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VietGPT 24

Chris Anderson: William, hi. Good to see you. William Kamkwamba: Thanks. CA: So, we've got a picture, I think? Where is this? WK: This is my home. This is where I live. CA: Where? What country? WK: In Malawi, Kasungu. In Kasungu. Yeah, Mala. CA: OK. Now, you're 19 now? WK: Yeah. I'm 19 years now. CA: Five years ago you had an idea. What was that? WK: I wanted to make a windmill. CA: A windmill? WK: Yeah. CA: What, to power -- for lighting and stuff? WK: Yeah. CA: So what did you do? How did you realize that? WK: After I dropped out of school, I went to library, and I read a book that would -- "Using Energy," and I get information about doing the mill. And I tried, and I made it. (Applause) CA: So you copied -- you exactly copied the design in the book. WK: Ah, no. I just -- CA: What happened? WK: In fact, a design of the windmill that was in the book, it has got four -- ah -- three blades, and mine has got four blades. CA: The book had three, yours had four. WK: Yeah. CA: And you made it out of what? WK: I made four blades, just because I want to increase power. CA: OK. WK: Yeah. CA: You tested three, and found that four worked better? WK: Yeah. I test. CA: And what did you make the windmill out of? What materials did you use? WK: I use a bicycle frame, and a pulley, and plastic pipe, what then pulls -- CA: Do we have a picture of that? Can we have the next slide? WK: Yeah. The windmill. CA: And so, and that windmill, what -- it worked? WK: When the wind blows, it rotates and generates. CA: How much electricity? WK: 12 watts. CA: And so, that lit a light for the house? How many lights? WK: Four bulbs and two radios. CA: Wow. WK: Yeah. (Applause) CA: Next slide -- so who's that? WK: This is my parents, holding the radio. CA: So what did they make of -- that you were 14, 15 at the time -- what did they make of this? They were impressed? WK: Yeah. CA: And so what's your -- what are you going to do with this? WK: Um -- CA: What do you -- I mean -- do you want to build another one? WK: Yeah, I want to build another one -- to pump water and irrigation for crops. CA: So this one would have to be bigger? WK: Yeah. CA: How big? WK: I think it will produce more than 20 the watts. CA: So that would produce irrigation for the entire village? WK: Yeah. CA: Wow. And so you're talking to people here at TED to get people who might be able to help in some way to realize this dream? WK: Yeah, if they can help me with materials, yeah. CA: And as you think of your life going forward, you're 19 now, do you picture continuing with this dream of working in energy? WK: Yeah. I'm still thinking to work on energy. CA: Wow. William, it's a real honor to have you at the TED conference. Thank you so much for coming. WK: Thank you. (Applause)

Thank you. Two years ago, I stood on the TED stage in Arusha, Tanzania. I spoke very briefly about one of my proudest creations. It was a simple machine that changed my life. Before that time, I had never been away from my home in Malawi. I had never used a computer. I had never seen an Internet. On the stage that day, I was so nervous. My English lost, I wanted to vomit. (Laughter) I had never been surrounded by so many azungu, white people. (Laughter) There was a story I wouldn't tell you then. But well, I'm feeling good right now. I would like to share that story today. We have seven children in my family. All sisters, excepting me. This is me with my dad when I was a little boy. Before I discovered the wonders of science, I was just a simple farmer in a country of poor farmers. Like everyone else, we grew maize. One year our fortune turned very bad. In 2001 we experienced an awful famine. Within five months all Malawians began to starve to death. My family ate one meal per day, at night. Only three swallows of nsima for each one of us. The food passes through our bodies. We drop down to nothing. In Malawi, the secondary school, you have to pay school fees. Because of the hunger, I was forced to drop out of school. I looked at my father and looked at those dry fields. It was the future I couldn't accept. I felt very happy to be at the secondary school, so I was determined to do anything possible to receive education. So I went to a library. I read books, science books, especially physics. I couldn't read English that well. I used diagrams and pictures to learn the words around them. Another book put that knowledge in my hands. It said a windmill could pump water and generate electricity. Pump water meant irrigation, a defense against hunger, which we were experiencing by that time. So I decided I would build one windmill for myself. But I didn't have materials to use, so I went to a scrap yard where I found my materials. Many people, including my mother, said I was crazy. (Laughter) I found a tractor fan, shock absorber, PVC pipes. Using a bicycle frame and an old bicycle dynamo, I built my machine. It was one light at first. And then four lights, with switches, and even a circuit breaker, modeled after an electric bell. Another machine pumps water for irrigation. Queues of people start lining up at my house (Laughter) to charge their mobile phone. (Applause) I could not get rid of them. (Laughter) And the reporters came too, which lead to bloggers and which lead to a call from something called TED. I had never seen an airplane before. I had never slept in a hotel. So, on stage that day in Arusha, my English lost, I said something like, "I tried. And I made it." So I would like to say something to all the people out there like me to the Africans, and the poor who are struggling with your dreams. God bless. Maybe one day you will watch this on the Internet. I say to you, trust yourself and believe. Whatever happens, don't give up. Thank you. (Applause)

This is a work in process, based on some comments that were made at TED two years ago about the need for the storage of vaccine. (Music) (Video) Narrator: On this planet, 1.6 billion people don't have access to electricity, refrigeration or stored fuels. This is a problem. It impacts: the spread of disease, the storage of food and medicine and the quality of life. So here's the plan: inexpensive refrigeration that doesn't use electricity, propane, gas, kerosene or consumables. Time for some thermodynamics. And the story of the Intermittent Absorption Refrigerator. Adam Grosser: So 29 years ago, I had this thermo teacher who talked about absorption and refrigeration. It's one of those things that stuck in my head. It was a lot like the Stirling engine: it was cool, but you didn't know what to do with it. And it was invented in 1858, by this guy Ferdinand Carre, but he couldn't actually build anything with it because of the tools of the time. This crazy Canadian named Powel Crosley commercialized this thing called the IcyBall in 1928, and it was a really neat idea, and I'll get to why it didn't work, but here's how it works. There's two spheres and they're separated in distance. One has a working fluid, water and ammonia, and the other is a condenser. You heat up one side, the hot side. The ammonia evaporates and it re-condenses in the other side. You let it cool to room temperature, and then, as the ammonia re-evaporates and combines with the water back on the erstwhile hot side, it creates a powerful cooling effect. So, it was a great idea that didn't work at all: it blew up. Because using ammonia you get hugely high pressures if you heated them wrong. It topped 400 psi. The ammonia was toxic. It sprayed everywhere. But it was kind of an interesting thought. So, the great thing about 2006 is there's a lot of really great computational work you can do. So, we got the whole thermodynamics department at Stanford involved -- a lot of computational fluid dynamics. We proved that most of the ammonia refrigeration tables are wrong. We found some non-toxic refrigerants that worked at very low vapor pressures. Brought in a team from the U.K. -- there's a lot of great refrigeration people, it turned out, in the U.K. -- and built a test rig, and proved that, in fact, we could make a low pressure, non-toxic refrigerator. So, this is the way it works. You put it on a cooking fire. Most people have cooking fires in the world, whether it's camel dung or wood. It heats up for about 30 minutes, cools for an hour. Put it into a container and it will refrigerate for 24 hours. It looks like this. This is the fifth prototype. It's not quite done. Weighs about eight pounds, and this is the way it works. You put it into a 15-liter vessel, about three gallons, and it'll cool it down to just above freezing -- three degrees above freezing -- for 24 hours in a 30 degree C environment. It's really cheap. We think we can build these in high volumes for about 25 dollars, in low volumes for about 40 dollars. And we think we can make refrigeration something that everybody can have. Thank you. (Applause)

Some 17 years ago, I became allergic to Delhi's air. My doctors told me that my lung capacity had gone down to 70 percent, and it was killing me. With the help of IIT, TERI, and learnings from NASA, we discovered that there are three basic green plants, common green plants, with which we can grow all the fresh air we need indoors to keep us healthy. We've also found that you can reduce the fresh air requirements into the building, while maintaining industry indoor air-quality standards. The three plants are Areca palm, Mother-in-Law's Tongue and money plant. The botanical names are in front of you. Areca palm is a plant which removes CO2 and converts it into oxygen. We need four shoulder-high plants per person, and in terms of plant care, we need to wipe the leaves every day in Delhi, and perhaps once a week in cleaner-air cities. We had to grow them in vermi manure, which is sterile, or hydroponics, and take them outdoors every three to four months. The second plant is Mother-in-law's Tongue, which is again a very common plant, and we call it a bedroom plant, because it converts CO2 into oxygen at night. And we need six to eight waist-high plants per person. The third plant is money plant, and this is again a very common plant; preferably grows in hydroponics. And this particular plant removes formaldehydes and other volatile chemicals. With these three plants, you can grow all the fresh air you need. In fact, you could be in a bottle with a cap on top, and you would not die at all, and you would not need any fresh air. We have tried these plants at our own building in Delhi, which is a 50,000-square-feet, 20-year-old building. And it has close to 1,200 such plants for 300 occupants. Our studies have found that there is a 42 percent probability of one's blood oxygen going up by one percent if one stays indoors in this building for 10 hours. The government of India has discovered or published a study to show that this is the healthiest building in New Delhi. And the study showed that, compared to other buildings, there is a reduced incidence of eye irritation by 52 percent, respiratory systems by 34 percent, headaches by 24 percent, lung impairment by 12 percent and asthma by nine percent. And this study has been published on September 8, 2008, and it's available on the government of India website. Our experience points to an amazing increase in human productivity by over 20 percent by using these plants. And also a reduction in energy requirements in buildings by an outstanding 15 percent, because you need less fresh air. We are now replicating this in a 1.75-million-square-feet building, which will have 60,000 indoor plants. Why is this important? It is also important for the environment, because the world's energy requirements are expected to grow by 30 percent in the next decade. 40 percent of the world's energy is taken up by buildings currently, and 60 percent of the world's population will be living in buildings in cities with a population of over one million in the next 15 years. And there is a growing preference for living and working in air-conditioned places. "Be the change you want to see in the world," said Mahatma Gandhi. And thank you for listening. (Applause)

My first love was for the night sky. Love is complicated. You're looking at a fly-through of the Hubble Space Telescope Ultra-Deep Field, one of the most distant images of our universe ever observed. Everything you see here is a galaxy, comprised of billions of stars each. And the farthest galaxy is a trillion, trillion kilometers away. As an astrophysicist, I have the awesome privilege of studying some of the most exotic objects in our universe. The objects that have captivated me from first crush throughout my career are supermassive, hyperactive black holes. Weighing one to 10 billion times the mass of our own sun, these galactic black holes are devouring material, at a rate of upwards of 1,000 times more than your "average" supermassive black hole. (Laughter) These two characteristics, with a few others, make them quasars. At the same time, the objects I study are producing some of the most powerful particle streams ever observed. These narrow streams, called jets, are moving at 99.99 percent of the speed of light, and are pointed directly at the Earth. These jetted, Earth-pointed, hyperactive and supermassive black holes are called blazars, or blazing quasars. What makes blazars so special is that they're some of the universe's most efficient particle accelerators, transporting incredible amounts of energy throughout a galaxy. Here, I'm showing an artist's conception of a blazar. The dinner plate by which material falls onto the black hole is called the accretion disc, shown here in blue. Some of that material is slingshotted around the black hole and accelerated to insanely high speeds in the jet, shown here in white. Although the blazar system is rare, the process by which nature pulls in material via a disk, and then flings some of it out via a jet, is more common. We'll eventually zoom out of the blazar system to show its approximate relationship to the larger galactic context. Beyond the cosmic accounting of what goes in to what goes out, one of the hot topics in blazar astrophysics right now is where the highest-energy jet emission comes from. In this image, I'm interested in where this white blob forms and if, as a result, there's any relationship between the jet and the accretion disc material. Clear answers to this question were almost completely inaccessible until 2008, when NASA launched a new telescope that better detects gamma ray light -- that is, light with energies a million times higher than your standard x-ray scan. I simultaneously compare variations between the gamma ray light data and the visible light data from day to day and year to year, to better localize these gamma ray blobs. My research shows that in some instances, these blobs form much closer to the black hole than we initially thought. As we more confidently localize where these gamma ray blobs are forming, we can better understand how jets are being accelerated, and ultimately reveal the dynamic processes by which some of the most fascinating objects in our universe are formed. This all started as a love story. And it still is. This love transformed me from a curious, stargazing young girl to a professional astrophysicist, hot on the heels of celestial discovery. Who knew that chasing after the universe would ground me so deeply to my mission here on Earth. Then again, when do we ever know where love's first flutter will truly take us. Thank you. (Applause)

I wrote this poem after hearing a pretty well known actress tell a very well known interviewer on television, "I'm really getting into the Internet lately. I just wish it were more organized." So ... (Laughter) If I controlled the Internet, you could auction your broken heart on eBay. Take the money; go to Amazon; buy a phonebook for a country you've never been to -- call folks at random until you find someone who flirts really well in a foreign language. (Laughter) If I were in charge of the Internet, you could Mapquest your lover's mood swings. Hang left at cranky, right at preoccupied, U-turn on silent treatment, all the way back to tongue kissing and good lovin'. You could navigate and understand every emotional intersection. Some days, I'm as shallow as a baking pan, but I still stretch miles in all directions. If I owned the Internet, Napster, Monster and Friendster.com would be one big website. That way you could listen to cool music while you pretend to look for a job and you're really just chattin' with your pals. (Laughter) Heck, if I ran the Web, you could email dead people. (Laughter) They would not email you back (Laughter) -- but you'd get an automated reply. (Laughter) Their name in your inbox (Laughter) -- it's all you wanted anyway. And a message saying, "Hey, it's me. I miss you. (Laughter) Listen, you'll see being dead is dandy. Now you go back to raising kids and waging peace and craving candy." If I designed the Internet, childhood.com would be a loop of a boy in an orchard, with a ski pole for a sword, trashcan lid for a shield, shouting, "I am the emperor of oranges. I am the emperor of oranges. I am the emperor of oranges." Now follow me, OK? (Laughter) Grandma.com would be a recipe for biscuits and spit-bath instructions. One, two, three. That links with hotdiggitydog.com. That is my grandfather. They take you to gruff-ex-cop-on-his-fourth-marriage.dad. He forms an attachment to kind-of-ditzy-but-still-sends-ginger-snaps-for-Christmas.mom, who downloads the boy in the orchard, the emperor of oranges, who grows up to be me -- the guy who usually goes too far. So if I were emperor of the Internet, I guess I'd still be mortal, huh? But at that point, I would probably already have the lowest possible mortgage and the most enlarged possible penis (Laughter) -- so I would outlaw spam on my first day in office. I wouldn't need it. I'd be like some kind of Internet genius, and me, I'd like to upgrade to deity and maybe just like that -- pop! -- I'd go wireless. (Laughter) Huh? Maybe Google would hire this. I could zip through your servers and firewalls like a virus until the World Wide Web is as wise, as wild and as organized as I think a modern-day miracle/oracle can get, but, ooh-eee, you want to bet just how whack and un-PC your Mac or PC is going to be when I'm rocking hot-shit-hot-shot-god.net? I guess it's just like life. It is not a question of if you can -- it's: do ya? We can interfere with the interface. We can make "You've got Hallelujah" the national anthem of cyberspace every lucky time we log on. You don't say a prayer. You don't write a psalm. You don't chant an "om." You send one blessed email to whomever you're thinking of at dah-da-la-dat-da-dah-da-la-dat.com. Thank you, TED. (Applause)

