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What I want to do today is to spend

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some time talking about some stuff that's

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sort of giving me a little bit of

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existential angst, for lack of a better word,

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over the past couple of years, and

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basically, these three quotes

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tell what's going on.

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"When God made the color purple,

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God was just showing off," Alice Walker

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wrote in "The Color Purple," and

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Zora Neale Hurston wrote in

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"Dust Tracks On A Road,"

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"Research is a formalized curiosity.

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It's poking and prying with a purpose."

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And then finally,

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when I think about the near future,

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you know, we have this attitude, well,

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whatever happens, happens. Right?

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So that goes along with the Chesire Cat

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saying, "If you don't care much

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where you want to get to,

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it doesn't much matter which way you go."

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But I think it does matter

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which way we go, and what road we take,

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because when I think about design in the

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near future, what I think are the most

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important issues, what's really

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crucial and vital is that we need

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to revitalize the arts and sciences

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right now in 2002.

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(Applause)

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If we describe the near future

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as 10, 20, 15 years from now,

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that means that what we do today

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is going to be critically important,

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because in the year 2015,

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and the year 2020, 2025, the world

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our society is going to be building on,

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the basic knowledge and abstract ideas,

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the discoveries that we came up with today,

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just as all these wonderful things we're

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hearing about here at the TED conference

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that we take for granted in the world

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right now, were really knowledge

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and ideas that came up

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in the '50s, the '60s, and the '70s.

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That's the substrate that we're exploiting

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today, whether it's the internet,

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genetic engineering, laser scanners,

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guided missiles, fiber optics, high-definition

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television, sensing, remote-sensing

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from space and the wonderful

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remote-sensing photos that we see in

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3D weaving, TV programs like Tracker,

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and Enterprise, CD rewrite drives,

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flatscreen, Alvin Ailey's Suite Otis,

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or Sarah Jones' "Your Revolution Will Not

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Be Between These Thighs," which

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by the way was banned by the FCC,

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or ska, all of these things

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without question, almost without exception,

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are really based on ideas

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and abstract and creativity

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from years before,

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so we have to ask ourselves,

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what are we contributing to that legacy

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right now? And when I think about it,

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I'm really worried. To be quite frank,

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I'm concerned. I'm skeptical

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that we're doing very much of anything.

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We're, in a sense, failing to act

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in the future. We're purposefully,

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consciously being laggards.

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We're lagging behind.

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Frantz Fanon, who was a psychiatrist

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from Martinique, said, "Each generation

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must, out of relative obscurity,

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discover its mission, and fulfill or betray it."

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What is our mission? What do we have

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to do? I think our mission is

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to reconcile, to reintegrate

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science and the arts, because right now

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there's a schism that exists

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in popular culture. You know,

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people have this idea that science

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and the arts are really separate.

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We think of them as separate

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and different things, and this idea was

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probably introduced centuries ago,

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but it's really becoming critical now,

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because we're making decisions about our

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society every day that,

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if we keep thinking that the arts

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are separate from the sciences,

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and we keep thinking it's cute to say,

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"I don't understand anything about this one,

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I don't understand anything about the other

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one," then we're going to have problems.

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Now I know no one here at TED

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thinks this. All of us, we already know

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that they're very connected, but I'm going

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to let you know that some folks

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in the outside world, believe it or not,

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they think it's neat when they say,

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"You know, scientists and science is not

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creative. Maybe scientists are ingenious,

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but they're not creative.

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And then we have this tendency, the career

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counselors and various people say things

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like, "Artists are not analytical.

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They're ingenious, perhaps,

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but not analytical," and

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when these concepts underly our teaching

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and what we think about the world,

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then we have a problem, because we

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stymie support for everything.

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By accepting this dichotomy,

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whether it's tongue-in-cheek, when

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we attempt to accommodate it in our world,

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and we try to build our foundation

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for the world, we're messing up the future,

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because, who wants to be uncreative?

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Who wants to be illogical?

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Talent would run from either of these fields

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if you said you had to choose either.

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Then they're going to go to something

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where they think, "Well, I can be creative

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and logical at the same time."

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Now I grew up in the '60s and I'll admit it,

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actually, my childhood spanned the '60s,

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and I was a wannabe hippie and I always

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resented the fact that I wasn't really

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old enough to be a hippie.

