ABOUT THE SPEAKERS
Tom Shannon - Sculptor
Tom Shannon's mixed-material sculpture seems to levitate -- often it actually does -- thanks to powerful magnets and clever arrangements of suspension wire. He designed the TED Prize trophy.

Why you should listen

Artist and inventor Tom Shannon's sculpture has been exhibited in galleries and institutions all around the world, including the Centre Pompidou in Paris, the Stedelijk Museum in Amsterdam and the Museum of Modern Art in New York City. His clever orchestrations of hidden magnets and tiny suspension cables make otherwise inert materials such as steel and wood take on a truly otherworldly quality -- bringing objects like planets, stars and atoms to a scale you can understand (and touch).

Shannon also holds the patents for the first tactile telephone, a color television projector and a synchronous world clock that is in the collection of the Smithsonian Institution. He is developing a spherical helium airship whose entire surface is an LED video screen.

More profile about the speaker
Tom Shannon | Speaker | TED.com
John Hockenberry - Journalist
Journalist and commentator John Hockenberry has reported from all over the world in virtually every medium. He's the author of "Moving Violations: War Zones, Wheelchairs and Declarations of Independence."

Why you should listen

Three-time Peabody Award winner, four-time Emmy award winner and Dateline NBC correspondent, John Hockenberry has broad experience as a journalist and commentator for more than two decades. He is the co-anchor of the public radio morning show “The Takeaway” on WNYC and PRI. He has reported from all over the world, in virtually every medium, having anchored programs for network, cable and radio. Hockenberry joined NBC as a correspondent for Dateline NBC in January 1996 after a fifteen-year career in broadcast news at both National Public Radio and ABC News. Hockenberry's reporting for Dateline NBC earned him three Emmys, an Edward R Murrow award and a Casey Medal.

His most prominent Dateline NBC reports include an hour-long documentary on the often-fatal tragedy of the medically uninsured, an emotionally gripping portrait of a young schizophrenic trying to live on his own, and extensive reporting in the aftermath of September 11th. In 2009 Hockenberry was appointed to the White House Fellows Commission by President Barack Obama where he participates in the selection of the annual Fellows for this most prestigious of Federal programs. Hockenberry is also the author of A River out of Eden, a novel based in the Pacific Northwest, and Moving Violations: War Zones, Wheelchairs and Declarations of Independence, a memoir of life as a foreign correspondent, which was a finalist for the National Book Critics Circle Award in 1996. He has also written for The New York Times, The New Yorker, I.D., Wired, The Columbia Journalism Review, Details, and The Washington Post.

Hockenberry spent more than a decade with NPR as a general assignment reporter, Middle East correspondent and host of several programs. During the Persian Gulf War (1990-91), Hockenberry was assigned to the Middle East, where he filed reports from Israel, Tunisia, Morocco, Jordan, Turkey, Iraq and Iran. He was one of the first Western broadcast journalists to report from Kurdish refugee camps in Northern Iraq and Southern Turkey. Hockenberry also spent two years (1988-90) as a correspondent based in Jerusalem during the most intensive conflict of the Palestinian uprising. Hockenberry received the Columbia Dupont Award for Foreign News Coverage for reporting on the Gulf War.

 

More profile about the speaker
John Hockenberry | Speaker | TED.com
TED in the Field

Tom Shannon, John Hockenberry: The painter and the pendulum

Tom Shannon: O pintor e o pêndulo.