I call myself a body architect. I trained in classical ballet and have a background in architecture and fashion. As a body architect, I fascinate with the human body and explore how I can transform it. I worked at Philips Electronics in the far-future design research lab, looking 20 years into the future. I explored the human skin, and how technology can transform the body. I worked on concepts like an electronic tattoo, which is augmented by touch, or dresses that blushed and shivered with light. I started my own experiments. These were the low-tech approaches to the high-tech conversations I was having. These are Q-tips stuck to my roommate with wig glue. (Laughter) I started a collaboration with a friend of mine, Bart Hess -- he doesn't normally look like this -- and we used ourselves as models. We transformed our apartments into our laboratories, and worked in a very spontaneous and immediate way. We were creating visual imagery provoking human evolution. Whilst I was at Philips, we discussed this idea of a maybe technology, something that wasn't either switched on or off, but in between. A maybe that could take the form of a gas or a liquid. And I became obsessed with this idea of blurring the perimeter of the body, so you couldn't see where the skin ended and the near environment started. I set up my studio in the red-light district and obsessively wrapped myself in plumbing tubing, and found a way to redefine the skin and create this dynamic textile. I was introduced to Robyn, the Swedish pop star, and she was also exploring how technology coexists with raw human emotion. And she talked about how technology with these new feathers, this new face paint, this punk, the way that we identify with the world, and we made this music video. I'm fascinated with the idea of what happens when you merge biology with technology, and I remember reading about this idea of being able to reprogram biology, in the future, away from disease and aging. And I thought about this concept of, imagine if we could reprogram our own body odor, modify and biologically enhance it, and how would that change the way that we communicate with each other? Or the way that we attract sexual partners? And would we revert back to being more like animals, more primal modes of communication? I worked with a synthetic biologist, and I created a swallowable perfume, which is a cosmetic pill that you eat and the fragrance comes out through the skin's surface when you perspire. It completely blows apart the way that perfume is, and provides a whole new format. It's perfume coming from the inside out. It redefines the role of skin, and our bodies become an atomizer. I've learned that there's no boundaries, and if I look at the evolution of my work i can see threads and connections that make sense. But when I look towards the future, the next project is completely unknown and wide open. I feel like I have all these ideas existing embedded inside of me, and it's these conversations and these experiences that connect these ideas, and they kind of instinctively come out. As a body architect, I've created this limitless and boundless platform for me to discover whatever I want. And I feel like I've just got started. So here's to another day at the office. (Laughter) (Applause) Thank you! Thank you!

I was born and raised in Sierra Leone, a small and very beautiful country in West Africa, a country rich both in physical resources and creative talent. However, Sierra Leone is infamous for a decade-long rebel war in the '90s when entire villages were burnt down. An estimated 8,000 men, women and children had their arms and legs amputated during this time. As my family and I ran for safety when I was about 12 from one of those attacks, I resolved that I would do everything I could to ensure that my own children would not go through the same experiences we had. They would, in fact, be part of a Sierra Leone where war and amputation were no longer a strategy for gaining power. As I watched people who I knew, loved ones, recover from this devastation, one thing that deeply troubled me was that many of the amputees in the country would not use their prostheses. The reason, I would come to find out, was that their prosthetic sockets were painful because they did not fit well. The prosthetic socket is the part in which the amputee inserts their residual limb, and which connects to the prosthetic ankle. Even in the developed world, it takes a period of three weeks to often years for a patient to get a comfortable socket, if ever. Prosthetists still use conventional processes like molding and casting to create single-material prosthetic sockets. Such sockets often leave intolerable amounts of pressure on the limbs of the patient, leaving them with pressure sores and blisters. It does not matter how powerful your prosthetic ankle is. If your prosthetic socket is uncomfortable, you will not use your leg, and that is just simply unacceptable in our age. So one day, when I met professor Hugh Herr about two and a half years ago, and he asked me if I knew how to solve this problem, I said, "No, not yet, but I would love to figure it out." And so, for my Ph.D. at the MIT Media Lab, I designed custom prosthetic sockets quickly and cheaply that are more comfortable than conventional prostheses. I used magnetic resonance imaging to capture the actual shape of the patient's anatomy, then use finite element modeling to better predict the internal stresses and strains on the normal forces, and then create a prosthetic socket for manufacture. We use a 3D printer to create a multi-material prosthetic socket which relieves pressure where needed on the anatomy of the patient. In short, we're using data to make novel sockets quickly and cheaply. In a recent trial we just wrapped up at the Media Lab, one of our patients, a U.S. veteran who has been an amputee for about 20 years and worn dozens of legs, said of one of our printed parts, "It's so soft, it's like walking on pillows, and it's effing sexy." (Laughter) Disability in our age should not prevent anyone from living meaningful lives. My hope and desire is that the tools and processes we develop in our research group can be used to bring highly functional prostheses to those who need them. For me, a place to begin healing the souls of those affected by war and disease is by creating comfortable and affordable interfaces for their bodies. Whether it's in Sierra Leone or in Boston, I hope this not only restores but indeed transforms their sense of human potential. Thank you very much. (Applause)

I started my journey 30 years ago. And I worked in mines. And I realized that this was a world unseen. And I wanted, through color and large format cameras and very large prints, to make a body of work that somehow became symbols of our use of the landscape, how we use the land. And to me this was a key component that somehow, through this medium of photography, which allows us to contemplate these landscapes, that I thought photography was perfectly suited to doing this type of work. And after 17 years of photographing large industrial landscapes, it occurred to me that oil is underpinning the scale and speed. Because that is what has changed, is the speed at which we're taking all our resources. And so then I went out to develop a whole series on the landscape of oil. And what I want to do is to kind of map an arc that there is extraction, where we're taking it from the ground, refinement. And that's one chapter. The other chapter that I wanted to look at was how we use it -- our cities, our cars, our motorcultures, where people gather around the vehicle as a celebration. And then the third one is this idea of the end of oil, this entropic end, where all of our parts of cars, our tires, oil filters, helicopters, planes -- where are the landscapes where all of that stuff ends up? And to me, again, photography was a way in which I could explore and research the world, and find those places. And another idea that I had as well, that was brought forward by an ecologist -- he basically did a calculation where he took one liter of gas and said, well, how much carbon it would take, and how much organic material? It was 23 metric tons for one liter. So whenever I fill up my gas, I think of that liter, and how much carbon. And I know that oil comes from the ocean and phytoplankton, but he did the calculations for our Earth and what it had to do to produce that amount of energy. From the photosynthetic growth, it would take 500 years of that growth to produce what we use, the 30 billion barrels we use per year. And that also brought me to the fact that this poses such a risk to our society. Looking at 30 billion per year, we look at our two largest suppliers, Saudi Arabia and now Canada, with its dirty oil. And together they only form about 15 years of supply. The whole world, at 1.2 trillion estimated reserves, only gives us about 45 years. So, it's not a question of if, but a question of when peak oil will come upon us. So, to me, using photography -- and I feel that all of us need to now begin to really take the task of using our talents, our ways of thinking, to begin to deal with what I think is probably one of the most challenging issues of our time, how to deal with our energy crisis. And I would like to say that, on the other side of it, 30, 40 years from now, the children that I have, I can look at them and say, "We did everything we possibly, humanly could do, to begin to mitigate this, what I feel is one of the most important and critical moments in our time. Thank you. (Applause)

Last year at TED I gave an introduction to the LHC. And I promised to come back and give you an update on how that machine worked. So this is it. And for those of you that weren't there, the LHC is the largest scientific experiment ever attempted -- 27 kilometers in circumference. Its job is to recreate the conditions that were present less than a billionth of a second after the universe began, up to 600 million times a second. It's nothing if not ambitious. This is the machine below Geneva. We take the pictures of those mini-Big Bangs inside detectors. This is the one I work on. It's called the ATLAS detector -- 44 meters wide, 22 meters in diameter. Spectacular picture here of ATLAS under construction so you can see the scale. On the 10th of September last year we turned the machine on for the first time. And this picture was taken by ATLAS. It caused immense celebration in the control room. It's a picture of the first beam particle going all the way around the LHC, colliding with a piece of the LHC deliberately, and showering particles into the detector. In other words, when we saw that picture on September 10th we knew the machine worked, which is a great triumph. I don't know whether this got the biggest cheer, or this, when someone went onto Google and saw the front page was like that. It means we made cultural impact as well as scientific impact. About a week later we had a problem with the machine, related actually to these bits of wire here -- these gold wires. Those wires carry 13 thousand amps when the machine is working in full power. Now the engineers amongst you will look at them and say, "No they don't. They're small wires." They can do that because when they are very cold they are what's called superconducting wire. So at minus 271 degrees, colder than the space between the stars, those wires can take that current. In one of the joints between over 9,000 magnets in LHC, there was a manufacturing defect. So the wire heated up slightly, and its 13,000 amps suddenly encountered electrical resistance. This was the result. Now that's more impressive when you consider those magnets weigh over 20 tons, and they moved about a foot. So we damaged about 50 of the magnets. We had to take them out, which we did. We reconditioned them all, fixed them. They're all on their way back underground now. By the end of March the LHC will be intact again. We will switch it on, and we expect to take data in June or July, and continue with our quest to find out what the building blocks of the universe are. Now of course, in a way those accidents reignite the debate about the value of science and engineering at the edge. It's easy to refute. I think that the fact that it's so difficult, the fact that we're overreaching, is the value of things like the LHC. I will leave the final word to an English scientist, Humphrey Davy, who, I suspect, when defending his protege's useless experiments -- his protege was Michael Faraday -- said this, "Nothing is so dangerous to the progress of the human mind than to assume that our views of science are ultimate, that there are no mysteries in nature, that our triumphs are complete, and that there are no new worlds to conquer." Thank you. (Applause)

What I wanted to talk to you about today is two things: one, the rise of a culture of availability; and two, a request. So we're seeing a rise of this availability being driven by mobile device proliferation, globally, across all social strata. We're seeing, along with that proliferation of mobile devices, an expectation of availability. And, with that, comes the third point, which is obligation -- and an obligation to that availability. And the problem is, we're still working through, from a societal standpoint, how we allow people to be available. There's a significant delta, in fact, between what we're willing to accept. Apologies to Hans Rosling -- he said anything that's not using real stats is a lie -- but the big delta there is how we deal with this from a public standpoint. So we've developed certain tactics and strategies to cover up. This first one's called "the lean." And if you've ever been in a meeting where you play sort of meeting "chicken," you're sitting there, looking at the person, waiting for them to look away, and then quickly checking the device. Although you can see the gentleman up on the right is busting him. "The stretch." OK, the gentleman on the left is saying, "Screw you, I'm going to check my device." But the guy, here, on the right, he's doing the stretch. It's that reeeee-e-e-each out, the physical contortion to get that device just below the tabletop. Or, my favorite, the "Love you; mean it." (Laughter) Nothing says "I love you" like "Let me find somebody else I give a damn about." Or, this one, coming to us from India. You can find this on YouTube, the gentleman who's recumbent on a motorcycle while text messaging. Or what we call the "sweet gravy, stop me before I kill again!" That is actually the device. What this is doing is, we find a -- (Laughter) a direct collision -- we find a direct collision between availability -- and what's possible through availability -- and a fundamental human need -- which we've been hearing about a lot, actually -- the need to create shared narratives. We're very good at creating personal narratives, but it's the shared narratives that make us a culture. And when you're standing with someone, and you're on your mobile device, effectively what you're saying to them is, "You are not as important as, literally, almost anything that could come to me through this device." Look around you. There might be somebody on one right now, participating in multi-dimensional engagement. (Laughter) Our reality right now is less interesting than the story we're going to tell about it later. This one I love. This poor kid, clearly a prop -- don't get me wrong, a willing prop -- but the kiss that's being documented kind of looks like it sucks. This is the sound of one hand clapping. So, as we lose the context of our identity, it becomes incredibly important that what you share becomes the context of shared narrative, becomes the context in which we live. The stories that we tell -- what we push out -- becomes who we are. People aren't simply projecting identity, they're creating it. And so that's the request I have for everybody in this room. We are creating the technology that is going to create the new shared experience, which will create the new world. And so my request is, please, let's make technologies that make people more human, and not less. Thank you.

So I thought, "I will talk about death." Seemed to be the passion today. Actually, it's not about death. It's inevitable, terrible, but really what I want to talk about is, I'm just fascinated by the legacy people leave when they die. That's what I want to talk about. So Art Buchwald left his legacy of humor with a video that appeared soon after he died, saying, "Hi! I'm Art Buchwald, and I just died." And Mike, who I met at Galapagos, a trip which I won at TED, is leaving notes on cyberspace where he is chronicling his journey through cancer. And my father left me a legacy of his handwriting through letters and a notebook. In the last two years of his life, when he was sick, he filled a notebook with his thoughts about me. He wrote about my strengths, weaknesses, and gentle suggestions for improvement, quoting specific incidents, and held a mirror to my life. After he died, I realized that no one writes to me anymore. Handwriting is a disappearing art. I'm all for email and thinking while typing, but why give up old habits for new? Why can't we have letter writing and email exchange in our lives? There are times when I want to trade all those years that I was too busy to sit with my dad and chat with him, and trade all those years for one hug. But too late. But that's when I take out his letters and I read them, and the paper that touched his hand is in mine, and I feel connected to him. So maybe we all need to leave our children with a value legacy, and not a financial one. A value for things with a personal touch -- an autograph book, a soul-searching letter. If a fraction of this powerful TED audience could be inspired to buy a beautiful paper -- John, it'll be a recycled one -- and write a beautiful letter to someone they love, we actually may start a revolution where our children may go to penmanship classes. So what do I plan to leave for my son? I collect autograph books, and those of you authors in the audience know I hound you for them -- and CDs too, Tracy. I plan to publish my own notebook. As I witnessed my father's body being swallowed by fire, I sat by his funeral pyre and wrote. I have no idea how I'm going to do it, but I am committed to compiling his thoughts and mine into a book, and leave that published book for my son. I'd like to end with a few verses of what I wrote at my father's cremation. And those linguists, please pardon the grammar, because I've not looked at it in the last 10 years. I took it out for the first time to come here. "Picture in a frame, ashes in a bottle, boundless energy confined in the bottle, forcing me to deal with reality, forcing me to deal with being grown up. I hear you and I know that you would want me to be strong, but right now, I am being sucked down, surrounded and suffocated by these raging emotional waters, craving to cleanse my soul, trying to emerge on a firm footing one more time, to keep on fighting and flourishing just as you taught me. Your encouraging whispers in my whirlpool of despair, holding me and heaving me to shores of sanity, to live again and to love again." Thank you.

