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

Why you should listen

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

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

More profile about the speaker
Aparna Rao | Speaker | TED.com
TEDGlobal 2011

Aparna Rao: High-tech art (with a sense of humor)

Aparna Rao: Visokotehnološka umjetnost (sa smislom za humor)

Filmed:
951,514 views

Umjetnica i TED Kolegica Aparna Rao ponovo zamišlja poznato na iznenađujući, često humorističan način. Sa svojim suradnikom Sorenom Porsom Rao stvara visokotehnološke umjetničke instalacije -- pisaću mašinu koja šalje e-mail, kameru koja vas slijedi sobom da bi vas učinila nevidljivom na ekranu -- što daje razigranost uobičajenim objektima i interakcijama.
- Artist
A part of the Bangalore-based artist duo Pors & Rao, TED Senior Fellow Aparna Rao works with electro-mechanical systems and interactive installations. Full bio

Double-click the English transcript below to play the video.

00:15
HiBok. TodayDanas, I'm going to take you throughkroz glimpsespogleda
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Zdravo. Danas ću vam dati kratke preglede
00:17
of about eightosam of my projectsprojekti,
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osam mojih projekata,
00:19
doneučinio in collaborationkolaboracija with Danishdanski artistumjetnik SorenSoren PorsPors.
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napravljenih u suradnji s danskim umjetnikom Sorenom Porsom.
00:22
We call ourselvessebe PorsPors and RaoRao,
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Sebe nazivamo Pors & Rao,
00:24
and we liveživjeti and work in IndiaIndija.
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i živimo i radimo u Indiji.
00:26
I'd like to beginpočeti with my very first objectobjekt,
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Htjela bih početi sa svojim prvim objektom,
00:29
whichkoji I call "The UncleUjak PhoneTelefon."
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koji zovem "Ujakov telefon".
00:31
And it was inspirednadahnut by my uncle'sstrica peculiarosebujan habitnavika
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Inspiriran je osebujnom navikom mojeg ujaka
00:34
of constantlykonstantno askingtraži me to do things for him,
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koji je stalno tražio da radim stvari za njega,
00:36
almostskoro like I were an extensionnastavak of his bodytijelo --
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skoro kao da sam bila produžetak njegova tijela --
00:38
to turnskretanje on the lightssvjetla or to bringdonijeti him a glassstaklo of watervoda,
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da upalim svjetla ili da mu donesem čašu vode,
00:40
a packpaket of cigarettescigareta.
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kutiju cigareta.
00:42
And as I grewrastao up, it becamepostao worsegore and worsegore,
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Kako sam odrastala, postajalo je sve gore i gore,
00:44
And I startedpočeo to think of it as a formoblik of controlkontrolirati.
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i počela sam razmišljati o tome kao o obliku kontrole.
00:46
But of coursenaravno, I could never say anything,
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Ali, naravno, nikad nisam mogla ništa reći,
00:48
because the uncleujak is a respectedugledan figurelik
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zato što je ujak poštovana osoba
00:50
in the IndianIndijski familyobitelj.
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u indijskoj obitelji.
00:52
And the situationsituacija that irkedirked me and mystifiedtajnovit me the mostnajviše
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I situacija koja me najviše ljutila i zbunjivala
00:55
was his use of a landlinezemni kabel telephonetelefon.
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bila je njegovo korištenje fiksnim telefonom.
00:57
He would holddržati on to the receiverprijemnik and expectočekivati me to dialbiranje a numberbroj for him.
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Držao bi slušalicu i očekivao da okrećem broj za njega.
01:00
And so as a responseodgovor and as a giftdar to my uncleujak,
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I kao odgovor i poklon za mog ujaka,
01:03
I madenapravljen him "The UncleUjak PhoneTelefon."
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napravila sam mu "Ujakov telefon".
01:05
It's so long that it requirestraži two people to use it.
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Tako je dugačak da je potrebno dvoje ljudi da ga koristi.
01:08
It's exactlytočno the way my uncleujak usesnamjene a phonetelefon that's designedkonstruiran for one personosoba.
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To je upravo način na koji moj ujak koristi telefon dizajniran za jednu osobu.
01:12
But the problemproblem is that, when I left home and wentotišao to collegekoledž,
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No problem je bio u tome što su mi, kad sam otišla od kuće i upisala fakultet,
01:15
I startedpočeo missingnedostaje his commandsnaredbe.
