TED2016
Alice Rawsthorn: Pirates, nurses and other rebel designers
Alis Rostorn (Alice Rawsthorn): Gusari, medicinske sestre i drugi dizajneri buntovnici
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U ovoj odi otpadnicima dizajna, Alis Rostorn ističe rad neočekivanih heroja, od Crnobradog do Florens Najtingejl. Povezujući ove odvažne mislioce i neke ranije moderne vizionare, poput Bakminstera Fulera, Rostorn nam pokazuje kako su najveći dizajneri često i najveći buntovnici.
Alice Rawsthorn - Design critic
Columnist and author Alice Rawsthorn illuminates the mesh of design woven into every aspect of our everyday lives and communities. Full bio
Columnist and author Alice Rawsthorn illuminates the mesh of design woven into every aspect of our everyday lives and communities. Full bio
Double-click the English transcript below to play the video.
00:12
Design is a slippery
and elusive phenomenon,
and elusive phenomenon,
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Dizajn je neuhvatljiva
i nedokučiva pojava,
i nedokučiva pojava,
00:15
which has meant different
things at different times.
things at different times.
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koja je u različito vreme
imala različito značenje.
imala različito značenje.
00:19
But all truly inspiring design projects
have one thing in common:
have one thing in common:
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Ali svi istinski inspirativni dizajnerski
projekti imaju nešto zajedničko:
projekti imaju nešto zajedničko:
00:23
they began with a dream.
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začeli su se kao san.
00:25
And the bolder the dream,
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A što je odvažniji san,
00:27
the greater the design feat
that will be required to achieve it.
that will be required to achieve it.
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to će veći dizajnerski poduhvat
biti potreban da se on ostvari.
biti potreban da se on ostvari.
00:30
And this is why the greatest
designers are almost always
designers are almost always
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I stoga su najznačajniji dizajneri
gotovo uvek
gotovo uvek
00:34
the biggest dreamers
and rebels and renegades.
and rebels and renegades.
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najveći sanjari i buntovnici i otpadnici.
00:38
This has been the case throughout history,
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Tako je bilo kroz čitavu istoriju,
00:41
all the way back to the year 300 BC,
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sve do 300 godine p.n.e.
00:45
when a 13-year-old became the king
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kada je trinaestogodišnjak postao kralj
00:48
of a remote, very poor
and very small Asian country.
and very small Asian country.
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udaljene, izuzetno siromašne
i veoma male azijske zemlje.
i veoma male azijske zemlje.
00:53
He dreamt of acquiring land,
riches and power
riches and power
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Sanjao je o sticanju zemlje,
bogatstva i moći
bogatstva i moći
00:56
through military conquest.
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kroz vojna osvajanja.
A njegove dizajnerske veštine -
00:58
And his design skills --
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01:00
improbable though it sounds --
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koliko god to neverovatno zvučalo -
01:01
would be essential
in enabling him to do so.
in enabling him to do so.
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će da budu ključne
u njegovom postizanju tog cilja.
u njegovom postizanju tog cilja.
01:05
At the time,
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U to vreme,
01:06
all weapons were made by hand
to different specifications.
to different specifications.
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sve oružje je ručno izrađivano
s različitim specifikacijama.
s različitim specifikacijama.
01:10
So if an archer ran out
of arrows during a battle,
of arrows during a battle,
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Pa, ako bi strelcu tokom bitke
nestalo strela,
nestalo strela,
01:13
they wouldn't necessarily be able
to fire another archer's arrows
to fire another archer's arrows
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ne bi nužno mogao
da ispali strelu drugog strelca
da ispali strelu drugog strelca
01:17
from their bow.
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iz svog luka.
01:19
This of course meant that they would
be less effective in combat
be less effective in combat
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Ovo je naravno značilo da su bili
manje efikasni u borbi
manje efikasni u borbi
01:22
and very vulnerable, too.
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kao i da su bili veoma ranjivi.
