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
TED Fellows Retreat 2013

Aparna Rao: Art that craves your attention

阿帕纳.拉奥: 渴望你关注的艺术

Filmed:
1,137,309 views

在这个有趣的演讲里,艺术家阿帕纳.拉奥向我们展示出其最新作品:很酷、很卡通的雕塑(底下藏着精妙的机器人)跟你的感知一起玩 —— 而且渴望你的关注。花几分钟时间高兴一下吧。
- 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.

00:12
Hi你好. So today今天, I'd like to share分享
some works作品 in progress进展.
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大家好,今天我想和你们
分享一些正在创作中的作品。
00:15
Since以来 we are still realizing实现 these works作品,
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这些作品还在创作中,
00:18
we are largely大部分 working加工 within the realm领域
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我们很大程度上是
00:19
of intuition直觉 and mystery神秘, still.
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靠直觉和神秘感。
00:22
So I'm going to try and describe描述
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我现在尝试描述一下
00:23
some of the experiences经验 that we're looking for
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从每个作品所得到的
00:25
through通过 each of the works作品.
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一些体验。
00:27
So the first work is called the Imperial帝国 Monochromes单色.
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第一个作品名为《单色帝国》,
00:30
A viewer观众 sort分类 of unsuspectingly信任地 walks散步 into the room房间,
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一个观众懵懵懂懂地走进房间,
00:33
and catches渔获 a glimpse一瞥 of these panels面板
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然后瞥见墙上的画板
00:36
in a messy composition组成 on the wall.
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胡乱的摆放着。
00:38
Within seconds, as if the panels面板 have noticed注意到
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就在这一瞬间,画板彷佛注意到
00:41
the presence存在 of the viewer观众,
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观众的存在,
00:42
they appear出现 to panic恐慌 and sort分类 of get into
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它们显得害怕,然后
00:45
a strict严格 symmetry对称.
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就排列整齐、对称严格。
00:47
(Laughter笑声)
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(笑声)
00:48
So this is the sketch草图 of the two states状态.
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这是两种不同状态的草图。
00:51
One is total chaos混沌. The other is absolute绝对 order订购.
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一种是彻底混乱,另一种是绝对的有序。
00:53
And we were interested有兴趣 in seeing眼看 how little change更改
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我们感兴趣看到,从一种状态到另一种
00:56
it takes to move移动 from one state to the other state.
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要多么微小的变化。
00:59
This also reminded提醒 us of two
very different不同 pictorial画报 traditions传统.
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这个也让我们想起
两种截然不同的传统图案。
01:03
One is the altar tablets平板电脑 of the 15th century世纪,
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一种是15世纪的祭坛桌,
01:06
and the other is about 100 years年份 ago,
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另一种是约 100 年前
01:08
Malevich's马列维奇 abstract抽象 compositions成分.
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马列维奇的抽象作品。
01:11
So I'm just going to take you to a video视频.
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现在给你们看一个视频,
01:13
To give you a sense of scale规模,
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为了让你们对尺度有个概念,
01:14
the largest最大 panel面板 is about two meters high.
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最大的画板约两米高,
01:16
That's about this much.
And the smallest最少 one is an A4.
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大概是这样,
而最小的是一张 A4 纸。
01:19
So a viewer观众 enters进入 the space空间,
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一个观众走进来,
01:21
and they snap to attention注意.
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它们就迅速摆正。
01:24
And after a while, if the viewer观众 continues继续
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过了一会,如果这个观众
01:25
to remain in the space空间,
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仍然继续待在那里,
01:27
the panels面板 will sort分类 of become成为 immune免疫的
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这些画板就好像
01:29
to the presence存在 of the viewer观众
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不受观众的存在所影响,
01:31
and become成为 lax and autonomous自主性 again,
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而变得慵懒而自己只管自己的事,
01:34
until直到 they sort分类 of sense a presence存在
in the room房间 or a movement运动,
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直到它们感觉到
房间里有人或者其它活动,
01:37
when they will again snap to attention注意.
