BackpropBuff/NeuLab-TedTalks.en-ja · Datasets at Hugging Face

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You have Noah and his Ark and the flood.	ノアと箱舟と洪水
You have Noah. He's making a sacrifice and a covenant with God.	生贄を捧げ神と契約するノア
Maybe he's the savior.	彼は救世主かもしれません
Oh, but no, Noah is the one who grew grapes, invented wine, got drunk and passed out naked in his barn.	その一方でノアはブドウを育てワインを作って泥酔し納屋の中で裸で眠りこみます
It is a curious way to design the ceiling, now starting out with God creating life, ending up with some guy blind drunk in a barn.	天井画のデザインとしては奇妙です生命を創造する神に始まり納屋で泥酔する男に至るのですから
And so, compared with Adam, you might think Michelangelo is making fun of us.	アダムと比べてみるとミケランジェロが私たちをからかっていると思うでしょう
But he's about to dispel the gloom by using those bright colors right underneath Noah: emerald, topaz, scarlet on the prophet Zechariah.	でも彼はノアの真下に明るい色彩を配置して暗さを吹き飛ばしますエメラルド色橙色緋色の預言者ゼカリアです
Zechariah foresees a light coming from the east, and we are turned at this juncture to a new destination, with sibyls and prophets who will lead us on a parade.	ゼカリアは東から光がさすことを預言しその瞬間私たちの目は新たな方向へと向けられます巫女や預言者たちが列をなして私たちを導いてくれます
You have the heroes and heroines who make safe the way, and we follow the mothers and fathers.	道中の安全を確保する英雄たちに導かれ母親や父親にしたがって進みます
They are the motors of this great human engine, driving it forward.	彼らが動力となって偉大な人間のエンジンを前進させます
And now we're at the keystone of the ceiling, the culmination of the whole thing, with a figure that looks like he's about to fall out of his space into our space, encroaching our space.	さてとうとう私たちは天井画の要すべてが最高潮に達する場所に至りますそこには自分の領域から抜け出し私たちの空間を蝕む人物がいます
This is the most important juncture.	ここが最も大事な局面
Past meets present.	過去が現在と出会う場所です
All of this brings us to the yawning archway of the altar wall, where we see Michelangelo's Last Judgment, painted in 1534 after the world had changed again.	これらすべてに導かれぽっかりと開いた祭壇のアーチにたどり着き目にするのがミケランジェロの『最後の審判』です世界が再び変容した後の 1534年に制作されました
The Reformation had splintered the Church, the Ottoman Empire had made Islam a household word and Magellan had found a route into the Pacific Ocean.	宗教改革により教会は分裂しオスマン帝国はイスラムの名を世に広めマゼランが太平洋航路を発見していました
How is a 59-year-old artist who has never been any further than Venice going to speak to this new world?	ベニスより遠くに行ったこともない 59歳の芸術家はこの新世界にどう語りかけるのでしょう？
Michelangelo chose to paint destiny, that universal desire, common to all of us, to leave a legacy of excellence.	ミケランジェロが描こうとしたのは宿命であり優れたものを後世に残したいという人類共通の普遍的な欲求です
Told in terms of the Christian vision of the Last Judgment, the end of the world, Michelangelo gave you a series of figures who are wearing these strikingly beautiful bodies.	『最後の審判』というキリスト教的な視点で世界の終わりを語るためミケランジェロは驚くほど美しい肉体を持った人々の姿を描きました