Unless we do something to prevent it, over the next 40 years we’re facing an epidemic of neurologic diseases on a global scale. A cheery thought. On this map, every country that’s colored blue has more than 20 percent of its population over the age of 65. This is the world we live in. And this is the world your children will live in. For 12,000 years, the distribution of ages in the human population has looked like a pyramid, with the oldest on top. It’s already flattening out. By 2050, it’s going to be a column and will start to invert. This is why it’s happening. The average lifespan’s more than doubled since 1840, and it’s increasing currently at the rate of about five hours every day. And this is why that’s not entirely a good thing: because over the age of 65, your risk of getting Alzheimer’s or Parkinson’s disease will increase exponentially. By 2050, there’ll be about 32 million people in the United States over the age of 80, and unless we do something about it, half of them will have Alzheimer’s disease and three million more will have Parkinson’s disease. Right now, those and other neurologic diseases -- for which we have no cure or prevention -- cost about a third of a trillion dollars a year. It will be well over a trillion dollars by 2050. Alzheimer’s disease starts when a protein that should be folded up properly misfolds into a kind of demented origami. So one approach we’re taking is to try to design drugs that function like molecular Scotch tape, to hold the protein into its proper shape. That would keep it from forming the tangles that seem to kill large sections of the brain when they do. Interestingly enough, other neurologic diseases which affect very different parts of the brain also show tangles of misfolded protein, which suggests that the approach might be a general one, and might be used to cure many neurologic diseases, not just Alzheimer’s disease. There’s also a fascinating connection to cancer here, because people with neurologic diseases have a very low incidence of most cancers. And this is a connection that most people aren’t pursuing right now, but which we’re fascinated by. Most of the important and all of the creative work in this area is being funded by private philanthropies. And there’s tremendous scope for additional private help here, because the government has dropped the ball on much of this, I’m afraid. In the meantime, while we’re waiting for all these things to happen, here’s what you can do for yourself. If you want to lower your risk of Parkinson’s disease, caffeine is protective to some extent; nobody knows why. Head injuries are bad for you. They lead to Parkinson’s disease. And the Avian Flu is also not a good idea. As far as protecting yourself against Alzheimer’s disease, well, it turns out that fish oil has the effect of reducing your risk for Alzheimer’s disease. You should also keep your blood pressure down, because chronic high blood pressure is the biggest single risk factor for Alzheimer’s disease. It’s also the biggest risk factor for glaucoma, which is just Alzheimer’s disease of the eye. And of course, when it comes to cognitive effects, "use it or lose it" applies, so you want to stay mentally stimulated. But hey, you’re listening to me. So you’ve got that covered. And one final thing. Wish people like me luck, okay? Because the clock is ticking for all of us. Thank you.

Back in New York, I am the head of development for a non-profit called Robin Hood. When I'm not fighting poverty, I'm fighting fires as the assistant captain of a volunteer fire company. Now in our town, where the volunteers supplement a highly skilled career staff, you have to get to the fire scene pretty early to get in on any action. I remember my first fire. I was the second volunteer on the scene, so there was a pretty good chance I was going to get in. But still it was a real footrace against the other volunteers to get to the captain in charge to find out what our assignments would be. When I found the captain, he was having a very engaging conversation with the homeowner, who was surely having one of the worst days of her life. Here it was, the middle of the night, she was standing outside in the pouring rain, under an umbrella, in her pajamas, barefoot, while her house was in flames. The other volunteer who had arrived just before me -- let's call him Lex Luther -- (Laughter) got to the captain first and was asked to go inside and save the homeowner's dog. The dog! I was stunned with jealousy. Here was some lawyer or money manager who, for the rest of his life, gets to tell people that he went into a burning building to save a living creature, just because he beat me by five seconds. Well, I was next. The captain waved me over. He said, "Bezos, I need you to go into the house. I need you to go upstairs, past the fire, and I need you to get this woman a pair of shoes." (Laughter) I swear. So, not exactly what I was hoping for, but off I went -- up the stairs, down the hall, past the 'real' firefighters, who were pretty much done putting out the fire at this point, into the master bedroom to get a pair of shoes. Now I know what you're thinking, but I'm no hero. (Laughter) I carried my payload back downstairs where I met my nemesis and the precious dog by the front door. We took our treasures outside to the homeowner, where, not surprisingly, his received much more attention than did mine. A few weeks later, the department received a letter from the homeowner thanking us for the valiant effort displayed in saving her home. The act of kindness she noted above all others: someone had even gotten her a pair of shoes. (Laughter) In both my vocation at Robin Hood and my avocation as a volunteer firefighter, I am witness to acts of generosity and kindness on a monumental scale, but I'm also witness to acts of grace and courage on an individual basis. And you know what I've learned? They all matter. So as I look around this room at people who either have achieved, or are on their way to achieving, remarkable levels of success, I would offer this reminder: don't wait. Don't wait until you make your first million to make a difference in somebody's life. If you have something to give, give it now. Serve food at a soup kitchen. Clean up a neighborhood park. Be a mentor. Not every day is going to offer us a chance to save somebody's life, but every day offers us an opportunity to affect one. So get in the game. Save the shoes. Thank you. (Applause) Bruno Giussani: Mark, Mark, come back. (Applause) Mark Bezos: Thank you.

The filmmaker Georges Méliès was first a magician. Now movies proved to be the ultimate medium for magic. With complete control of everything the audience can see, moviemakers had developed an arsenal of techniques to further their deceptions. Motion pictures are themselves an illusion of life, produced by the sequential projection of still frames, and they astonished the Lumière brothers' early audiences. Even today's sophisticated moviegoers still lose themselves to the screen, and filmmakers leverage this separation from reality to great effect. Now imaginative people have been having fun with this for over 400 years. Giambattista della Porta, a Neapolitan scholar in the 16th century, examined and studied the natural world and saw how it could be manipulated. Playing with the world, and our perception of it, really is the essence of visual effects. So digging deeper into this with the Science and Technology Council of the Academy of Motion Picture Arts and Sciences reveals some truth behind the trickery. Visual effects are based on the principles of all illusions: assumption, things are as we know them; presumption, things will behave as we expect; and context in reality, our knowledge of the world as we know it, such as scale. Now a fourth factor really becomes an obsession, which is, never betray the illusion. And that last point has made visual effects a constant quest for perfection. So from the hand-cranked jump cut early days of cinema to last Sunday's Oscar winner, what follows are some steps and a few repeats in the evolution of visual effects. I hope you will enjoy. Isabelle: "The filmmaker Georges Méliès was one of the first to realize that films had the power to capture dreams." (Music) ["'A Trip to the Moon' (1902)"] ["2011 Restoration of the Original Hand-Tinted Color"] ["'2001: A Space Odyssey' (1968)"] ["Academy Award Winner for Visual Effects"] ["'Avatar' (2009)"] First doctor: How are you feeling, Jake? Jake: Hey guys. ["Academy Award Winner for Visual Effects"] Second doctor: Welcome to your new body, Jake.First doctor: Good. Second doctor: We're gonna take this nice and easy, Jake.First doctor: Well, do you want to sit up? That's fine. Second doctor: And good, just take it nice and slow, Jake. Well, no truncal ataxia, that's good.First doctor: You feeling light-headed or dizzy at all? Oh, you're wiggling your toes. ["'Alice's Adventures in Wonderland' (1972)"] Alice: What's happening to me? ["'Alice in Wonderland' (2010)"] ["Academy Award Nominee for Visual Effects"] ["'The Lost World' (1925)"] ["Stop Motion Animation"] ["'Jurassic Park' (1993)"] [Dinosaur roars] ["CG Animation"] ["Academy Award Winner for Visual Effects"] ["'The Smurfs' (2011)"] ["Autodesk Maya Software - Key Frame Animation"] ["'Rise of the Planet of the Apes' (2011)"] Chimpanzee: No! ["Academy Award Nominee for Visual Effects"] ["'Metropolis' (1927)"] (Music) ["'Blade Runner' (1982)"] ["Academy Award Nominee for Visual Effects"] ["'The Rains Came' (1939)"] Rama Safti: Well, it's all over. Maharaja: Nothing to worry about, not a thing. ['Academy Award for Special Effects - (First Year of Category)"] (Explosion) ["'2012' (2009)"]Governor: It seems to me that the worst is over. ["CG Destruction"] ["'Lord of the Rings: The Return of the King' (2003)"] ["Massive Software - Crowd Generation"] ["Academy Award Winner for Visual Effects"] ["'Ben Hur: A Tale of the Christ' (1925)"] ["Miniatures and Puppets Bring the Crowd to Life"] ["'Gladiator' (2000)"] ["CG Coliseum and Digital Crowds"] ["Academy Award Winner for Visual Effects"] ["'Harry Potter and the Deathly Hallows Part 2' (2011)"] ["Academy Award Nominee for Visual Effects"] ["Produced in conjunction with the Academy's Science and Technology Council."] (Applause) ["'It is today possible to realize the most impossible and improbable things.' — Georges Méliès"] Don Levy: Thank you.

So for the past year and a half, my team at Push Pop Press and Charlie Melcher and Melcher Media have been working on creating the first feature-length interactive book. It's called "Our Choice" and the author is Al Gore. It's the sequel to "An Inconvenient Truth," and it explores all the solutions that will solve the climate crisis. The book starts like this. This is the cover. As the globe spins, we can see our location, and we can open the book and swipe through the chapters to browse the book. Or, we can scroll through the pages at the bottom. And if we wanted to zoom into a page, we can just open it up. And anything you see in the book, you can pick up with two fingers and lift off the page and open up. And if you want to go back and read the book again, you just fold it back up and put it back on the page. And so this works the same way; you pick it up and pop it open. (Audio) Al Gore: I consider myself among the majority who look at windmills and feel they're a beautiful addition to the landscape. Mike Matas: And so throughout the whole book, Al Gore will walk you through and explain the photos. This photo, you can you can even see on an interactive map. Zoom into it and see where it was taken. And throughout the book, there's over an hour of documentary footage and interactive animations. So you can open this one. (Audio) AG: Most modern wind turbines consist of a large ... MM: It starts playing immediately. And while it's playing, we can pinch and peak back at the page, and the movie keeps playing. Or we can zoom out to the table of contents, and the video keeps playing. But one of the coolest things in this book are the interactive infographics. This one shows the wind potential all around the United States. But instead of just showing us the information, we can take our finger and explore, and see, state by state, exactly how much wind potential there is. We can do the same for geothermal energy and solar power. This is one of my favorites. So this shows ... (Laughter) (Applause) When the wind is blowing, any excess energy coming from the windmill is diverted into the battery. And as the wind starts dying down, any excess energy will be diverted back into the house -- the lights never go out. And this whole book, it doesn't just run on the iPad. It also runs on the iPhone. And so you can start reading on your iPad in your living room and then pick up where you left off on the iPhone. And it works the exact same way. You can pinch into any page. Open it up. So that's Push Pop Press' first title, Al Gore's "Our Choice." Thank you. (Applause) Chris Anderson: That's spectacular. Do you want to be a publisher, a technology licenser? What is the business here? Is this something that other people can do? MM: Yeah, we're building a tool that makes it really easy for publishers right now to build this content. So Melcher Media's team, who's on the East coast -- and we're on the West coast, building the software -- takes our tool and, every day, drags in images and text. CA: So you want to license this software to publishers to make books as beautiful as that? (MM: Yes.) All right. Mike, thanks so much. MM: Thank you. (CA: Good luck.) (Applause)

My name is Joshua Walters. I'm a performer. (Beatboxing) (Laughter) (Applause) But as far as being a performer, I'm also diagnosed bipolar. I reframe that as a positive because the crazier I get onstage, the more entertaining I become. When I was 16 in San Francisco, I had my breakthrough manic episode in which I thought I was Jesus Christ. Maybe you thought that was scary, but actually there's no amount of drugs you can take that can get you as high as if you think you're Jesus Christ. (Laughter) I was sent to a place, a psych ward, and in the psych ward, everyone is doing their own one-man show. (Laughter) There's no audience like this to justify their rehearsal time. They're just practicing. One day they'll get here. Now when I got out, I was diagnosed and I was given medications by a psychiatrist. "Okay, Josh, why don't we give you some -- why don't we give you some Zyprexa. Okay? Mmhmm? At least that's what it says on my pen." (Laughter) Some of you are in the field, I can see. I can feel your noise. The first half of high school was the struggle of the manic episode, and the second half was the overmedications of these drugs, where I was sleeping through high school. The second half was just one big nap, pretty much, in class. When I got out I had a choice. I could either deny my mental illness or embrace my mental skillness. (Bugle sound) There's a movement going on right now to reframe mental illness as a positive -- at least the hypomanic edge part of it. Now if you don't know what hypomania is, it's like an engine that's out of control, maybe a Ferrari engine, with no breaks. Many of the speakers here, many of you in the audience, have that creative edge, if you know what I'm talking about. You're driven to do something that everyone has told you is impossible. And there's a book -- John Gartner. John Gartner wrote this book called "The Hypomanic Edge" in which Christopher Columbus and Ted Turner and Steve Jobs and all these business minds have this edge to compete. A different book was written not too long ago in the mid-90s called "Touched With Fire" by Kay Redfield Jamison in which it was looked at in a creative sense in which Mozart and Beethoven and Van Gogh all have this manic depression that they were suffering with. Some of them committed suicide. So it wasn't all the good side of the illness. Now recently, there's been development in this field. And there was an article written in the New York Times, September 2010, that stated: "Just Manic Enough." Just be manic enough in which investors who are looking for entrepreneurs that have this kind of spectrum -- you know what I'm talking about -- not maybe full bipolar, but they're in the bipolar spectrum -- where on one side, maybe you think you're Jesus, and on the other side maybe they just make you a lot of money. (Laughter) Your call. Your call. And everyone's somewhere in the middle. Everyone's somewhere in the middle. So maybe, you know, there's no such thing as crazy, and being diagnosed with a mental illness doesn't mean you're crazy. But maybe it just means you're more sensitive to what most people can't see or feel. Maybe no one's really crazy. Everyone is just a little bit mad. How much depends on where you fall in the spectrum. How much depends on how lucky you are. Thank you. (Applause)

