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11 posts tagged TED
熱い想いは共有するな
暑苦しいだけだ．
熱い想いを持つもの同士が，細部に至るまで全く同じ想いを持っていることなどまずない．ある問題に真剣に向き合っていれば，自ずと僅かずつ異なる解に辿り着いているだろう．だから，はじめのうちは一緒に歩くことができても，いつかはお互い違う方向に向かって歩き始める．
情熱は共有すべきだが，方法を共有 (share) できることは稀だ．ただ，広める (spread) ことだけが出来る．
はっ，TEDのスローガンって，そこまで考えていたのか．．．
From TEDxKyotoChange, here’s Ms. Kanae Doi. (English subtitle available.)
Kanae Doi, a lawyer in Japan, was born in Yokohama City, Kanagawa Prefecture. A graduate of University of Tokyo’s Faculty of Law, she passed the national bar examination while still a student in 1996. In 1998, she traveled to what was at the time the newest African country, Eritrea, and devoted herself to the enactment of criminal laws. After returning to Japan, she actively engaged in refugee human rights issues. Currently, she serves as the Japan Director of the international human rights NGO, Human Rights Watch.
“Developing Human Dignity from Japan”
What is development? Many probably think economic development. The human rights activist, Mr. Doi, however, speaks of the importance of seeing development not as the field of economics but of human dignity. Only this can be the key to an orderly world in the next 50, 100 years. This presentation advocates a kind of role, one unique both to Japan and the world.
http://www.tedxkyoto.com/en/events-2/tedxkyotochange/
土井 香苗（どい かなえ）
日本の弁護士。神奈川県横浜市生まれ。東京大学法学部卒業。東大在学中だった1996年に司法試験に合格。1998年、当時アフリカで最も新しい国であったエリトリアへ渡り、刑法の制定に尽力しました。帰国後は難民の人権保護活動を積極的に行い、現在では国際人権NGOヒューマン・ライツ・ウォッチの日本ディレクターとして活躍中です。
『尊厳としての開発 : 日本の役割』
「開発 / Development」とは何か?多くの人は「経済開発、経済発展」の意 味で捉えているだろう。人権活動家の土井は、開発 / 発展を、経済分野だ けでなく「Dignity/ 人間の尊厳」の分野に広げて捉えることが重要だと説 く。それこそが、今後 50 年、100 年の世界の秩序の鍵となりえる課題だ、と いうのだ。世界、そして、日本のユニークな役割を提言するプレゼンテー ション。
http://www.tedxkyoto.com/ja/events-2/tedxkyotochange/
About TEDx
In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized.* (*Subject to certain rules and regulations)
日米先端工学シンポジウム (JAFOE, Japan-America Frontier Of Engineering Symposium) というイベントがある．2000年からほぼ毎年開催されている（現在は3年に2回）このイベントは，全米工学アカデミー(NAE)と日本工学アカデミー(EAJ)が共同で主催し，科学技術振興機構(JST)が支援している．
JAFOEに参加できるのは，年齢が30歳から45歳までの，日米それぞれ30名のトップエンジニアのみ．毎回異なる四つの分野について，三日間寝食を共にして徹底的に議論する．口頭発表をするのは日米それぞれ8名で，発表時間はひとり20分．質疑応答が25分間．もちろん英語（ただし科学者英語だけどね）．参加者全員のポスター発表やデモ展示の時間も設けられ，研究所を見学するツアーも組まれる．JAFOEの成功を受けて，NAEは中国，インド，EUとも同じ枠組みを開始したし，EAJはオーストラリアと，JSTはドイツと似た枠組みを新たに始めた．
実はこのイベントは非公開．そう，初期のTEDと同じ．世界最高の頭脳によるプレゼンテーションを聞けるのは，日米であわせて60名の招待を受けたエンジニアのみなのだ．ちょっともったいないよね？
というわけで，新しい枠組みを今考えています．
NHKスーパープレゼンテーションにも紹介されたTEDトーク映像．
以下余談ながら，同じ体験をしたことがあるので書く．神戸チキンジョージ30周年記念ライブに招待されたときのことだ．30周年記念なので，観客も30周年．すっかりお孫さんがいそうな年代まで揃っていた．
天空オーケストラが演奏を開始すると，僕たちは「おじさん」二人だけで踊り始めた．やがて数人が踊り始めたところ，観客席の中央付近に座っておられた品の良いおばあちゃまがすくっと立ち上がった．会場全員に見つめられる中，彼女はゆっくりと踊る．
ひとり，またひとりと立ち上がり，ものの数分で全員が踊り始めた．彼女の立ち位置，年齢，タイミング，すべてがその場の閾値であり，トリガーだったのだろう．
リーダーシップは非線形だ．
冒頭のTEDトークに使われた元映像（ナレーション付き）はこちら．
Jacek Utko: Designs to save newspapers (TED) / 新聞を救うデザイン
This is a must-watch video from TED. A designer Jacek Utko introduces how he could give a life to dying newspapers.