01:25
Ying solved this problem
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Jing je rešio ovaj problem,
01:26
by insisting that all bows and arrows
were designed identically,
were designed identically,
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insistirajući da svi lukovi i strele
budu dizajnirani identično,
budu dizajnirani identično,
01:31
so they were interchangeable.
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kako bi bili zamenjivi.
01:32
And he did the same for daggers,
axes, spears, shields
axes, spears, shields
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Isto je učinio sa bodežima,
sekirama, kopljima, štitovima
sekirama, kopljima, štitovima
01:36
and every other form of weaponry.
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i svim drugim oblicima oružja.
01:40
His formidably equipped army
won batter after battle,
won batter after battle,
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Njegova teško opremljena vojska
je dobijala bitku za bitkom
je dobijala bitku za bitkom
01:43
and within 15 years,
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i za 15 godina,
01:45
his tiny kingdom had
succeeded in conquering
succeeded in conquering
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njegovo omaleno kraljevstvo
je uspelo da osvoji
je uspelo da osvoji
01:48
all its larger, richer,
more powerful neighbors,
more powerful neighbors,
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sve svoje veće, bogatije, moćnije susede
01:51
to found the mighty Chinese Empire.
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i da osnuje moćno Kinesko carstvo.
01:55
Now, no one, of course,
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Sad, niko, naravno,
01:56
would have thought of describing
Ying Zheng as a designer at the time --
Ying Zheng as a designer at the time --
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ne bi ni pomislio u to vreme
da opiše Jing Zenga kao dizajnera -
da opiše Jing Zenga kao dizajnera -
02:00
why would they?
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zašto bi?
02:01
And yet he used design
unknowingly and instinctively
unknowingly and instinctively
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Pa ipak, koristio je dizajn
bez znanja i instinktivno,
bez znanja i instinktivno,
02:05
but with tremendous ingenuity
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ali uz ogromnu originalnost
02:07
to achieve his ends.
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kako bi ostvario svoje ciljeve.
02:09
And so did another equally
improbable, accidental designer,
improbable, accidental designer,
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Isto je uradio i još jedan jednako
neverovatan, slučajni dizajner,
neverovatan, slučajni dizajner,
02:14
who was also not above using
violence to get what he wanted.
violence to get what he wanted.
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koji se takođe nije ustručavao
u primeni nasilja zarad ličnih ciljeva.
u primeni nasilja zarad ličnih ciljeva.
02:18
This was Edward Teach, better known
as the British pirate, Blackbeard.
as the British pirate, Blackbeard.
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To je bio Edvard Tič,
poznatiji kao britanski gusar Crnobradi.
poznatiji kao britanski gusar Crnobradi.
02:24
This was the golden age of piracy,
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Bilo je to zlatno doba gusarstva,
02:26
where pirates like Teach
were terrorizing the high seas.
were terrorizing the high seas.
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u kom su gusari poput Tiča
vršili teror po dalekim morima.
vršili teror po dalekim morima.
02:29
Colonial trade was flourishing,
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Kolonijalna trgovina je cvetala
02:31
and piracy was highly profitable.
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i gusarstvo je bilo krajnje isplativo.
02:34
And the smarter pirates like him
realized that to maximize their spoils,
realized that to maximize their spoils,
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A pametniji gusari, poput njega,
su uvideli da bi optimalizovali svoj plen,
su uvideli da bi optimalizovali svoj plen,
02:39
they needed to attack
their enemies so brutally
their enemies so brutally
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moraju izuzetno brutalno
da napadaju svoje neprijatelje
da napadaju svoje neprijatelje
02:43
that they would surrender on sight.
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kako bi se predavali na licu mesta.
02:45
So in other words,
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Drugim rečima,
02:46
they could take the ships
without wasting ammunition,
without wasting ammunition,
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mogli su da zauzmu brodove
bez traćenja municije
bez traćenja municije
02:49
or incurring casualties.
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ili bez pretrpljenih žrtava.
02:51
So Edward Teach redesigned
himself as Blackbeard
himself as Blackbeard
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Pa je Edvard Tič redizajnirao sebe
kao Crnobradog,
kao Crnobradog,
02:55
by playing the part of a merciless brute.