They have no more covers, no more portraits except for a couple.	いくつかの例外を除き何も身につけておらず誰かの肖像でもなく
It's a composition only out of bodies, 391, no two alike, unique like each and every one of us.	肉体だけで構成されこの391人の中に一人として同じ者はいません私たちと同じでそれぞれが唯一の存在です
They start in the lower corner, breaking away from the ground, struggling and trying to rise.	人々は下の隅にある地面から抜け出し上昇しようともがきます
Those who have risen reach back to help others, and in one amazing vignette, you have a black man and a white man pulled up together in an incredible vision of human unity in this new world.	昇天した人々は他の人を救うため手を伸ばしますこの素晴らしい場面では黒人と白人が一緒に引き上げられていて新しい世界における人間の調和を見事に表現しています
The lion's share of the space goes to the winner's circle.	画面で一番大きな部分は勝者に与えられています
There you find men and women completely nude like athletes.	そこにはスポーツ選手のような全裸の男女がいます
They are the ones who have overcome adversity, and Michelangelo's vision of people who combat adversity, overcome obstacles — they're just like athletes.	彼らこそ困難を乗り越えた人々つまり困難と戦い障害を克服する人間像というミケランジェロの想像の産物ですまるでスポーツ選手のようです
So you have men and women flexing and posing in this extraordinary spotlight.	男性と女性が途方もないスポットライトの中で体を曲げポーズをとっています
Presiding over this assembly is Jesus, first a suffering man on the cross, now a glorious ruler in Heaven.	この集団を統率するのはイエスです十字架上で苦痛に耐えていた男が今では栄誉に満ちた天国の支配者なのです
And as Michelangelo proved in his painting, hardship, setbacks and obstacles, they don't limit excellence, they forge it.	ミケランジェロが絵画で示したように苦難や挫折や障害は美徳を封じるどころか生み出すのです
Now, this does lead us to one odd thing.	ところでこれは奇妙な結果を招きます
This is the Pope's private chapel, and the best way you can describe that is indeed a stew of nudes.	ここは教皇の私的な礼拝堂ですが「ひしめく裸体」と呼ぶのがもっともふさわしいでしょう
But Michelangelo was trying to use only the best artistic language, the most universal artistic language he could think of: that of the human body.	それでもミケランジェロは最高の芸術的言語を使おうとしました考えうる最も普遍的な芸術上の言語つまり人間の肉体です
And so instead of the way of showing virtue such as fortitude or self-mastery, he borrowed from Julius II's wonderful collection of sculptures in order to show inner strength as external power.	だから不屈の精神や自制といった美徳を示す方法を使うのではなくユリウス２世の見事な彫刻コレクションからヒントを得て内面的な強さを外から見える力として表したのです
Now, one contemporary did write that the chapel was too beautiful to not cause controversy.	ところで当時の人はこう書き残していますこの礼拝堂はあまりにも美しいので論争は避けられないだろうと
And so it did.	実際そうなりました
The year he died he saw several of these figures covered over, a triumph for trivial distractions over his great exhortation to glory.	彼が亡くなる年数名の人物に覆いが描き加えられました彼が説いた栄光は余計なものに邪魔されました
And so now we stand in the here and now.	さて私たちは今この世にいます
We are caught in that space between beginnings and endings, in the great, huge totality of the human experience.	始まりと終わりの間にあるこの空間壮大な人間の経験全体に閉じ込められています