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počele nedostajati njegove naredbe.
01:17
And so I madenapravljen him a goldenzlatan typewriterpisaća mašina
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I tako sam mu napravila zlatnu pisaću mašinu
01:19
throughkroz whichkoji he could dispensedijeliti his commandsnaredbe
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putem koje je mogao dijeliti svoje naredbe
01:21
to nephewsnećaka and niecesnećakinje around the worldsvijet as an emaile.
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nećacima i nećakinjama diljem svijeta kao e-mail.
01:24
So what he had to do was take a piecekomad of paperpapir, rollsvitak it into the carriageprijevoz,
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Ono što je trebao napraviti jest uzeti list papira, umetnuti u mašinu,
01:27
typetip his emaile or commandnaredba and pullVuci the paperpapir out.
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utipkati e-mail ili naredbu i povući papir van.
01:30
This deviceuređaj would automaticallyautomatsko sendposlati the intendednamijenjen personosoba
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Ova sprava bi automatski poslala naznačenoj osobi
01:33
the letterpismo as an emaile.
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pismo kao e-mail.
01:35
So here you can see, we embeddedugrađen a lot of electronicselektronika
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Ovdje možete vidjeti kako smo ugradili puno elektronike
01:38
that understandsrazumije all of the mechanicalmehanički actionsakcije
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koja razumije sve mehaničke hodove
01:40
and convertspretvara it to digitaldigitalni.
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i pretvara ih u digitalne.
01:42
So my uncleujak is only dealingbavljenje with a mechanicalmehanički interfacesučelje.
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Moj ujak ima posla jedino s mehaničkim sučeljem.
01:45
And of coursenaravno, the objectobjekt had to be very grandveličanstven and have a senseosjećaj of ritualismritualizam,
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I naravno, objekt je morao biti prilično veličanstven i imati osjećaj za ritualno,
01:48
the way my uncleujak likessviđa it.
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onako kako se mojem ujaku sviđa.
01:50
The nextSljedeći work is a sound-sensitiveosjetljiv na zvuk installationmontaža
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Sljedeći rad je instalacija osjetljiva na zvuk
01:53
that we affectionatelyod milja call "The PygmiesPigmejci."
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koji odmila zovemo "Pigmejci".
01:56
And we wanted to work with a notionpojam of beingbiće
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I željeli smo raditi s idejom o tome da smo
01:58
surroundedokružen by a tribepleme of very shystidljiv, sensitiveosjetljiv and sweetslatko creaturesstvorenja.
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okruženi plemenom vrlo sramežljivih, osjetljivih i slatkih bića.
02:02
So how it worksdjela is we have these panelspaneli, whichkoji we have on the wallzid,
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Način na koji radi jest da imamo ove ploče, na zidu,
02:05
and behindiza them, we have these little creaturesstvorenja whichkoji hidesakriti.
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i iza njih imamo ova mala bića koja se skrivaju.
02:08
And as soonuskoro as it's silentnijem, they sortvrsta of creeppuzanje out.
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I čim se stiša, oni izlaze van.
02:11
And if it's even more silentnijem, they stretchrastezanje theirnjihov necksvrata out.
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I što je više tiho, oni protežu vratove.
02:13
And at the slightestnajmanji soundzvuk, they hidesakriti back again.
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I na najmanji šum ponovo se skrivaju.
02:16
So we had these panelspaneli on threetri wallszidovi of a roomsoba.
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Dakle, imamo te ploče na tri zida prostorije.
02:19
And we had over 500 of these little pygmiesPigmejci hidingskrivanje behindiza them.
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I imamo preko 500 tih malih Pigmejaca koji se kriju iza njih.
02:22
So this is how it worksdjela.
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Evo kako funkcionira.
02:24
This is a videovideo prototypeprototip.
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Ovo je video prototip.
02:26
So when it's quietmiran, it's sortvrsta of comingdolazak out from behindiza the panelspaneli.
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Kad je tiho, to nalikuje izlaženju iz stražnje strane ploča.
02:29
And they hearčuti like humansljudi do, or realstvaran creaturesstvorenja do.
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I oni čuju kao ljudi, ili stvarna bića.
02:31
So they get immuneimun to soundszvukovi that scareuplašiti them after awhileneko vrijeme.
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I postaju imuni na zvukove koji ih plaše nakon nekog vremena.
02:34