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igrajući ulogu nemilosrdnog grubijana.
02:57
He wore heavy jackets and big hats
to accentuate his height.
to accentuate his height.
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Nosio je teške jakne i velike šešire
kako bi naglasio svoju visinu.
kako bi naglasio svoju visinu.
03:01
He grew the bushy black beard
that obscured his face.
that obscured his face.
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Negovao je gustu crnu bradu
kako bi zamračio svoj lik.
kako bi zamračio svoj lik.
03:05
He slung braces of pistols
on either shoulder.
on either shoulder.
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Kačio je remene pištolja na oba ramena.
03:08
He even attached matches to the brim
of his hat and set them alight,
of his hat and set them alight,
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Čak je kačio šibice na obode svog šešira
i palio ih je,
i palio ih je,
03:12
so they sizzled menacingly
whenever his ship was poised to attack.
whenever his ship was poised to attack.
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te su oni preteći šištali
kad god bi njegov brod išao u napad.
kad god bi njegov brod išao u napad.
03:17
And like many pirates of that era,
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I kao većina gusara iz tog vremena,
03:19
he flew a flag that bore
the macabre symbols
the macabre symbols
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nosio je zastavu
na kojoj su bili jezivi simboli
na kojoj su bili jezivi simboli
03:22
of a human skull
and a pair of crossed bones,
and a pair of crossed bones,
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ljudske lobanje i para ukrštenih kostiju
03:26
because those motifs had signified death
in so many cultures for centuries,
in so many cultures for centuries,
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jer su ti motivi vekovima značili smrt
u velikom broju kultura,
u velikom broju kultura,
03:31
that their meaning
was instantly recognizable,
was instantly recognizable,
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te je njihovo značenje
bilo momentalno prepoznatljivo,
bilo momentalno prepoznatljivo,
03:34
even in the lawless, illiterate
world of the high seas:
world of the high seas:
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čak i u svetu bezakonja
i nepismenosti dalekih mora:
i nepismenosti dalekih mora:
03:38
surrender or you'll suffer.
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predajte se ili ćete ispaštati.
03:40
So of course, all his sensible
victims surrendered on sight.
victims surrendered on sight.
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Stoga su se sve njegove razborite žrtve
predavale na licu mesta.
predavale na licu mesta.
03:44
Put like that,
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Kad se tako postavi,
03:46
it's easy to see why Edward Teach
and his fellow pirates
and his fellow pirates
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nije teško shvatiti zašto Edvarda Tiča
i njegove kolege gusare
i njegove kolege gusare
03:50
could be seen as pioneers
of modern communications design,
of modern communications design,
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možemo da posmatramo kao pionire
savremenog komunikacijskog dizajna
savremenog komunikacijskog dizajna
03:55
and why their deadly symbol --
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i zašto je njihov morbidni simbol -
03:57
(Laughter)
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(Smeh)
03:58
there's more --
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ima još -
03:59
why their deadly symbol
of the skull and crossbones
of the skull and crossbones
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zašto je njihov morbidni simbol
lobanje i ukrštenih kostiju
lobanje i ukrštenih kostiju
04:02
was a precursor of today's logos,
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bio prethodnik savremenih logoa,
04:04
rather like the big red letters
standing behind me,
standing behind me,
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poput velikih crvenih slova
koja se nalaze iza mene,
koja se nalaze iza mene,
04:08
but of course with a different message.
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ali naravno s drugačijom porukom.
04:10
(Laughter)
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(Smeh)
04:11
Yet design was also used to nobler ends
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Ipak, dizajn je korišćen
i za plemenitije ciljeve
i za plemenitije ciljeve
04:14
by an equally brilliant and equally
improbable designer,
improbable designer,
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od strane jednako briljantnog
i jednako neverovatnog dizajnera,
i jednako neverovatnog dizajnera,
04:18
the 19th-century British nurse,
Florence Nightingale.
Florence Nightingale.
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britanske medicinske sestre iz XIX veka,
Florens Najtingejl.