(Music) Dannielle Hadley: Life in Pennsylvania means just that: life without the possibility of parole. For us lifers, as we call ourselves, our only chance for release is through commutation, which has only been granted to two women since 1989, close to 30 years ago. Our song, "This Is Not Our Home," it tells of our experiences while doing life without the possibility of parole. (Music) Brenda Watkins: I'm a woman. I'm a grandmother. I'm a daughter. I have a son. I'm not an angel. I'm not the devil. I came to jail when I was so young. I spend my time here inside these prison walls. Lost friends to death, saw some go home. Watch years pass, people come and go, while I do life without parole. I am a prisoner for the wrong I've done. I'm doing time here. This is not my home. Dream of freedom, hope for mercy. Will I see my family or die alone? As the years go by, I hold back my tears, because if I cry I'd give in to fear. I must be strong, have to hold on. Gotta get through another year. I am a prisoner for the wrong I've done. I'm doing time here. This is not my home. Dream of freedom, hope for mercy. Will I see my family or die alone? I'm not saying that I'm not guilty, I'm not saying that I shouldn't pay. All I'm asking is for forgiveness. Gotta have hope I'll be free someday. Is there a place for me in the world out there? Will they ever know or care that I'm chained? Is there redemption for the sin of my younger days? Because I've changed. Lord knows I've changed. I am a prisoner for the wrong I've done. I'm doing time here. This is not my home. Dream of freedom, hope for mercy. Will I see my family or die alone? Will I see my family or die alone? I'm known to you as Inmate 008106. Incarcerated 29 years. My name is Brenda Watkins. I was born and raised in Hoffman, North Carolina. This is not my home. (Applause) Thelma Nichols: Inmate number 0B2472. I've been incarcerated for 27 years. My name is Thelma Nichols. I was born and raised in Philadelphia, P.A. This is not my home. (Applause) DH: 008494. I've been incarcerated for 27 years. My name is Dannielle Hadley. I was born and raised in Philadelphia, P.A, and this is not my home. (Applause) Theresa Battles: Inmate 008309. I've been incarcerated for 27 years. My name is Theresa Battles. I'm from Norton, New Jersey, and this is not my home. (Applause) Debra Brown: I am known as Inmate 007080. I've been incarcerated for 30 years. My name is Debra Brown. I'm from Pittsburgh, Pennsylvania. This is not my home. (Applause) Joann Butler: 005961. I've been incarcerated for 37 years. My name is Joann Butler, and I was born and raised in Philadelphia. This is not my home. (Applause) Diane Hamill Metzger: Number 005634. I've been incarcerated for 39 and one half years. My name is Diane Hamill Metzger. I'm from Philadelphia, Pennsylvania, and this is not my home. (Applause) Lena Brown: I am 004867. Incarcerated 40 years. My name is Lena Brown, and I was born and raised in Pittsburgh, Pennsylvania, and this is not my home. (Applause) Trina Garnett: My number is 005545. My name is Trina Garnett, I've been incarcerated for 37 years, since I was 14 years old. Born and raised in Chester, Pennsylvania, and this is not my home. (Applause) Will I see my family or die alone? Or die alone? (Applause)

Nicole Paris: TEDYouth, make some noise! (Beatboxing) TEDYouth, make some -- (Beatboxing) (Beatboxing ends) Are you ready? (Cheers and applause) Are you ready? Ed Cage: Yeah, yeah, yeah! (Beatboxing) (Laughter) EC: Y'all like that? Let me show you how we used to do it -- NP: Get it pops, go ahead. EC: ... when I was growing up in the '90s. (Beatboxing) (Beatboxing ends) (Laughter) (Beatboxing) NP: Pops, pops, pops, pops, pops, pops, hold up, hold up, hold up, hold up! Oh my God. OK, he's trying to battle me. Hold on, right now, hold on. Do you remember when you used to beatbox me to sleep? EC: Yeah, yeah, I remember. That's when she was a little baby. We would do something like this. (Beatboxing) NP: I remember that. (Beatboxing) NP: All right, pops, pops, pops, chill out, chill out. Hold up, hold up, hold up. EC: Y'all remember the video. This is like a little payback or something for 50 million people calling me the loser. NP: Hold up, hold up. But a lot of people out there don't really know what beatboxing is, where it started from. EC: Right, right. NP: Where it came from. So why don't you give them a little history -- just a tickle -- a bit of history of where it comes from. EC: Beatbox started here in New York. (Cheers) That's right, that's right. New York, New York! Everybody like, "Yeah!" Well, we from St. Louis. (Laughter) NP: Now you can put y'all hands down. (Laughter) EC: But beatbox started here in New York. What you would have is that, when we would go to parties, you would have the DJ and you would have the rapper. But because I don't have electricity coming out of me, we had to emulate what the beats was doing. So when you would see the beatboxer, you would see us over to the side. Then you would see a rapper, and when the rapper began to rap, we would do a simple beat, because back then the beats were simple -- (Beatboxing) or -- (Beatboxing) Those were simple beats. But now, you got folks that want to do all type of stuff with their beats now, and they want to humiliate their father, which is not right when you want to humiliate the person that take care of you, pay all your tuition, (Nicole laughs) especially when you have 50 million people that just go around and call you "the loser." Well, I'm taking that to heart. But now we do something different in our house, so we have these jam sessions, and our jam sessions consist of us jamming in church. You know, in church, we'll look at each other like, (Beatboxing) (Laughter) and we'll text the beat to each other. Or we'll be in the kitchen cooking, road trips, airports. NP: Standing right there in the corner, "Aw, Dad -- listen to that." (Beatboxing) Naw, I'm kidding. But you know what? We're talking all about this jam session and everything. EC: Yeah. NP: Why don't we give them a little peek, just a tiny bit of our jam session? NP: Y'all want to hear some jam session? EC: Y'all ready for a jam session? (Cheers) NP: Sorry? I can't hear you. (Cheers) Yeah! Kick it, pops! (Beatboxing) (Applause) (Beatboxing) (Beatboxing ends) (Applause) NP: I'm getting ready to go! EC: Y'all ready? Everybody stand up! Come on, everybody stand up! Get on up! Come on, stretch! (Beatboxing) (Beatboxing ends) NP: That's it. (Cheers and applause) Thank you! Make some noise! EG: Thank you, everybody! NP: Make some noise! Make some noise! Thank you!

Let's start with day and night. Life evolved under conditions of light and darkness, light and then darkness. And so plants and animals developed their own internal clocks so that they would be ready for these changes in light. These are chemical clocks, and they're found in every known being that has two or more cells and in some that only have one cell. I'll give you an example -- if you take a horseshoe crab off the beach, and you fly it all the way across the continent, and you drop it into a sloped cage, it will scramble up the floor of the cage as the tide is rising on its home shores, and it'll skitter down again right as the water is receding thousands of miles away. It'll do this for weeks, until it kind of gradually loses the plot. And it's incredible to watch, but there's nothing psychic or paranormal going on; it's simply that these crabs have internal cycles that correspond, usually, with what's going on around it. So, we have this ability as well. And in humans, we call it the "body clock." You can see this most clearly when you take away someone's watch and you shut them into a bunker, deep underground, for a couple of months. (Laughter) People actually volunteer for this, and they usually come out kind of raving about their productive time in the hole. So, no matter how atypical these subjects would have to be, they all show the same thing. They get up just a little bit later every day -- say 15 minutes or so -- and they kind of drift all the way around the clock like this over the course of the weeks. And so, in this way we know that they are working on their own internal clocks, rather than somehow sensing the day outside. So fine, we have a body clock, and it turns out that it's incredibly important in our lives. It's a huge driver for culture and I think that it's the most underrated force on our behavior. We evolved as a species near the equator, and so we're very well-equipped to deal with 12 hours of daylight and 12 hours of darkness. But of course, we've spread to every corner of the globe and in Arctic Canada, where I live, we have perpetual daylight in summer and 24 hours of darkness in winter. So the culture, the northern aboriginal culture, traditionally has been highly seasonal. In winter, there's a lot of sleeping going on; you enjoy your family life inside. And in summer, it's almost manic hunting and working activity very long hours, very active. So, what would our natural rhythm look like? What would our sleeping patterns be in the sort of ideal sense? Well, it turns out that when people are living without any sort of artificial light at all, they sleep twice every night. They go to bed around 8:00 p.m. until midnight and then again, they sleep from about 2:00 a.m. until sunrise. And in-between, they have a couple of hours of sort of meditative quiet in bed. And during this time, there's a surge of prolactin, the likes of which a modern day never sees. The people in these studies report feeling so awake during the daytime, that they realize they're experiencing true wakefulness for the first time in their lives. So, cut to the modern day. We're living in a culture of jet lag, global travel, 24-hour business, shift work. And you know, our modern ways of doing things have their advantages, but I believe we should understand the costs. Thank you. (Applause)

Meet Tony. He's my student. He's about my age, and he's in San Quentin State Prison. When Tony was 16 years old, one day, one moment, "It was mom's gun. Just flash it, scare the guy. He's a punk. He took some money; we'll take his money. That'll teach him. Then last minute, I'm thinking, 'Can't do this. This is wrong.' My buddy says, 'C'mon, let's do this.' I say, 'Let's do this.'" And those three words, Tony's going to remember, because the next thing he knows, he hears the pop. There's the punk on the ground, puddle of blood. And that's felony murder -- 25 to life, parole at 50 if you're lucky, and Tony's not feeling very lucky. So when we meet in my philosophy class in his prison and I say, "In this class, we will discuss the foundations of ethics," Tony interrupts me. "What are you going to teach me about right and wrong? I know what is wrong. I have done wrong. I am told every day, by every face I see, every wall I face, that I am wrong. If I ever get out of here, there will always be a mark by my name. I'm a convict; I am branded 'wrong.' What are you going to tell me about right and wrong?" So I say to Tony, "Sorry, but it's worse than you think. You think you know right and wrong? Then can you tell me what wrong is? No, don't just give me an example. I want to know about wrongness itself, the idea of wrong. What is that idea? What makes something wrong? How do we know that it's wrong? Maybe you and I disagree. Maybe one of us is wrong about the wrong. Maybe it's you, maybe it's me -- but we're not here to trade opinions; everyone's got an opinion. We are here for knowledge. Our enemy is thoughtlessness. This is philosophy." And something changes for Tony. "Could be I'm wrong. I'm tired of being wrong. I want to know what is wrong. I want to know what I know." What Tony sees in that moment is the project of philosophy, the project that begins in wonder -- what Kant called "admiration and awe at the starry sky above and the moral law within." What can creatures like us know of such things? It is the project that always takes us back to the condition of existence -- what Heidegger called "the always already there." It is the project of questioning what we believe and why we believe it -- what Socrates called "the examined life." Socrates, a man wise enough to know that he knows nothing. Socrates died in prison, his philosophy intact. So Tony starts doing his homework. He learns his whys and wherefores, his causes and correlations, his logic, his fallacies. Turns out, Tony's got the philosophy muscle. His body is in prison, but his mind is free. Tony learns about the ontologically promiscuous, the epistemologically anxious, the ethically dubious, the metaphysically ridiculous. That's Plato, Descartes, Nietzsche and Bill Clinton. So when he gives me his final paper, in which he argues that the categorical imperative is perhaps too uncompromising to deal with the conflict that affects our everyday and challenges me to tell him whether therefore we are condemned to moral failure, I say, "I don't know. Let us think about that." Because in that moment, there's no mark by Tony's name; it's just the two of us standing there. It is not professor and convict, it is just two minds ready to do philosophy. And I say to Tony, "Let's do this." Thank you. (Applause)

I am a reformed marketer, and I now work in international development. In October, I spent some time in the Democratic Republic of Congo, which is the [second] largest country in Africa. In fact, it's as large as Western Europe, but it only has 300 miles of paved roads. The DRC is a dangerous place. In the past 10 years, five million people have died due to a war in the east. But war isn't the only reason that life is difficult in the DRC. There are many health issues as well. In fact, the HIV prevalence rate is 1.3 percent among adults. This might not sound like a large number, but in a country with 76 million people, it means there are 930,000 that are infected. And due to the poor infrastructure, only 25 percent of those are receiving the life-saving drugs that they need. Which is why, in part, donor agencies provide condoms at low or no cost. And so while I was in the DRC, I spent a lot of time talking to people about condoms, including Damien. Damien runs a hotel outside of Kinshasa. It's a hotel that's only open until midnight, so it's not a place that you stay. But it is a place where sex workers and their clients come. Now Damien knows all about condoms, but he doesn't sell them. He said there's just not in demand. It's not surprising, because only three percent of people in the DRC use condoms. Joseph and Christine, who run a pharmacy where they sell a number of these condoms, said despite the fact that donor agencies provide them at low or no cost, and they have marketing campaigns that go along with them, their customers don't buy the branded versions. They like the generics. And as a marketer, I found that curious. And so I started to look at what the marketing looked like. And it turns out that there are three main messages used by the donor agencies for these condoms: fear, financing and fidelity. They name the condoms things like Vive, "to live" or Trust. They package it with the red ribbon that reminds us of HIV, put it in boxes that remind you who paid for them, show pictures of your wife or husband and tell you to protect them or to act prudently. Now these are not the kinds of things that someone is thinking about just before they go get a condom. (Laughter) What is it that you think about just before you get a condom? Sex! And the private companies that sell condoms in these places, they understand this. Their marketing is slightly different. The name might not be much different, but the imagery sure is. Some brands are aspirational, and certainly the packaging is incredibly provocative. And this made me think that perhaps the donor agencies had just missed out on a key aspect of marketing: understanding who's the audience. And for donor agencies, unfortunately, the audience tends to be people that aren't even in the country they're working [in]. It's people back home, people that support their work, people like these. But if what we're really trying to do is stop the spread of HIV, we need to think about the customer, the people whose behavior needs to change -- the couples, the young women, the young men -- whose lives depend on it. And so the lesson is this: it doesn't really matter what you're selling; you just have to think about who is your customer, and what are the messages that are going to get them to change their behavior. It might just save their lives. Thank you. (Applause)

With all the legitimate concerns about AIDS and avian flu -- and we'll hear about that from the brilliant Dr. Brilliant later today -- I want to talk about the other pandemic, which is cardiovascular disease, diabetes, hypertension -- all of which are completely preventable for at least 95 percent of people just by changing diet and lifestyle. And what's happening is that there's a globalization of illness occurring, that people are starting to eat like us, and live like us, and die like us. And in one generation, for example, Asia's gone from having one of the lowest rates of heart disease and obesity and diabetes to one of the highest. And in Africa, cardiovascular disease equals the HIV and AIDS deaths in most countries. So there's a critical window of opportunity we have to make an important difference that can affect the lives of literally millions of people, and practice preventive medicine on a global scale. Heart and blood vessel diseases still kill more people -- not only in this country, but also worldwide -- than everything else combined, and yet it's completely preventable for almost everybody. It's not only preventable; it's actually reversible. And for the last almost 29 years, we've been able to show that by simply changing diet and lifestyle, using these very high-tech, expensive, state-of-the-art measures to prove how powerful these very simple and low-tech and low-cost interventions can be like -- quantitative arteriography, before and after a year, and cardiac PET scans. We showed a few months ago -- we published the first study showing you can actually stop or reverse the progression of prostate cancer by making changes in diet and lifestyle, and 70 percent regression in the tumor growth, or inhibition of the tumor growth, compared to only nine percent in the control group. And in the MRI and MR spectroscopy here, the prostate tumor activity is shown in red -- you can see it diminishing after a year. Now there is an epidemic of obesity: two-thirds of adults and 15 percent of kids. What's really concerning to me is that diabetes has increased 70 percent in the past 10 years, and this may be the first generation in which our kids live a shorter life span than we do. That's pitiful, and it's preventable. Now these are not election returns, these are the people -- the number of the people who are obese by state, beginning in '85, '86, '87 -- these are from the CDC website -- '88, '89, '90, '91 -- you get a new category -- '92, '93, '94, '95, '96, '97, '98, '99, 2000, 2001 -- it gets worse. We're kind of devolving. (Laughter) Now what can we do about this? Well, you know, the diet that we've found that can reverse heart disease and cancer is an Asian diet. But the people in Asia are starting to eat like we are, which is why they're starting to get sick like we are. So I've been working with a lot of the big food companies. They can make it fun and sexy and hip and crunchy and convenient to eat healthier foods, like -- I chair the advisory boards to McDonald's, and PepsiCo, and ConAgra, and Safeway, and soon Del Monte, and they're finding that it's good business. The salads that you see at McDonald's came from the work -- they're going to have an Asian salad. At Pepsi, two-thirds of their revenue growth came from their better foods. And so if we can do that, then we can free up resources for buying drugs that you really do need for treating AIDS and HIV and malaria and for preventing avian flu. Thank you.