And they don't reactreagirati to backgroundpozadina soundszvukovi.
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I ne reagiraju na zvukove u pozadini.
02:37
You'llVi ćete hearčuti a trainvlak in momenttrenutak that they don't reactreagirati to.
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Čut ćete vlak u trenutku kad ne reagiraju.
02:40
(NoiseBuka)
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(Buka)
02:42
But they reactreagirati to foregroundprednji soundszvukovi. You'llVi ćete hearčuti that in a seconddrugi.
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Ali reagiraju na zvukove u prednjem planu. Čut ćete to za sekundu.
02:45
(WhistlingZviždanje)
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(Zviždanje)
02:50
So we workedradio very hardteško
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Naporno smo radili
02:52
to make them as lifelikevjerne as possiblemoguće.
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da ih napravimo živima što je moguće više.
02:56
So eachsvaki pygmypigmejac has its ownvlastiti behaviorponašanje, psychepsiha,
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Pa svaki Pigmejac ima svoje ponašanje, psihu,
02:58
moodraspoloženje swingsljuljačke, personalitiesosobnosti and so on.
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promjene raspoloženja, osobnost, itd.
03:01
So this is a very earlyrano prototypeprototip.
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Ovo je vrlo rani prototip.
03:03
Of coursenaravno, it got much better after that.
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Naravno, postalo je puno bolje nakon ovog.
03:05
And we madenapravljen them reactreagirati to people,
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I napravili smo ih da reagiraju na ljude,
03:07
but we foundpronađeno that people were beingbiće quitedosta playfulrazigrani and childlikekao dijete with them.
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no otkrili smo da su ljudi bili dosta razigrani i poput djece s njima.
03:11
This is a videovideo installationmontaža calledzvao "The MissingNedostaje PersonOsoba."
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Ovo je video instalacija "Nestala osoba".
03:14
And we were quitedosta intriguedzaintrigirala
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I bili smo dosta intrigirani
03:16
with playingigranje with the notionpojam of invisibilitynevidljivost.
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igranjem s idejom nevidljivosti.
03:18
How would it be possiblemoguće to experienceiskustvo a senseosjećaj of invisibilitynevidljivost?
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Kako bi bilo moguće iskusiti osjećaj nevidljivosti?
03:21
So we workedradio with a companydruštvo
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Radili smo s kompanijom
03:23
that specializesspecijalizirana in camerafotoaparat surveillanceprismotra,
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koja se specijalizirala za videonadzor,
03:25
and we askedpitao them to developrazviti a piecekomad of softwaresoftver with us,
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i zamolili smo ih da razviju softver za nas,
03:28
usingkoristeći a camerafotoaparat
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koristeći kameru
03:30
that could look at people in the roomsoba, trackstaza them
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koja bi mogla gledati u ljude u prostoriji, pratiti ih
03:32
and replacezamijeniti one personosoba with the backgroundpozadina, renderingvraćanje them invisiblenevidljiv.
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i zamijeniti jednu osobu s pozadinom, čineći ih nevidljivima.
03:35
So I'm just going to showpokazati you a very earlyrano prototypeprototip.
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Samo ću vam pokazati vrlo rani prototip.
03:38
On the right sidestrana you can see my colleaguekolega SorenSoren,
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Na desnoj strani možete vidjeti mog kolegu Sorena,
03:40
who'stko je actuallyzapravo in the spaceprostor.
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koji se zapravo nalazi u prostoru.
03:42
And on the left sidestrana, you'llvi ćete see the processedobrađuju videovideo
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I na lijevoj strani vidjet ćete obrađeni video
03:44
where the camerafotoaparat has madenapravljen him invisiblenevidljiv.
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gdje ga je kamera učinila nevidljivim.
03:47
SorenSoren entersulazi the roomsoba. Popne.! He goeside invisiblenevidljiv.
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Soren ulazi u sobu. Puf! Nevidljiv je.
03:50
And you can see that the camerafotoaparat is trackingpraćenje him and erasingBrisanje.
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I možete vidjeti da ga kamera prati i briše.
03:53
It's a very earlyrano videovideo,
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Ovo je vrlo rani video,
03:55
so we haven'tnisu yetjoš dealtrješavati with the overlappreklapanje and all of that,
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pa se još nismo pozabavili s preklapanjem i sl.,