Filmed:
509,059 views

TED visita Tom Shannon em seu estúdio em Manhattan para um olhar íntimo em sua arte inspirada na ciência. Uma conversa pessoal e reveladora com John Hockenberry mostra como as forças da natureza – e o princípio de tremores devido ao Parkinson – interagem em sua vida e obra.
- Sculptor
Tom Shannon's mixed-material sculpture seems to levitate -- often it actually does -- thanks to powerful magnets and clever arrangements of suspension wire. He designed the TED Prize trophy. Full bio - Journalist
Journalist and commentator John Hockenberry has reported from all over the world in virtually every medium. He's the author of "Moving Violations: War Zones, Wheelchairs and Declarations of Independence." Full bio

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

00:15
John Hockenberry: It's great to be here with you, Tom.
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John Hockenberry: É muito bom estar aqui com você Tom.
00:17
And I want to start with a question
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E eu gostaria de começar com a questão
00:19
that has just been consuming me
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que tem me consumido
00:21
since I first became familiar with your work.
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desde que tomei conhecimento de seu trabalho.
00:24
In you work there's always this kind of hybrid quality
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Em sua obra há sempre um tipo de qualidade híbrida
00:27
of a natural force
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de uma força natural em algum tipo
00:30
in some sort of interplay with creative force.
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de interatividade com a força criativa.
00:33
Are they ever in equilibrium
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Elas estão sempre em equilíbrio
00:35
in the way that you see your work?
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na maneira como você vê seu trabalho?
00:37
Tom Shannon: Yeah, the subject matter that I'm looking for,
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Tom Shannon: O tema pelo qual tenho buscado
00:40
it's usually to solve a question.
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é, normalmente, resolver uma questão.
00:42
I had the question popped into my head:
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Como essa questão que me surgiu na cabeça:
00:44
What does the cone that connects the sun and the Earth look like
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Como se pareceria um cone que conectasse o Sol e a Terra
00:48
if you could connect the two spheres?
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se você pudesse conectar as duas esferas?
00:51
And in proportion, what would the size of the sphere
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E, em proporção, qual seria o tamanho da esfera,
00:54
and the length, and what would the taper be to the Earth?
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o comprimento e quanto reduziria-se o cone até a Terra?
00:58
And so I went about and made that sculpture,
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E então eu fui e fiz essa escultura,
01:01
turning it out of solid bronze.
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a partir de bronze sólido.
01:04
And I did one that was about 35 feet long.
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E eu a fiz uma com cerca de 10m de comprimento.
01:07
The sun end was about four inches in diameter,
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O lado do Sol tinha cerca de 10cm de diametro
01:10
and then it tapered over about 35 feet
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que se afunilava por 10m
01:13
to about a millimeter at the Earth end.
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até cerca de 1mm no lado da Terra.
01:16
And so for me, it was really exciting
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E, então, para mim foi muito excitante
01:18
just to see what it looks like
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poder ver como seria
01:21
if you could step outside and into a larger context,
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se você pudesse dar um passo atrás, em um contexto maior,
01:24
as though you were an astronaut,
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como se fosse um astronauta,
01:26
and see these two things as an object,
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e ver essas duas coisas como um objeto,
01:29
because they are so intimately bound,
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pois estão tão intimamente ligadas.
01:32
and one is meaningless without the other.
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Um é insignificante sem o outro.
01:35
JH: Is there a relief
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JH: Há algum alívio
01:37
in playing with these forces?
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em brincar com essas forças?
01:39
And I'm wondering how much of a sense of discovery there is
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E estou imaginando quanto de senso de descoberta há
01:42
in playing with these forces.
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em brincar com essas forças.
01:45
TS: Well, like the magnetically levitated objects --
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TS: Bem, é como os objetos levitando magneticamente
01:47
like that silver one there,
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como aquele de prata ali.
01:49
that was the result
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Aquilo foi o resultado
01:51
of hundreds of experiments with magnets,
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de centenas de experimentos com imãs,
01:53
trying to find a way to make something float
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tentando descobrir um modo de fazer algo flutuar
01:56
with the least possible connection to the ground.
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com a menor conexão possível com o chão.
01:59
So I got it down to just one tether
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Então eu cheguei a apenas um elo
02:02
to be able to support that.
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para poder suportá-lo.
02:04
JH: Now is this electromagnetic here, or are these static?
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JH: E eles são eletromagnéticos ou são estáticos?
02:07
TS: Those are permanent magnets, yeah.