全デザイナ必見の講演 Jacek Utko: Designs to save newspapers (TED) から，和文抄訳．ディクテーションはTED公式ページから引用．
Newspapers are dying for a few reasons. Readers don’t want to pay for yesterday’s news, and advertisers follow them. Your iPhone, your laptop, Is much more handy than New York Times on Sunday. And we should save trees in the end. So it’s enough to bury any industry. So, should we rather ask, “Can anything save newspapers?”
新聞は死につつある．広告入りの，昨日のニュースを誰が欲しがる？新聞に救いはあるのだろうか．［訳注：ビデオでの発言と公式ディクテーションには細かい違いがある．相違がある場合はビデオのほうを優先する．］
There are several scenarios for the future newspaper. Some people say, it should be free; it should be tabloid, or even smaller: A4; it should be local, run by communities, or niche, for some smaller groups like business — but then it’s not free; it’s very expensive. It should be opinion-driven; less news, more views. And we’d rather read it during breakfast, because later we listen to radio in a car, check your mail at work and in the evening you watch TV. Sounds nice, but this can only buy time. Because in the long run, I think there is no reason, no practical reason for newspapers to survive.
新聞が生き残るために考えられたいろいろなシナリオ —- 無料にする，コンパクトにする，狭い市場を狙う，主張をメインにする．．． —- は，どれも問題を少し先送りするだけだ．生き残る理由になるとはとても思えない．
So what can we do? (Laughter) Let me tell you my story. 20 years ago, Bonnier, Swedish publisher, started to set newspapers in the former Soviet Bloc. After a few years, they had several newspapers in central and eastern Europe. The were run by an inexperienced staff, with no visual culture, no budgets for visual arts. In many places there were no even art directors. I decided to be — to work for them as an art director. Before, I was an architect, and my grandmother asked me once, “What are you doing for a living?” I said, “I’m designing newspapers.” “What? There’s nothing to design there. It’s just boring letters” (Laughter) And she was right. I was very frustrated, until one day.
さて，どうしよう？ここで僕自身の話をしよう．20年前，スウェーデンのボーニャという出版社が旧ソ連向，中・東欧向けけに新聞を発行していた．僕はそこで最初のアートディレクターになることにした．
I came to London, and I’ve seen performance by Cirque du Soleil. And I had a revelation. I thought, “These guys took some creepy, run down entertainment, and put it to the highest possible level of performance art.” I thought “Oh my God, maybe I can do the same with these boring newspapers.” And I did. We started to redesign them, one by one. The front page became our signature. It was my personal intimate channel to talk to the readers.
ある日僕はロンドンでシルク・ド・ソレイユの公演を見て衝撃を受けた．こいつらはただの娯楽を，最高の芸術まで昇華させたんだ．よし，僕も同じ事をしようって思ったね．それから，新聞の1面は我々の「顔」になった．
I’m not going to tell you stories about teamwork or cooperation. My approach was very egotistic. I wanted my artistic statement, my interpretation of reality. I wanted to make posters, not newspapers. Not even magazines: posters. We were experimenting with type, with illustration, with photos. And we had fun. Soon it started to bring results. In Poland, our pages were named “Covers of the Year” three times in a row. Other examples you can see here are from Latvia, Lithuania, Estonia — the Central European countries.