03:57
but that got refinedrafiniran prettyprilično soonuskoro, laterkasnije.
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no to je usavršeno ubrzo, kasnije.
04:00
So how we used it was in a roomsoba where we had a camerafotoaparat looking into the spaceprostor,
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Koristili smo to u prostoriji gdje je bila kamera koja je gledala u prostor,
04:03
and we had one monitormonitor, one on eachsvaki wallzid.
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i imali smo jedan monitor, jedan na svakom zidu.
04:06
And as people walkedhodao into the roomsoba,
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I kako bi ljudi ulazili u prostoriju,
04:08
they would see themselvesse in the monitormonitor, exceptosim with one differencerazlika:
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vidjeli bi se u monitoru, osim jedne razlike:
04:11
one personosoba was constantlykonstantno invisiblenevidljiv
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jedna osoba je bila stalno vidljiva
04:13
wherevergdje god they movedpomaknuto in the roomsoba.
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gdjegod se kretali u prostoriji.
04:15
So this is a work calledzvao "The SunSunce ShadowSjena."
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Ovo je rad "Sunčeva sjena".
04:17
And it was almostskoro like a sheetlist of paperpapir,
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Bilo je gotovo poput lista papira
04:20
like a cutoutizrez of a childlikekao dijete drawingcrtanje
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kao izrezani dječji crtež
04:22
of an oilulje spillizlijevanja or a sunsunce.
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mrlje od ulja ili sunca.
04:24
And from the frontispred, this objectobjekt appearedpojavio se to be very strongjak and robustrobustan,
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I sprijeda je objekt izgledao vrlo čvrsto i robusno,
04:27
and from the sidestrana, it almostskoro seemedčinilo se very weakslab.
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a sa strane je gotovo izgledao vrlo slabo.
04:30
So people would walkinghodanje into the roomsoba and they'doni bi almostskoro ignorezanemariti it,
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Ljudi su mogli ušetati u prostoriju i gotovo bi ga ignorirali,
04:33
thinkingmišljenje it was some crapsranje layingpolaganje around.
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misleći da je to neko smeće na podu.
04:35
But as soonuskoro as they passedprošao by,
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No čim bi prošli kraj njega,
04:37
it would startpočetak to climbpopeti se up the wallzid in jerkysušeno meso fashionmoda.
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počeo bi se penjati po zidu trzajući se.
04:39
And it would get exhaustediscrpljen, and it would collapsekolaps everysvaki time.
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I iscrpio bi se, i kolapsirao bi svaki put.
04:42
(LaughterSmijeh)
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(Smijeh)
04:44
So this work
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Ovaj rad je
04:46
is a caricaturekarikatura of an upside-downnaopako man.
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karikatura naopako postavljenog čovjeka.
04:48
His headglava is so heavyteško, fullpuni of heavyteško thoughtsmisli,
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Njegova je glava tako teška, puna teških misli,
04:50
that it's sortvrsta of fallenpoginuli into his hatšešir,
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da je na neki način pao u svoj šešir,
04:52
and his body'stijelo je grownodrastao out of him almostskoro like a plantbiljka.
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a njegovo je tijelo izraslo iz njega gotovo kao biljka.
04:54
Well what he does is he movespotezi around
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Ono što radi jest da se kreće naokolo
04:56
in a very drunkenpijani fashionmoda on his headglava
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vrlo pijano na svojoj glavi
04:58
in a very unpredictablenepredvidiv and extremelykrajnje slowusporiti movementpokret.
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u vrlo nepredvidljivom i ekstremno sporom pokretu.
05:01
And it's kindljubazan of constrainedograničen by that circlekrug.
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I na neki je način ograničen tim krugom.
05:04
Because if that circlekrug weren'tnisu there, and the floorkat was very even,
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Jer, da tog kruga nema, i da je pod vrlo ravan,
05:07
it would startpočetak to wanderlutati about in the spaceprostor.
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počeo bi lutati negdje u prostoru.
05:09
And there's no wiresžice.
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I nema žica.
05:11
So I'll just showpokazati you an instanceprimjer --
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Pokazat ću vam samo primjer --
05:13
so when people enterUnesi the roomsoba, it activatesaktivira this objectobjekt.