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TS: São imãs permanentes, sim.
02:09
JH: Because if the power went out, there would just be a big noise.
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JH: Porque se acabasse a energia, seria um barulhão, certamente.
02:12
TS: Yeah.
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TS: Verdade.
02:14
It's really unsatisfactory having plug-in art.
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É mesmo insatisfatório ter arte "plugada".
02:17
JH: I agree.
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JH: Concordo.
02:20
TS: The magnetic works
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TS: O funcionamento do imã
02:22
are a combination of gravity and magnetism,
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é uma combinação de gravidade e magnetismo,
02:25
so it's a kind of mixture of these ambient forces
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então é um tipo de mistura dessas duas forças ambientais
02:28
that influence everything.
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que influenciam tudo.
02:30
The sun has a tremendous field
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O Sol tem um tremendo campo
02:32
that extends way beyond the planets
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que estende-se bem além dos planetas.
02:34
and the Earth's magnetic field protects us from the sun.
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E o campo magnético da Terra nos protege do Sol.
02:37
So there's this huge
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Então existem estas enormes
02:39
invisible shape structures
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estruturas invisíveis
02:42
that magnetism takes in the universe.
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que o magnetismo assume no Universo.
02:45
But with the pendulum,
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Mas com o pêndulo
02:48
it allows me to manifest
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me é permitido manifestar
02:51
these invisible forces
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essas forças invisíveis
02:53
that are holding the magnets up.
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que sustentam os imãs.
02:55
My sculptures
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Minhas esculturas
02:57
are normally very simplified.
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são normalmente muito simplificadas.
03:00
I try to refine them down
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Eu tento refiná-las
03:02
to very simple forms.
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para formas muito simples.
03:04
But the paintings become very complex,
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Mas as pinturas se tornam muito complexas,
03:06
because I think the fields
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pois eu acho que esses campos
03:08
that are supporting them,
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que as suportam,
03:10
they're billowing, and they're interpenetrating,
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são como ondulações, são interpenetrantes
03:12
and they're interference patterns.
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e são interferências nos padrões.
03:15
JH: And they're non-deterministic.
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JH: E são não-deterministas.
03:17
I mean, you don't know necessarily where you're headed when you begin,
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Quero dizer, você não sabe necessariamente aonde vai quando começa,
03:20
even though the forces can be calculated.
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mesmo que essas forças possam ser calculadas.
03:23
So the evolution of this --
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Então a evolução disso...
03:25
I gather this isn't your first pendulum.
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Eu imagino que esse não seja seu primeiro pêndulo.
03:27
TS: No. (JH: No.)
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TS: Não – JH: Não.
03:29
TS: The first one I did was in the late 70's,
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TS: O primeiro eu fiz no fim dos anos 70.
03:32
and I just had a simple cone
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e era um cone simples
03:34
with a spigot at the bottom of it.
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com uma torneira embaixo.
03:37
I threw it into an orbit,
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Eu o lançava em uma órbita,
03:39
and it only had one color,
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e ele possuía apenas uma cor.
03:41
and when it got to the center, the paint kept running out,
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E quando ele chegava ao centro, a tinta continuava escorrendo,
03:44
so I had to run in there,
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então eu tinha que correr até lá,
03:46
didn't have any control over the spigot remotely.
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não tinha nenhum controle remoto sobre a torneira.
03:49
So that told me right away: I need a remote control device.
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Então isso me mostrou na hora que eu precisava de algo com controle remoto.
03:52
But then I started dreaming of having six colors.
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Mas então eu comecei a sonhar em ter seis cores.
03:55
I sort of think about it as the DNA --
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Eu meio que imaginei isso como o DNA...
03:58
these colors, the red, blue, yellow,
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Essas cores, vermelho, azul, amarelo,
04:00
the primary colors and white and black.
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as cores primárias mais branco e preto.
04:03
And if you put them together in different combinations --
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E se você colocá-las junto em combinações diferentes –
04:05
just like printing in a sense,
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mais ou menos como imprimir,
04:07
like how a magazine color is printed --
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como uma revista colorida é impressa –
04:09
and put them under certain forces,
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e colocá-las sob certas forças,
04:12
which is orbiting them
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que é dar-lhes uma órbita
04:14