The Sistine Chapel forces us to look around as if it were a mirror.	私たちはシスティーナ礼拝堂で鏡を覗くように周りを見ます
Who am I in this picture?	自分はこの絵の中の誰だろう？
Am I one of the crowd?	群衆の中にいるのか？
Am I the drunk guy?	あの酔っ払いだろうか？
Am I the athlete?	あのスポーツ選手だろうか？
And as we leave this haven of uplifting beauty, we are inspired to ask ourselves life's biggest questions: Who am I, and what role do I play in this great theater of life?	そして心躍る美の楽園を出る頃には私たちは人生最大の疑問を抱くようになります自分は何者か人生という大舞台で自分はどの役なのかという疑問です
Thank you.	ありがとうございます
(Applause) Bruno Giussani: Elizabeth Lev, thank you.	（拍手）（ブルーノ・ジュッサーニ）エリザベス・レヴありがとう
Elizabeth, you mentioned this whole issue of pornography, too many nudes and too many daily life scenes and improper things in the eyes of the time.	あなたはポルノの話題を出していましたね当時の人々にとってヌードや日常の場面や不適切なものが多すぎたという点です
But actually the story is bigger.	ただ問題はより深刻です
It's not just touching up and covering up some of the figures.	単に覆いを描き加えたことが問題なのではなく
This work of art was almost destroyed because of that.	芸術が破壊される寸前だったんですから
Elizabeth Lev: The effect of the Last Judgment was enormous.	（エリザベス・レヴ）『最後の審判』は大きな影響力を持ちました
The printing press made sure that everybody saw it.	印刷術によって誰でも見られるようになったためです
And so, this wasn't something that happened within a couple of weeks.	この問題も１〜２週間で起こったわけではなく
It was something that happened over the space of 20 years of editorials and complaints, saying to the Church, "" You can't possibly tell us how to live our lives.	20年もの期間に渡って続いた問題でした教会にはこんな評論や批判が寄せられました「教会が我々に生き方を説けるわけがない
That's where it all came about, and it came about from a church that was trying to save a work of art, not indeed deface or destroyed it.	ここから始まりました教会は芸術作品を守ろうとしたのであって汚したり破壊する気はなかったのです
BG: This, what you just gave us, is not the classic tour that people get today when they go to the Sistine Chapel.	（ブルーノ）今の話はシスティーナ礼拝堂でよく耳にするツアーガイドとはまったく違いますね
(Laughter) EL: I don't know, is that an ad? (Laughter)	（笑）（エリザベス）どうでしょうそれは宣伝ですか？（笑）
BG: No, no, no, not necessarily, it is a statement.	（ブルーノ）いえいえそうではなく私の意見なのですが
The experience of art today is encountering problems.	現在芸術を体験する時いくつか問題があります
Too many people want to see this there, and the result is five million people going through that tiny door and experiencing it in a completely different way than we just did.	その場で見ようとする人があまりにも多く 500万人が礼拝堂の小さなドアをくぐりますがそれは私たちが今経験したのとはまったく違うのです
EL: Right. I agree. I think it's really nice to be able to pause and look.	（エリザベス）そうですね立ち止まって見るのは確かにいいことです
It's a great statement about how beauty truly can speak to us all through time and through geographic space.	これは時間や地理的空間を超え私たち全員に本当の意味で美が伝わることを見事に証明しています
BG: Liz, grazie.	（ブルーノ）グラツィエ
EL: Grazie a te.	（エリザベス）グラツィエ
BG: Thank you.	（ブルーノ）ありがとう
(Applause)	（拍手）

