WEBVTT

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What I want to do today is spend
some time talking about some stuff

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that's giving me a little bit
of existential angst,

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for lack of a better word,

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over the past couple of years.

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And basically, these three quotes
tell what's going on.

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"When God made the color purple,
God was just showing off,"

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Alice Walker wrote in "The Color Purple."

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And Zora Neale Hurston wrote
in "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,
when I think about the near future,

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we have this attitude, "Well,
whatever happens, happens."

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Right?

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So that goes along with
the Cheshire Cat saying,

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"If you don't care much
where you want to get to,

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

NOTE Paragraph

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But I think it does matter which way
we go and what road we take,

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because when I think
about design in the near future,

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what I think are the most
important issues,

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what's really crucial and vital,

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is that we need to revitalize
the arts and sciences right now,

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in 2002.

NOTE Paragraph

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(Applause)

NOTE Paragraph

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If we describe the near future
as 10, 20, 15 years from now,

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that means that what we do today
is going to be critically important,

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because in the year 2015,
in the year 2020, 2025,

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the world 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 hearing about

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here at the TED conference

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that we take for granted
in the world right now,

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were really knowledge
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 today.

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Whether it's the internet,

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genetic engineering, laser scanners,

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guided missiles, fiber optics,
high-definition television,

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remote sensing from space
and the wonderful remote-sensing photos

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that we see in 3D weaving, TV programs
like Tracker and Enterprise,

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CD-rewrite drives, flat-screen,
Alvin Ailey's "Suite Otis,"

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or Sarah Jones's "Your Revolution Will
Not [Happen] Between These Thighs,"

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which, by the way, was banned by the FCC,

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or ska --

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all of these things, without question,
almost without exception,

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are really based on ideas
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 right now?

NOTE Paragraph

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And when I think about it,

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I'm really worried.

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To be quite frank, I'm concerned.

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I'm skeptical that we're doing
very much of anything.

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We're, in a sense,

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failing to act in the future.

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We're purposefully,
consciously being laggards.

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We're lagging behind.

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Frantz Fanon, who was a psychiatrist
from Martinique, said,

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"Each generation must,
out of relative obscurity,

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discover its mission

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and fulfill or betray it."

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What is our mission?
What do we have to do?

NOTE Paragraph

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I think our mission is
to reconcile, to reintegrate

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science and the arts,

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because right now, there's a schism
that exists in popular culture.

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People have this idea that science
and the arts are really separate;

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we think of them as separate
and different things.

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And this idea was 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 society every day

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that, if we keep thinking that the arts
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 one,"

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then we're going to have problems.

NOTE Paragraph

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Now, I know no one
here at TED thinks this.

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All of us, we already know
that they're very connected.

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But I'm going to let you know
that some folks in the outside world,

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believe it or not,
think it's neat when they say,

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"Scientists and science is not creative.

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Maybe scientists are ingenious,
but they're not creative."

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And then we have this tendency,

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the career 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."

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And when these concepts
underlie our teaching

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and what we think about the world,

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then we have a problem,

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because we stymie support for everything.

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By accepting this dichotomy,

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whether it's tongue-in-cheek,

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when we attempt
to accommodate it in our world,

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and we try to build
our foundation for the world,

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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'll go to something
where they think,

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"Well, I can be creative
and logical at the same time."

NOTE Paragraph

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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,

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and I always resented the fact
that I wasn't old enough to be a hippie.

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And I know there are people here,
the younger generation,

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who want to be hippies.

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People talk about the '60s all the time.

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And they talk about the anarchy
that was there.

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But when I think about the '60s,

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what I took away from it was
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
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 people trying to use
the Prime Directive from Star Trek,

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being involved in things,

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or, again, that three-dimensional
weaving and fax machines

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that I read about in my weekly readers

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that the technology and engineering
was just getting started.

NOTE Paragraph

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But the '60s left me with a problem.

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You see, I always assumed
I would go into space,

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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 a little girl and as a teenager,

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I loved designing and making doll clothes

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and wanting to be a fashion designer.

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I took art and ceramics.

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I loved dance: Lola Falana,
Alvin Ailey, Jerome Robbins.

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And I also avidly followed
the Gemini and the Apollo programs.

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I had science projects
and tons of astronomy books.

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I took calculus and philosophy.

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I wondered about infinity
and the Big Bang theory.