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它们才会再次摆正。
01:40
(Laughter笑声)
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(笑声)
01:42
So here it appears出现 as if it's the viewer观众
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看起来好像是观众的出现
01:44
that's sort分类 of instigating指使 the sense
of order订购 among其中 the panels面板,
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使这些画板变得秩序井然,
01:47
but it could also be the other way around,
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但是也可用另外一种形式去理解,
01:49
that the panels面板 are so stuck卡住 within
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这些画板卡在
01:52
their preconditioned预处理 behaviors行为
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预先设置的行为模式,
01:54
that they sort分类 of thrust推力 the
viewer观众 with the role角色 of a tyrant暴君.
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好像它们把观众推进
一个暴君的角色。
01:59
So this brings带来 me to a quieter安静, small work
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然后给我带来一个较安静
较细小的作品,
02:02
called Handheld手持式.
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名叫《手提》。
02:03
The viewer观众 sees看到 a piece of paper
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观众会看到一张纸,
02:05
that's mounted安装 on the far end结束 of the wall,
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这张纸挂在墙的远方,
02:07
but when you go closer接近, you see that it's a blank空白
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但如果你走近,
你会发现这是一张
02:10
A4, or a letter-sized信纸大小 piece of paper,
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空白 A4 纸,或信纸尺寸的纸,
02:12
that's held保持 on either side
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两只小手握着
02:14
by two small hands
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纸的两边,
02:15
that appear出现 to be carved with a great deal合同
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看起来小手是由一小块木头
02:18
of attention注意 and care关心 from a small block of wood.
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以极大的专注力
和细心雕刻出来的。
02:21
The viewer观众 also sees看到 that this entire整个 sculpture雕塑
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观众也会看到整个雕塑
02:24
is sort分类 of moving移动 very slightly,
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一点点的移动,
02:27
as if these two hands are trying
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两只手就像
02:29
to hold保持 the paper very still
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要握住这张纸,
02:30
for a long period of time,
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保持着长时间静止不动,
02:32
and somehow不知何故 are not managing管理的 to.
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但不知怎么就是做不到。
02:35
So this instability不稳定 in the movement运动
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所以移动的不稳定
02:37
very closely密切 resembles酷似 the unsteady不稳定 nature性质
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就类似于手提相机
02:41
of images图片 seen看到 through通过 a handheld手持 camera相机.
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照出的图片。
02:43
So here I'm going to show显示 you two tandem串联 clips剪辑.
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现在我要向你们展示
两个串联的片段,
02:46
One is through通过 a still camera相机
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一个由静止的相机所拍摄,
02:47
and the other is through通过 a handheld手持 camera相机.
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另一个则由手提相机所拍。
02:49
And you immediately立即 see how the unsteady不稳定 nature性质
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你立刻就看到视频的不稳定
02:52
of the video视频 suggests提示 the presence存在
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怎样显示出观察者的存在
02:55
of an observer观察者 and a subjective主观 point of view视图.
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以及一种主观的角度。
02:58
So we've我们已经 just removed去除 the camera相机
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如此我们只要拿走相机,
02:59
and transferred转入 that movement运动 onto the panel面板.
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把这种不稳定的移动转移到画板。
03:02
So here's这里的 a video视频.
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这就是那段视频。
03:03
You have to imagine想像 the other hand.
It's not there yet然而.
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你要想象另一只手的存在,
它还没在那里,
03:06
But to us, we're sort分类 of trying to evoke唤起
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但对我们来说,在某种意义上,
03:08
a self-effacing谦虚 gesture手势, as if there's a little person
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正尝试不出风头地摆出姿势,
03:12
with outstretched伸开 arms武器
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就像有一个小人躲在
03:13
behind背后 this enormous巨大 piece of paper.
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这张大白纸背后伸出双手
03:16
That sort分类 of likens比喻 it to the amount of strain应变
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把它拉紧,
03:19
to be at the service服务 of the observer观察者 and present当下
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为观众服务一样,
03:21
this piece of paper very delicately微妙 to the viewer观众
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小心翼翼地把这张纸呈现在
03:24
in front面前 of them.
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观众面前。
03:27
The next下一个 work is Decoy引诱.