Doc Edgerton inspired us with awe and curiosity with this photo of a bullet piercing through an apple, and exposure just a millionth of a second.	エジャートン博士のリンゴを撃ちぬく弾丸の写真は 100万分の1秒を捉えたもので誰もが驚き好奇心をかき立てられました
I present to you a new type of photography, femto-photography, a new imaging technique so fast that it can create slow motion videos of light in motion.	フェムト・フォトグラフィーですこの非常に高速な新しいイメージング技術では伝わっていく光でさえもスローモーション撮影できます
And with that, we can create cameras that can look around corners, beyond line of sight, or see inside our body without an x-ray, and really challenge what we mean by a camera.	またこの技術を使って先を見られるカメラや X線を使わないで体内を観察できるカメラを作れます
Now if I take a laser pointer and turn it on and off in one trillionth of a second — which is several femtoseconds — I'll create a packet of photons barely a millimeter wide.	1兆分の1秒で点滅させればつまり数フェムト秒の間隔なら
And that packet of photons, that bullet, will travel at the speed of light, and again, a million times faster than an ordinary bullet.	光の速度で進みますこれは普通の弾丸より 100万倍速いのです
Now, if you take that bullet and take this packet of photons and fire into this bottle, how will those photons shatter into this bottle?	ボトルに打ち込んだら
How does light look in slow motion?	スローモーションの光はどう見えるでしょう
[Light in Slow Motion... 10 Billion x Slow] Now, the whole event — (Applause) Now remember, the whole event is effectively taking place in less than a nanosecond — that's how much time it takes for light to travel.	そしてお見せしたー (拍手)
Now, there's a lot going on in this movie, so let me break this down and show you what's going on.	ビデオでは色々な事が起こっています何が起きているか順に説明しましょう
So the pulse enters the bottle, our bullet, with a packet of photons that start traveling through and that start scattering inside.	光子の塊が横切り始めると内部での散乱も始まります
Some of the light leaks, goes on the table, and you start seeing these ripples of waves.	漏れだす光もありテーブルを照らしますそしてさざ波のようなものも見えます
Many of the photons eventually reach the cap and then they explode in various directions.	あらゆる方向に飛び散ります
As you can see, there's a bubble of air and it's bouncing around inside.	空気の泡も見えますがそこでは内部に跳ね返ります
Meanwhile, the ripples are traveling on the table, and because of the reflections at the top, you see at the back of the bottle, after several frames, the reflections are focused.	同時にテーブル上の波も広がっていきます上面での反射のために
Now, if you take an ordinary bullet and let it go the same distance and slow down the video — again, by a factor of 10 billion — do you know how long you'll have to sit here to watch that movie?	100億倍でスロー再生したら
(Laughter) A day, a week? Actually, a whole year.	一日？一週間？実はまる一年もかかります
It'll be a very boring movie — (Laughter) of a slow, ordinary bullet in motion.	かなり退屈な映像でしょう (笑)
You can watch the ripples, again, washing over the table, the tomato and the wall in the back.	流れるさざ波が見えます
I thought: this is how nature paints a photo, one femto frame at a time, but of course our eye sees an integral composite.	自然はこう彩るのかと驚きましたもちろん人の眼には統合された合成画像が見えます
So in the future, when this femto-camera is in your camera phone, you might be able to go to a supermarket and check if the fruit is ripe without actually touching it.	将来このフェムトカメラが
So what we do is we send that bullet — that packet of photons — millions of times, and record again and again with very clever synchronization, and from the gigabytes of data, we computationally weave together to create those femto-videos I showed you.	非常に巧妙に同期を取りながら記録を繰り返し何ギガバイトものデータから先ほどご覧になったフェムトビデオです
So, Superman can fly.	スーパーマンは空を飛び
Some other heroes can become invisible.	透明になるヒーローもいます
But what about a new power for a future superhero: To see around corners.	角の先を見通すのはどうでしょう
The idea is that we could shine some light on the door, it's going to bounce, go inside the room, some of that is going to reflect back on the door, and then back to the camera.	跳ね返って部屋の中に入るとその一部が反射されて扉に戻りカメラまで戻ってくるので
And we could exploit these multiple bounces of light.	こんなふうに多重反射した光を利用できるのです
And it's not science fiction. We have actually built it.	これは空想SFではなく実際に作りました
There's a mannequin hidden behind a wall, and we're going to bounce light off the door.	壁の後ろにマネキンが隠れています光は扉で跳ね返ります
(Music) And because we have a camera that can run so fast — our femto-camera — it has some unique abilities.	(音楽)独特な能力があります
It has very good time resolution, and it can look at the world at the speed of light.	時間分解能が大変優れていて
And this way, we know the distances, of course to the door, but also to the hidden objects, but we don't know which point corresponds to which distance.	こうして扉までの距離や隠れた物体までの距離がわかります
(Music) By shining one laser, we can record one raw photo, which, if you look on the screen, doesn't really make any sense.	レーザー光を一度光らせて未処理写真が一枚撮れますが
Can we see it in full 3D?	完全な立体として見ることはできないでしょうか？
(Music) (Applause) Now, we have some ways to go before we take this outside the lab on the road, but in the future, we could create cars that avoid collisions with what's around the bend.	衝突を避ける自動車や