or passing them back and forth
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ou movê-las para frente e para trás
04:16
or drawing with them,
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ou desenhar com elas,
04:18
these amazing things started appearing.
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essas coisas incríveis começam a aparecer.
04:20
JH: It looks like we're loaded for bear here.
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JH: Parece que estamos preparados para começar aqui.
04:23
TS: Yeah, well let's put a couple of canvases.
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TS: Sim. Bem, vamos botar algumas telas.
04:25
I'll ask a couple of my sons
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Vou pedir a meus filhos
04:27
to set up the canvases here.
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para preparar as telas aqui.
04:31
I want to just say --
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E vou dizer apenas que...
04:33
so this is Jack, Nick and Louie.
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estes são Jack, Nick e Louie.
04:35
JH: Thanks guys.
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JH: Obrigado, rapazes.
04:38
TS: So here are the --
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TS: Então aqui estão...
04:40
JH: All right, I'll get out of the way here.
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JH: Muito bem, deixe-me abrir espaço.
04:42
TS: I'm just going to throw this into an orbit
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TS: Eu vou apenas lançar isso em uma órbita
04:45
and see if I can paint everybody's shoes in the front.
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e ver se posso pintar o sapato de todos aqui na frente.
04:48
(Laughter)
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(Risos)
05:01
JH: Whoa. That is ...
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JH: Uau. Isso é...
05:06
ooh, nice.
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Ohh. Muito bom.
05:10
TS: So something like this.
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TS: Então é algo assim.
05:12
I'm doing this as a demo,
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Eu estou fazendo uma demonstração,
05:14
and it's more playful,
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e é mais uma brincadeira.
05:17
but inevitably,
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Mas, inevitavelmente,
05:19
all of this can be used.
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tudo isso pode ser usado.
05:22
I can redeem this painting,
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Eu posso recuperar essa pintura,
05:24
just continuing on,
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apenas ao continuar
05:26
doing layers upon layers.
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criando camadas sobre camadas.
05:28
And I keep it around for a couple of weeks,
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Eu a mantenho por perto por algumas semanas.
05:30
and I'm contemplating it,
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Fico a contemplá-la,
05:32
and I'll do another session with it
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faço mais uma sessão com ela
05:35
and bring it up to another level,
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e a trago para um outro patamar,
05:38
where all of this
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onde tudo isso
05:40
becomes the background, the depth of it.
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se torna um fundo, a profundidade da pintura.
05:43
JH: That's fantastic.
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JH: Isso é fantástico.
05:48
So the valves at the bottom of those tubes there
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Então as válvulas embaixo daqueles tubos
05:51
are like radio-controlled airplane valves.
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são como válvulas de avião controladas por rádio.
05:54
TS: Yes, they're servos with cams
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TS: Sim, elas são como diafragmas
05:57
that pinch these rubber tubes.
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que apertam os tubos de borracha.
05:59
And they can pinch them very tight and stop it,
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E eles podem se fechar bem apertados e interromper o fluxo,
06:01
or you can have them wide open.
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ou pode-se abri-los completamtente.
06:03
And all of the colors
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E todas as cores
06:05
come out one central port
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saem por uma porta central
06:07
at the bottom.
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sob o pêndulo.
06:09
You can always be changing colors, put aluminum paint,
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Você pode sempre mudar as cores, botar tinta metálica,
06:12
or I could put anything into this.
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ou qualquer outra coisa nele.
06:14
It could be tomato sauce,
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Poderia ser molho de tomate,
06:17
or anything could be dispensed --
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ou qualquer coisa a ser dispensada –
06:20
sand, powders or anything like that.
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areia, pó, qualquer coisa assim.
06:23
JH: So many forces there.
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JH: Então há muitas forças ali.
06:25
You've got gravity, you've got the centrifugal force,
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Você tem gravidade, tem força centrífuga,
06:27
you've got the fluid dynamics.
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tem a dinâmica dos fluídos.
06:33
Each of these beautiful paintings,
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Cada uma dessas lindas pinturas,
06:36
are they images in and of themselves,
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sustenta-se por si própria
06:39
or are they records
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ou elas são registros
06:41
of a physical event
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de um evento físico
06:43
called the pendulum approaching the canvas?
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chamado de pêndulo se aproximando da tela?
06:46
TS: Well, this painting here,
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TS: Bem, nesta pintura aqui