As a magician, I'm always interested in performances that incorporate elements of illusion. And one of the most remarkable was the tanagra theater, which was popular in the early part of the 20th century. It used mirrors to create the illusion of tiny people performing on a miniature stage. Now, I won't use mirrors, but this is my digital tribute to the tanagra theater. So let the story begin. On a dark and stormy night -- really! -- it was the 10th of July, 1856. Lightning lit the sky, and a baby was born. His name was Nikola, Nikola Tesla. Now the baby grew into a very smart guy. Let me show you. Tesla, what is 236 multiplied by 501? Nikola Tesla: The result is 118,236. Marco Tempest: Now Tesla's brain worked in the most extraordinary way. When a word was mentioned, an image of it instantly appeared in his mind. Tree. Chair. Girl. They were hallucinations, which vanished the moment he touched them. Probably a form of synesthesia. But it was something he later turned to his advantage. Where other scientists would play in their laboratory, Tesla created his inventions in his mind. NT: To my delight, I discovered I could visualize my inventions with the greatest facility. MT: And when they worked in the vivid playground of his imagination, he would build them in his workshop. NT: I needed no models, drawings or experiments. I could picture them as real in my mind, and there I run it, test it and improve it. Only then do I construct it. MT: His great idea was alternating current. But how could he convince the public that the millions of volts required to make it work were safe? To sell his idea, he became a showman. NT: We are at the dawn of a new age, the age of electricity. I have been able, through careful invention, to transmit, with the mere flick of a switch, electricity across the ether. It is the magic of science. (Applause) Tesla has over 700 patents to his name: radio, wireless telegraphy, remote control, robotics. He even photographed the bones of the human body. But the high point was the realization of a childhood dream: harnessing the raging powers of Niagara Falls, and bringing light to the city. But Tesla's success didn't last. NT: I had bigger ideas. Illuminating the city was only the beginning. A world telegraphy center -- imagine news, messages, sounds, images delivered to any point in the world instantly and wirelessly. MT: It's a great idea; it was a huge project. Expensive, too. NT: They wouldn't give me the money. MT: Well, maybe you shouldn't have told them it could be used to contact other planets. NT: Yes, that was a big mistake. MT: Tesla's career as an inventor never recovered. He became a recluse. Dodged by death, he spent much of his time in his suite at the Waldorf-Astoria. NT: Everything I did, I did for mankind, for a world where there would be no humiliation of the poor by the violence of the rich, where products of intellect, science and art will serve society for the betterment and beautification of life. MT: Nikola Tesla died on the 7th of January, 1943. His final resting place is a golden globe that contains his ashes at the Nikola Tesla Museum in Belgrade. His legacy is with us still. Tesla became the man who lit the world, but this was only the beginning. Tesla's insight was profound. NT: Tell me, what will man do when the forests disappear, and the coal deposits are exhausted? MT: Tesla thought he had the answer. We are still asking the question. Thank you. (Applause)

You know, cadaver dissection is the traditional way of learning human anatomy. For students, it's quite an experience, but for a school, it could be very difficult or expensive to maintain. So we learned the majority of anatomic classes taught, they do not have a cadaver dissection lab. Maybe those reasons, or depending on where you are, cadavers may not be easily available. So to address this, we developed with a Dr. Brown in Stanford: virtual dissection table. So we call this Anatomage Table. So with this Anatomage Table, students can experience the dissection without a human cadaver. And the table form is important, and since it's touch-interactive, just like the way they do dissections in the lab, or furthermore just the way a surgeon operates on a patient you can literally interact with your table. Our digital body is one-to-one life size, so this is exactly the way students will see the real anatomy. I'm going to do some demonstrations. As you can see, I use my finger to interact with my digital body. I'm going to do some cuts. I can cut any way I want to, so I cut right here. Then it's going to show inside. And I can change my cut to see different parts. Maybe I can cut there, see the brain, and I can change my cut. You can see some internal organs. So we call this the slicer mode. OK, I'm going to do another cut. Right there. This shows a lot of internal structures. So if I want to see the back side, I can flip and see from behind. Like this. So if these images are uncomfortable to you or disturbing to you, that means we did the right job. So our doctors said these are eye candies. So instead of just butchering the body, I'd like to do more clinically meaningful dissections. What I'm going to do is I'm going to peel off all the skin, muscles and bones, just to see a few internal organs. Right here. Let's say I'm going to cut the liver right here. OK. Let's say I'm interested in looking at the heart. I'm going to do some surgery here. I'm going to cut some veins, arteries. Oops! ... You don't want to hear "oops" in real surgery. (Laughter) But fortunately, our digital man has "undo." (Laughter) OK. All right then. Let me zoom in. I'm going to make a cut right there. And then you can see the inside of the heart. You can see the atrium and the ventricles, how blood flows to our arteries and veins. Just like this, students can isolate anybody and dissect any way you want to. It doesn't have to be always dissection. Since it's digital, we can do reverse dissection. So let me show you, I'm going to start with the skeletal structure, and I can add a few internal organs. Yep. Maybe I can add quickly this way. And I can build muscles gradually, just like that. We can see tendons and muscles. Wish I could build my muscle this fast. (Laughter) And this is another way to learn anatomy. Another thing I can show you is, more often than not, doctors get to meet patients in X-ray form. So, Anatomage Table shows exactly how the anatomy will appear in X-ray. You can also interact with your X-ray, and also if you want, you can compare with how anatomy would appear in X-ray, too. So when you are done, just bring back the body and then it's ready for another session. It looks like our table also can transform gender, too. It's a female now. So this is Anatomage Table. Thank you. (Applause)

You know, cadaver dissection is the traditional way of learning human anatomy. For students, it's quite an experience, but for a school, it could be very difficult or expensive to maintain. So we learned the majority of anatomic classes taught, they do not have a cadaver dissection lab. Maybe those reasons, or depending on where you are, cadavers may not be easily available. So to address this, we developed with a Dr. Brown in Stanford: virtual dissection table. So we call this Anatomage Table. So with this Anatomage Table, students can experience the dissection without a human cadaver. And the table form is important, and since it's touch-interactive, just like the way they do dissections in the lab, or furthermore just the way a surgeon operates on a patient you can literally interact with your table. Our digital body is one-to-one life size, so this is exactly the way students will see the real anatomy. I'm going to do some demonstrations. As you can see, I use my finger to interact with my digital body. I'm going to do some cuts. I can cut any way I want to, so I cut right here. Then it's going to show inside. And I can change my cut to see different parts. Maybe I can cut there, see the brain, and I can change my cut. You can see some internal organs. So we call this the slicer mode. OK, I'm going to do another cut. Right there. This shows a lot of internal structures. So if I want to see the back side, I can flip and see from behind. Like this. So if these images are uncomfortable to you or disturbing to you, that means we did the right job. So our doctors said these are eye candies. So instead of just butchering the body, I'd like to do more clinically meaningful dissections. What I'm going to do is I'm going to peel off all the skin, muscles and bones, just to see a few internal organs. Right here. Let's say I'm going to cut the liver right here. OK. Let's say I'm interested in looking at the heart. I'm going to do some surgery here. I'm going to cut some veins, arteries. Oops! ... You don't want to hear "oops" in real surgery. (Laughter) But fortunately, our digital man has "undo." (Laughter) Okay. All right then. Let me zoom in. I'm going to make a cut right there. And then you can see the inside of the heart. You can see the atrium and the ventricles, how blood flows to our arteries and veins. Just like this, students can isolate anybody and dissect any way you want to. It doesn't have to be always dissection. Since it's digital, we can do reverse dissection. So let me show you, I'm going to start with the skeletal structure, and I can add a few internal organs. Yep. Maybe I can add quickly this way. And I can build muscles gradually, just like that. We can see tendons and muscles. Wish I could build my muscle this fast. (Laughter) And this is another way to learn anatomy. Another thing I can show you is, more often than not, doctors get to meet patients in X-ray form. So, Anatomage Table shows exactly how the anatomy will appear in X-ray. You can also interact with your X-ray, and also if you want, you can compare with how anatomy would appear in X-ray, too. So when you are done, just bring back the body and then it's ready for another session. It looks like our table also can transform gender, too. It's a female now. So this is Anatomage Table. Thank you. (Applause)

Our world has many superheroes. But they have the worst of all superpowers: invisibility. For example, the catadores, workers who collect recyclable materials for a living. Catadores emerged from social inequality, unemployment, and the abundance of solid waste from the deficiency of the waste collection system. Catadores provide a heavy, honest and essential work that benefits the entire population. But they are not acknowledged for it. Here in Brazil, they collect 90 percent of all the waste that's actually recycled. Most of the catadores work independently, picking waste from the streets and selling to junk yards at very low prices. They may collect over 300 kilos in their bags, shopping carts, bicycles and carroças. Carroças are carts built from wood or metal and found in several streets in Brazil, much like graffiti and street art. And this is how I first met these marginalized superheroes. I am a graffiti artist and activist and my art is social, environmental and political in nature. In 2007, I took my work beyond walls and onto the carroças, as a new urban support for my message. But at this time, giving voice to the catadores. By adding art and humor to the cause, it became more appealing, which helped call attention to the catadores and improve their self-esteem. And also, they are famous now on the streets, on mass media and social. So, the thing is, I plunged into this universe and have not stopped working since. I have painted over 200 carroças in many cities and have been invited to do exhibitions and trips worldwide. And then I realized that catadores, in their invisibility, are not exclusive to Brazil. I met them in Argentina, Chile, Bolivia, South Africa, Turkey and even in developed countries such as the United States and Japan. And this was when I realized that I needed to have more people join the cause because it's a big challenge. And then, I created a collaborative movement called Pimp My Carroça -- (Laughter) -- which is a large crowdfunded event. Thank you. (Applause). So Pimp My Carroça is a large crowdfunded event to help catadores and their carroças. Catadores are assisted by well-being professionals and healthcare, like physicians, dentists, podiatrists, hair stylists, massage therapists and much more. But also, they also receive safety shirts, gloves, raincoats and eyeglasses to see in high-definition the city, while their carroças are renovated by our incredible volunteers. And then they receive safety items, too: reflective tapes, horns and mirrors. Then, finally, painted by a street artist and become part of part of this huge, amazing mobile art exhibition. Pimp My Carroça took to the streets of São Paulo, Rio de Janeiro and Curitiba. But to meet the demand in other cities, including outside of Brazil, we have created Pimpx, which is inspired by TEDx, and it's a simplified, do-it-yourself, crowdfunded edition of Pimp My Carroça. So now everybody can join. In two years, over 170 catadores, 800 volunteers and 200 street artists and more than 1,000 donors have been involved in the Pimp My Carroça movement, whose actions have even been used in teaching recycling at a local school. So catadores are leaving invisibility behind and becoming increasingly respected and valued. Because of their pimped carroças, they are able to fight back to prejudice, increase their income and their interaction with society. So now, I'd like to challenge you to start looking at and acknowledging the catadores and other invisible superheroes from your city. Try to see the world as one, without boundaries or frontiers. Believe it or not, there are over 20 million catadores worldwide. So next time you see one, recognize them as a vital part of our society. Muito orbigado, thank you. (Applause).

Our world has many superheroes. But they have the worst of all superpowers: invisibility. For example, the catadores, workers who collect recyclable materials for a living. Catadores emerged from social inequality, unemployment, and the abundance of solid waste from the deficiency of the waste collection system. Catadores provide a heavy, honest and essential work that benefits the entire population. But they are not acknowledged for it. Here in Brazil, they collect 90 percent of all the waste that's actually recycled. Most of the catadores work independently, picking waste from the streets and selling to junk yards at very low prices. They may collect over 300 kilos in their bags, shopping carts, bicycles and carroças. Carroças are carts built from wood or metal and found in several streets in Brazil, much like graffiti and street art. And this is how I first met these marginalized superheroes. I am a graffiti artist and activist and my art is social, environmental and political in nature. In 2007, I took my work beyond walls and onto the carroças, as a new urban support for my message. But at this time, giving voice to the catadores. By adding art and humor to the cause, it became more appealing, which helped call attention to the catadores and improve their self-esteem. And also, they are famous now on the streets, on mass media and social. So, the thing is, I plunged into this universe and have not stopped working since. I have painted over 200 carroças in many cities and have been invited to do exhibitions and trips worldwide. And then I realized that catadores, in their invisibility, are not exclusive to Brazil. I met them in Argentina, Chile, Bolivia, South Africa, Turkey and even in developed countries such as the United States and Japan. And this was when I realized that I needed to have more people join the cause because it's a big challenge. And then, I created a collaborative movement called Pimp My Carroça -- (Laughter) -- which is a large crowdfunded event. Thank you. (Applause). So Pimp My Carroça is a large crowdfunded event to help catadores and their carroças. Catadores are assisted by well-being professionals and healthcare, like physicians, dentists, podiatrists, hair stylists, massage therapists and much more. But also, they also receive safety shirts, gloves, raincoats and eyeglasses to see in high-definition the city, while their carroças are renovated by our incredible volunteers. And then they receive safety items, too: reflective tapes, horns and mirrors. Then, finally, painted by a street artist and become part of part of this huge, amazing mobile art exhibition. Pimp My Carroça took to the streets of São Paulo, Rio de Janeiro and Curitiba. But to meet the demand in other cities, including outside of Brazil, we have created Pimpx, which is inspired by TEDx, and it's a simplified, do-it-yourself, crowdfunded edition of Pimp My Carroça. So now everybody can join. In two years, over 170 catadores, 800 volunteers and 200 street artists and more than 1,000 donors have been involved in the Pimp My Carroça movement, whose actions have even been used in teaching recycling at a local school. So catadores are leaving invisibility behind and becoming increasingly respected and valued. Because of their pimped carroças, they are able to fight back to prejudice, increase their income and their interaction with society. So now, I'd like to challenge you to start looking at and acknowledging the catadores and other invisible superheroes from your city. Try to see the world as one, without boundaries or frontiers. Believe it or not, there are over 20 million catadores worldwide. So next time you see one, recognize them as a vital part of our society. Muito obrigado, thank you. (Applause).