僕が話したいのは，チームワークや，協調のことじゃない．むしろ逆なんだ．僕がしたことは，紙面作りと言うよりは，ポスター作りだ．僕たちはタイポグラフィ，イラスト，写真，それに「楽しみ」を注ぎ込んだ．結果はすぐに現れた．ポーランドでは3年連続してカバー・オブ・ザ・イヤー賞を受賞した．ラトビア，リトアニア，エストニアでも．
But it’s not only about the front page. The secret is that we were treating the whole newspaper as one piece, as one composition — like music. And music has a rhythm, has ups and downs. And design is responsible for this experience. Flipping through pages is readers experience, and I’m responsible for this experience. We treated two pages, both spreads, as a one page, because that’s how readers perceive it.
1面だけの話じゃないんだ．僕たちは，新聞全体のアートディレクションをした．音楽のようにね．音楽には，リズムがあって，抑揚がある．それと同じなんだ．ページをめくるのは，音楽を聴くのと同じ体験なんだ．ページを広げれば，それ全体が光景だ．そして，読者の体験の全ての責任は，デザイナである僕たちにある．
You can see some Russian pages here which got many awards on biggest infographic competition in Spain. But the real award came from Society for Newspaper Design. Just a year after redesigning this newspaper in Poland, they name it the World’s Best Designed Newspaper. And two years later, the same award came to Estonia. Isn’t amazing?
このロシア語のページを見てくれ．スペインから，新聞デザイン協会（米国）から，ポーランドから，エストニアから，我々は表彰されたんだ．すごくないかい？（画面には「No」と出る．）
What really makes it amazing: that the circulation of these newspapers were growing too. Just some examples: in Russia, plus 11 after one year, plus 29 after three years of the redesign. Same in Poland: plus 13, up to 35 percent raise of circulation after three years. You can see on a graph, after years of stagnation, the paper started to grow, just after redesign. But the real hit was in Bulgaria. And that is really amazing.
それだけじゃないんだ．我々の新聞は成長を続けている．例えば，ロシアでは1年目で11パーセント，2年目で19パーセント，3年目で29パーセントの成長だ［訳注：ディクテーションの方は誤り］．ポーランドでは1年目で13パーセント，2年目で22パーセント，3年目で35パーセントだ．ブルガリアはではさらに驚異的な数字になる．（画面に「2倍」と出る．）
Did design do this? Design was just a part of the process. And the process we made was not about changing the look, it was about improving the product completely. I took an architectural rule about function and form and translated it into newspaper content and design. And I put a strategy at the top of it. So first you ask a big question: why we do it? What is the goal? Then we adjust the content accordingly. And then, usually after two months, we start designing. My bosses, in the beginning, were very surprised. Why am I asking all of these business questions, instead of just showing them pages? But soon they realized that this is the new role of designer: to be in this process from the very beginning to the very end.
デザインが変えたのだろうか．（画面に「いや，デザインだけではない」と出る．）デザインはプロセスの一部にすぎなかった．そして我々が本当に変えたかったプロセスとは，見てくれをいじる部分ではなくて，プロダクトを根本的に変えるための，プロセス全体だったのだ．機能と形態のルールという建築の考え方を，新聞に持ち込んだのだ．そして，その上で戦略を立てた．たぶん皆さんはこう聞きたいだろう．なぜデザイナが，と．僕の上司もそうだった．なぜデザイナがビジネスの問題にまで顔を突っ込むのかと．だけれど，すぐにみんな理解してくれるようになる．プロダクトの始まりから終わりまですべてに責任を持つことが，デザイナの役割なんだと．
So what is the lesson behind it? The first lesson is about that design can change not just your product. It can change your workflow — actually, it can change everything in your company; it can turn your company upside down. It can even change you. And who’s responsible? Designers. Give power to designers. (Applause) But the second is even more important. You can live in a small poor country, like me. You can work for a small company, in a boring branch. You can have no budgets, no people — but still can put your work to the highest possible level. And everybody can do it. You just need inspiration, vision and determination. And you need to remember that to be good is not enough.
僕たちが学んだことは？(1)デザインはプロダクトのみならず，ワークフローも，ブランドも，会社も，そしてあなた自身も変える．誰が責任者かって？デザイナだよ！デザイナに権限を！（会場から拍手．）でも次のことはもっと重要だ．(2)あなたは，僕のように，名もない小さな会社で予算もチームも無い退屈な部署にいたとしても，最高の仕事をすることができるんだ．誰でも，できる．それには，インスピレーション，ビジョン，決断だけがあればいい．そこそこいい，では生き残れないんだ．
Thank you.