Florens Najtingejl.
04:22
Her mission was to provide
decent healthcare for everyone.
decent healthcare for everyone.
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Njena misija je bila da obezbedi
pristojnu zdravstvenu negu svima.
pristojnu zdravstvenu negu svima.
04:27
Nightingale was born into a rather
grand, very wealthy British family,
grand, very wealthy British family,
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Najtingejl je rođena u prilično velikoj,
veoma imućnoj britanskoj porodici,
veoma imućnoj britanskoj porodici,
04:31
who were horrified when she volunteered
to work in military hospitals
to work in military hospitals
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koja je bila zgrožena njenim
volonterskim radom u vojnim bolnicama
volonterskim radom u vojnim bolnicama
04:35
during the Crimean War.
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tokom Krimskog rata.
04:37
Once there, she swiftly realized
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Kad je stigla tamo, namah je shvatila
04:40
that more patients were dying
of infections that they caught there,
of infections that they caught there,
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da više pacijenata umire
od infekcija koje su dobili tu
od infekcija koje su dobili tu
04:43
in the filthy, fetid wards,
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u prljavim, smrdljivim odeljenjima
04:45
than they were of battle wounds.
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nego od rana iz bitaka.
04:47
So she campaigned
for cleaner, lighter, airier clinics
for cleaner, lighter, airier clinics
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Pa je krenula u kampanju da se
čistije, svetlije, prozračnije klinike
čistije, svetlije, prozračnije klinike
04:52
to be designed and built.
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dizajniraju i sagrade.
04:54
Back in Britain,
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U Britaniji
04:55
she mounted another campaign,
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je pokrenula drugu kampanju,
04:57
this time for civilian hospitals,
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ovaj put za civilne bolnice
04:59
and insisted that the same design
principles were applied to them.
principles were applied to them.
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i insistirala je da se isti
dizajnerski principi primene na njih.
dizajnerski principi primene na njih.
05:03
The Nightingale ward, as it is called,
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Odeljenje Najtingejl, kako ga zovu,
05:06
dominated hospital design
for decades to come,
for decades to come,
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dominiralo je dizajnom bolnica
u narednim decenijama,
u narednim decenijama,
05:09
and elements of it are still used today.
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a njegovi elementi se i danas koriste.
05:13
But by then,
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Ali do tad,
05:15
design was seen as a tool
of the Industrial Age.
of the Industrial Age.
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dizajn je viđen kao oruđe
industrijskog doba.
industrijskog doba.
05:18
It was formalized and professionalized,
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Formalizovan je i profesionalizovan,
05:20
but it was restricted to specific roles
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ali je bio ograničen na konkretne uloge
05:23
and generally applied in pursuit
of commercial goals
of commercial goals
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i uopšteno je primenjivan
u jurenju komercijalnih ciljeva
u jurenju komercijalnih ciljeva
05:26
rather than being used intuitively,
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pre nego što je korišćen intuitivno,
05:28
as Florence Nightingale, Blackbeard
and Ying Zheng had done.
and Ying Zheng had done.
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kao što su radili Florens Najtingejl,
Crnobradi i Jing Zeng.
Crnobradi i Jing Zeng.
05:33
By the 20th century,
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Do XX veka,
05:34
this commercial ethos was so powerful,
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ovaj komercijalni etos je bio toliko moćan
05:37
that any designers who deviated from it
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da je bilo koji dizajner
koji bi skrenuo s njega
koji bi skrenuo s njega
05:40
risked being seen as cranks
or subversives.
or subversives.
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rizikovao da bude shvaćen
kao osobenjak ili subverzivac.
kao osobenjak ili subverzivac.
05:44
Now among them is one
of my great design heroes,
of my great design heroes,
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Sad, među njima je jedan
od mojih najznačajnijih heroja dizajna,
od mojih najznačajnijih heroja dizajna,
05:48
the brilliant László Moholy-Nagy.
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briljantni Laslo Moholji-Nađ.