I'm here because I have a very important message: I think we have found the most important factor for success. And it was found close to here, Stanford. Psychology professor took kids that were four years old and put them in a room all by themselves. And he would tell the child, a four-year-old kid, "Johnny, I am going to leave you here with a marshmallow for 15 minutes. If, after I come back, this marshmallow is here, you will get another one. So you will have two." To tell a four-year-old kid to wait 15 minutes for something that they like, is equivalent to telling us, "We'll bring you coffee in two hours." (Laughter) Exact equivalent. So what happened when the professor left the room? As soon as the door closed... two out of three ate the marshmallow. Five seconds, 10 seconds, 40 seconds, 50 seconds, two minutes, four minutes, eight minutes. Some lasted 14-and-a-half minutes. (Laughter) Couldn't do it. Could not wait. What's interesting is that one out of three would look at the marshmallow and go like this ... Would look at it. Put it back. They would walk around. They would play with their skirts and pants. That child already, at four, understood the most important principle for success, which is the ability to delay gratification. Self-discipline: the most important factor for success. 15 years later, 14 or 15 years later, follow-up study. What did they find? They went to look for these kids who were now 18 and 19. And they found that 100 percent of the children that had not eaten the marshmallow were successful. They had good grades. They were doing wonderful. They were happy. They had their plans. They had good relationships with the teachers, students. They were doing fine. A great percentage of the kids that ate the marshmallow, they were in trouble. They did not make it to university. They had bad grades. Some of them dropped out. A few were still there with bad grades. A few had good grades. I had a question in my mind: Would Hispanic kids react the same way as the American kids? So I went to Colombia. And I reproduced the experiment. And it was very funny. I used four, five and six years old kids. And let me show you what happened. (Spanish) (Laughter) So what happened in Colombia? Hispanic kids, two out of three ate the marshmallow; one out of three did not. This little girl was interesting; she ate the inside of the marshmallow. (Laughter) In other words, she wanted us to think that she had not eaten it, so she would get two. But she ate it. So we know she'll be successful. But we have to watch her. (Laughter) She should not go into banking, for example, or work at a cash register. But she will be successful. And this applies for everything. Even in sales. The sales person that -- the customer says, "I want that." And the person says, "Okay, here you are." That person ate the marshmallow. If the sales person says, "Wait a second. Let me ask you a few questions to see if this is a good choice." Then you sell a lot more. So this has applications in all walks of life. I end with -- the Koreans did this. You know what? This is so good that we want a marshmallow book for children. We did one for children. And now it is all over Korea. They are teaching these kids exactly this principle. And we need to learn that principle here in the States, because we have a big debt. We are eating more marshmallows than we are producing. Thank you so much.

I was born in Taiwan. I grew up surrounded by different types of hardware stores, and I like going to night markets. I love the energy of the night markets, the colors, the lights, the toys, and all the unexpected things I find every time I go, things like watermelon with straw antennas or puppies with mohawks. When I was growing up, I liked taking toys apart, any kind of toys I'd find around the house, like my brother's BB gun when he's not home. I also liked to make environments for people to explore and play. In these early installations, I would take plastic sheets, plastic bags, and things I would find in the hardware store or around the house. I would take things like highlighter pen, mix it with water, pump it through plastic tubing, creating these glowing circulatory systems for people to walk through and enjoy. I like these materials because of the way they look, the way they feel, and they're very affordable. I also liked to make devices that work with body parts. I would take camera LED lights and a bungee cord and strap it on my waist and I would videotape my belly button, get a different perspective, and see what it does. (Laughter) I also like to modify household appliances. This is an automatic night light. Some of you might have them at home. I would cut out the light sensor, add an extension line, and use modeling clay, stick it onto the television, and then I would videotape my eye, and using the dark part of my eye tricking the sensor into thinking it's night time, so you turn on the lightbulb. The white of the eye and the eyelid will trick the sensor into thinking it's daytime, and it will shut off the light. I wanted to collect more different types of eyes, so I built this device using bicycle helmets, some lightbulbs and television sets. It would be easier for other people to wear the helmet and record their eyes. This device allows me to symbolically extract other people's eyes, so I have a diversity of eyes to use for my other sculptures. This sculpture has four eyes. Each eye is controlling a different device. This eye is turning itself around in a television. This eye is inflating a plastic tube. This eye is watching a video of another piece being made. And these two eyes are activating glowing water. Many of these pieces are later on shown in museums, biennials, triennial exhibitions around the world. I love science and biology. In 2007, I was doing a research fellowship at the Smithsonian Natural History Museum looking at bioluminous organisms in the oean. I love these creatures. I love the way they look, the way they feel. They're soft, they're slimy, and I was fascinated by the way they use light in their environment, either to attract mates, for self-defense, or to attract food. This research inspired my work in many different ways, things like movement or different light patterns. So I started gathering a lot of different types of material in my studio and just experimenting and trying this out, trying that out, and seeing what types of creatures I can come up with. I used a lot of computer cooling fans and just kind of put them together and see what happens. This is an 8,000-square-foot installation composed of many different creatures, some hanging from the ceiling and some resting on the floor. From afar, they look alien-like, but when you look closer, they're all made out of black garbage bags or Tupperware containers. I'd like to share with you how ordinary things can become something magical and wondrous. (Applause) Thank you. (Applause)

Those of you who know me know how passionate I am about opening the space frontier. So when I had the chance to give the world's expert in gravity the experience of zero gravity, it was incredible. And I want to tell you that story. I first met him through the Archon X PRIZE for Genomics. It's a competition we're holding, the second X PRIZE, for the first team to sequence 100 human genomes in 10 days. We have something called the Genome 100 -- 100 individuals we're sequencing as part of that. Craig Venter chairs that event. And I met Professor Hawking, and he said his dream was to travel into space. And I said, "I can't take you there, but I can take you into weightlessness into zero-g. And he said, on the spot, "Absolutely, yes." Well, the only way to experience zero-g on Earth is actually with parabolic flight, weightless flight. You take an airplane, you fly over the top, you're weightless for 25 seconds. Come back down, you weigh twice as much. You do it again and again. You can get eight, 10 minutes of weightlessness -- how NASA's trained their astronauts for so long. We set out to do this. It took us 11 years to become operational. And we announced that we were going to fly Stephen Hawking. We had one government agency and one company aircraft operator say, you're crazy, don't do that, you're going kill the guy. (Laughter) And he wanted to go. We worked hard to get all the permissions. And six months later, we sat down at Kennedy Space Center. We had a press conference, we announced our intent to do one zero-g parabola, give him 25 seconds of zero-g. And if it went really well, we might do three parabolas. Well, we asked him why he wanted to go up and do this. And what he said, for me, was very moving. He said, "Life on Earth is at an ever-increasing risk of being wiped out by disaster ... I think the human race doesn't have a future if it doesn't go into space. I therefore want to encourage public interest in space." We took him out to the Kennedy Space Center, up inside the NASA vehicle, into the back of the zero-g airplane. We had about 20 people who made donations -- we raised $150,000 in donations for children's charities -- who flew with us. A few TEDsters here. We set up a whole ER. We had four emergency room doctors and two nurses on board the airplane. We were monitoring his PO2 of his blood, his heart rate, his blood pressure. We had everything all set in case of an emergency; God knows, you don't want to hurt this world-renowned expert. We took off from the shuttle landing facility, where the shuttle takes off and lands. And my partner Byron Lichtenberg and I carefully suspended him into zero-g. Once he was there, [we] let him go to experience what weightlessness was truly like. And after that first parabola, you know, the doc said everything is great. He was smiling, and we said go. So we did a second parabola. (Laughter) (Applause) And a third. (Applause) We actually floated an apple in homage to Sir Isaac Newton because Professor Hawking holds the same chair at Cambridge that Isaac Newton did. And we did a fourth, and a fifth and a sixth. (Laughter) And a seventh and an eighth. And this man does not look like a 65-year-old wheelchair-bound man. (Laughter) He was so happy. We are living on a precious jewel, and it's during our lifetime that we're moving off this planet. Please join us in this epic adventure. Thank you so much. (Applause)

Namaste. Salaam. Shalom. Sat Sri Akal. Greetings to all of you from Pakistan. It is often said that we fear that which we do not know. And Pakistan, in this particular vein, is very similar. Because it has provoked, and does provoke, a visceral anxiety in the bellies of many a Western soul, especially when viewed through the monochromatic lens of turbulence and turmoil. But there are many other dimensions to Pakistan. And what follows is a stream of images, a series of images captured by some of Pakistan's most dynamic and young photographers, that aims to give you an alternative glimpse, a look inside the hearts and minds of some ordinary Pakistani citizens. Here are some of the stories they wanted us to share with you. My name is Abdul Khan. I come from Peshawar. I hope that you will be able to see not just my Taliban-like beard, but also the richness and color of my perceptions, aspirations and dreams, as rich and colorful as the satchels that I sell. My name is Meher and this is my friend Irim. I hope to become a vet when I grow up so that I can take care of stray cats and dogs who wander around the streets of the village that I live near Gilgit, northern Pakistan. My name is Kailash. And I like to enrich lives through technicolored glass. Madame, would you like some of those orange bangles with the pink polka dots? My name is Zamin. And I'm an IDP, an internally displaced person, from Swat. Do you see me on the other side of this fence? Do I matter, or really exist for you? My name is Iman. I am a fashion model, an up-and-coming model from Lahore. Do you see me simply smothered in cloth? Or can you move beyond my veil and see me for who I truly am inside? My name is Ahmed. I am an Afghan refugee from the Khyber agency. I have come from a place of intense darkness. And that is why I want to illuminate the world. My name is Papusay. My heart and drum beat as one. If religion is the opium of the masses, then for me, music is my one and only ganja. A rising tide lifts all boats. And the rising tide of India's spectacular economic growth has lifted over 400 million Indians into a buoyant middle class. But there are still over 650 million Indians, Pakistanis, Sri Lankans, Bangladeshis, Nepalese, who remain washed up on the shores of poverty. Therefore as India and Pakistan, as you and I, it behooves us to transcend our differences, to celebrate our diversity, to leverage our common humanity. Our collective vision at Naya Jeevan, which for many of you, as you all recognize, means "new life" in Urdu and Hindi, is to rejuvenate the lives of millions of low income families by providing them with affordable access to catastrophic health care. Indeed it is the emerging world's first HMO for the urban working poor. Why should we do this as Indians and Pakistanis? We are but two threads cut from the same cloth. And if our fates are intertwined, then we believe that it is good karma, it is good fortune. And for many of us, our fortunes do indeed lie at the bottom of the pyramid. Thank you. (Applause) Chris Anderson: Fantastic. Just stay up here. That was fantastic. I found that really moving. You know, we fought hard to get at least a small Pakistani contingent to come. It felt like it was really important. They went through a lot to get here. Would the Pakistanis please just stand up please? I just really wanted to acknowledge you. (Applause) Thank you so much.

I'm an industrial engineer. The goal in my life has always been to make more and more products in the least amount of time and resources. While working at Toyota, all I knew was how to make cars until I met Dr. Akira Miyawaki, who came to our factory to make a forest in it in order to make it carbon-neutral. I was so fascinated that I decided to learn this methodology by joining his team as a volunteer. Soon, I started making a forest in the backyard of my own house, and this is how it looks after three years. These forests, compared to a conventional plantation, grow 10 times faster, they're 30 times more dense, and 100 times more biodiverse. Within two years of having this forest in our backyard, I could observe that the groundwater didn't dry during summers, the number of bird species I spotted in this area doubled. Quality of air became better, and we started harvesting seasonal fruits growing effortlessly right in the backyard of our house. I wanted to make more of these forests. I was so moved by these results that I wanted to make these forests with the same acumen with which we make cars or write software or do any mainstream business, so I founded a company which is an end-to-end service provider to create these native natural forests. But to make afforestation as a mainstream business or an industry, we had to standardize the process of forest-making. So we benchmarked the Toyota Production System known for its quality and efficiency for the process of forest-making. For an example, the core of TPS, Toyota Production System, lies in heijunka, which is making manufacturing of different models of cars on a single assembly line. We replaced these cars with trees, using which now we can make multi-layered forests. These forests utilize 100 percent vertical space. They are so dense that one can't even walk into them. For an example, we can make a 300-tree forest in an area as small as the parking spaces of six cars. In order to reduce cost and our own carbon footprint, we started utilizing local biomass as soil amender and fertilizers. For example, coconut shells crushed in a machine mixed with rice straw, powder of rice husk mixed with organic manure is finally dumped in soil on which our forest is planted. Once planted, we use grass or rice straw to cover the soil so that all the water which goes into irrigation doesn't get evaporated back into the atmosphere. And using these simple improvisations, today we can make a forest for a cost as low as the cost of an iPhone. Today, we are making forests in houses, in schools, even in factories with the corporates. But that's not enough. There is a huge number of people who want to take matters into their own hands. So we let it happen. Today, we are working on an Internet-based platform where we are going to share our methodology on an open source using which anyone and everyone can make their own forest without our physical presence being there, using our methodology. At the click of a button, they can get to know all the native species of their place. By installing a small hardware probe on site, we can do remote soil testing, using which we can give step-by-step instructions on forest-making remotely. Also we can monitor the growth of this forest without being on site. This methodology, I believe, has a potential. By sharing, we can actually bring back our native forests. Now, when you go back home, if you see a barren piece of land, do remember that it can be a potential forest. Thank you very much. Thanks. (Applause)

These are simple objects: clocks, keys, combs, glasses. They are the things the victims of genocide in Bosnia carried with them on their final journey. We are all familiar with these mundane, everyday objects. The fact that some of the victims carried personal items such as toothpaste and a toothbrush is a clear sign they had no idea what was about to happen to them. Usually, they were told that they were going to be exchanged for prisoners of war. These items have been recovered from numerous mass graves across my homeland, and as we speak, forensics are exhuming bodies from newly discovered mass graves, 20 years after the war. And it is quite possibly the largest ever discovered. During the four years of conflict that devastated the Bosnian nation in the early '90s, approximately 30,000 citizens, mainly civilians, went missing, presumed killed, and another 100,000 were killed during combat operations. Most of them were killed either in the early days of the war or towards the end of the hostilities, when U.N. safe zones like Srebrenica fell into the hands of the Serb army. The international criminal tribunal delivered a number of sentences for crimes against humanity and genocide. Genocide is a systematic and deliberate destruction of a racial, political, religious or ethnic group. As much as genocide is about killing. It is also about destroying their property, their cultural heritage, and ultimately the very notion that they ever existed. Genocide is not only about the killing; it is about the denied identity. There are always traces — no such thing as a perfect crime. There are always remnants of the perished ones that are more durable than their fragile bodies and our selective and fading memory of them. These items are recovered from numerous mass graves, and the main goal of this collection of the items is a unique process of identifying those who disappeared in the killings, the first act of genocide on European soil since the Holocaust. Not a single body should remain undiscovered or unidentified. Once recovered, these items that the victims carried with them on their way to execution are carefully cleaned, analyzed, catalogued and stored. Thousands of artifacts are packed in white plastic bags just like the ones you see on CSI. These objects are used as a forensic tool in visual identification of the victims, but they are also used as very valuable forensic evidence in the ongoing war crimes trials. Survivors are occasionally called to try to identify these items physically, but physical browsing is extremely difficult, an ineffective and painful process. Once the forensics and doctors and lawyers are done with these objects, they become orphans of the narrative. Many of them get destroyed, believe it or not, or they get simply shelved, out of sight and out of mind. I decided a few years ago to photograph every single exhumed item in order to create a visual archive that survivors could easily browse. As a storyteller, I like to give back to the community. I like to move beyond raising awareness. And in this case, someone may recognize these items or at least their photographs will remain as a permanent, unbiased and accurate reminder of what happened. Photography is about empathy, and the familiarity of these items guarantee empathy. In this case, I am merely a tool, a forensic, if you like, and the result is a photography that is as close as possible of being a document. Once all the missing persons are identified, only decaying bodies in their graves and these everyday items will remain. In all their simplicity, these items are the last testament to the identity of the victims, the last permanent reminder that these people ever existed. Thank you very much. (Applause)