You have Noah and his Ark and the flood.

ノアと箱舟と洪水

You have Noah. He's making a sacrifice and a covenant with God.

生贄を捧げ神と契約するノア

Maybe he's the savior.

彼は救世主かもしれません

Oh, but no, Noah is the one who grew grapes, invented wine, got drunk and passed out naked in his barn.

その一方でノアはブドウを育てワインを作って泥酔し納屋の中で裸で眠りこみます

It is a curious way to design the ceiling, now starting out with God creating life, ending up with some guy blind drunk in a barn.

天井画のデザインとしては奇妙です生命を創造する神に始まり納屋で泥酔する男に至るのですから

And so, compared with Adam, you might think Michelangelo is making fun of us.

アダムと比べてみるとミケランジェロが私たちをからかっていると思うでしょう

But he's about to dispel the gloom by using those bright colors right underneath Noah: emerald, topaz, scarlet on the prophet Zechariah.

でも彼はノアの真下に明るい色彩を配置して暗さを吹き飛ばしますエメラルド色橙色緋色の預言者ゼカリアです

Zechariah foresees a light coming from the east, and we are turned at this juncture to a new destination, with sibyls and prophets who will lead us on a parade.

ゼカリアは東から光がさすことを預言しその瞬間私たちの目は新たな方向へと向けられます巫女や預言者たちが列をなして私たちを導いてくれます

You have the heroes and heroines who make safe the way, and we follow the mothers and fathers.

道中の安全を確保する英雄たちに導かれ母親や父親にしたがって進みます

They are the motors of this great human engine, driving it forward.

彼らが動力となって偉大な人間のエンジンを前進させます

And now we're at the keystone of the ceiling, the culmination of the whole thing, with a figure that looks like he's about to fall out of his space into our space, encroaching our space.

さてとうとう私たちは天井画の要すべてが最高潮に達する場所に至りますそこには自分の領域から抜け出し私たちの空間を蝕む人物がいます

This is the most important juncture.

ここが最も大事な局面

Past meets present.

過去が現在と出会う場所です

All of this brings us to the yawning archway of the altar wall, where we see Michelangelo's Last Judgment, painted in 1534 after the world had changed again.

これらすべてに導かれぽっかりと開いた祭壇のアーチにたどり着き目にするのがミケランジェロの『最後の審判』です世界が再び変容した後の 1534年に制作されました

The Reformation had splintered the Church, the Ottoman Empire had made Islam a household word and Magellan had found a route into the Pacific Ocean.

宗教改革により教会は分裂しオスマン帝国はイスラムの名を世に広めマゼランが太平洋航路を発見していました

How is a 59-year-old artist who has never been any further than Venice going to speak to this new world?

ベニスより遠くに行ったこともない 59歳の芸術家はこの新世界にどう語りかけるのでしょう？

Michelangelo chose to paint destiny, that universal desire, common to all of us, to leave a legacy of excellence.

ミケランジェロが描こうとしたのは宿命であり優れたものを後世に残したいという人類共通の普遍的な欲求です

Told in terms of the Christian vision of the Last Judgment, the end of the world, Michelangelo gave you a series of figures who are wearing these strikingly beautiful bodies.

『最後の審判』というキリスト教的な視点で世界の終わりを語るためミケランジェロは驚くほど美しい肉体を持った人々の姿を描きました

They have no more covers, no more portraits except for a couple.

いくつかの例外を除き何も身につけておらず誰かの肖像でもなく

It's a composition only out of bodies, 391, no two alike, unique like each and every one of us.

肉体だけで構成されこの391人の中に一人として同じ者はいません私たちと同じでそれぞれが唯一の存在です

They start in the lower corner, breaking away from the ground, struggling and trying to rise.

人々は下の隅にある地面から抜け出し上昇しようともがきます

Those who have risen reach back to help others, and in one amazing vignette, you have a black man and a white man pulled up together in an incredible vision of human unity in this new world.