06:48
I wanted to do something very simple,
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eu queria fazer algo muito simples,
06:50
a simple, iconic image
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uma imagem icônica simples
06:52
of two ripples interfering.
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de duas ondulações interferindo.
06:55
So the one on the right was done first,
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Então a da direita foi feita primeiro,
06:57
and then the one on the left
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e depois a da esquerda
06:59
was done over it.
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foi feita sobre ela.
07:01
And then I left gaps
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E então eu deixei espaços
07:03
so you could see the one that was done before.
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para que você possa ver a que foi feita antes.
07:05
And then when I did the second one,
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E depois, quando eu fiz a segunda,
07:07
it really disturbed the piece --
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ela realmente perturbou a peça –
07:09
these big blue lines
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essas grandes linhas azuis
07:11
crashing through the center of it --
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caindo pelo centro dela.
07:13
and so it created a kind of tension and an overlap.
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E então eu criei um tipo de tensão e uma sobreposição.
07:16
There are lines in front of the one on the right,
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Tem as linhas em frente dessa da direita,
07:20
and there are lines behind the one on the left,
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e tem essas linhas atrás dessa da esquerda.
07:23
and so it takes it into different planes.
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E então formam-se dois planos diferentes.
07:27
What it's also about,
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Que também se referem,
07:29
just the little events,
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aos pequenos eventos,
07:32
the events of the interpenetration of --
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os eventos da interpenetração de...
07:35
JH: Two stars, or --
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JH: Duas estrelas ou...
07:37
TS: Two things that happened --
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TS: Duas coisas que aconteceram,
07:39
there's an interference pattern, and then a third thing happens.
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há uma interferência no padrão e aí uma terceira coisa acontece.
07:42
There are shapes that come about
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Existem formas que surgem
07:44
just by the marriage
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pelo simples casamento
07:46
of two events that are happening,
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de dois eventos que acontecem.
07:48
and I'm very interested in that.
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E estou muito interessado nisso.
07:51
Like the occurrence of moire patterns.
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Como a ocorrência de padrões moiré.
07:54
Like this green one,
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Como esse verde,
07:56
this is a painting I did about 10 years ago,
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está é uma pintura que fiz há cerca de 10 anos.
07:59
but it has some --
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Mas ela tem algum...
08:01
see, in the upper third --
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veja, na parte superior...
08:03
there are these moires and interference patterns
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existe essa interferência de padrões moiré
08:06
that are radio kind of imagery.
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que são imagens de um tipo de rádio.
08:08
And that's something that in painting
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E isso é algo na pintura
08:10
I've never seen done.
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que eu nunca havia visto.
08:12
I've never seen a representation
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Eu nunca vi uma representação
08:14
of a kind of radio interference patterns,
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de um tipo de padrão de interferência de rádio,
08:17
which are so ubiquitous
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que é tão ubíquo
08:20
and such an important part of our lives.
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e uma parte tão importante de nossas vidas.
08:23
JH: Is that a literal part of the image,
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JH: Isto é uma parte literal da imagem
08:25
or is my eye making that interference pattern --
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ou meus olhos estão criando a interferência?
08:28
is my eye completing that interference pattern?
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Eu estou completando esse padrão de interferência?
08:30
TS: It is the paint actually,
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TS: É a pintura na verdade,
08:32
makes it real.
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ela a torna real.
08:34
It's really manifested there.
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Está de fato representada lá.
08:36
If I throw a very concentric circle,
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Se eu fizer um círculo bem concêntrico,
08:39
or concentric ellipse,
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ou elipse concêntrica,
08:41
it just dutifully makes
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ela cria com competência
08:43
these evenly spaced lines,
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essas linhas em espaços iguais,
08:45
which get closer and closer together,
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que se aproximam mais e mais,
08:48
which describes how gravity works.
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o que descreve como funciona a gravidade.
08:50
There's something very appealing
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Existe algo muito interessante
08:52
about the exactitude of science
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sobre a exatidão da ciência
08:54
that I really enjoy.