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下一个作品名叫《诱饵》,
03:29
This is a cardboard纸板 model模型, so the object目的
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这是一个纸板模型,
03:31
is about as tall as I am.
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物体大概跟我一样高,
03:33
It has a rounded body身体, two arms武器,
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它的身体呈圆形,有两条手臂,
03:35
and a very tall, head-like头状 antenna天线,
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和一条非常长的头状天线,
03:37
and its sole唯一 purpose目的 is to
attract吸引 attention注意 towards itself本身.
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它唯一的目的是要
把注意力吸引到自己身上。
03:41
So when a viewer观众 passes通行证 by,
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当一个观众经过时,
03:43
it sort分类 of tilts倾斜 from side to side,
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它会左右摇摆,
03:45
and moves移动 its arms武器 more and more frantically疯狂
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随着观众越走越近
03:48
as the person gets得到 closer接近.
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它就越疯狂地挥舞着两条手臂。
03:51
So here is the first test测试 scenario脚本.
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这是第一个测试场景,
03:53
You see the two movements运动 integrated集成,
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你看到两个动作整合一起,
03:55
and the object目的 seems似乎 to be employing采用
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这个模型好像
03:57
its entire整个 being存在 in this expression表达 of desperation绝望.
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要把整体投入到绝望的表情。
04:02
But the idea理念 is that once一旦 it's
got the person's人的 attention注意,
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然而我的想法是
它一旦得到这个观众的关注,
04:05
it's no longer interested有兴趣, and it looks容貌 for the next下一个 person whose谁的 attention注意 to get.
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就不再对他感兴趣,
然后开始寻找下一个观众。
04:09
(Laughter笑声)
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(笑声)
04:12
So this is the final最后 fabricated制造 body身体 of the Decoy引诱.
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这是《诱饵》的最后一个制作,
04:15
It appears出现 to be mass-manufactured大量制造
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它看来是大规模生产的,
04:17
like it came来了 out of a factory
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就像工厂造出来一样,
04:19
like vacuum真空 cleaners清洁工 and washing洗涤 machines.
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比如吸尘器和洗衣机。
04:21
Because we are always working加工
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因为我们总会
04:23
from a very personal个人 space空间,
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在很个人的空间工作,
04:24
we like how this consumer消费者 aesthetic审美
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我们喜欢这种消费者的审美观念,
04:27
sort分类 of depersonalizesdepersonalizes the object目的
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使物体非人格化,
04:29
and gives us a bit of distance距离
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而且至少在外表上,
04:30
in its appearance出现, at least最小.
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让我们保持一点距离。
04:32
And so to us this is a kind of sinister险恶 being存在
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所以对我们来说,
这是某种险恶的意图,
04:35
which哪一个 is trying to distract转移 you from the things
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试图把你的注意力分散
04:37
that actually其实 need your attention注意,
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从实际需要注意的地方转移过来,
04:38
but it could also be a figure数字 that needs需求 a lot of help.
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但是它也可以是一个
需要大量帮助的模型。
04:43
The next下一个 work is an object目的,
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下一个作品是一件物体,
04:45
that's also a kind of sound声音 instrument仪器.
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也算是一种乐器,
04:48
In the shape形状 of an amphitheater圆形剧场
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形状似是一个圆形露天剧场,
04:50
that's scaled缩放 to the size尺寸 of an audience听众
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像某人从舞台上看到一个
04:52
as perceived感知 from somebody from the stage阶段.
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按比例缩小的观众。
04:54
So from where I'm standing常设,
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从我站着的地方
04:55
each of you appears出现 to be this big,
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你们每个人大概就是这么大,
04:57
and the audience听众 sort分类 of takes the entire整个
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而观众也差不多
04:59
field领域 of my vision视力.
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遮挡了我整个视线。
05:01
Seated in this audience听众 are 996 small figures人物.
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996 个小模型坐在观众席上,
05:05
They're mechanically机械 enabled启用 to clap
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它们可以按照自己的自由意志
05:07
of their own拥有 free自由 will.