05:50
He was the Hungarian artist and designer
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Bio je mađarski umetnik i dizajner
05:53
whose experiments with the impact
of technology on daily life
of technology on daily life
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čiji su eksperimenti o uticaju
tehnologije na svakodnevicu
tehnologije na svakodnevicu
05:58
were so powerful
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bili toliko snažni
05:59
that they still influence
the design of the digital images
the design of the digital images
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da još uvek utiču
na dizajn digitalnih slika
na dizajn digitalnih slika
06:02
we see on our phone and computer screens.
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koje gledamo na našim telefonima
i kompjuterskim ekranima.
i kompjuterskim ekranima.
06:05
He radicalized the Bauhaus Design
School in 1920s Germany,
School in 1920s Germany,
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Radikalizovao je dizajn
škole bauhausa u Nemačkoj 1920-ih,
škole bauhausa u Nemačkoj 1920-ih,
06:10
and yet some of his former
colleagues shunned him
colleagues shunned him
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ipak, neki od njegovih bivših kolega
su ga izbegavali
su ga izbegavali
06:13
when he struggled to open a new
Bauhaus in Chicago years later.
Bauhaus in Chicago years later.
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kada se mučio da započne
novi bauhaus u Čikagu, godinama kasnije.
novi bauhaus u Čikagu, godinama kasnije.
06:18
Moholy's ideas were as bold
and incisive as ever,
and incisive as ever,
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Moholjijeve ideje su bile
odvažnije i britkije nego ikad pre,
odvažnije i britkije nego ikad pre,
06:22
but his approach to design
was too experimental,
was too experimental,
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ali je njegov pristup dizajnu
bio suviše eksperimentalan,
bio suviše eksperimentalan,
06:26
as was his insistence
on seeing it, as he put it,
on seeing it, as he put it,
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kao i njegovo insistiranje
da ga vide, kako je on to formulisao,
da ga vide, kako je on to formulisao,
06:29
as an attitude, not a profession
to be in tune with the times.
to be in tune with the times.
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kao stav, ne kao profesiju
koja je u skladu s vremenom.
koja je u skladu s vremenom.
06:34
And sadly, the same applied
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I, nažalost, isto je primenjeno
06:36
to another design maverick:
Richard Buckminster Fuller.
Richard Buckminster Fuller.
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kod drugog nekonvencijalnog dizajnera:
Ričarda Bakminstera Fulera.
Ričarda Bakminstera Fulera.
06:41
He was yet another
brilliant design visionary
brilliant design visionary
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Bio je još jedan
briljantan dizajner vizionar
briljantan dizajner vizionar
06:44
and design activist,
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i dizajnerski aktvista,
06:46
who was completely committed
to designing a sustainable society
to designing a sustainable society
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koji je bio potpuno predan
dizajniranju održivog društva
dizajniranju održivog društva
06:50
in such a forward-thinking way
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na tako dalekovid način
06:52
that he started talking about
the importance of environmentalism
the importance of environmentalism
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da je počeo da govori o važnosti ekologije
06:56
in design in the 1920s.
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u dizajnu 1920-ih.
06:59
Now he, despite his efforts,
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Sad, njega su, uprkos naporima,
07:02
was routinely mocked as a crank
by many in the design establishment,
by many in the design establishment,
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mnogi iz dizajnerskog establišmenta
rutinski ismejavali kao osobenjaka
rutinski ismejavali kao osobenjaka
07:06
and admittedly,
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i, istini za volju,
07:08
some of his experiments failed,
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neki njegovi eksperimenti su propali,
07:09
like the flying car
that never got off the ground.
that never got off the ground.
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poput letećeg automobila
koji se nikad nije podigao sa zemlje.
koji se nikad nije podigao sa zemlje.