In 1962, Buckminster Fuller presented the particularly audacious proposal for the Geoscope. It was a 200-foot diameter geodesic sphere to be suspended over the East River in New York City, in full view of the United Nations. It was a big idea, for sure, and it was one that he felt could truly inform and deeply affect the decision making of this body through animations of global data, trends and other information regarding the globe, on this sphere. And today, 45 years later, we clearly have no less need for this kind of clarity and perspective, but what we do have is improved technology. Today we don't need one million light bulbs to create a spherical display. We can use LEDs. LEDs are smaller, they're cheaper, they're longer lasting, they're more efficient. Most importantly for this, they're faster. And this speed, combined with today's high-performance micro-controllers, allows us to actually simulate, in this piece, over 17,000 LEDs -- using just 64. And the way this happens is through the phenomenon of persistence of vision. But as this ring rotates at about 1,700 rpm -- that's 28 times per second. The equator's speed is actually about 60 miles per hour. There are four on-board micro-controllers that, each time this ring rotates it, as it passes the rear of the display, it picks up a position signal. And from that, the on-board micro-controllers can extrapolate the position of the ring at all points around the revolution and display arbitrary bitmap images and animations. But this is really just the beginning. In addition to higher resolution versions of this display, my father and I are working on a new patent-pending design for a fully volumetric display using the same phenomenon. It achieves this by rotating LEDs about two axes. So as you can see here, this is a, eleven-inch diameter circuit board. These blocks represent LEDs. And so you could see that as this disc rotates about this axis, it will create a disc of light that we can control. That's nothing new: that's a propeller clock; that's the rims that you can buy for your car. But what is new is that, when we rotate this disc about this axis, this disc of light actually becomes a sphere of light. And so we can control that with micro-controllers and create a fully volumetric, three-dimensional display with just 256 LEDs. Now this piece is currently in process -- due out in May -- but what we've done is we've put together a small demo, just to show the geometric translation of points into a sphere. I've got a little video to show you, but keep in mind that this is with no electronic control, and this is also with only four LEDs. This is actually only about 1.5 percent of what the final display will be in May. So, take a look. And here you can see it's rotating about the vertical axis only, creating circles. And then, as the other axis kicks in, those actually blur into a volume. And the shutter speed of the camera actually makes it slightly less effective in this case. But this piece is due out in May. It'll be on display at the Interactive Telecommunications Spring Show in Greenwich Village in New York City -- that's open to the public, definitely invite you all to come and attend -- it's a fantastic show. There are hundreds of student innovators with fantastic projects. This piece, actually, will be on display down in the Sierra Simulcast Lounge in the breaks between now and the end of the show. So I'd love to talk to you all, and invite you to come down and take a closer look. It's an honor to be here. Thanks very much. (Applause)

What's happening to the climate? It is unbelievably bad. This is, obviously, that famous view now of the Arctic, which is likely to be gone at this point in the next three or four or five years. Very, very, very scary. So we all look at what we can do. And when you look at the worldwide sources of CO2, 52 percent are tied to buildings. Only nine percent is passenger cars, interestingly enough. So we ran off to a sushi bar. And at that sushi bar we came up with a great idea. And it was something called EcoRock. And we said we could redesign the 115-year-old gypsum drywall process that generates 20 billion pounds of CO2 a year. So it was a big idea. We wanted to reduce that by 80 percent, which is exactly what we've done. We started R&D in 2006. Decided to use recycled content from cement and steel manufacturing. There is the inside of our lab. We haven't shown this before. But our people had to do some 5,000 different mixes to get this right, to hit our targets. And they worked absolutely very, very, very hard. So then we went forward and built our production line in China. We don't build this production equipment any longer in the U.S., unfortunately. We did the line install over the summer. We started right there, with absolutely nothing. You're seeing for the first time, a brand new drywall production line, not made using gypsum at all. That's the finished production line there. We got our first panel out on December third. That is the slurry being poured onto paper, basically. That's the line running. The exciting thing is, look at the faces of the people. These are people who worked this project for two to three years. And they are so excited. That's the first board off the line. Our Vice President of Operation kissing the board. Obviously very, very excited. But this has a huge, huge impact on the environment. We signed the first panel just a few weeks after that, had a great signing ceremony, leading to people hopefully using these products across the world. And we've got Cradle-to-Cradle Gold on this thing. We happened to win, just recently, the Green Product of the Year for "The Re-Invention of Drywall," from Popular Science. Thank you. Thank you. So here is what we learned: 8,000 gallons of gas equivalent to build one house. You probably had no idea. It's like driving around the world six times. We must change everything. Look around the room: chairs, wood, everything around us has to change or we're not going to lick this problem. Don't listen to the people who say you can't do this, because anyone can. And these job losses, we can fix them with green-collar jobs. We've got four plants. We're building this stuff around the country. We're going as fast as we can. Two and a half million cars worth of gypsum, you know, CO2 generated. Right? So what will you do? I'll tell you what I did and why I did it. And I know my time's up. Those are my kids, Natalie and David. When they have their kids, 2050, they'd better look back at Grandpa and say, "Hey, you gave it a good shot. You did the best you could with the team that you had." So my hope is that when you leave TED, you will look at reducing your carbon footprint in however you can do it. And if you don't know how, please find me -- I will help you. Last but not least, Bill Gates, I know you invented Windows. Wait till you see, maybe next year, what kind of windows we've invented. Thank you so much. (Applause)

Hi everyone. I'm an artist and a dad -- second time around. Thank you. And I want to share with you my latest art project. It's a children's book for the iPad. It's a little quirky and silly. It's called "Pop-It," And it's about the things little kids do with their parents. (Music) So this is about potty training -- as most of you, I hope, know. You can tickle the rug. You can make the baby poop. You can do all those fun things. You can burst bubbles. You can draw, as everyone should. But you know, I have a problem with children's books: I think they're full of propaganda. At least an Indian trying to get one of these American books in Park Slope, forget it. It's not the way I was brought up. So I said, "I'm going to counter this with my own propaganda." If you notice carefully, it's a homosexual couple bringing up a child. You don't like it? Shake it, and you have a lesbian couple. (Laughter) Shake it, and you have a heterosexual couple. You know, I don't even believe in the concept of an ideal family. I have to tell you about my childhood. I went to this very proper Christian school taught by nuns, fathers, brothers, sisters. Basically, I was brought up to be a good Samaritan, and I am. And I'd go at the end of the day to a traditional Hindu house, which was probably the only Hindu house in a predominantly Islamic neighborhood. Basically, I celebrated every religious function. In fact, when there was a wedding in our neighborhood, all of us would paint our houses for the wedding. I remember we cried profusely when the little goats we played with in the summer became biriani. (Laughter) We all had to fast during Ramadan. It was a very beautiful time. But I must say, I'll never forget, when I was 13 years old, this happened. Babri Masjid -- one of the most beautiful mosques in India, built by King Babur, I think, in the 16th century -- was demolished by Hindu activists. This caused major riots in my city. And for the first time, I was affected by this communal unrest. My little five-year-old kid neighbor comes running in, and he says, "Rags, Rags. You know the Hindus are killing us Muslims. Be careful." I'm like, "Dude, I'm Hindu." (Laughter) He's like, "Huh!" You know, my work is inspired by events such as this. Even in my gallery shows, I try and revisit historic events like Babri Masjid, distill only its emotional residue and image my own life. Imagine history being taught differently. Remember that children's book where you shake and the sexuality of the parents change? I have another idea. It's a children's book about Indian independence -- very patriotic. But when you shake it, you get Pakistan's perspective. Shake it again, and you get the British perspective. (Applause) You have to separate fact from bias, right. Even my books on children have cute, fuzzy animals. But they're playing geopolitics. They're playing out Israel-Palestine, India-Pakistan. You know, I'm making a very important argument. And my argument [is] that the only way for us to teach creativity is by teaching children perspectives at the earliest stage. After all, children's books are manuals on parenting, so you better give them children's books that teach them perspectives. And conversely, only when you teach perspectives will a child be able to imagine and put themselves in the shoes of someone who is different from them. I'm making an argument that art and creativity are very essential tools in empathy. You know, I can't promise my child a life without bias -- we're all biased -- but I promise to bias my child with multiple perspectives. Thank you very much. (Applause)

So, basically we have public leaders, public officials who are out of control; they are writing bills that are unintelligible, and out of these bills are going to come maybe 40,000 pages of regulations, total complexity, which has a dramatically negative impact on our life. If you're a veteran coming back from Iraq or Vietnam you face a blizzard of paperwork to get your benefits; if you're trying to get a small business loan, you face a blizzard of paperwork. What are we going to do about it? I define simplicity as a means to achieving clarity, transparency and empathy, building humanity into communications. I've been simplifying things for 30 years. I come out of the advertising and design business. My focus is understanding you people, and how you interact with the government to get your benefits, how you interact with corporations to decide whom you're going to do business with, and how you view brands. So, very quickly, when President Obama said, "I don't see why we can't have a one-page, plain English consumer credit agreement." So, I locked myself in a room, figured out the content, organized the document, and wrote it in plain English. I've had this checked by the two top consumer credit lawyers in the country. This is a real thing. Now, I went one step further and said, "Why do we have to stick with the stodgy lawyers and just have a paper document? Let's go online." And many people might need help in computation. Working with the Harvard Business School, you'll see this example when you talk about minimum payment: If you spent 62 dollars for a meal, the longer you take to pay out that loan, you see, over a period of time using the minimum payment it's 99 dollars and 17 cents. How about that? Do you think your bank is going to show that to people? But it's going to work. It's more effective than just computational aids. And what about terms like "over the limit"? Perhaps a stealth thing. Define it in context. Tell people what it means. When you put it in plain English, you almost force the institution to give the people a way, a default out of that, and not put themselves at risk. Plain English is about changing the content. And one of the things I'm most proud of is this agreement for IBM. It's a grid, it's a calendar. At such and such a date, IBM has responsibilities, you have responsibilities. Received very favorably by business. And there is some good news to report today. Each year, one in 10 taxpayers receives a notice from the IRS. There are 200 million letters that go out. Running through this typical letter that they had, I ran it through my simplicity lab, it's pretty unintelligible. All the parts of the document in red are not intelligible. We looked at doing over 1,000 letters that cover 70 percent of their transactions in plain English. They have been tested in the laboratory. When I run it through my lab, this heat-mapping shows everything is intelligible. And the IRS has introduced the program. (Applause) There are a couple of things going on right now that I want to bring to your attention. There is a lot of discussion now about a consumer financial protection agency, how to mandate simplicity. We see all this complexity. It's incumbent upon us, and this organization, I believe, to make clarity, transparency and empathy a national priority. There is no way that we should allow government to communicate the way they communicate. There is no way we should do business with companies that have agreements with stealth provisions and that are unintelligible. So, how are we going to change the world? Make clarity, transparency and simplicity a national priority. I thank you. (Applause)

(Guitar music) I was just thinking that I have been missing you way too long There's something inside this weary head that wants us to love just instead But I was just thinking, merely thinking I've got loads of pictures, I've got the one of you in that dancing dress But man I feel silly in that dim light Just after doing you by the sight of my Kodak delights, I am sinking, merely sinking I think about long distance rates instead of kissing you babe I'm a singer without a song If I wait for you longer my affection is stronger and I ... I was just thinking, merely thinking that this boat is sinking I'm tired of postcards, especially the ones with cute dogs and cupids I'm tired of calling you and missing you and dreaming I slept with you Don't get me wrong I still desperately love you inside this weary head I just want us to love just instead But I was just thinking and thinking, merely thinking I think about long distance rates instead of kissing you babe and time is running me still If I wait for you longer my affection is stronger I ... I was just thinking I ... I was just thinking that I'm tired of calling you once a week thinking of long distance rates instead of kissing you So baby I'm sinking, merely sinking (Guitar music ends) (Applause) Thank you. Singing is sharing. When you sing, you have to know what you're talking about intimately, and you have to be willing to share this insight and give away a piece of yourself. I look for this intention to share in everything, and I ask: what are the intentions behind this architecture or this product or this restaurant or this meal? And if your intentions are to impress people or to get the big applause at the end, then you are taking, not giving. And this is a song that's about -- it's the kind of song that everyone has their version of. This song is called "Home," and it's sort of a "This is where I'm from, nice to meet you all," kind of song. (Laughter) (Applause) (Piano music) Home is the sound of birds early in the morning Home is a song I've always remembered Home is the memory of my first day in school Home is the books that I carry around Home is an alley in a faraway town Home is the places I’ve been and where I’d like to go Home I'm always gonna feel at home No matter where I may roam I'm always gonna find my way back home No matter how far I’m gone I’m always gonna feel this longing No matter where I might stay Home is a feather twirling in the air Home is flowers in a windowsill Home is all the things she said to me Home is a photo I never threw away Home is the smile on my face when I die Home is the taste of an apple pie I met a woman, she always lived in the same place And she said home is where you’re born and raised And I met a man, he sat looking out to the sea And he said home is where you want to be I met a girl in some downtown bar And she said I'll have whatever he's having And I asked her how come we never met before? And she said all my life I’ve been trying to get a place of my own I’m always gonna feel at home No matter where I may roam Always gonna find my way back home No matter how far I’m gone I'm always gonna feel this longing No matter where I might stay (Piano music) (Piano music ends) (Applause)

(Music) (Applause) Hi everyone. I'm Sirena. I'm 11 years old and from Connecticut. (Applause) Well, I'm not really sure why I'm here. (Laughter) I mean, what does this have to do with technology, entertainment and design? Well, I count my iPod, cellphone and computer as technology but this has nothing to do with that. So I did a little research on it. Well, this is what I found. Of course, I hope I can memorize it. The violin is basically made of a wood box and four main strings. By playing the string, the string vibrates and produces a sound wave. Sound passes through a piece of wood called a bridge and goes down to the wood box and gets amplified but ... let me think. (Laughter) Okay. On the other hand by placing your finger in a different position on the fingerboard it changes the string length, that changes the frequency of the sound wave. Oh, my gosh! (Laughter) Okay. This is sort of a technology but I can call it a 16th-century technology. But actually, the most fascinating thing that I found was that even the audio system or wave transmission nowadays are still basically based on the same principle of producing and projecting sound. Isn't that cool? (Laughter) (Applause) Design -- I love its design. I remember when I was little my mom asked me, would you like to play the violin or the piano? I looked at that giant monster and said to myself -- I am not going to lock myself on that bench the whole day. This is small and lightweight. I can play from standing, sitting or walking. And you know what? The best of all is that if I don't want to practice, I can hide it. (Laughter) The violin is very beautiful. Some people relate it as the shape of a lady but, whether you like it or not, it's been so for more than 400 years, unlike modern stuff that easily looks dated. But I think it's very personal and unique that, although each violin looks pretty similar, that no two violins sound the same. Even from the same maker or based on the same model. Entertainment -- I love the entertainment, but actually, the instrument itself isn't very entertaining. I mean, when I first got my violin and tried to play around, it was actually, really bad because it didn't sound like the way I'd heard from other kids -- so horrible and so scratchy -- so it wasn't entertaining at all. But besides, my brother found this very funny. Yuk, yuk, yuk. (Laughter) A few years later I heard a joke about the greatest violinist, Jascha Heifetz. After Mr. Heifetz's concert a lady came over and complimented, "Oh, Mr. Heifetz, your violin sounded so great tonight." And Mr. Heifetz was a very cool person, so he picked up his violin and said, "Funny, I don't hear anything." (Laughter) And now, I realize that as the musician, we human beings, we have a great mind, artistic heart and skill that can change the 16th-century technology and a legendary design to a wonderful entertainment. Now, I know why I'm here. (Music) (Applause) At first I thought I was just going to be here to perform, but unexpectedly, I learned and enjoyed much more. But ... although some of them were quite up there for me. (Laughter) Like the multi-dimension stuff. I mean, honestly, I'd be happy enough if I can actually get my two dimension correct in school. (Laughter) But actually, the most impressive thing to me is that ... well, actually, I would also like to stand this for all children is to say, thank you, to all adults for actually caring for us a lot and to make our future world much better. Thank you. (Applause) (Music) (Applause) (Music) (Applause)