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And I know there are people here, the

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younger generation who want to be hippies,

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but people talk about the '60s all the time,

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and they talk about the anarchy

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that was there, but when I think about

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the '60s, what I took away from it was

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that there was hope for the future.

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We thought everyone could participate.

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There were wonderful, incredible ideas

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that were always percolating,

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and so much of what's cool or hot today

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is really based on some of those concepts,

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whether it's, you know, people trying to

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use the prime directive from Star Trek

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being involved in things, or again that

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three-dimensional weaving and

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fax machines that I read about in my

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weekly readers that the technology

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and engineering was just getting started.

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But the '60s left me with a problem.

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You see, I always assumed I would go

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into space, because I followed all of this,

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but I also loved the arts and sciences.

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You see, when I was growing up as

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a little girl and as a teenager,

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I loved designing and making dogs' clothes

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and wanting to be a fashion designer.

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I took art and ceramics. I loved dance.

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Lola Falana. Alvin Ailey. Jerome Robbins.

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And I also avidly followed the Gemini

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and the Apollo programs.

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I had science projects and tons of astronomy

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books. I took calculus and philosophy.

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I wondered about the infinity

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and the Big Bang theory.

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And when I was at Stanford,

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I found myself, my senior year,

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chemical engineering major, half the folks

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thought I was a political science and

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performing arts major, which was sort of

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true because I was Black Student Union President

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and I did major in some other things,

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and I found myself the last quarter juggling

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chemical engineering separation processes,

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logic classes, nuclear magnetic resonance

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spectroscopy, and also producing

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and choreographing a dance production,

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and I had to do the lighting and the

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design work, and I was trying to figure out,

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do I go to New York City

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to try to become a professional dancer,

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or do I go to medical school?

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Now, my mother helped me figure

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that one out. (Laughter)

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But when I went into space,

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when I went into space I carried a number

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of things up with me. I carried a poster

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by Alvin Ailey, which you can figure out

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now, I love the dance company.

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An Alvin Ailey poster of Judith Jamison

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performing the dance "Cry," dedicated to all

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black women everywhere. A Bundu statue,

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which was from the Women's Society

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in Sierra Leone, and a certificate for the

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Chicago Public School students to work to

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improve their science and math,

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and folks asked me,

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"Why did you take up what you took up?"

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And I had to say,

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"Because it represents human creativity,

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the creativity that allowed us, that we were

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required to have to conceive and build

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and launch the space shuttle, springs from

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the same source as the imagination and

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analysis it took to carve a Bundu statue,

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or the ingenuity it took to design,

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choreograph, and stage "Cry."

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Each one of them are different

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manifestations, incarnations, of creativity,

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avatars of human creativity,

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and that's what we have to reconcile

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in our minds, how these things fit together.

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The difference between arts and sciences

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is not analytical versus intuitive, right?

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E=MC squared required

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an intuitive leap, and then you had

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to do the analysis afterwards.

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Einstein said, in fact, "The most beautiful

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thing we can experience is the mysterious.

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It is the source of all true art and science."

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Dance requires us to express and want

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to express the jubilation in life, but then you

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have to figure out, exactly

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what movement do I do to make sure

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that it comes across correctly?

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The difference between arts and sciences

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is also not constructive versus

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deconstructive, right? A lot of people

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think of the sciences as deconstructive.

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You have to pull things apart.

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And yeah, sub-atomic physics

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is deconstructive. You literally try to

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tear atoms apart to understand

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what's inside of them. But sculpture, from

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what I understand from great sculptors,

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is deconstructive, because you see a piece

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and you remove what doesn't

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need to be there.

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Biotechnology is constructive.

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Orchestral arranging is constructive.

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So in fact we use constructive and

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deconstructive techniques in everything.

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The difference between science

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and the arts is not that they

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are different sides of the same coin, even,

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or even different parts

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of the same continuum, but rather

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they're manifestations of the same thing.

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Different quantum states of an atom?

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Or maybe if I want to be more 21st century

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I could say that they are different harmonic

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resonances of a superstring.

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But we'll leave that alone. (Laughter)

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They spring from the same source.

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The arts and sciences are avatars of

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human creativity. It's our attempt

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as humans to build an understanding

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of the universe, the world around us.

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It's our attempt to influence things,

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the universe internal to ourselves

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and external to us.

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The sciences, to me, are manifestations

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of our attempt to express

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or share our understanding,

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our experience, to influence the universe

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external to ourselves.