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机械地拍手,
05:09
This means手段 that each of them can decide决定
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意味着它们每一个都可以
05:11
if and when they want to clap,
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决定是否拍手、什么时候拍手、
05:12
how hard, for how long,
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用多少力气拍手、拍手多长时间,
05:14
how they want to be influenced影响 by
those around them or influence影响 others其他,
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它们要怎样被周围的模型影响,
或者影响其它模型,
05:18
and if they want to contribute有助于 to innovation革新.
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以及是否想推动创新。
05:22
So when the viewer观众 steps脚步 in front面前 of the audience听众,
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当一个观众走到这些模型前,
05:24
there will be a response响应.
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它们就会发生反应,
05:26
It could be a few少数 claps拍手 or a strong强大 applause掌声,
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可能是寥寥几声拍手声,
也可能是热烈拍手,
05:29
and then nothing happens发生 until直到 the viewer观众
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然后就没有动静了,
05:31
leaves树叶 the stage阶段, and again
the audience听众 will respond响应.
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直至观众离开了舞台,
这些模型又有反应,
05:34
It could be anything from a few少数 feeble微弱 claps拍手
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可能是观众席传来
05:36
from members会员 in the audience听众,
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几声有气无力的拍手声,
05:38
or it could be a very loud ovation欢呼.
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或是非常热烈的鼓掌。
05:42
So to us, I think we're really looking
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因此对我们来说,
真的要把每个模型
05:44
at an audience听众 as its own拥有 object目的
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看成一个独立的个体
05:46
or its own拥有 organism生物
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或者是独立的有机体,
05:48
that's also got a sort分类 of musical-like音乐类 quality质量 to it,
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而且拥有一种像音乐的素质,
05:52
an instrument仪器.
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像一种乐器。
05:53
So the viewer观众 can play it
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观众可以演奏,
05:55
by eliciting诱发作用 quite相当 complex复杂 and varied多变,
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引发相当复杂和变化多端的
05:57
nuanced细致入微 musical音乐 or sound声音 patterns模式,
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微妙音乐或音效模式,
06:00
but cannot不能 really provoke the audience听众
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但是不能迫使模型
06:02
into any particular特定 kind of response响应.
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发出任何特别反应,
06:05
So there's a sense of judgment判断 and capriciousness随意性
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所以这是一个判断,
06:08
and uneasiness局促 involved参与.
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涉及反复无常和不安。
06:10
It also has an alluring诱人 and trap-like捕获样 quality质量 to it.
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它也有一种像陷阱一样诱人的特质。
06:14
So here if you see we're quite相当 excited兴奋 about
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这里你可看到,
有关这个头部分割开
06:16
the image图片 of the head splitting分裂
to form形成 the two hands.
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形成两只手的图像,
我们相当振奋,
06:20
So here's这里的 a small visual视觉 animation动画,
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这是一个小小的视觉动画,
06:22
as if the two sides双方 of the brain are sort分类 of clashing冲突
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就像脑袋的两边互相碰撞
06:26
against反对 each other to kind of make sense
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要去表达
06:28
of the duality二元性 and the tension张力.
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二元性和张力。
06:31
And here is a prototype原型.
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这是一个原型。
06:33
So we can't wait to be engulfed吞没 by 996 of them.
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我们迫不及待地想
被 966 个模型包围。
06:38
Okay, this is the last work.
It's called the FramerunnersFramerunners.
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好的,这是最后一个作品
名叫《边框跑者》,
06:41
It comes out of the idea理念 of a window窗口.
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意念来自于一扇窗,
06:44
This is an actual实际 window窗口 in our studio工作室,
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这是我们工作室里一扇真实的窗,
06:46
and as you can see, it's made制作 up of three
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你可看到,它有三种不同厚度的
06:48
different不同 thicknesses厚度 of wooden sections部分.
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木头部件,
06:50
So we used the same相同 window窗口 vocabulary词汇
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所以我们用同样的想法
06:52
to construct构造 our own拥有 frame or grid
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建造自己的框架或方格,
06:55
that's suspended暂停 in the room房间 and that can
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悬挂在房间里,
06:57
be viewed观看 from two sides双方.