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que eu realmente gosto.
08:56
And I love the shapes that I see
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E eu adoro as formas que vejo
08:59
in scientific observations
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em observações científicas
09:02
and apparatus,
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e aparatos,
09:04
especially astronomical forms
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especialmente formas astronômicas
09:07
and the idea of the vastness of it,
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e a ideia da vastidão disso,
09:09
the scale,
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da escala,
09:11
is very interesting to me.
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é muito interessante para mim.
09:13
My focus in recent years
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Meu foco, recentemente,
09:16
has kind of shifted more toward biology.
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meio que se inclinou rumo à biologia.
09:19
Some of these paintings, when you look at them very close,
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Algumas dessas pinturas, quando você as vê bem de perto,
09:22
odd things appear
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coisa estranhas aparecem
09:24
that really look like horses or birds
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que realmente se parecem com cavalos ou aves
09:27
or crocodiles, elephants.
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ou crocodilos, elefantes.
09:30
There are lots of things that appear.
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Existem muitas coisas que aparecem.
09:32
When you look into it, it's sort of like looking at cloud patterns,
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Quando você olha nelas, é como procurar padrões em nuvens,
09:35
but sometimes they're very modeled and highly rendered.
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mas às vezes elas são muito modeladas e altamente artísticas.
09:38
And then there are all these forms
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E então há todas essas formas
09:40
that we don't know what they are,
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que nós não sabemos o que são,
09:42
but they're equally well-resolved
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mas que são igualmente bem resolvidas
09:44
and complex.
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e complexas.
09:46
So I think, conceivably, those could be predictive.
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Então, acho que teoricamente, poderiam ser previsiveis.
09:49
Because since it has the ability
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Pois mesmo que haja essa habilidade
09:51
to make forms
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de criar formas
09:53
that look like forms that we're familiar with
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que parecem-se com formas que nos são familiares
09:55
in biology,
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na biologia,
09:57
it's also making other forms that we're not familiar with.
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há também a de criar outras formas que não são familiares.
10:00
And maybe it's the kind of forms
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E talvez sejam tipos de formas
10:02
we'll discover underneath the surface of Mars,
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que alguém descobrirá sob a superfície de Marte,
10:04
where there are probably lakes
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onde há lagos, provavelmente,
10:06
with fish swimming under the surface.
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com peixes nadando sob a superfície.
10:08
JH: Oh, let's hope so. Oh, my God, let's.
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JH: Oh, tomara que sim. Oh Deus, vamos.
10:10
Oh, please, yes. Oh, I'm so there.
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Oh, por favor, sim. Oh, estou nessa.
10:13
You know, it seems
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Sabe, parece que
10:16
at this stage in your life,
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a essa altura da sua vida
10:18
you also very personally
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você também está, muito pessoalmente,
10:20
are in this state of confrontation
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nesse estado de confronto
10:23
with a sort of dissonant --
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com um tipo de dissonância...
10:26
I suppose it's an electromagnetic force
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Suponho que seja uma força eletromagnética
10:28
that somehow governs your Parkinson's
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que de alguma forma governa seu Parkinson
10:30
and this creative force
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e essa força criativa
10:32
that is both the artist
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que é tanto o artista
10:35
who is in the here and now
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que está aqui e agora
10:37
and this sort of arc of your whole life.
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quanto esse tipo de arco da sua vida inteira.
10:39
Is that relevant to your work?
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Isso é relevante para seu trabalho?
10:42
TS: As it turns out,
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TS: Acho que no fim das contas,
10:44
this device kind of comes in handy,
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esse aparelho vem a calhar,
10:46
because I don't have to have
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porque eu não tenho que ter
10:48
the fine motor skills to do,
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as habilidades motoras tão apuradas
10:50
that I can operate slides,
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para poder operar as alavancas,
10:52
which is more of a mental process.
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o que é mais um processo mental.
10:54
I'm looking at it and making decisions:
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Eu estou observando e tomando decisões.
10:57
It needs more red, it needs more blue,
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A pintura precisa de mais vermelho, mais azul,
10:59
it needs a different shape.