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It doesn't rely on us as individuals.

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It's the universe, as experienced

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by everyone, and the arts manifest

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our desire, our attempt to share

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or influence others through experiences

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that are peculiar to us as individuals.

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Let me say it again another way:

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science provides an understanding

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of a universal experience, and

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arts provides a universal understanding

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of a personal experience.

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That's what we have to think about,

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that they're all part of us, they're

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all part of a continuum.

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It's not just the tools, it's not just

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the sciences, you know, the mathematics

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and the numerical stuff and the statistics,

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because we heard, very much on this

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stage, people talked about music

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being mathematical. Right? Arts don't just

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use clay, aren't the only ones that use clay,

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light and sound and movement.

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They use analysis as well.

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So people might say, well,

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I still like that intuitive versus analytical

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thing, because everybody wants to do the

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right brain, left brain thing, right?

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We've all been accused of being

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right-brained or left-brained at some point

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in time, depending on who

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we disagreed with. (Laughter)

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You know, people say intuitive, you know

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that's like you're in touch with nature,

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in touch with yourself and relationships.

304
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Analytical: you put your mind to work, and

305
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I'm going to tell you a little secret. You all

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know this though, but sometimes people

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use this analysis idea, that things are

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outside of ourselves, to be, say, that this

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is what we're going to elevate

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as the true, most important sciences, right?

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And then you have artists, and you all

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know this is true as well,

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artists will say things about scientists

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because they say they're too concrete,

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they're disconnected with the world.

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But, we've even had that here on stage,

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so don't act like you don't know

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what I'm talking about. (Laughter)

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We had folks talking about the Flat Earth

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Society and flower arrangers, so there's

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this whole dichotomy that we continue

322
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to carry along, even when we know better.

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And folks say we need to choose either or.

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But it would really be foolish to choose

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either one, right?

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Intuitive versus analytical?

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That's a foolish choice. It's foolish,

328
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just like trying to choose between

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being realistic or idealistic.

330
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You need both in life. Why do people

331
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do this? I'm just gonna quote

332
00:12:03,000 --> 00:12:05,000
a molecular biologist, Sydney Brenner,

333
00:12:05,000 --> 00:12:07,000
who's 70 years old so he can say this. He said,

334
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"It's always important to distinguish

335
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between chastity and impotence."

336
00:12:11,000 --> 00:12:14,000
Now... (Laughter)

337
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I want to share with you

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a little equation, okay?

339
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How do understanding science

340
00:12:23,000 --> 00:12:25,000
and the arts fit into our lives

341
00:12:25,000 --> 00:12:27,000
and what's going on and the things

342
00:12:27,000 --> 00:12:29,000
that we're talking about here

343
00:12:29,000 --> 00:12:31,000
at the design conference, and this is

344
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a little thing I came up with, understanding

345
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and our resources and our will

346
00:12:35,000 --> 00:12:37,000
cause us to have outcomes.

347
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Our understanding is our science, our arts,

348
00:12:39,000 --> 00:12:41,000
our religion, how we see the universe

349
00:12:41,000 --> 00:12:43,000
around us, our resources, our money,

350
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our labor, our minerals, those things

351
00:12:45,000 --> 00:12:47,000
that are out there in the world we have

352
00:12:47,000 --> 00:12:49,000
to work with.

353
00:12:49,000 --> 00:12:51,000
But more importantly, there's our will.

354
00:12:51,000 --> 00:12:53,000
This is our vision, our aspirations

355
00:12:53,000 --> 00:12:55,000
of the future, our hopes, our dreams,

356
00:12:55,000 --> 00:12:57,000
our struggles and our fears.

357
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Our successes and our failures influence

358
00:12:59,000 --> 00:13:01,000
what we do with all of those, and to me,

359
00:13:01,000 --> 00:13:03,000
design and engineering, craftsmanship and

360
00:13:03,000 --> 00:13:05,000
skilled labor, are all the things that work on

361
00:13:05,000 --> 00:13:07,000
this to have our outcome,

362
00:13:07,000 --> 00:13:10,000
which is our human quality of life.

363
00:13:10,000 --> 00:13:12,000
Where do we want the world to be?

364
00:13:12,000 --> 00:13:14,000
And guess what?