昇天した人々は他の人を救うため手を伸ばしますこの素晴らしい場面では黒人と白人が一緒に引き上げられていて新しい世界における人間の調和を見事に表現しています

The lion's share of the space goes to the winner's circle.

画面で一番大きな部分は勝者に与えられています

There you find men and women completely nude like athletes.

そこにはスポーツ選手のような全裸の男女がいます

They are the ones who have overcome adversity, and Michelangelo's vision of people who combat adversity, overcome obstacles — they're just like athletes.

彼らこそ困難を乗り越えた人々つまり困難と戦い障害を克服する人間像というミケランジェロの想像の産物ですまるでスポーツ選手のようです

So you have men and women flexing and posing in this extraordinary spotlight.

男性と女性が途方もないスポットライトの中で体を曲げポーズをとっています

Presiding over this assembly is Jesus, first a suffering man on the cross, now a glorious ruler in Heaven.

この集団を統率するのはイエスです十字架上で苦痛に耐えていた男が今では栄誉に満ちた天国の支配者なのです

And as Michelangelo proved in his painting, hardship, setbacks and obstacles, they don't limit excellence, they forge it.

ミケランジェロが絵画で示したように苦難や挫折や障害は美徳を封じるどころか生み出すのです

Now, this does lead us to one odd thing.

ところでこれは奇妙な結果を招きます

This is the Pope's private chapel, and the best way you can describe that is indeed a stew of nudes.

ここは教皇の私的な礼拝堂ですが「ひしめく裸体」と呼ぶのがもっともふさわしいでしょう

But Michelangelo was trying to use only the best artistic language, the most universal artistic language he could think of: that of the human body.

それでもミケランジェロは最高の芸術的言語を使おうとしました考えうる最も普遍的な芸術上の言語つまり人間の肉体です

And so instead of the way of showing virtue such as fortitude or self-mastery, he borrowed from Julius II's wonderful collection of sculptures in order to show inner strength as external power.

だから不屈の精神や自制といった美徳を示す方法を使うのではなくユリウス２世の見事な彫刻コレクションからヒントを得て内面的な強さを外から見える力として表したのです

Now, one contemporary did write that the chapel was too beautiful to not cause controversy.

ところで当時の人はこう書き残していますこの礼拝堂はあまりにも美しいので論争は避けられないだろうと

And so it did.

実際そうなりました

The year he died he saw several of these figures covered over, a triumph for trivial distractions over his great exhortation to glory.

彼が亡くなる年数名の人物に覆いが描き加えられました彼が説いた栄光は余計なものに邪魔されました

And so now we stand in the here and now.

さて私たちは今この世にいます

We are caught in that space between beginnings and endings, in the great, huge totality of the human experience.

始まりと終わりの間にあるこの空間壮大な人間の経験全体に閉じ込められています

The Sistine Chapel forces us to look around as if it were a mirror.

私たちはシスティーナ礼拝堂で鏡を覗くように周りを見ます

Who am I in this picture?

自分はこの絵の中の誰だろう？

Am I one of the crowd?

群衆の中にいるのか？

Am I the drunk guy?

あの酔っ払いだろうか？

Am I the athlete?

あのスポーツ選手だろうか？

And as we leave this haven of uplifting beauty, we are inspired to ask ourselves life's biggest questions: Who am I, and what role do I play in this great theater of life?

そして心躍る美の楽園を出る頃には私たちは人生最大の疑問を抱くようになります自分は何者か人生という大舞台で自分はどの役なのかという疑問です

Thank you.

ありがとうございます

(Applause) Bruno Giussani: Elizabeth Lev, thank you.

（拍手）（ブルーノ・ジュッサーニ）エリザベス・レヴありがとう

Elizabeth, you mentioned this whole issue of pornography, too many nudes and too many daily life scenes and improper things in the eyes of the time.

