lingua franca for talking about these areas
that this this session is about is
actually systems it's not really even just science
or engineering so on the on the right there
is the system of the universe nature
in the middle in
the back is our social systems on
the right hand side is our technological
system that is a self-portrait of the internet
and then there's us so we could call this
the systems that we live in and the systems
we are there is a way of thinking about
all of these ideas
and
the thing that most closely approaches this is
writing and see I would
disagree with Megan and she didn't actually make it up with
the internet is not the most important thing
it's the most
important thing since the printing press writing
is much more important than either of those but
the printing
press is a great amplifier for it and part
of it is that getting fluent getting system one again fluent
with what it means to become a reader and writer
changes us cognitively and
here's something that we did as a systems
design quite a long
time ago and it's just wonderful that
you can I've
got it here I love that you can just hold the thing up and
it's an operating system for
us you can think of it as the
tcp/ip for the human race as a
start not a perfect system but
what was interesting is not just the result
but actually how they arrived at the result
and the
Constitutional Convention by
the way recommend James Madison's notes
which of the most comprehensive notes taken
on this secret proceeding they set
hings up in really interesting ways and occasionally
with correctives to try and damp
out the natural tendencies of human beings
and they did it in a fantastic way
and it's something we should talk about because this is this
process of making progress in the face of disagreement
this is almost a lost art
Franklin as I
got this from I got this from Walters book
we are sent hither to consult not
to contend and then here's his
famous statement and
then the thing to realize is that every time we do one of these
things we were just making a new context so it's a gully and
we shouldn't act as though it's sacred and not to be
not to be changed I
time is short here
but I could could not
find a way of
not digressing for one second
and just because
that's the nature of this stuff
so I think many people
have learned about the Constitution
everything else but there are 55
they weren't all there at the same time but in any given time there
20 to 40 how
did they vet the drafts
think about it the
thing that's in the library
of congress is written by out by hand
so that they have 40 people
copying each draft no
way they type set overnight
each draft they use
the next technology the technology that they weren't
going to write the official thing in the
technology they could have actually used to
put out the thing but it just wasn't official it was too
new but in order to make
it readable they each draft and this
is a copy of the first draft of the thing was done like this with
room for making notes and cross outs and everything
else something to think about what about
technology okay so
the problem of course is us and
as I've been portraying
us we are kind of like cave people with briefcases
in our brief cases are
remnants of our hunting and gathering past a
distaste for the other in concentric
circles going out from our
siblings our family our neighborhood our
country all of these lead to rivalries
of various kinds we love revenge we
just decided to take revenge on the Boston
bomber
instead of a spear we have an atomic weapon
and the combination of these two is disastrous
we have the same old brain we have to ask what's
a better context for surely not pink
and that brain can
also think itself out of the context that it's been in
several we just haven't made it stick
with the larger population we have not been
to improve the Constitution to the extent that it needs to
be improved and we have not been able to improve our
conception and vision of what we should be thanked
thank
you very much Alan and now to
give a bit of a counterpoint
view is somebody I'm very proud to del
call professor because sarah lewis
as of july first will be the professor of
architecture and African and African American Studies at
Harvard University which he has
been a de bois scholar and
knowing about the Dubois scholars
I was particularly interested in how much
you've drawn in your book the rise which everybody should
read which is about creativity and
the foundations of creativity one of which is even failure
but how you drew from Frederick Douglass
and his connection to the beauty of art
which he fully understood which I did not know until last night
when I read your book and the connection of art
to policy technology so professor
Sarah Lewis thank you
so much Walter for that
generous introduction and I have
I felt as though i received my first test after
accepting the position to be a professor at Harvard when Damien
walsall gave me the invitation to do a response as
an art historian to a panel presentation
on technology
and hopefully I'll pass we'll
see but you know Alan gave
a beautifully wide-ranging presentation and I won't
respond to all the different points but I will
say one of his comments made me flash back to that
moment when Damien invited me when he said we are all loose
inated all the time
system one was going on in my mind when
Damien asked me to present right
but system two prevailed when I realized
that ultimately the work that I'm up to is understanding
how art is a technology for getting us to