365
00:13:14,000 --> 00:13:16,000
Regardless of how we look at this, whether

366
00:13:16,000 --> 00:13:18,000
we look at arts and sciences are separate

367
00:13:18,000 --> 00:13:20,000
or different, they're both being influenced

368
00:13:20,000 --> 00:13:22,000
now and they're both having problems.

369
00:13:22,000 --> 00:13:24,000
I did a project called S.E.E.ing the Future:

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Science, Engineering and Education, and

371
00:13:26,000 --> 00:13:28,000
it was looking at how to shed light on

372
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most effective use of government funding.

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We got a bunch of scientists in all stages

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of their careers. They came to Dartmouth

375
00:13:34,000 --> 00:13:36,000
College, where I was teaching, and they

376
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talked about with theologians and financiers,

377
00:13:38,000 --> 00:13:40,000
what are some of the issues of public

378
00:13:40,000 --> 00:13:42,000
funding for science and engineering

379
00:13:42,000 --> 00:13:44,000
research? What's most important about it?

380
00:13:44,000 --> 00:13:46,000
There are some ideas that emerged that

381
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I think have really powerful parallels

382
00:13:48,000 --> 00:13:50,000
to the arts. The first thing they said was that

383
00:13:50,000 --> 00:13:52,000
the circumstances that we find ourselves in

384
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today in the sciences and engineering that

385
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made us world leaders is very different

386
00:13:56,000 --> 00:13:59,000
than the '40s, the '50s, and the '60s

387
00:13:59,000 --> 00:14:01,000
and the '70s when we emerged

388
00:14:01,000 --> 00:14:03,000
as world leaders, because we're no longer

389
00:14:03,000 --> 00:14:05,000
in competition with fascism, with

390
00:14:05,000 --> 00:14:07,000
Soviet-style communism, and by the way

391
00:14:07,000 --> 00:14:09,000
that competition wasn't just military,

392
00:14:09,000 --> 00:14:11,000
it included social competition

393
00:14:11,000 --> 00:14:13,000
and political competition as well,

394
00:14:13,000 --> 00:14:15,000
that allowed us to look at space

395
00:14:15,000 --> 00:14:17,000
as one of those platforms to prove

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00:14:17,000 --> 00:14:20,000
that our social system was better.

397
00:14:20,000 --> 00:14:22,000
Another thing they talked about was the

398
00:14:22,000 --> 00:14:24,000
infrastructure that supports the sciences

399
00:14:24,000 --> 00:14:26,000
is becoming obsolete. We look at

400
00:14:26,000 --> 00:14:29,000
universities and colleges, small, mid-sized

401
00:14:29,000 --> 00:14:31,000
community colleges across the country,

402
00:14:31,000 --> 00:14:34,000
their laboratories are becoming obsolete,

403
00:14:34,000 --> 00:14:36,000
and this is where we train most of our

404
00:14:36,000 --> 00:14:38,000
science workers and our researchers,

405
00:14:38,000 --> 00:14:40,000
and our teachers, by the way,

406
00:14:40,000 --> 00:14:42,000
and then that there's a media that doesn't

407
00:14:42,000 --> 00:14:44,000
support the dissemination of any more than

408
00:14:44,000 --> 00:14:46,000
the most mundane and inane of information.

409
00:14:46,000 --> 00:14:48,000
There's pseudo-science, crop circles,

410
00:14:48,000 --> 00:14:50,000
alien autopsy, haunted houses,

411
00:14:50,000 --> 00:14:53,000
or disasters. And that's what we see.

412
00:14:53,000 --> 00:14:55,000
And this isn't really the information

413
00:14:55,000 --> 00:14:57,000
you need to operate in everyday life

414
00:14:57,000 --> 00:14:59,000
and figure out how to participate in this

415
00:14:59,000 --> 00:15:01,000
democracy and determine what's going on.

416
00:15:01,000 --> 00:15:03,000
They also said that there's a change

417
00:15:03,000 --> 00:15:05,000
in the corporate mentality. Whereas

418
00:15:05,000 --> 00:15:07,000
government money had always been there

419
00:15:07,000 --> 00:15:09,000
for basic science and engineering research,

420
00:15:09,000 --> 00:15:11,000
we also counted on some companies to do

421
00:15:11,000 --> 00:15:13,000
some basic research, but what's happened

422
00:15:13,000 --> 00:15:15,000
now is companies put more energy into

423
00:15:15,000 --> 00:15:17,000
short-term product development

424
00:15:17,000 --> 00:15:19,000
than they do in basic engineering

425
00:15:19,000 --> 00:15:22,000
and science research.