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And when I was at Stanford,
I found myself, my senior year,

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chemical engineering major,

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half the folks thought I was a political
science and performing arts major,

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which was sort of 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

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juggling chemical engineering
separation processes,

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logic classes, nuclear magnetic
resonance spectroscopy,

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and also producing and choreographing
a dance production.

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And I had to do the lighting
and the design work,

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and I was trying to figure out:

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Do I go to New York City
to try to become a professional dancer,

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or to go to medical school?

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Now, my mother helped
me figure that one out.

NOTE Paragraph

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(Laughter)

NOTE Paragraph

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But when I went into space,
I carried a number of things up with me.

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I carried a poster by Alvin Ailey --

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you can figure out now,
I love the dance company --

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an Alvin Ailey poster of Judith Jamison
performing the dance "Cry,"

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dedicated to all black women everywhere;

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a Bundu statue, which was from
the women's society in Sierra Leone;

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and a certificate for the Chicago
Public School students

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to work to 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,

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that we were required to have
to conceive and build and launch

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the space shuttle,

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which springs from the same source
as the imagination and analysis

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that it took to carve a Bundu statue,

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or the ingenuity it took to design,
choreograph and stage "Cry."

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Each one of them are different
manifestations, incarnations,

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of creativity --
avatars of human creativity.

NOTE Paragraph

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And that's what we have to
reconcile in our minds,

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how these things fit together.

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The difference between arts and sciences
is not analytical versus intuitive.

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Right?

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E = mc2 required an intuitive leap,

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and then you had to do
the analysis afterwards.

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Einstein said, in fact,

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"The most beautiful thing
we can experience

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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 to express

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the jubilation in life,

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but then you have to figure out:

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Exactly what movement do I do

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to make sure it comes across correctly?

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The difference between arts and sciences

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is also not constructive
versus deconstructive.

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A lot of people think of the sciences
as deconstructive,

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you have to pull things apart.

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And yeah, subatomic physics
is deconstructive --

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you literally try to tear atoms apart

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to understand what's inside of them.

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But sculpture, from what I understand
from great sculptors,

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is deconstructive,

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because you see a piece and you remove
what doesn't need to be there.

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Biotechnology is constructive.

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Orchestral arranging is constructive.

NOTE Paragraph

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So, in fact, we use constructive
and deconstructive techniques

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in everything.

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The difference
between science and the arts

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is not that they are different sides
of the same coin, even,

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or even different parts
of the same continuum,

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but rather, 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're different
harmonic resonances of a superstring.

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But we'll leave that alone.

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They spring from the same source.

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The arts and sciences are avatars
of human creativity.

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It's our attempt as humans

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to build an understanding
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.

NOTE Paragraph

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The sciences, to me, are manifestations
of our attempt to express or share

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our understanding, our experience,

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to influence the universe
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 by everyone.

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The arts manifest our desire,

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our attempt to share or influence others

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through experiences
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
of a universal experience,

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and arts provide 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 all part of a continuum.

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

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the mathematics and the numerical stuff
and the statistics,

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because we heard, very much on this stage,

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people talked about music
being mathematical.

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Arts don't just use clay,

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aren't the only ones that use clay,
light and sound and movement.

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They use analysis as well.

NOTE Paragraph

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So people might say,

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"Well, I still like that intuitive
versus analytical thing,"

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because everybody wants to do
the right brain, left brain thing.

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We've all been accused of being
right-brained or left-brained

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at some point in time,

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depending on who we disagreed with.

NOTE Paragraph

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(Laughter)

NOTE Paragraph

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You know, people say "intuitive" --

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

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in touch with yourself and relationships;

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analytical, you put your mind to work.

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I'm going to tell you a little secret.
You all know this, though.

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But sometimes people use
this analysis idea,

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that things are outside of ourselves,

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to say, this is what
we're going to elevate

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as the true, most important
sciences, right?

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Then you have artists -- and you all 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,
they're disconnected from 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
what I'm talking about.

NOTE Paragraph

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(Laughter)

NOTE Paragraph

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We had folks talking
about the Flat Earth Society

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and flower arrangers,

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so there's this whole dichotomy

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that we continue 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 either one,

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intuitive versus analytical.

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That's a foolish choice.

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It's foolish just like trying to choose
between being realistic or idealistic.