see around our collective failures right
to come together when we
might prefer not to so
speak today is art as a technology for justice in historical
terms and I'll do
so briefly so we'll have time for a wrap-up panel
as well the walter kindly mentioned i began
this investigation when i started to look at the really improbable
foundations of iconic rises in the history
of creative endeavors i learned
some things i didn't know i learned for example that
ellington's said about his landmark music I merely
took the energy it takes to pout and I
wrote some blues I learned
that this now legendary RKO
screen test from the 1930s said about
a particular dancer can't sing can't
act balding condense
a little and this was in reference to Fred
Astaire there's so many of these stories
one of which really gripped me when I saw it
at sotheby's was that Martin Luther King received seized
in a transcript of A's and B's
during seminary right and I thought about
these improbable failures but as an art historian I
think I was most struck by learning that the start
of the communications revolution The Telegraph
you might say began with the failed pursuit
of a painter namely Samuel
Morse so as you might be able
to see from the Telegraph model the stretcher
bars of one of his failed canvases comprise the
actual frame of this device
Samuel Morse didn't just want to be a painter
he wanted to be a painter of great renowned Rembrandt
Titian as he wrote to his parents and he
felt jilted by his first love at
that altar he was unable to
support himself and his family sent his
family to live in New Haven while he struggled to make a living in
New York might sound familiar it's
a kind of timeless theme he was NYU's first
professor of painting in fact but one
day his students started to notice that batteries and wires
populated that small studio in Washington Square
as much as paint brushes and pigments
Morse didn't see any difference between
innovation with artistic means and what we might now call
technological means Morse
ffectively knew what we are holding a summit about today that
their art and Technology are inextricably bound and
as Walter Isaacson beautifully wrote
in the innovators the truest creativity of
digital age came from those who were able to connect
the arts and the sciences many
have been arguing for the needs to bring the Arts and Sciences
together but I would argue that the
urgency to do so comes from the fact that they were
once never so far apart right mae
Jemison i think puts this most beautifully
she writes explaining
she took with her on her first trip to space a
poster of a dancer and choreographer Judith
Jamison the artistic director
of Alvin Ailey until recently and a bundu statue from Sierra
Leone the creativity that allowed us to
conceive and build and launch the space
shuttle Springs on the same source as the
imagination analysis it took to carve a bundu statue
or the ingenuity to design choreograph
and stage and Alvin Ailey Dance cry
that's what we have to reconcile
in our minds how these things fit together
so
a few years back when I was curating at
the Tate Modern and then moma I created
a show kill curated a biennial that
really looked at the connection between art and technology explicitly
it was called the dissolve and I was fortunate enough
to have David Adjaye design the
space but recently I've begun to be
productively inspired by the tension
you might say between art and technology and how
it gives us an opportunity to look at the unique mechanism
of an object itself of art
itself and how it offers a sense of connectivity
when we might not otherwise come together and
how does it do this that's what I'll focus on really for the last
few minutes here but to do that I just want to
go back to San o mores for a minute this is a painting
of his from 18 22 / 23 the
House of Representatives it was a painting
that he created to offer a sense
of his excellence he wanted to receive a commission
to paint works that now still
reside in the Capitol building but John
Quincy Adams rejected him beyond hope of appeal more
sense so this is what you
might call failed painting but now I'm
going into art history class mode you
might notice it has a very odd compositional focus right
what's really at the center is
not a portrait of any of the many luminaries
that were on that floor but instead is her
pointer here hmm a man preoccupied
by currents at the center of that painting
it's unusual
really it Telegraph's where he was going to go
his own career but it also implement
eyeses the function of the Arts which
is to get us to focus with
immersive concentration to
fall into ourselves and to create a kind of private domain
the art of tech
the art as a technology offers us a way
to access this kind of interior tea and in
this sense I think back to what Thomas
he was standing in front of the painting and described
how he lost his sense of time completely in
so doing it makes me think about the
way in which jennifer roberts my new colleague at harvard
and why she asks her art historian
students to sit in front of a painting for three
hours as an exercise to
get them to consider what comes to them because our creates
a private domain in us i've
been told i need to close now okay
there's
so much to say here but these private domains are
crucial because they offer a pathway to iconic plastic
decision making right the kind that we
can't make when faced with potential collective descent
our gardener
speaks about in his book changing minds the invisible
quality of the gradual shifts in our
judgments and decisions and I think