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precisa de uma forma diferente.
11:01
And so I make these creative decisions
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E então eu tomo essas decisões criativas
11:04
and can execute them
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e posso executá-las
11:07
in a much, much simpler way.
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de modo muito, muito mais simples.
11:09
I mean, I've got the symptoms.
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Quer dizer, Eu tenho os sintomas.
11:12
I guess Parkinson's kind of creeps up over the years,
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Acho que o Parkinson progride lentamente ao longo dos anos,
11:15
but at a certain point you start seeing the symptoms.
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mas a certo ponto você começa a sentir os sintomas.
11:18
In my case,
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Em meu caso,
11:20
my left hand has a significant tremor
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minha mão esquerda treme significativamente
11:23
and my left leg also.
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e minha perna esquerda também.
11:26
I'm left-handed, and so I draw.
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Sou canhoto e assim desenho.
11:29
All my creations
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Todas minhas criações
11:31
really start on small drawings,
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realmente começam com esboços pequenos,
11:34
which I have thousands of,
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os quais tenho aos milhares.
11:36
and it's my way of just thinking.
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E essa é minha forma de pensar.
11:38
I draw with a simple pencil,
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Eu desenho com um simples lápis.
11:41
and at first, the Parkinson's
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E a princípio, o Parkinson
11:43
was really upsetting,
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era realmente chato,
11:45
because I couldn't get the pencil to stand still.
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porque eu não podia fazer o lápis ficar parado.
11:49
JH: So you're not a gatekeeper for these forces.
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JH: Então você não controla essas forças.
11:52
You don't think of yourself as the master of these forces.
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Você não se considera o mestre dessas forças.
11:55
You think of yourself as the servant.
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Você se considera um servo delas.
11:58
TS: Nature is -- well, it's a godsend.
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TS: A natureza é... bem, é um presente divino.
12:01
It just has so much in it.
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Ela simplesmente tem tanto nela.
12:04
And I think nature
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E acho que a natureza
12:06
wants to express itself
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quer expressar-se a si própria
12:08
in the sense that we are nature,
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no sentido de que nós somos natureza,
12:10
humans are of the universe.
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humanos são do Universo.
12:13
The universe is in our mind,
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O Universo está em nossa mente
12:15
and our minds are in the universe.
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e nossa mente está no Universo.
12:17
And we are expressions
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E nós somos expressões
12:19
of the universe, basically.
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do Universo, basicamente.
12:21
As humans,
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Como humanos,
12:23
ultimately being part of the universe,
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sendo fundamentalmente parte do Universo,
12:26
we're kind of the spokespeople
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somos como um tipo de representante
12:28
or the observer part
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ou parte observadora
12:30
of the constituency
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da constituição
12:33
of the universe.
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do Universo.
12:35
And to interface with it,
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E interagir com ele,
12:37
with a device that lets these forces
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através de um aparelho que deixa essas forças,
12:40
that are everywhere
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que estão em toda parte,
12:42
act and show what they can do,
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agirem e mostrarem o que podem fazer,
12:44
giving them pigment and paint just like an artist,
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dando-lhes pigmento e tinta como a um artista,
12:47
it's a good ally.
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é uma boa aliança.
12:50
It's a terrific studio assistant.
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Ele é um ótimo assistente de estúdio.
12:52
JH: Well, I love the idea
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JH: Bem, eu adoro a ideia
12:54
that somewhere within this idea
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de que em algum lugar dentro dessa ideia
12:56
of fine motion and control
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de movimento e controles precisos
12:59
with the traditional skills
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com as habilidades tradicionais
13:01
that you have with your hand,
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que você tem com sua mão,
13:03
some sort of more elemental force gets revealed,
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algum tipo de força mais elementar se revela,
13:05
and that's the beauty here.
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e essa é a beleza aqui.
13:07
Tom, thank you so much. It's been really, really great.
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Tom, muito obrigado. Isso foi realmente muito bom.
13:10
TS: Thank you, John.
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TS: Obrigado, John
13:12
(Applause)
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(Aplausos)
Translated by Rodrigo Ferraz
Reviewed by Tulio Leao