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You need both in life.

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Why do people do this?

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I'm going to quote
a molecular biologist, Sydney Brenner,

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who's 70 years old, so he can say this.

00:12:06.653 --> 00:12:09.866
He said, "It's always important
to distinguish between chastity

00:12:09.890 --> 00:12:11.114
and impotence."

00:12:11.500 --> 00:12:12.685
Now --

NOTE Paragraph

00:12:12.709 --> 00:12:14.812
(Laughter)

NOTE Paragraph

00:12:14.836 --> 00:12:20.646
I want to share with you
a little equation, OK?

00:12:20.670 --> 00:12:25.867
How does understanding science
and the arts fit into our lives

00:12:25.891 --> 00:12:27.046
and what's going on

00:12:27.070 --> 00:12:30.173
and the things we're talking about
here at the design conference?

00:12:30.197 --> 00:12:32.275
And this is a little thing I came up with:

00:12:32.299 --> 00:12:33.466
understanding

00:12:33.490 --> 00:12:35.333
and our resources and our will

00:12:35.844 --> 00:12:37.155
cause us to have outcomes.

00:12:37.179 --> 00:12:40.263
Our understanding is our science,
our arts, our religion;

00:12:40.287 --> 00:12:42.622
how we see the universe around us;

00:12:42.646 --> 00:12:45.343
our resources, our money,
our labor, our minerals --

00:12:45.367 --> 00:12:48.531
those things that are out there
in the world we have to work with.

00:12:48.555 --> 00:12:50.531
But more importantly, there's our will.

00:12:51.202 --> 00:12:52.371
This is our vision,

00:12:52.395 --> 00:12:54.984
our aspirations of the future,
our hopes, our dreams,

00:12:55.008 --> 00:12:56.389
our struggles and our fears.

00:12:56.413 --> 00:13:00.112
Our successes and our failures influence
what we do with all of those.

00:13:00.136 --> 00:13:04.257
And to me, design and engineering,
craftsmanship and skilled labor,

00:13:04.281 --> 00:13:07.455
are all the things that work
on this to have our outcome,

00:13:07.479 --> 00:13:09.287
which is our human quality of life.

00:13:10.067 --> 00:13:12.043
Where do we want the world to be?

00:13:12.446 --> 00:13:13.613
And guess what?

00:13:13.637 --> 00:13:15.285
Regardless of how we look at this,

00:13:15.309 --> 00:13:18.266
whether we look at arts and sciences
as separate or different,

00:13:18.290 --> 00:13:21.515
they're both being influenced now
and they're both having problems.

NOTE Paragraph

00:13:21.539 --> 00:13:23.628
I did a project called
S.E.E.ing the Future:

00:13:23.652 --> 00:13:25.349
Science, Engineering and Education.

00:13:25.373 --> 00:13:27.079
It was looking at how to shed light

00:13:27.103 --> 00:13:29.372
on the most effective use
of government funding.

00:13:29.396 --> 00:13:32.262
We got a bunch of scientists
in all stages of their careers.

00:13:32.286 --> 00:13:34.784
They came to Dartmouth College,
where I was teaching.

00:13:34.808 --> 00:13:37.444
And they talked about,
with theologians and financiers:

00:13:37.468 --> 00:13:39.593
What are some of the issues
of public funding

00:13:39.617 --> 00:13:41.441
for science and engineering research?

00:13:41.465 --> 00:13:43.066
What's most important about it?

00:13:43.738 --> 00:13:45.342
There are some ideas that emerged

00:13:45.366 --> 00:13:48.014
that I think have really
powerful parallels to the arts.

NOTE Paragraph

00:13:48.038 --> 00:13:50.538
The first thing they said
was that the circumstances

00:13:50.562 --> 00:13:53.960
that we find ourselves in today
in the sciences and engineering

00:13:53.984 --> 00:13:55.563
that made us world leaders

00:13:55.587 --> 00:14:00.844
are very different than the '40s,
the '50s, and the '60s and the '70s,

00:14:00.868 --> 00:14:02.480
when we emerged as world leaders,

00:14:02.504 --> 00:14:04.957
because we're no longer
in competition with fascism,

00:14:04.981 --> 00:14:06.376
with Soviet-style communism.