あなたはポルノの話題を出していましたね当時の人々にとってヌードや日常の場面や不適切なものが多すぎたという点です

But actually the story is bigger.

ただ問題はより深刻です

It's not just touching up and covering up some of the figures.

単に覆いを描き加えたことが問題なのではなく

This work of art was almost destroyed because of that.

芸術が破壊される寸前だったんですから

Elizabeth Lev: The effect of the Last Judgment was enormous.

（エリザベス・レヴ）『最後の審判』は大きな影響力を持ちました

The printing press made sure that everybody saw it.

印刷術によって誰でも見られるようになったためです

And so, this wasn't something that happened within a couple of weeks.

この問題も１〜２週間で起こったわけではなく

It was something that happened over the space of 20 years of editorials and complaints, saying to the Church, "" You can't possibly tell us how to live our lives.

20年もの期間に渡って続いた問題でした教会にはこんな評論や批判が寄せられました「教会が我々に生き方を説けるわけがない

That's where it all came about, and it came about from a church that was trying to save a work of art, not indeed deface or destroyed it.

ここから始まりました教会は芸術作品を守ろうとしたのであって汚したり破壊する気はなかったのです

BG: This, what you just gave us, is not the classic tour that people get today when they go to the Sistine Chapel.

（ブルーノ）今の話はシスティーナ礼拝堂でよく耳にするツアーガイドとはまったく違いますね

(Laughter) EL: I don't know, is that an ad? (Laughter)

（笑）（エリザベス）どうでしょうそれは宣伝ですか？（笑）

BG: No, no, no, not necessarily, it is a statement.

（ブルーノ）いえいえそうではなく私の意見なのですが

The experience of art today is encountering problems.

現在芸術を体験する時いくつか問題があります

Too many people want to see this there, and the result is five million people going through that tiny door and experiencing it in a completely different way than we just did.

その場で見ようとする人があまりにも多く 500万人が礼拝堂の小さなドアをくぐりますがそれは私たちが今経験したのとはまったく違うのです

EL: Right. I agree. I think it's really nice to be able to pause and look.

（エリザベス）そうですね立ち止まって見るのは確かにいいことです

It's a great statement about how beauty truly can speak to us all through time and through geographic space.

これは時間や地理的空間を超え私たち全員に本当の意味で美が伝わることを見事に証明しています

BG: Liz, grazie.

（ブルーノ）グラツィエ

EL: Grazie a te.

（エリザベス）グラツィエ

BG: Thank you.

（ブルーノ）ありがとう

(Applause)

（拍手）

Doc Edgerton inspired us with awe and curiosity with this photo of a bullet piercing through an apple, and exposure just a millionth of a second.

エジャートン博士のリンゴを撃ちぬく弾丸の写真は 100万分の1秒を捉えたもので誰もが驚き好奇心をかき立てられました

I present to you a new type of photography, femto-photography, a new imaging technique so fast that it can create slow motion videos of light in motion.

フェムト・フォトグラフィーですこの非常に高速な新しいイメージング技術では伝わっていく光でさえもスローモーション撮影できます

And with that, we can create cameras that can look around corners, beyond line of sight, or see inside our body without an x-ray, and really challenge what we mean by a camera.

またこの技術を使って先を見られるカメラや X線を使わないで体内を観察できるカメラを作れます

Now if I take a laser pointer and turn it on and off in one trillionth of a second — which is several femtoseconds — I'll create a packet of photons barely a millimeter wide.

1兆分の1秒で点滅させればつまり数フェムト秒の間隔なら

And that packet of photons, that bullet, will travel at the speed of light, and again, a million times faster than an ordinary bullet.

光の速度で進みますこれは普通の弾丸より 100万倍速いのです

Now, if you take that bullet and take this packet of photons and fire into this bottle, how will those photons shatter into this bottle?

ボトルに打ち込んだら

How does light look in slow motion?