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ABOUT THE SPEAKERS
Tom Shannon - Sculptor
Tom Shannon's mixed-material sculpture seems to levitate -- often it actually does -- thanks to powerful magnets and clever arrangements of suspension wire. He designed the TED Prize trophy.

Why you should listen

Artist and inventor Tom Shannon's sculpture has been exhibited in galleries and institutions all around the world, including the Centre Pompidou in Paris, the Stedelijk Museum in Amsterdam and the Museum of Modern Art in New York City. His clever orchestrations of hidden magnets and tiny suspension cables make otherwise inert materials such as steel and wood take on a truly otherworldly quality -- bringing objects like planets, stars and atoms to a scale you can understand (and touch).

Shannon also holds the patents for the first tactile telephone, a color television projector and a synchronous world clock that is in the collection of the Smithsonian Institution. He is developing a spherical helium airship whose entire surface is an LED video screen.

More profile about the speaker
Tom Shannon | Speaker | TED.com
John Hockenberry - Journalist
Journalist and commentator John Hockenberry has reported from all over the world in virtually every medium. He's the author of "Moving Violations: War Zones, Wheelchairs and Declarations of Independence."

Why you should listen

Three-time Peabody Award winner, four-time Emmy award winner and Dateline NBC correspondent, John Hockenberry has broad experience as a journalist and commentator for more than two decades. He is the co-anchor of the public radio morning show “The Takeaway” on WNYC and PRI. He has reported from all over the world, in virtually every medium, having anchored programs for network, cable and radio. Hockenberry joined NBC as a correspondent for Dateline NBC in January 1996 after a fifteen-year career in broadcast news at both National Public Radio and ABC News. Hockenberry's reporting for Dateline NBC earned him three Emmys, an Edward R Murrow award and a Casey Medal.

His most prominent Dateline NBC reports include an hour-long documentary on the often-fatal tragedy of the medically uninsured, an emotionally gripping portrait of a young schizophrenic trying to live on his own, and extensive reporting in the aftermath of September 11th. In 2009 Hockenberry was appointed to the White House Fellows Commission by President Barack Obama where he participates in the selection of the annual Fellows for this most prestigious of Federal programs. Hockenberry is also the author of A River out of Eden, a novel based in the Pacific Northwest, and Moving Violations: War Zones, Wheelchairs and Declarations of Independence, a memoir of life as a foreign correspondent, which was a finalist for the National Book Critics Circle Award in 1996. He has also written for The New York Times, The New Yorker, I.D., Wired, The Columbia Journalism Review, Details, and The Washington Post.

Hockenberry spent more than a decade with NPR as a general assignment reporter, Middle East correspondent and host of several programs. During the Persian Gulf War (1990-91), Hockenberry was assigned to the Middle East, where he filed reports from Israel, Tunisia, Morocco, Jordan, Turkey, Iraq and Iran. He was one of the first Western broadcast journalists to report from Kurdish refugee camps in Northern Iraq and Southern Turkey. Hockenberry also spent two years (1988-90) as a correspondent based in Jerusalem during the most intensive conflict of the Palestinian uprising. Hockenberry received the Columbia Dupont Award for Foreign News Coverage for reporting on the Gulf War.

 

More profile about the speaker
John Hockenberry | Speaker | TED.com