07:12
And yet, the geodesic dome,
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Pa ipak, geodetska kupola,
07:14
his design formula to build
an emergency shelter
an emergency shelter
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njegova dizajnerska formula
za izgradnju hitnih skloništa
za izgradnju hitnih skloništa
07:18
from scraps of wood, metal, plastic,
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od piljevine, metala, plastike,
07:21
bits of tree, old blankets,
plastic sheeting --
plastic sheeting --
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komada drveta, starih ćebadi,
plastičnih oplata -
plastičnih oplata -
07:24
just about anything
that's available at the time --
that's available at the time --
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od bilo čega što je tada bilo dostupno -
07:27
is one of the greatest feats
of humanitarian design,
of humanitarian design,
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jedan je od najvažnijih poduhvata
humanitarnog dizajna
humanitarnog dizajna
07:30
and has provided sorely needed refuge
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i poslužio je izbeglicama
u krajnjoj nuždi,
u krajnjoj nuždi,
07:33
to many, many people
in desperate circumstances
in desperate circumstances
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mnogim, mnogim ljudima
u užasnim okolnostima
u užasnim okolnostima
07:36
ever since.
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od tad.
07:38
Now, it was the courage
and verve of radical designers
and verve of radical designers
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Sad, hrabrost i elan radiklanih dizajnera,
07:42
like Bucky and Moholy
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poput Bakija i Moholjija
07:44
that drew me to design.
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su me privukli dizajnu.
07:46
I began my career as a news journalist
and foreign correspondent.
and foreign correspondent.
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Započela sam karijeru kao novinarka vesti
i strana dopisnica.
i strana dopisnica.
07:50
I write about politics, economics
and corporate affairs,
and corporate affairs,
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Pišem o politici, ekonomiji
i korporatvnim poslovima
i korporatvnim poslovima
07:54
and I could have chosen
to specialize in any of those fields.
to specialize in any of those fields.
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i mogla sam da odaberem specijalizaciju
u bilo kojoj od ovih oblasti.
u bilo kojoj od ovih oblasti.
07:58
But I picked design,
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Međutim, odabrala sam dizajn
07:59
because I believe it's one of the most
powerful tools at our disposal
powerful tools at our disposal
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jer verujem da je to jedno od najmoćnijih
oruđa nama na raspolaganju
oruđa nama na raspolaganju
08:03
to improve our quality of life.
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da bismo popravili kvalitet našeg života.
08:07
Thank you, fellow TED design buffs.
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Hvala vam, kolege s TED-a,
zaljubljenici u dizajn.
zaljubljenici u dizajn.
08:10
(Applause)
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(Aplauz)
08:12
And greatly as I admire the achievements
of professional designers,
of professional designers,
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I koliko god se divila postignućima
profesionalnih dizajnera,
profesionalnih dizajnera,
08:16
which have been extraordinary and immense,
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koja su neverovatna i nebrojena,
08:19
I also believe
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takođe verujem
08:20
that design benefits hugely
from the originality,
from the originality,
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da dizajn najviše ima koristi
od originalnosti,
od originalnosti,
08:24
the lateral thinking
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od lateralnog razmišljanja
08:25
and the resourcefulness
of its rebels and renegades.
of its rebels and renegades.
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i od snalažljivosti
njegovih buntovnika i otpadnika.
njegovih buntovnika i otpadnika.
08:29
And we're living at a remarkable
moment in design,
moment in design,
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Živimo u neverovatnom trenutku u dizajnu
08:33
because this is a time when the two camps
are coming closer together.
are coming closer together.
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jer je ovo vreme gde se te dve strane
sve više približavaju.
sve više približavaju.
08:38
Because even very basic advances
in digital technology
in digital technology
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Jer čak i krajnje osnovni napredak
u digitalnoj tehnologiji,
u digitalnoj tehnologiji,
08:42
have enabled them to operate
increasingly independently,
increasingly independently,
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omogućio im je da deluju sve nezavisnije
08:47
in or out of a commercial context,
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unutar ili van komercijalnog konteksta,
08:49
to pursue ever more ambitious
and eclectic objectives.
and eclectic objectives.
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da slede sve ambicioznije
i eklektičnije ciljeve.
i eklektičnije ciljeve.