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kad ljudi uđu u prostoriju, to aktivira ovaj objekt.
05:15
And it very slowlypolako, over a fewnekoliko minutesminuta,
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I on vrlo polako, više od nekoliko minuta,
05:17
sortvrsta of painfullybolno goeside up,
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nekako bolno ide gore,
05:19
and then it gainsdobici momentummoment
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i tada postiže zamah
05:21
and it looksizgled like it's almostskoro about to fallpad.
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i izgleda kao da će pasti.
05:23
And this is an importantvažno momenttrenutak,
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I to je važan trenutak,
05:25
because we wanted to instilluliti in the viewergledatelj
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zato što smo željeli usaditi u gledatelja
05:27
an instinctinstinkt to almostskoro go and help, or saveuštedjeti the subjectpredmet.
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instinkt da skoro ode i pomogne, ili spasi subjekt.
05:29
But it doesn't really need it,
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No on to ustvari ne treba,
05:31
because it, again, sortvrsta of managesupravlja to pullVuci itselfsebe up.
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zato što se, opet, nekako uspije izvući gore.
05:34
So this work was a realstvaran technicaltehnička challengeizazov for us,
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Ovaj rad je bio pravi tehnički izazov za nas,
05:37
and we workedradio very hardteško, like mostnajviše of our worksdjela, over yearsgodina
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i radili smo jako naporno, kao kod većine naših radova, godinama
05:40
to get the mechanicsmehanika right and the equilibriumravnoteža and the dynamicsdinamika.
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da uskladimo mehaniku i ravnotežu i dinamiku.
05:43
And it was very importantvažno for us
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I bilo je vrlo važno za nas
05:45
to establishuspostaviti the exacttočno momenttrenutak that it would fallpad,
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da postignemo točan trenutak pada,
05:48
because if we madenapravljen it in a way that it would topplesrušiti over,
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jer da smo ga napravili da se prevrne,
05:51
then it would damagešteta itselfsebe,
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oštetio bi se,
05:53
and if it didn't fallpad enoughdovoljno, it wouldn'tne bi instilluliti that fatalismfatalizam,
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a da nije dovoljno pao, ne bi usadio taj fatalizam,
05:56
or that senseosjećaj of wantingu nedostatku to go and help it.
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ili taj osjećaj želje da se ode i pomogne.
05:58
So I'm going to showpokazati you a very quickbrz videovideo
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Pokazat ću vam vrlo brzi video
06:00
where we are doing a testtest scenarioscenario -- it's much fasterbrže.
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gdje radimo probni scenarij -- puno je brže.
06:02
That's my colleaguekolega. He's let it go.
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Ovo je moj kolega. Pustio ga je.
06:04
Now he's gettinguzimajući nervousživčani, so he's going to go catchulov it.
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Sada postaje nervozan, pa će ga ići uhvatiti.
06:06
But he doesn't need to,
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Ali ne treba,
06:08
because it managesupravlja to liftlift itselfsebe up on its ownvlastiti.
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zato što se uspijeva podići sam.
06:10
So this is a work that we were very intriguedzaintrigirala with,
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Ovo je rad kojim smo bili vrlo zaintrigirani,
06:13
workingrad with the aestheticestetski of furkrzno
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radeći s estetikom dlake
06:15
embeddedugrađen with thousandstisuća of tinysićušan differentdrugačiji sizesveličine
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u koju su ugrađene tisuće sićušnih optičkih vlakana
06:18
of fibervlakno opticsoptika, whichkoji twinklesjaj like the night skynebo.
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različitih veličina, koja trepere kao noćno nebo.
06:21
And it's at the scaleljestvica of the night skynebo.
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I ima omjer noćnog neba.
06:23
So we wrappedumotan this around a blob-likeblob-poput formoblik,
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Omotali smo ovo oko oblika grudice,
06:25
whichkoji is in the shapeoblik of a teddyMedo bearsnositi,
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u obliku medvjedića,
06:27
whichkoji was hangingvješanje from the ceilingstrop.
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koji je visio sa stropa.
06:29
And the ideaideja was to sortvrsta of contrastkontrast
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I ideja je bila da se usporedi
06:31