聞いてくれてありがとう．
Physics and marketing don’t seem to have much in common, but Dan Cobley is passionate about both. He brings these unlikely bedfellows together using Newton’s second law, Heisenberg’s uncertainty principle, the scientific method and the second law of thermodynamics to explain the fundamental theories of branding.
物理学の知恵を借りる
Dan Cobley: What physics taught me about marketing から要約．．．したいのだが，エジプトではストリーミングが途切れ途切れで大変視聴しづらい．
要約すると，ニュートンの運動法則
不確定性原理
そして，「仮説は証明できない，棄却するのみ」の3点から経済学へのアナロジーを提案している．
新聞を救うデザイン
全デザイナ必見の講演 Jacek Utko: Designs to save newspapers (TED) から，和文抄訳．ディクテーションはTED公式ページから引用．
Newspapers are dying for a few reasons. Readers don’t want to pay for yesterday’s news, and advertisers follow them. Your iPhone, your laptop, Is much more handy than New York Times on Sunday. And we should save trees in the end. So it’s enough to bury any industry. So, should we rather ask, “Can anything save newspapers?”新聞は死につつある．広告入りの，昨日のニュースを誰が欲しがる？新聞に救いはあるのだろうか．［訳注：ビデオでの発言と公式ディクテーションには細かい違いがある．相違がある場合はビデオのほうを優先する．］
There are several scenarios for the future newspaper. Some people say, it should be free; it should be tabloid, or even smaller: A4; it should be local, run by communities, or niche, for some smaller groups like business — but then it’s not free; it’s very expensive. It should be opinion-driven; less news, more views. And we’d rather read it during breakfast, because later we listen to radio in a car, check your mail at work and in the evening you watch TV. Sounds nice, but this can only buy time. Because in the long run, I think there is no reason, no practical reason for newspapers to survive.新聞が生き残るために考えられたいろいろなシナリオ —- 無料にする，コンパクトにする，狭い市場を狙う，主張をメインにする．．． —- は，どれも問題を少し先送りするだけだ．生き残る理由になるとはとても思えない．
So what can we do? (Laughter) Let me tell you my story. 20 years ago, Bonnier, Swedish publisher, started to set newspapers in the former Soviet Bloc. After a few years, they had several newspapers in central and eastern Europe. The were run by an inexperienced staff, with no visual culture, no budgets for visual arts. In many places there were no even art directors. I decided to be — to work for them as an art director. Before, I was an architect, and my grandmother asked me once, “What are you doing for a living?” I said, “I’m designing newspapers.” “What? There’s nothing to design there. It’s just boring letters” (Laughter) And she was right. I was very frustrated, until one day.さて，どうしよう？ここで僕自身の話をしよう．20年前，スウェーデンのボーニャという出版社が旧ソ連向，中・東欧向けけに新聞を発行していた．僕はそこで最初のアートディレクターになることにした．
I came to London, and I’ve seen performance by Cirque du Soleil. And I had a revelation. I thought, “These guys took some creepy, run down entertainment, and put it to the highest possible level of performance art.” I thought “Oh my God, maybe I can do the same with these boring newspapers.” And I did. We started to redesign them, one by one. The front page became our signature. It was my personal intimate channel to talk to the readers.ある日僕はロンドンでシルク・ド・ソレイユの公演を見て衝撃を受けた．こいつらはただの娯楽を，最高の芸術まで昇華させたんだ．よし，僕も同じ事をしようって思ったね．それから，新聞の1面は我々の「顔」になった．
I’m not going to tell you stories about teamwork or cooperation. My approach was very egotistic. I wanted my artistic statement, my interpretation of reality. I wanted to make posters, not newspapers. Not even magazines: posters. We were experimenting with type, with illustration, with photos. And we had fun. Soon it started to bring results. In Poland, our pages were named “Covers of the Year” three times in a row. Other examples you can see here are from Latvia, Lithuania, Estonia — the Central European countries.僕が話したいのは，チームワークや，協調のことじゃない．むしろ逆なんだ．僕がしたことは，紙面作りと言うよりは，ポスター作りだ．僕たちはタイポグラフィ，イラスト，写真，それに「楽しみ」を注ぎ込んだ．結果はすぐに現れた．ポーランドでは3年連続してカバー・オブ・ザ・イヤー賞を受賞した．ラトビア，リトアニア，エストニアでも．