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也可从两边看到。
06:59
This grid is inhabited居住 by a tribe部落 of small figures人物.
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这个格子里住着一个
小模型所组成的部落。
07:02
They're also made制作 up of three different不同 sizes大小,
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它们也有三种不同的尺寸,
07:04
as if to suggest建议 a kind of perspective透视
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就像在一个平地上
07:07
or landscape景观 on the single plain.
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看到的视角或风景。
07:10
Each of these figures人物 can also run backward落后
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这里每个小模型也可以
07:12
and forward前锋 in the track跟踪
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在轨道上前后跑动,
07:14
and hide隐藏 behind背后 two adjacent tracks轨道.
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也可以藏身于两条轨道之间。
07:17
So in contrast对比 to this very tight grid,
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跟这些非常紧密的格子相比,
07:19
we wanted to give these figures人物 a very comical滑稽
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我们希望赋予这些小模型
07:22
and slapstick-like闹剧般的 quality质量,
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很漫画、很闹剧的感觉,
07:24
as if a puppeteer木偶戏 has taken采取 them
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就像一个操纵木偶的人
07:26
and physically物理 animated动画 them down the path路径.
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真的在轨道上操纵它们一样。
07:28
So we like the idea理念 of these figures人物
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我们喜欢这种感觉,
07:31
sort分类 of skipping跳绳 along沿
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这些小模型跳来跳去、
07:32
like they're oblivious浑然不觉 and carefree畅快
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没有烦恼、无忧无虑
07:34
and happy-go-lucky and content内容,
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逍遥自得,
07:37
until直到 they sort分类 of sense a movement运动 from the viewer观众
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直到它们感觉到观众的动作,
07:40
and they will hide隐藏 behind背后 the fastest最快的 wall.
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就会藏身到最牢固的墙后面。
07:44
So to us, this work also presents礼物
its own拥有 contradiction矛盾.
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对我们来说,这个作品
也表现出自己的矛盾。
07:48
These figures人物 are sort分类 of entrapped包埋
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这些小模型就像
07:50
within this very strong强大 grid,
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被困在坚固的格子里,
07:52
which哪一个 is like a prison监狱, but also a fortress堡垒,
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像个监狱,但也可以说是城堡,
07:55
because it allows允许 them to be oblivious浑然不觉
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因为这个格子
让它们可以忘记烦恼,
07:57
and naive幼稚 and carefree畅快 and quite相当 oblivious浑然不觉
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变得天真逍遥,
07:59
of the external外部 world世界.
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几乎忘记外界的存在。
08:02
So all these real真实 life qualities气质 that I talk about
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所有我提及到的特质
都是来自真实的生活,
08:05
are sort分类 of translated翻译 to a very specific具体
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可说是转化成一种
08:07
technical技术 configuration组态,
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很特别的技术性设置,
08:09
and we were very lucky幸运 to collaborate合作
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我们非常荣幸
08:11
with ETHETH Zurich苏黎世 to develop发展 the first prototype原型.
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和苏黎世联邦理工大学合作,
制造出第一个原型。
08:14
So you see they extracted提取 the motion运动 cogs齿轮
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你可以看到,他们从动画里
08:16
from our animations动画 and created创建 a wiggle摆动
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抽取动作,创造一钟摆动的动作,
08:18
that integrated集成 the head-bobbing头部上下摆动 movement运动
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结合了摇摆头
08:20
and the back-and-forth来来回回 movement运动.
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和前后的移动。
08:22
So it's really quite相当 small.
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这个真的很小,
08:24
You can see it can fit适合 into the palm棕榈 of my hand.
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你可以看到我把它握在手心里。
08:26
So imagine想像 our excitement激动 when we saw it
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当我们在工作室里
看到它真的在运转,
08:28
really working加工 in the studio工作室, and here it is.
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你可以想象我们是多么激动。
它就在这儿。
08:33
(Laughter笑声)
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(笑声)
08:37
Thank you.
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谢谢
08:38
(Applause掌声)
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(笑声)
Translated by William Choi
Reviewed by Sicong Ye

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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