something very coldhladno and distantudaljen and abstractsažetak like the universesvemir
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nešto vrlo hladno i udaljeno kao što je svemir
06:34
into the familiarupoznat formoblik of a teddyMedo bearsnositi,
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u poznatom obliku medvjedića,
06:36
whichkoji is very comfortingutješno and intimateintimni.
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koji je vrlo utješan i intiman.
06:38
And the ideaideja was that at some pointtočka
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I ideja je bila u tome da bi u jednom trenutku
06:40
you would stop looking at the formoblik of a teddyMedo bearsnositi
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prestali gledati u oblik medvjedića
06:42
and you would almostskoro perceivedoživljavaju it to be a holerupa in the spaceprostor,
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i gotovo ga percipirali kao rupu u svemiru,
06:45
and as if you were looking out into the twinklingtren night skynebo.
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i kao da bi promatrali treperavo noćno nebo.
06:49
So this is the last work, and a work in progressnapredak,
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Ovo je posljednji rad, i rad u nastajanju,
06:51
and it's calledzvao "SpaceProstor FillerPunila."
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zove se "Ispuna prostora".
06:53
Well imaginezamisliti a smallmali cubekocka that's about this bigvelika
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Zamislite malu kocku koja je ovoliko velika
06:55
standingstajati in frontispred of you in the middlesrednji of the roomsoba,
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koja stoji ispred vas u sredini prostorije,
06:57
and as you approachedprilazi it, it triedpokušala to intimidatezastrašiti you
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i kako joj prilazite, pokušava vas zastrašiti
07:00
by growingrastući into a cubekocka
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rastući u kocku
07:02
that's twicedvaput its heightvisina and [eightosam] timesputa its volumevolumen.
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koja je dvaput viša i ima četiri puta veći volumen nego na početku.
07:05
And so this objectobjekt is constantlykonstantno expandingširenje and contractingugovaranje
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Taj se objekt stalno širi i skuplja
07:08
to createstvoriti a dynamicdinamičan with people movingkreće around it --
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da stvori dinamiku s ljudima koji se kreću oko njega --
07:10
almostskoro like it were tryingtežak
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gotovo kao da pokušava
07:12
to concealsakriti a secrettajna withinunutar its seamsšavova or something.
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sakriti tajnu unutar sebe ili slično.
07:14
So we work with a lot of technologytehnologija,
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Mi radimo s puno tehnologije
07:17
but we don't really love technologytehnologija,
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ali ustvari ne volimo tehnologiju,
07:19
because it givesdaje us a lot of painbol in our work over yearsgodina and yearsgodina.
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zato što nam zadaje puno boli u našem radu godinama i godinama.
07:22
But we use it because we're interestedzainteresiran
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No koristimo je jer smo zainteresirani
07:24
in the way that it can help us
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za način na koji nam može pomoći
07:26
to expressizraziti the emotionsemocije and behavioralponašanja patternsobrasci
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da izrazimo emocije i obrasce ponašanja
07:29
in these creaturesstvorenja that we createstvoriti.
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u tim bićima koje stvaramo.
07:31
And oncejednom a creaturestvorenje popsStari into our mindsmisli,
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I jednom kad se biće pojavi u našim umovima,
07:33
it's almostskoro like the processpostupak of creationstvaranje
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to je gotovo kao da proces stvaranja
07:35
is to discoverotkriti the way this creaturestvorenje really wants to existpostojati
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otkriva način na koji to biće zaista želi postojati
07:38
and what formoblik it wants to take and what way it wants to movepotez.
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i koji oblik želi preuzeti i na koji način se želi kretati.
07:40
Thank you.
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Hvala vam.
07:42
(ApplausePljesak)
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(Pljesak)
Translated by Silvija P.
Reviewed by Tilen Pigac - EFZG

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

Why you should listen

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

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

More profile about the speaker
Aparna Rao | Speaker | TED.com