the private domains that occur in response
to the arts is one of the ways that this takes place
think about what occurred for example with
Charles black when he went to go listen to louis armstrong
one day in 1931 the private domain that was
created in him charles block went on to become one
lawyers for Brown versus Board of Education he
says because he noticed the genius coming
out of Louis Armstrong's horn during a
period of here we go again segregation right
he knew that segregation was wrong in that moment
because of that genius and describes that his
trumpet playing let him start walking
towards justice that day
when he went on to teach at Columbia and Yale he
would hold an Armstrong listening night to remind
his colleagues and students of the private domains that
the arts can create and the technology that allows us to walk
towards justice as a result I could go
on and on but I would simply really ask how many movements
have begun when one impactful
work of art one work
of aesthetic force of any kinds indelibly change
our sense of the world think for example the
abolitionist print the slaveship brooks that
was used in parliament as evidence to
show with graphic precision the inhumanity
of slavery right to show how
734 men women and children were fit into the halls
of a ship that could hold 450 think
about as we've heard earlier the galvanizing
force of the image that we now call earth
rise from the Apollo aid and how it sparked the environmental
movement I really
want to close by reminding us
I think it's so important to honor the private domains that come
from our aesthetic force as it
relates to technology it's
because we're in a moment where we have increased access
to the arts that can offer us this
kind of impact but I wonder if there
is a bystander effect that occurs because
of the glut of images that we have I
think of this in
a particular sense consider the fact that we've now
been able to witness firsthand crimes and
and justices that decades before might have been unimaginable
to see with your own eyes our gardeners
killing for example but
I don't sense an increased outrage necessarily
I wonder as allen spoke earlier about
the instruments technology as an instrument to get us around
what's wrong with our
own cognitive perception I wonder
if instruments are also creating problems with
how we process the world around us
psychologists might call this the bystander effect right
a collective
looking at an injustice might consider the fact
that someone else might run
to the rescue of a person who's being harmed and
therefore no one does anything at all
for me this is a concern because the
importance of the Arts the access that we can create to
technology is a huge opportunity but I think that it might short-circuit
the impact that an individual work of art can have
when we experience it physically and more
so as for we
can speak more about prescriptions in a bed and
perhaps i'll leave it there but i want to remind us that this is a
historical idea it's an idea that certainly
Frederick Douglas had long before any
of us did on American soil about the importance of the Arts for
justice he argued during the Civil War in
a speech pictures in progress that art was what
was needed most for America to have a new vision of
itself and I think our work with
technology is to understand precisely what
that contribution has been one
of the endeavors i have now at harvard
both through teaching and in an initiative i hope
to create is to see whether or not we could harness the
power of technology to quantify
so that we don't just use
anecdotal sort of evidence to quantify
the role of the Arts in connecting groups
the fantastic
book by bill Bishop the big sort
has shown us that we have not by choice
but by circumstance have
come to live in an increasingly polarized climate
right we now no longer live or
come into contact with people who have divergent political
or religious views as often so
for example in 1976 he
reminds us less than one quarter of Americans lived in landslides
political counties in 2004
48.3 percent of Americans
did right I wonder if technology can help us
to understand how the arts have always integrated us allowing
us to see as Charles black did when
he heard Louis Armstrong's horn that we have
far more reasons to connect us to each other than we do
have reasons to stay apart and I hope we
about the productive quality of technology in that regard
and in many more aspects thank
we've got to get right and we're standing between you
all in one so I'm going to just do if I may a
informal thing and then we'll have this will stand up
and then we'll have this panel actually devolve into
lunch where you can ask your own questions of Sarah
and Alan but just real
quickly you mentioned
Martin Luther King and you found his transcripts
couple of scenes but I've actually read your book and
what astounded me is what the two seas were yeah
there were two seasoned oratory class yeah
that'd be probably order well
you know there he actually experienced many different
kinds of failure of course but we don't know precisely what
his response was to receiving those seas in
oratory class this is why I wrote the book the rise I
was curious to understand the impactful force of
so-called failure in people's lives the and how much were deprived of
road maps we need by not knowing these stories but perhaps
I mean more significant is the fact that he developed that
speech impediment you know later in his life and Harry
Belafonte asked him at one point how he overcame