00:14:06.400 --> 00:14:09.772
And by the way, that competition
wasn't just military;

00:14:09.796 --> 00:14:14.229
it included social competition
and political competition as well,

00:14:14.253 --> 00:14:17.861
that allowed us to look at space
as one of those platforms

00:14:17.885 --> 00:14:20.226
to prove that our social
system was better.

NOTE Paragraph

00:14:20.250 --> 00:14:23.567
Another thing they talked
about was that the infrastructure

00:14:23.591 --> 00:14:24.936
that supports the sciences

00:14:24.960 --> 00:14:26.258
is becoming obsolete.

00:14:26.282 --> 00:14:28.778
We look at universities and colleges --

00:14:28.802 --> 00:14:31.960
small, mid-sized community colleges
across the country --

00:14:31.984 --> 00:14:34.398
their laboratories are becoming obsolete.

00:14:34.422 --> 00:14:37.072
And this is where we train
most of our science workers

00:14:37.096 --> 00:14:40.330
and our researchers --
and our teachers, by the way.

00:14:40.354 --> 00:14:45.107
And there's a media that doesn't support
the dissemination of any more than

00:14:45.131 --> 00:14:48.019
the most mundane and inane of information.

00:14:48.043 --> 00:14:51.461
There's pseudoscience, crop circles,
alien autopsy, haunted houses,

00:14:51.485 --> 00:14:52.703
or disasters.

00:14:52.727 --> 00:14:54.101
And that's what we see.

00:14:54.125 --> 00:14:57.448
This isn't really the information you need
to operate in everyday life

00:14:57.472 --> 00:14:59.864
and figure out how to participate
in this democracy

00:14:59.888 --> 00:15:01.590
and determine what's going on.

NOTE Paragraph

00:15:01.614 --> 00:15:04.379
They also said there's a change
in the corporate mentality.

00:15:04.403 --> 00:15:06.565
Whereas government money
had always been there

00:15:06.589 --> 00:15:08.680
for basic science
and engineering research,

00:15:08.704 --> 00:15:12.466
we also counted on some companies
to do some basic research.

00:15:12.490 --> 00:15:15.311
But what's happened now
is companies put more energy

00:15:15.335 --> 00:15:17.870
into short-term product development

00:15:18.637 --> 00:15:21.845
than they do in basic engineering
and science research.

00:15:23.408 --> 00:15:26.083
And education is not keeping up.

00:15:26.107 --> 00:15:29.766
In K through 12, people
are taking out wet labs.

00:15:29.790 --> 00:15:31.866
They think if we put
a computer in the room,

00:15:31.890 --> 00:15:35.162
it's going to take the place
of actually mixing the acids

00:15:35.186 --> 00:15:36.685
or growing the potatoes.

00:15:36.709 --> 00:15:39.017
And government funding
is decreasing in spending,

00:15:39.041 --> 00:15:41.836
and then they're saying,
let's have corporations take over,

00:15:41.860 --> 00:15:43.016
and that's not true.

00:15:43.040 --> 00:15:46.226
Government funding
should at least do things

00:15:46.250 --> 00:15:50.181
like recognize cost benefits
of basic science and engineering research.

00:15:50.205 --> 00:15:53.298
We have to know that we have
a responsibility as global citizens

00:15:53.322 --> 00:15:54.480
in this world.

00:15:54.504 --> 00:15:56.550
We have to look at
the education of humans.

00:15:56.574 --> 00:15:59.909
We need to build our resources today
to make sure that they're trained

00:15:59.933 --> 00:16:02.307
so they understand
the importance of these things.

00:16:02.331 --> 00:16:05.555
And we have to support
the vitality of science.

00:16:05.579 --> 00:16:09.502
That doesn't mean that everything has
to have one thing that's going to go on,

00:16:09.526 --> 00:16:12.400
or that we know exactly what's going
to be the outcome of it,

00:16:12.424 --> 00:16:15.483
but that we support the vitality
and the intellectual curiosity

00:16:15.507 --> 00:16:16.755
that goes along [with it].

NOTE Paragraph

00:16:16.779 --> 00:16:19.302
And if you think about
those parallels to the arts --

00:16:19.326 --> 00:16:23.396
the competition
with the Bolshoi Ballet spurred

00:16:23.420 --> 00:16:26.669
the Joffrey and the New York
City Ballet to become better.