426
00:15:22,000 --> 00:15:25,000
And education is not keeping up.

427
00:15:25,000 --> 00:15:28,000
In K through 12, people are taking out

428
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wet labs. They think if we put a computer

429
00:15:30,000 --> 00:15:32,000
in the room it's going to take the place

430
00:15:32,000 --> 00:15:34,000
of actually, we're mixing the acids,

431
00:15:34,000 --> 00:15:36,000
we're growing the potatoes.

432
00:15:36,000 --> 00:15:38,000
And government funding is decreasing

433
00:15:38,000 --> 00:15:40,000
in spending and then they're saying,

434
00:15:40,000 --> 00:15:42,000
let's have corporations take over,

435
00:15:42,000 --> 00:15:44,000
and that's not true. Government funding

436
00:15:44,000 --> 00:15:46,000
should at least do things like recognize

437
00:15:46,000 --> 00:15:48,000
cost-benefits of basic science and

438
00:15:48,000 --> 00:15:50,000
engineering research. We have to know

439
00:15:50,000 --> 00:15:52,000
that we have a responsibility

440
00:15:52,000 --> 00:15:54,000
as global citizens in this world.

441
00:15:54,000 --> 00:15:56,000
We have to look at the education

442
00:15:56,000 --> 00:15:58,000
of humans. We need to build our resources

443
00:15:58,000 --> 00:16:00,000
today to make sure that they're trained so

444
00:16:00,000 --> 00:16:02,000
that they understand the importance of

445
00:16:02,000 --> 00:16:04,000
these things, and we have to support

446
00:16:04,000 --> 00:16:06,000
the vitality of science, and that doesn't

447
00:16:06,000 --> 00:16:08,000
mean that everything has to have one thing

448
00:16:08,000 --> 00:16:10,000
that's going to go on, or we know

449
00:16:10,000 --> 00:16:12,000
exactly what's going to be the outcome of it,

450
00:16:12,000 --> 00:16:14,000
but that we support the vitality and the

451
00:16:14,000 --> 00:16:16,000
intellectual curiosity that goes along,

452
00:16:16,000 --> 00:16:18,000
and if you think about those parallels

453
00:16:18,000 --> 00:16:20,000
to the arts, the competition

454
00:16:20,000 --> 00:16:22,000
with the Bolshoi Ballet spurred

455
00:16:22,000 --> 00:16:24,000
the Joffrey and the New York City Ballet

456
00:16:24,000 --> 00:16:26,000
to become better.

457
00:16:26,000 --> 00:16:28,000
Infrastructure museums, theaters,

458
00:16:28,000 --> 00:16:30,000
movie houses across the country

459
00:16:30,000 --> 00:16:32,000
are disappearing. We have more

460
00:16:32,000 --> 00:16:34,000
television stations with less to watch,

461
00:16:34,000 --> 00:16:37,000
we have more money spent on

462
00:16:37,000 --> 00:16:40,000
rewrites to get old television programs

463
00:16:40,000 --> 00:16:42,000
in the movies.

464
00:16:42,000 --> 00:16:44,000
We have corporate funding now that,

465
00:16:44,000 --> 00:16:46,000
when it goes to some company, when it

466
00:16:46,000 --> 00:16:48,000
goes to support the arts, it almost requires

467
00:16:48,000 --> 00:16:50,000
that the product be part of the picture

468
00:16:50,000 --> 00:16:53,000
that the artist draws, and we have

469
00:16:53,000 --> 00:16:55,000
stadiums that are named over and over

470
00:16:55,000 --> 00:16:57,000
again by corporations.

471
00:16:57,000 --> 00:16:59,000
In Houston, we're trying to figure out

472
00:16:59,000 --> 00:17:01,000
what to do with that Enron Stadium thing.

473
00:17:01,000 --> 00:17:03,000
(Laughter) And fine arts and education

474
00:17:03,000 --> 00:17:05,000
in the schools is disappearing, and we have

475
00:17:05,000 --> 00:17:07,000
a government that seems like it's gutting

476
00:17:07,000 --> 00:17:09,000
the NEA and other programs,

477
00:17:09,000 --> 00:17:11,000
so we have to really stop and think,

478
00:17:11,000 --> 00:17:13,000
what are we trying to do

479
00:17:13,000 --> 00:17:15,000
with the sciences and the arts?