But it’s not only about the front page. The secret is that we were treating the whole newspaper as one piece, as one composition — like music. And music has a rhythm, has ups and downs. And design is responsible for this experience. Flipping through pages is readers experience, and I’m responsible for this experience. We treated two pages, both spreads, as a one page, because that’s how readers perceive it.1面だけの話じゃないんだ．僕たちは，新聞全体のアートディレクションをした．音楽のようにね．音楽には，リズムがあって，抑揚がある．それと同じなんだ．ページをめくるのは，音楽を聴くのと同じ体験なんだ．ページを広げれば，それ全体が光景だ．そして，読者の体験の全ての責任は，デザイナである僕たちにある．
You can see some Russian pages here which got many awards on biggest infographic competition in Spain. But the real award came from Society for Newspaper Design. Just a year after redesigning this newspaper in Poland, they name it the World’s Best Designed Newspaper. And two years later, the same award came to Estonia. Isn’t amazing?このロシア語のページを見てくれ．スペインから，新聞デザイン協会（米国）から，ポーランドから，エストニアから，我々は表彰されたんだ．すごくないかい？（画面には「No」と出る．）
What really makes it amazing: that the circulation of these newspapers were growing too. Just some examples: in Russia, plus 11 after one year, plus 29 after three years of the redesign. Same in Poland: plus 13, up to 35 percent raise of circulation after three years. You can see on a graph, after years of stagnation, the paper started to grow, just after redesign. But the real hit was in Bulgaria. And that is really amazing.それだけじゃないんだ．我々の新聞は成長を続けている．例えば，ロシアでは1年目で11パーセント，2年目で19パーセント，3年目で29パーセントの成長だ［訳注：ディクテーションの方は誤り］．ポーランドでは1年目で13パーセント，2年目で22パーセント，3年目で35パーセントだ．ブルガリアはではさらに驚異的な数字になる．（画面に「2倍」と出る．）
Did design do this? Design was just a part of the process. And the process we made was not about changing the look, it was about improving the product completely. I took an architectural rule about function and form and translated it into newspaper content and design. And I put a strategy at the top of it. So first you ask a big question: why we do it? What is the goal? Then we adjust the content accordingly. And then, usually after two months, we start designing. My bosses, in the beginning, were very surprised. Why am I asking all of these business questions, instead of just showing them pages? But soon they realized that this is the new role of designer: to be in this process from the very beginning to the very end.デザインが変えたのだろうか．（画面に「いや，デザインだけではない」と出る．）デザインはプロセスの一部にすぎなかった．そして我々が本当に変えたかったプロセスとは，見てくれをいじる部分ではなくて，プロダクトを根本的に変えるための，プロセス全体だったのだ．機能と形態のルールという建築の考え方を，新聞に持ち込んだのだ．そして，その上で戦略を立てた．たぶん皆さんはこう聞きたいだろう．なぜデザイナが，と．僕の上司もそうだった．なぜデザイナがビジネスの問題にまで顔を突っ込むのかと．だけれど，すぐにみんな理解してくれるようになる．プロダクトの始まりから終わりまですべてに責任を持つことが，デザイナの役割なんだと．
So what is the lesson behind it? The first lesson is about that design can change not just your product. It can change your workflow — actually, it can change everything in your company; it can turn your company upside down. It can even change you. And who’s responsible? Designers. Give power to designers. (Applause) But the second is even more important. You can live in a small poor country, like me. You can work for a small company, in a boring branch. You can have no budgets, no people — but still can put your work to the highest possible level. And everybody can do it. You just need inspiration, vision and determination. And you need to remember that to be good is not enough.僕たちが学んだことは？(1)デザインはプロダクトのみならず，ワークフローも，ブランドも，会社も，そしてあなた自身も変える．誰が責任者かって？デザイナだよ！デザイナに権限を！（会場から拍手．）でも次のことはもっと重要だ．(2)あなたは，僕のように，名もない小さな会社で予算もチームも無い退屈な部署にいたとしても，最高の仕事をすることができるんだ．誰でも，できる．それには，インスピレーション，ビジョン，決断だけがあればいい．そこそこいい，では生き残れないんだ．
Thank you.聞いてくれてありがとう．
Jacek Utko: Designs to save newspapers (TED)