00:16:26.693 --> 00:16:30.895
Infrastructure, museums, theaters,
movie houses across the country

00:16:30.919 --> 00:16:32.071
are disappearing.

00:16:32.095 --> 00:16:34.534
We have more television stations
with less to watch,

00:16:34.558 --> 00:16:38.317
we have more money spent on rewrites

00:16:38.341 --> 00:16:40.226
to get old television programs

00:16:40.250 --> 00:16:41.607
in the movies.

00:16:42.401 --> 00:16:44.773
We have corporate funding now that,

00:16:44.797 --> 00:16:48.158
when it goes to support the arts,

00:16:48.182 --> 00:16:51.361
it almost requires that the product
be part of the picture

00:16:51.385 --> 00:16:52.682
that the artist draws.

00:16:52.706 --> 00:16:56.611
We have stadiums that are named
over and over again by corporations.

00:16:56.635 --> 00:17:00.417
In Houston, we're trying to figure out
what to do with that Enron Stadium thing.

NOTE Paragraph

00:17:00.441 --> 00:17:01.460
(Laughter)

NOTE Paragraph

00:17:01.484 --> 00:17:04.365
Fine arts and education
in the schools is disappearing,

00:17:04.389 --> 00:17:08.119
And we have a government
that seems like it's gutting the NEA

00:17:08.143 --> 00:17:09.306
and other programs.

00:17:09.330 --> 00:17:11.429
So we have to really stop and think:

00:17:11.453 --> 00:17:14.485
What are we trying to do
with the sciences and the arts?

00:17:14.509 --> 00:17:16.382
There's a need to revitalize them.

00:17:16.406 --> 00:17:17.977
We have to pay attention to it.

00:17:18.001 --> 00:17:20.758
I just want to tell you quickly
what I'm doing --

NOTE Paragraph

00:17:21.091 --> 00:17:26.971
(Applause)

NOTE Paragraph

00:17:28.039 --> 00:17:31.447
I want to tell you what I've been doing
a little bit since ...

00:17:31.988 --> 00:17:35.430
I feel this need to sort of
integrate some of the ideas

00:17:35.454 --> 00:17:37.854
that I've had and run across over time.

NOTE Paragraph

00:17:37.878 --> 00:17:42.226
One of the things that I found out
is that there's a need to repair

00:17:42.250 --> 00:17:44.813
the dichotomy between the mind
and body as well.

00:17:44.837 --> 00:17:47.486
My mother always told me,
you have to be observant,

00:17:47.510 --> 00:17:49.752
know what's going on
in your mind and your body.

00:17:49.776 --> 00:17:53.450
And as a dancer, I had this tremendous
faith in my ability to know my body,

00:17:53.474 --> 00:17:55.450
just as I knew how to sense colors.

00:17:55.956 --> 00:17:57.615
Then I went to medical school,

00:17:58.297 --> 00:18:02.488
and I was supposed to just go on
what the machine said about bodies.

00:18:02.512 --> 00:18:06.060
You know, you would ask patients questions
and some people would tell you,

00:18:06.084 --> 00:18:07.992
"Don't listen to what the patient said."

00:18:08.016 --> 00:18:10.960
We know that patients know
and understand their bodies better,

00:18:10.984 --> 00:18:14.494
but these days we're trying
to divorce them from that idea.

00:18:14.518 --> 00:18:18.410
We have to reconcile
the patient's knowledge of their body

00:18:18.434 --> 00:18:20.027
with physicians' measurements.

NOTE Paragraph

00:18:21.328 --> 00:18:24.245
We had someone talk about
measuring emotions

00:18:24.269 --> 00:18:28.226
and getting machines to figure out
what to keep us from acting crazy.

00:18:29.030 --> 00:18:30.415
No, we shouldn't measure.

00:18:30.439 --> 00:18:32.748
We shouldn't use machines
to measure road rage

00:18:32.772 --> 00:18:35.281
and then do something to keep
us from engaging in it.

00:18:35.305 --> 00:18:39.273
Maybe we can have machines help us
to recognize that we have road rage,

00:18:39.297 --> 00:18:42.478
and then we need to know
how to control that without the machines.

00:18:42.502 --> 00:18:45.763
We even need to be able to recognize that
without the machines.

00:18:45.787 --> 00:18:48.289
What I'm very concerned about is:

00:18:48.313 --> 00:18:53.962
How do we bolster our self-awareness
as humans, as biological organisms?