480
00:17:15,000 --> 00:17:17,000
There's a need to revitalize them.

481
00:17:17,000 --> 00:17:19,000
We have to pay attention to it. I just want

482
00:17:19,000 --> 00:17:21,000
to tell you really quickly what I'm doing.

483
00:17:21,000 --> 00:17:27,000
(Applause)

484
00:17:27,000 --> 00:17:29,000
I want to tell you what I've been doing

485
00:17:29,000 --> 00:17:33,000
a little bit since... I feel this need

486
00:17:33,000 --> 00:17:35,000
to sort of integrate some of the ideas

487
00:17:35,000 --> 00:17:37,000
that I've had and run across over time.

488
00:17:37,000 --> 00:17:40,000
One of the things that I found out

489
00:17:40,000 --> 00:17:42,000
is that there's a need to repair

490
00:17:42,000 --> 00:17:44,000
the dichotomy between the mind and body

491
00:17:44,000 --> 00:17:46,000
as well. My mother always told me,

492
00:17:46,000 --> 00:17:48,000
you have to be observant, know what's

493
00:17:48,000 --> 00:17:50,000
going on in your mind and your body,

494
00:17:50,000 --> 00:17:52,000
and as a dancer I had this tremendous

495
00:17:52,000 --> 00:17:54,000
faith in my ability to know my body,

496
00:17:54,000 --> 00:17:56,000
just as I knew how to sense colors.

497
00:17:56,000 --> 00:17:58,000
Then I went to medical school, and I was

498
00:17:58,000 --> 00:18:00,000
supposed to just go on

499
00:18:00,000 --> 00:18:02,000
what the machine said about bodies.

500
00:18:02,000 --> 00:18:04,000
You know, you would ask patients

501
00:18:04,000 --> 00:18:06,000
questions and some people would tell you,

502
00:18:06,000 --> 00:18:08,000
"Don't, don't, don't listen to what

503
00:18:08,000 --> 00:18:10,000
the patients said." We know that patients

504
00:18:10,000 --> 00:18:12,000
know and understand their bodies better,

505
00:18:12,000 --> 00:18:14,000
but these days we're trying to divorce them

506
00:18:14,000 --> 00:18:16,000
from that idea. We have to reconcile the

507
00:18:16,000 --> 00:18:18,000
patient's knowledge of their body

508
00:18:18,000 --> 00:18:20,000
with physician's measurements.

509
00:18:20,000 --> 00:18:22,000
We had someone talk about

510
00:18:22,000 --> 00:18:24,000
measuring emotions and getting machines

511
00:18:24,000 --> 00:18:26,000
to figure out what, to keep us

512
00:18:26,000 --> 00:18:28,000
from acting crazy. Right?

513
00:18:28,000 --> 00:18:30,000
No, we shouldn't measure,

514
00:18:30,000 --> 00:18:32,000
we shouldn't use machines

515
00:18:32,000 --> 00:18:34,000
to measure road rage and then do

516
00:18:34,000 --> 00:18:36,000
something to keep us from engaging in it.

517
00:18:36,000 --> 00:18:38,000
Maybe we can have machines help us

518
00:18:38,000 --> 00:18:40,000
to recognize that we have road rage and

519
00:18:40,000 --> 00:18:42,000
then we need to know how to control that

520
00:18:42,000 --> 00:18:44,000
without the machines. We even need to be

521
00:18:44,000 --> 00:18:46,000
able to recognize that without the machines.

522
00:18:46,000 --> 00:18:48,000
What I'm very concerned about

523
00:18:48,000 --> 00:18:50,000
is how do we bolster our self-awareness

524
00:18:50,000 --> 00:18:53,000
as humans, as biological organisms?

525
00:18:53,000 --> 00:18:55,000
Michael Moschen spoke of having to teach

526
00:18:55,000 --> 00:18:57,000
and learn how to feel with my eyes,

527
00:18:57,000 --> 00:19:00,000
to see with my hands.

528
00:19:00,000 --> 00:19:03,000
We have all kinds of possibilities to use

529
00:19:03,000 --> 00:19:05,000
our senses by, and that's

530
00:19:05,000 --> 00:19:07,000
what we have to do.