08:54
So in theory,
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Dakle, u teoriji,
08:56
basic platforms like crowdfunding,
cloud computing, social media
cloud computing, social media
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osnovne platforme,
poput grupnog finansiranja,
računarstva u oblaku, društvenih medija,
računarstva u oblaku, društvenih medija,
09:01
are giving greater freedom
to professional designers
to professional designers
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daju veće slobode
profesionalnim dizajnerima
profesionalnim dizajnerima
09:05
and giving more resources
for the improvisational ones,
for the improvisational ones,
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i pružaju više sredstava
za one koji improvizuju
za one koji improvizuju
09:08
and hopefully,
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i, nadajmo se,
09:09
a more receptive response to their ideas.
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boljem prihvatanju njihovih ideja.
09:12
Now, some of my favorite
examples of this are in Africa,
examples of this are in Africa,
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Sad, neki od mojih omiljenih
primera ovoga su iz Afrike,
primera ovoga su iz Afrike,
09:16
where a new generation of designers
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gde nova generacija dizajnera
09:19
are developing incredible
Internet of Things technologies
Internet of Things technologies
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razvija neverovatne tehnologije
na internetu
na internetu
09:22
to fulfill Florence Nightingale's dream
of improving healthcare
of improving healthcare
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kako bi ostvarili san Florens Najtingejl
o unapređenoj zdravstvenoj nezi
o unapređenoj zdravstvenoj nezi
09:27
in countries where more people
now have access to cell phones
now have access to cell phones
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u zemljama gde više ljudi
ima pristup mobilnim telefonima
ima pristup mobilnim telefonima
09:30
than to clean, running water.
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nego čistoj, tekućoj vodi.
09:32
And among them is Arthur Zang.
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A među njima je Artur Zang.
09:35
He's a young, Cameroonian design engineer
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On je mladi inženjer dizajna iz Kameruna
09:38
who has a adapted a tablet
computer into the Cardiopad,
computer into the Cardiopad,
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koji je adaptirao
tablet kompjuter u kardiopad,
tablet kompjuter u kardiopad,
09:42
a mobile heart-monitoring device.
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prenosivi uređaj za praćenje rada srca.
09:45
It can be used to monitor the hearts
of patients in remote, rural areas.
of patients in remote, rural areas.
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Može da se koristi
za praćenje rada srca pacijenata
za praćenje rada srca pacijenata
u udaljenim, ruralnim oblastima.
09:49
The data is then sent
on a cellular network
on a cellular network
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Podaci se potom šalju na mobilnu mrežu
09:52
to well-equipped hospitals
hundreds of miles away
hundreds of miles away
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do dobro opremljenih bolnica,
stotinama kilometara daleko
stotinama kilometara daleko
09:55
for analysis.
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radi analize.
09:56
And if any problems are spotted
by the specialists there,
by the specialists there,
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A ukoliko specijalisti primete
bilo kakav problem,
bilo kakav problem,
09:59
a suitable course of treatment
is recommended.
is recommended.
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preporučuju odgovarajući tretman.
10:03
And this of course saves many patients
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A ovo, naravno, pošteđuje mnoge pacijente
10:05
from making long, arduous, expensive
and often pointless journeys
and often pointless journeys
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dugih, iscrpljujućih, skupih
i često uzaludnih putovanja
i često uzaludnih putovanja
10:10
to those hospitals,
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do tih bolnica
10:11
and makes it much, much likelier
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i mnogo, mnogo povećava šanse
10:14
that their hearts
will actually be checked.
will actually be checked.
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da će njihova srca
zaista da budu pregledana.
zaista da budu pregledana.
10:17
Arthur Zang started working
on the Cardiopad eight years ago,
on the Cardiopad eight years ago,
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Artur Zang je počeo da radi
na kardiopadu pre osam godina,
na kardiopadu pre osam godina,
10:20
in his final year at university.
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tokom završne godine na fakultetu.
10:23
But he failed to persuade
any conventional sources
any conventional sources
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Ali nije uspeo da ubedi
nijedan konvencionalni izvor
nijedan konvencionalni izvor
10:26
to give him investment to get
the project off the ground.
the project off the ground.