00:18:53.986 --> 00:18:56.795
Michael Moschen spoke of having to teach

00:18:56.819 --> 00:19:01.396
and learn how to feel with my eyes,
to see with my hands.

00:19:01.420 --> 00:19:05.407
We have all kinds of possibilities
to use our senses by,

00:19:05.431 --> 00:19:07.580
and that's what we have to do.

00:19:07.604 --> 00:19:09.435
That's what I want to do --

00:19:09.459 --> 00:19:12.836
to try to use bioinstrumentation,
those kind of things,

00:19:12.860 --> 00:19:15.945
to help our senses in what we do.

NOTE Paragraph

00:19:15.969 --> 00:19:17.688
That's the work I've been doing now,

00:19:17.712 --> 00:19:19.774
as a company called
BioSentient Corporation.

00:19:19.798 --> 00:19:22.721
I figured I'd have to do that ad,
because I'm an entrepreneur,

00:19:22.745 --> 00:19:26.896
and "entrepreneur" says "somebody
who does what they want to do,

00:19:26.920 --> 00:19:30.097
because they're not broke enough
that they have to get a real job."

NOTE Paragraph

00:19:30.121 --> 00:19:31.123
(Laughter)

NOTE Paragraph

00:19:31.147 --> 00:19:33.737
But that's the work I'm doing,
BioSentient Corporation,

00:19:33.761 --> 00:19:36.357
trying to figure out:
How do we integrate these things?

00:19:36.381 --> 00:19:41.058
Let me finish by saying that
my personal design issue for the future

00:19:41.082 --> 00:19:43.044
is really about integrating;

00:19:43.068 --> 00:19:45.885
to think about that intuitive
and that analytical.

00:19:45.909 --> 00:19:48.214
The arts and sciences are not separate.

NOTE Paragraph

00:19:49.090 --> 00:19:51.530
High school physics
lesson before you leave:

00:19:51.554 --> 00:19:53.944
high school physics teacher
used to hold up a ball.

00:19:53.968 --> 00:19:56.688
She would say, "This ball
has potential energy.

00:19:56.712 --> 00:19:59.215
But nothing will happen to it,
it can't do any work,

00:19:59.239 --> 00:20:01.286
until I drop it and it changes states."

00:20:02.081 --> 00:20:04.738
I like to think of ideas
as potential energy.

00:20:04.762 --> 00:20:06.598
They're really wonderful,

00:20:06.622 --> 00:20:10.892
but nothing will happen
until we risk putting them into action.

NOTE Paragraph

00:20:10.916 --> 00:20:14.707
This conference is filled
with wonderful ideas.

00:20:15.122 --> 00:20:17.629
We're going to share
lots of things with people.

00:20:17.653 --> 00:20:19.366
But nothing's going to happen

00:20:19.390 --> 00:20:22.508
until we risk putting
those ideas into action.

00:20:22.532 --> 00:20:25.260
We need to revitalize
the arts and sciences today.

00:20:25.284 --> 00:20:27.779
We need to take responsibility
for the future.

00:20:27.803 --> 00:20:31.427
We can't hide behind saying
it's just for company profits,

00:20:31.451 --> 00:20:32.678
or it's just a business,

00:20:32.702 --> 00:20:34.947
or I'm an artist or an academician.

NOTE Paragraph

00:20:35.709 --> 00:20:37.741
Here's how you judge what you're doing:

00:20:37.765 --> 00:20:41.226
I talked about that balance
between intuitive, analytical.

00:20:42.270 --> 00:20:45.058
Fran Lebowitz, my favorite cynic,

00:20:45.082 --> 00:20:47.665
said, "The three questions
of greatest concern ..." --

00:20:47.689 --> 00:20:49.556
now I'm going to add on to design --

00:20:49.580 --> 00:20:51.756
"... are: Is it attractive?"

00:20:52.969 --> 00:20:54.663
That's the intuitive.

00:20:54.687 --> 00:20:57.278
"Is it amusing?" -- the analytical,

00:20:57.302 --> 00:20:59.987
and, "Does it know
its place?" -- the balance.

NOTE Paragraph

00:21:00.011 --> 00:21:01.183
Thank you very much.

NOTE Paragraph

00:21:01.207 --> 00:21:03.865
(Applause)