スローモーションの光はどう見えるでしょう

[Light in Slow Motion... 10 Billion x Slow] Now, the whole event — (Applause) Now remember, the whole event is effectively taking place in less than a nanosecond — that's how much time it takes for light to travel.

そしてお見せしたー (拍手)

Now, there's a lot going on in this movie, so let me break this down and show you what's going on.

ビデオでは色々な事が起こっています何が起きているか順に説明しましょう

So the pulse enters the bottle, our bullet, with a packet of photons that start traveling through and that start scattering inside.

光子の塊が横切り始めると内部での散乱も始まります

Some of the light leaks, goes on the table, and you start seeing these ripples of waves.

漏れだす光もありテーブルを照らしますそしてさざ波のようなものも見えます

Many of the photons eventually reach the cap and then they explode in various directions.

あらゆる方向に飛び散ります

As you can see, there's a bubble of air and it's bouncing around inside.

空気の泡も見えますがそこでは内部に跳ね返ります

Meanwhile, the ripples are traveling on the table, and because of the reflections at the top, you see at the back of the bottle, after several frames, the reflections are focused.

同時にテーブル上の波も広がっていきます上面での反射のために

Now, if you take an ordinary bullet and let it go the same distance and slow down the video — again, by a factor of 10 billion — do you know how long you'll have to sit here to watch that movie?

100億倍でスロー再生したら

(Laughter) A day, a week? Actually, a whole year.

一日？一週間？実はまる一年もかかります

It'll be a very boring movie — (Laughter) of a slow, ordinary bullet in motion.

かなり退屈な映像でしょう (笑)

You can watch the ripples, again, washing over the table, the tomato and the wall in the back.

流れるさざ波が見えます

I thought: this is how nature paints a photo, one femto frame at a time, but of course our eye sees an integral composite.

自然はこう彩るのかと驚きましたもちろん人の眼には統合された合成画像が見えます

So in the future, when this femto-camera is in your camera phone, you might be able to go to a supermarket and check if the fruit is ripe without actually touching it.

将来このフェムトカメラが

So what we do is we send that bullet — that packet of photons — millions of times, and record again and again with very clever synchronization, and from the gigabytes of data, we computationally weave together to create those femto-videos I showed you.

非常に巧妙に同期を取りながら記録を繰り返し何ギガバイトものデータから先ほどご覧になったフェムトビデオです

So, Superman can fly.

スーパーマンは空を飛び

Some other heroes can become invisible.

透明になるヒーローもいます

But what about a new power for a future superhero: To see around corners.

角の先を見通すのはどうでしょう

The idea is that we could shine some light on the door, it's going to bounce, go inside the room, some of that is going to reflect back on the door, and then back to the camera.

跳ね返って部屋の中に入るとその一部が反射されて扉に戻りカメラまで戻ってくるので

And we could exploit these multiple bounces of light.

こんなふうに多重反射した光を利用できるのです

And it's not science fiction. We have actually built it.

これは空想SFではなく実際に作りました

There's a mannequin hidden behind a wall, and we're going to bounce light off the door.

壁の後ろにマネキンが隠れています光は扉で跳ね返ります

(Music) And because we have a camera that can run so fast — our femto-camera — it has some unique abilities.

(音楽)独特な能力があります

It has very good time resolution, and it can look at the world at the speed of light.

時間分解能が大変優れていて

And this way, we know the distances, of course to the door, but also to the hidden objects, but we don't know which point corresponds to which distance.

こうして扉までの距離や隠れた物体までの距離がわかります

(Music) By shining one laser, we can record one raw photo, which, if you look on the screen, doesn't really make any sense.

レーザー光を一度光らせて未処理写真が一枚撮れますが

Can we see it in full 3D?

完全な立体として見ることはできないでしょうか？

(Music) (Applause) Now, we have some ways to go before we take this outside the lab on the road, but in the future, we could create cars that avoid collisions with what's around the bend.

衝突を避ける自動車や