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da uloži u njega kako bi projekat
pokrenuo s nule.
pokrenuo s nule.
10:30
He posted the idea on Facebook,
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Postavio je ovu ideju na Fejsbuku,
10:32
where a Cameroonian
government official saw it
government official saw it
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gde ju je video jedan od kamerunskih
vladinih zvaničnika
vladinih zvaničnika
10:34
and managed to secure
a government grant for him.
a government grant for him.
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i uspeo je da obezbedi
vladinu subvenciju za njega.
vladinu subvenciju za njega.
10:38
He's now developing
not only the Cardiopad,
not only the Cardiopad,
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On sad razvija, ne samo kardiopad,
10:41
but other mobile medical devices
to treat different conditions.
to treat different conditions.
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već i druge prenosive medicinske uređaje
kako bi lečio različite bolesti.
kako bi lečio različite bolesti.
10:45
And he isn't alone,
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A nije usamljen
10:47
because there are many other
inspiring and enterprising designers
inspiring and enterprising designers
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jer postoji mnogo drugih
inspirativnih i preduzimljivih dizajnera
inspirativnih i preduzimljivih dizajnera
10:52
who are also pursuing
extraordinary projects of their own.
extraordinary projects of their own.
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koji takođe jure
izvanredne lične projekte.
izvanredne lične projekte.
10:56
And I'm going to finish
by looking at just a few of them.
by looking at just a few of them.
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I završiću, osvrćući se
na samo nekoliko njih.
na samo nekoliko njih.
10:59
One is Peek Vision.
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Jedan je Pik Vižn.
11:02
This is a group of doctors
and designers in Kenya,
and designers in Kenya,
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To je grupa doktora i dizajnera iz Kenije,
11:05
who've developed an Internet of Things
technology of their own,
technology of their own,
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koji su razvili sopstvenu
internet tehnologiju
internet tehnologiju
11:08
as a portable eye examination kit.
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kao prenosivi pribor za očni pregled.
11:11
Then there's Gabriel Maher,
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Potom tu je Gabrijel Mejer,
11:13
who is developing a new design language
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koji razvija novi jezički dizajn
11:15
to enable us to articulate the subtleties
of our changing gender identities,
of our changing gender identities,
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kako bi nam omogućio da artikulišemo
suptilnost promene rodnih identiteta,
suptilnost promene rodnih identiteta,
11:20
without recourse
to traditional stereotypes.
to traditional stereotypes.
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bez pribegavanja
tradicionalnim stereotipima.
tradicionalnim stereotipima.
11:23
All of these designers and many more
are pursuing their dreams,
are pursuing their dreams,
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Svi ovi dizajneri, i mnogi drugi,
jure svoje snove,
jure svoje snove,
11:28
by the making the most
of their newfound freedom,
of their newfound freedom,
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izvlačeći najveću korist
od novootkrivene slobode,
od novootkrivene slobode,
11:30
with the discipline
of professional designers
of professional designers
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uz disciplinu profesionalnih dizajnera
11:33
and the resourcefulness
of rebels and renegades.
of rebels and renegades.
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i snalažljivost buntovnika i otpadnika.
11:36
And we all stand to benefit.
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A svi mi od toga imamo korist.
11:38
Thank you.
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Hvala vam.
11:39
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Alice Rawsthorn - Design criticColumnist and author Alice Rawsthorn illuminates the mesh of design woven into every aspect of our everyday lives and communities.
Why you should listen
As a columnist for Frieze and a writer for the International New York Times, Alice Rawsthorn explores the world of design, seeking projects that fit their function "while also being responsible, ethically and environmentally, and desirable." In 2015, Rawsthorn launched a daily Instagram diary to demonstrate how social media could enrich the collective conversation on design.
In her acclaimed book Hello World: Where Design Meets Life, Rawsthorn demonstrates the influence and impact of design on our lives and culture. She is active with various arts organizations, including London's Chisenhale Gallery and Michael Clark's contemporary dance company (where she chairs the boards of trustees).
Alice Rawsthorn | Speaker | TED.com