it and he ultimately said it was about surrender
really to what his mission was you know and that
speech impediment went away I think that King
really is looking at the techno I mean he's maybe our greatest
exemplar of oratory as a technology
bringing us together as an artistic process and
you mentioned Charles black jr. hearing Louis
Armstrong and he said it was
because he could see genius but was also the music
right I mean how does that inform even
social justice well you know
I've spoken about this before Aristotle
really was consumed by the power of the Arts and
said it this way reason
alone is not enough to make men good you know that's
a cool and what
he was getting at is that the arts when something
is impactful as Louie Armstrong is
playing it kind of slips in the back door rational
thought you know that in for some like
Charles blacks friend who refused to
really see Louie Armstrong as a genius gets
them because of the prejudice of the day gets them
to understand common humanity right because you're no
longer to seeing the cypher of a body that's raced
that says that this is someone who's a lower class
than you and gets you to connect on a different non-rational
non sensible they're absolutely
use Allen's term level you know Alan
one of the things people may not know about you is
that you started as a jazz musician langless
Armstrong I hope a little bit to
extent was playing as a jazz musician connected
to technology in your mind or to
what extent it well formed I mean other people
have said this but my mother was
an artist and a musician of my father was a physiologist in
so the house I grew up at my grandfather
was a writer for the house I grew up in didn't
have any special rooms for one
of the other four and there anything well so
as I said I most scientists
don't make any distinction from
the standpoint of the feelings and
many of the impulses the thing that's
different in the
arts is how much how
much do you have to learn
in order to be a participant in each art
some of the arts are learnable
very readily some of the arts require
years in order to get in
there because of the amendment vast number of things
so in in jazz
the thing that you have
to develop jazz improvisation is like
driving an all-terrain vehicle at night
over out in the fields with a
5 watt bulb in order to it
is rather than ahead of you it's rather like
learning to drive in the first place where anybody
can drive a car at one mile an hour the problem
is the handle all of the things and to learn how to
drive you have to have a part
mind trained to recognize stop signs children
things in the street listen to the
person talking next to you what gear you in and most
learning of developed
things has this character so I when
think of the arts I don't think of something at differentiates
between standard arts and science I think of the arts
as how much work do you have to put in
to be a full-fledged fluent participant
and the most interesting thing about jazz improvisation
is how it both
matches up and differentiates from composition
in some cases it can be the
same thing some of the best organ pieces ever
written were written down by books to hooters students
listening to him improvise and they are fantastic
but some may
be better organ pieces were written very carefully by
Bach who differ was a great improviser
completely differentiated the two processes
and I think this is true in most other developed forms
because the difference is how much planning
can you actually do and there's a limit to the
amount of planning you can do when you're improvising and so tinkering
things together which is what I think the
American myth is about is not
the whole story and it shouldn't be so as a lot we
learned partly improvised of improvisational
team and you saw that you were at Utah
where universal gear to up which is where the graphical
came together with the technology and we create
a great graphical user interface as one of your great
predecessors and technology was JCR Licklider looking
at light of MIT who created the first wheel
graphical interfaces interactive computers
things like that and he used to say just like you did
that you stand in front of a painting for three
hours at a time he made his MIT students look
at a painting for three hours I'm going to end the
n we'll all just hang out need
but with the formal part you said you wanted to talk about prescriptions
Frederick Douglass in your
writing and stuff actually takes photographs
and uses that is the tool for social
justice how would you extend that to prescriptions
hmmm it's a great point well I should clarify Douglas
a was also a photographer right
deeply invested in this idea but his idea was that
the arts are impactful not just because
of the power of an artist to show us something that we might not ordinarily see
but because of how it creates images in
us right his idea was that the
arts are powerful because they create what he called thought pictures
it's beautiful really he's looking at
the phenomenology apart so what
erms of prescription I think what's most important
is that we yes focus on
the access the technology offers to artists to get their work out
there but that we encourage artists to make sure that their vision
and that their ambition is large right and
take on the social issues of the day such
that when it impacts us it can create a thought picture
that might as Douglas was arguing really change the world and what
you've really said is that both technology
and are both tools for
we humans are going to make of it first really want to thank both