531
00:19:07,000 --> 00:19:09,000
That's what I want to do, is to try to use

532
00:19:09,000 --> 00:19:12,000
bioinstrumentation, those kind of things

533
00:19:12,000 --> 00:19:14,000
to help our senses in what we do,

534
00:19:14,000 --> 00:19:17,000
and that's the work I've been doing now as

535
00:19:17,000 --> 00:19:19,000
a company called BioSentient Corporation.

536
00:19:19,000 --> 00:19:21,000
I figured I'd have to do that ad, because

537
00:19:21,000 --> 00:19:23,000
I'm an entrepreneur, because entrepreneur

538
00:19:23,000 --> 00:19:25,000
says that that's somebody who does what

539
00:19:25,000 --> 00:19:27,000
they want to do because they're not broke

540
00:19:27,000 --> 00:19:29,000
enough that they have to get a real job.

541
00:19:29,000 --> 00:19:31,000
(Laughter) But that's the work I'm doing

542
00:19:31,000 --> 00:19:33,000
with BioSentient Corporation trying to figure

543
00:19:33,000 --> 00:19:35,000
out how do we integrate these things?

544
00:19:35,000 --> 00:19:37,000
Let me finish by saying that

545
00:19:37,000 --> 00:19:40,000
my personal design issue for the future

546
00:19:40,000 --> 00:19:42,000
is really about integrating, to think about

547
00:19:42,000 --> 00:19:45,000
that intuitive and that analytical.

548
00:19:45,000 --> 00:19:49,000
The arts and sciences are not separate.

549
00:19:49,000 --> 00:19:51,000
High school physics lesson before you

550
00:19:51,000 --> 00:19:53,000
leave. High school physics teacher used to

551
00:19:53,000 --> 00:19:55,000
hold up a ball. She would say this ball

552
00:19:55,000 --> 00:19:57,000
has potential energy, but nothing

553
00:19:57,000 --> 00:19:59,000
will happen to it, it can't do any work

554
00:19:59,000 --> 00:20:01,000
until I drop it and it changes states.

555
00:20:01,000 --> 00:20:04,000
I like to think of ideas as potential energy.

556
00:20:04,000 --> 00:20:06,000
They're really wonderful, but nothing

557
00:20:06,000 --> 00:20:09,000
will happen until we risk

558
00:20:09,000 --> 00:20:11,000
putting them into action.

559
00:20:11,000 --> 00:20:13,000
This conference is filled

560
00:20:13,000 --> 00:20:15,000
with wonderful ideas.

561
00:20:15,000 --> 00:20:17,000
We're going to share lots of things

562
00:20:17,000 --> 00:20:19,000
with people, but nothing's going to happen

563
00:20:19,000 --> 00:20:22,000
until we risk putting those ideas into action.

564
00:20:22,000 --> 00:20:24,000
We need to revitalize the arts and sciences

565
00:20:24,000 --> 00:20:26,000
of today, we need to take responsibility

566
00:20:26,000 --> 00:20:28,000
for the future. We can't hide behind saying

567
00:20:28,000 --> 00:20:31,000
it's just for company profits,

568
00:20:31,000 --> 00:20:33,000
or it's just a business, or I'm an artist

569
00:20:33,000 --> 00:20:35,000
or an academician.

570
00:20:35,000 --> 00:20:37,000
Here's how you judge what you're doing.

571
00:20:37,000 --> 00:20:39,000
I talked about that balance between

572
00:20:39,000 --> 00:20:41,000
intuitive, analytical.

573
00:20:41,000 --> 00:20:44,000
Fran Lebowitz, my favorite cynic,

574
00:20:44,000 --> 00:20:46,000
she said the three questions

575
00:20:46,000 --> 00:20:48,000
of greatest concern, now I'm going to

576
00:20:48,000 --> 00:20:50,000
add on to design, is,

577
00:20:50,000 --> 00:20:52,000
"Is it attractive?"

578
00:20:52,000 --> 00:20:54,000
That's the intuitive.

579
00:20:54,000 --> 00:20:57,000
"Is it amusing?" The analytical.

580
00:20:57,000 --> 00:20:59,000
"And does it know its place?"

581
00:20:59,000 --> 00:21:02,000
The balance. Thank you very much.

582
00:21:02,000 --> 00:21:04,000
(Applause)