"What I Will" I will not dance to your war drum. I will not lend my soul nor my bones to your war drum. I will not dance to that beating. I know that beat. It is lifeless. I know intimately that skin you are hitting. It was alive once, hunted, stolen, stretched. I will not dance to your drummed-up war. I will not pop, spin, break for you. I will not hate for you or even hate you. I will not kill for you. Especially I will not die for you. I will not mourn the dead with murder nor suicide. I will not side with you or dance to bombs because everyone is dancing. Everyone can be wrong. Life is a right, not collateral or casual. I will not forget where I come from. I will craft my own drum. Gather my beloved near, and our chanting will be dancing. Our humming will be drumming. I will not be played. I will not lend my name nor my rhythm to your beat. I will dance and resist and dance and persist and dance. This heartbeat is louder than death. Your war drum ain't louder than this breath. Haaa. What's up TED people? Let me hear you make some noise. (Applause) A bunch of pacifists. Confused, aspiring pacifists. I understand. I've been wrong a lot lately. Like a lot. So I couldn't figure out what to read today. I mean, I've been saying I've been prepping. What that means is prepping my outfit, (Laughter) prepping options, trying to figure out what I'm coming behind and going in front of. Poetry does that. It preps you. It aims you. So I am going to read a poem that was chosen just now. But I'm going to need you to just sit for like 10 minutes and hold a woman who is not here. Hold her now with you. You don't need to say her name out loud, you can just hold her. Are you holding her? This is "Break Clustered." All holy history banned. Unwritten books predicted the future, projected the past. But my head unwraps around what appears limitless, man's creative violence. Whose son shall it be? Which male child will perish a new day? Our boys' deaths galvanize. We cherish corpses. We mourn women, complicated. Bitches get beat daily. Profits made, prophets ignored. War and tooth, enameled salted lemon childhoods. All colors run, none of us solid. Don't look for shadow behind me. I carry it within. I live cycles of light and darkness. Rhythm is half silence. I see now, I never was one and not the other. Sickness, health, tender violence. I think now I never was pure. Before form I was storm, blind, ign'ant -- still am. Human contracted itself blind, malignant. I never was pure. Girl spoiled before ripened. Language can't math me. I experience exponentially. Everything is everything. One woman loses 15, maybe 20, members of her family. One woman loses six. One woman loses her head. One woman searches rubble. One woman feeds on trash. One woman shoots her face. One woman shoots her husband. One woman straps herself. One woman gives birth to a baby. One woman gives birth to borders. One woman no longer believes love will ever find her. One woman never did. Where do refugee hearts go? Broken, dissed, placed where they're not from, don't want to be missed. Faced with absence. We mourn each one or we mean nothing at all. My spine curves spiral. Precipice running to and running from human beings. Cluster bombs left behind. De facto landmines. A smoldering grief. Harvest contaminated tobacco. Harvest bombs. Harvest baby teeth. Harvest palms, smoke. Harvest witness, smoke. Resolutions, smoke. Salvation, smoke. Redemption, smoke. Breathe. Do not fear what has blown up. If you must, fear the unexploded. Thank you. (Applause)

I had a fire nine days ago. My archive: 175 films, my 16-millimeter negative, all my books, my dad's books, my photographs. I'd collected -- I was a collector, major, big-time. It's gone. I just looked at it, and I didn't know what to do. I mean, this was -- was I my things? I always live in the present -- I love the present. I cherish the future. And I was taught some strange thing as a kid, like, you've got to make something good out of something bad. You've got to make something good out of something bad. This was bad! Man, I was -- I cough. I was sick. That's my camera lens. The first one -- the one I shot my Bob Dylan film with 35 years ago. That's my feature film. "King, Murray" won Cannes Film Festival 1970 -- the only print I had. That's my papers. That was in minutes -- 20 minutes. Epiphany hit me. Something hit me. "You've got to make something good out of something bad," I started to say to my friends, neighbors, my sister. By the way, that's "Sputnik." I ran it last year. "Sputnik" was downtown, the negative. It wasn't touched. These are some pieces of things I used in my Sputnik feature film, which opens in New York in two weeks downtown. I called my sister. I called my neighbors. I said, "Come dig." That's me at my desk. That was a desk took 40-some years to build. You know -- all the stuff. That's my daughter, Jean. She came. She's a nurse in San Francisco. "Dig it up," I said. "Pieces. I want pieces. Bits and pieces." I came up with this idea: a life of bits and pieces, which I'm just starting to work on -- my next project. That's my sister. She took care of pictures, because I was a big collector of snapshot photography that I believed said a lot. And those are some of the pictures that -- something was good about the burnt pictures. I didn't know. I looked at that -- I said, "Wow, is that better than the --" That's my proposal on Jimmy Doolittle. I made that movie for television. It's the only copy I had. Pieces of it. Idea about women. So I started to say, "Hey, man, you are too much! You could cry about this." I really didn't. I just instead said, "I'm going to make something out of it, and maybe next year ... " And I appreciate this moment to come up on this stage with so many people who've already given me so much solace, and just say to TEDsters: I'm proud of me. That I take something bad, I turn it, and I'm going to make something good out of this, all these pieces. That's Arthur Leipzig's original photograph I loved. I was a big record collector -- the records didn't make it. Boy, I tell you, film burns. Film burns. I mean, this was 16-millimeter safety film. The negatives are gone. That's my father's letter to me, telling me to marry the woman I first married when I was 20. That's my daughter and me. She's still there. She's there this morning, actually. That's my house. My family's living in the Hilton Hotel in Scotts Valley. That's my wife, Heidi, who didn't take it as well as I did. My children, Davey and Henry. My son, Davey, in the hotel two nights ago. So, my message to you folks, from my three minutes, is that I appreciate the chance to share this with you. I will be back. I love being at TED. I came to live it, and I am living it. That's my view from my window outside of Santa Cruz, in Bonny Doon, just 35 miles from here. Thank you everybody. (Applause)

The greatest irony in global health is that the poorest countries carry the largest disease burden. If we resize the countries of the globe in proportion to the subject of interest, we see that Sub-Saharan Africa is the worst hit region by HIV/AIDS. This is the most devastating epidemic of our time. We also see that this region has the least capability in terms of dealing with the disease. There are very few doctors and, quite frankly, these countries do not have the resources that are needed to cope with such epidemics. So what the Western countries, developed countries, have generously done is they have proposed to provide free drugs to all people in Third World countries who actually can't afford these medications. And this has already saved millions of lives, and it has prevented entire economies from capsizing in Sub-Saharan Africa. But there is a fundamental problem that is killing the efforts in fighting this disease, because if you keep throwing drugs out at people who don't have diagnostic services, you end up creating a problem of drug resistance. This is already beginning to happen in Sub-Saharan Africa. The problem is that, what begins as a tragedy in the Third World could easily become a global problem. And the last thing we want to see is drug-resistant strains of HIV popping up all over the world, because it will make treatment more expensive and it could also restore the pre-ARV carnage of HIV/AIDS. I experienced this firsthand as a high school student in Uganda. This was in the 90s during the peak of the HIV epidemic, before there were any ARVs in Sub-Saharan Africa. And during that time, I actually lost more relatives, as well as the teachers who taught me, to HIV/AIDS. So this became one of the driving passions of my life, to help find real solutions that could address these kinds of problems. We all know about the miracle of miniaturization. Back in the day, computers used to fill this entire room, and people actually used to work inside the computers. But what electronic miniaturization has done is that it has allowed people to shrink technology into a cell phone. And I'm sure everyone here enjoys cell phones that can actually be used in the remote areas of the world, in the Third World countries. The good news is that the same technology that allowed miniaturization of electronics is now allowing us to miniaturize biological laboratories. So, right now, we can actually miniaturize biological and chemistry laboratories onto microfluidic chips. I was very lucky to come to the US right after high school, and was able to work on this technology and develop some devices. This is a microfluidic chip that I developed. A close look at how the technology works: These are channels that are about the size of a human hair -- so you have integrated valves, pumps, mixers and injectors -- so you can fit entire diagnostic experiments onto a microfluidic system. So what I plan to do with this technology is to actually take the current state of the technology and build an HIV kit in a microfluidic system. So, with one microfluidic chip, which is the size of an iPhone, you can actually diagnose 100 patients at the same time. For each patient, we will be able to do up to 100 different viral loads per patient. And this is only done in four hours, 50 times faster than the current state of the art, at a cost that will be five to 500 times cheaper than the current options. So this will allow us to create personalized medicines in the Third World at a cost that is actually achievable and make the world a safer place. I invite your interest as well as your involvement in driving this vision to a point of practical reality. Thank you very much. (Applause)

(Music) (Music ends) (Applause) (Applause ends) Hi, everyone. I'm Sirena. I'm 11 years old and from Connecticut. (Audience cheers) (Applause) Well, I'm not really sure why I'm here. (Laughter) I mean, what does this have to do with technology, entertainment and design? Well, I count my iPod, cellphone and computer as technology, but this has nothing to do with that. So I did a little research on it. Well, this is what I found. Of course, I hope I can memorize it. (Clears throat) The violin is made of a wood box and four metal strings. By pulling a string, it vibrates and produces a sound wave, which passes through a piece of wood called a bridge, and goes down to the wood box and gets amplified, but ... let me think. (Laughter) Placing your finger at different places on the fingerboard changes the string length, and that changes the frequency of the sound wave. (Sighs) Oh, my gosh! (Laughter) OK, this is sort of technology, but I can call it a 16th-century technology. But actually, the most fascinating thing that I found was that even the audio system or wave transmission nowadays are still based on the same principle of producing and projecting sound. Isn't that cool? (Laughter) (Applause) Design -- I love its design. I remember when I was little, my mom asked me, "Would you like to play the violin or the piano?" I looked at that giant monster and said to myself -- "I am not going to lock myself on that bench the whole day!" (Laughter) This is small and lightweight. I can play from standing, sitting or walking. And, you know what? The best of all is that if I don't want to practice, (Whispering) I can hide it. (Laughter) The violin is very beautiful. Some people relate it as the shape of a lady. But whether you like it or not, it's been so for more than 400 years, unlike modern stuff [that] easily looks dated. But I think it's very personal and unique that, although each violin looks pretty similar, no two violins sound the same -- even from the same maker or based on the same model. Entertainment -- I love the entertainment. But actually, the instrument itself isn't very entertaining. I mean, when I first got my violin and tried to play around on it, it was actually really bad, because it didn't sound the way I'd heard from other kids -- it was so horrible and so scratchy. So, it wasn't entertaining at all. But besides, my brother found this very funny: Yuk! Yuk! Yuk! (Laughter) A few years later, I heard a joke about the greatest violinist, Jascha Heifetz. After Mr. Heifetz's concert, a lady came over and complimented him: "Oh, Mr. Heifetz, your violin sounded so great tonight!" And Mr. Heifetz was a very cool person, so he picked up his violin and said, "Funny -- I don't hear anything." (Laughter) Now I realize that as the musician, we human beings, with our great mind, artistic heart and skill, can change this 16th-century technology and a legendary design to a wonderful entertainment. Now I know why I'm here. (Music) (Music ends) (Applause) At first, I thought I was just going to be here to perform, but unexpectedly, I learned and enjoyed much more. But ... although some of the talks were quite up there for me. (Laughter) Like the multi-dimension stuff. I mean, honestly, I'd be happy enough if I could actually get my two dimensions correct in school. (Laughter) But actually, the most impressive thing to me is that -- well, actually, I would also like to say this for all children is to say thank you to all adults, for actually caring for us a lot, and to make our future world much better. Thank you. (Applause) (Music) (Music ends) (Applause) (Applause ends) (Music) (Music ends) (Applause)

(Music) What you just heard are the interactions of barometric pressure, wind and temperature readings that were recorded of Hurricane Noel in 2007. The musicians played off a three-dimensional graph of weather data like this. Every single bead, every single colored band, represents a weather element that can also be read as a musical note. I find weather extremely fascinating. Weather is an amalgam of systems that is inherently invisible to most of us. So I use sculpture and music to make it, not just visible, but also tactile and audible. All of my work begins very simple. I extract information from a specific environment using very low-tech data collecting devices -- generally anything I can find in the hardware store. I then compare my information to the things I find on the Internet -- satellite images, weather data from weather stations as well as offshore buoys. That's both historical as well as real data. And then I compile all of these numbers on these clipboards that you see here. These clipboards are filled with numbers. And from all of these numbers, I start with only two or three variables. That begins my translation process. My translation medium is a very simple basket. A basket is made up of horizontal and vertical elements. When I assign values to the vertical and horizontal elements, I can use the changes of those data points over time to create the form. I use natural reed, because natural reed has a lot of tension in it that I cannot fully control. That means that it is the numbers that control the form, not me. What I come up with are forms like these. These forms are completely made up of weather data or science data. Every colored bead, every colored string, represents a weather element. And together, these elements, not only construct the form, but they also reveal behavioral relationships that may not come across through a two-dimensional graph. When you step closer, you actually see that it is indeed all made up of numbers. The vertical elements are assigned a specific hour of the day. So all the way around, you have a 24-hour timeline. But it's also used to assign a temperature range. On that grid, I can then weave the high tide readings, water temperature, air temperature and Moon phases. I also translate weather data into musical scores. And musical notation allows me a more nuanced way of translating information without compromising it. So all of these scores are made up of weather data. Every single color, dot, every single line, is a weather element. And together, these variables construct a score. I use these scores to collaborate with musicians. This is the 1913 Trio performing one of my pieces at the Milwaukee Art Museum. Meanwhile, I use these scores as blueprints to translate into sculptural forms like this, that function still in the sense of being a three-dimensional weather visualization, but now they're embedding the visual matrix of the musical score, so it can actually be read as a musical score. What I love about this work is that it challenges our assumptions of what kind of visual vocabulary belongs in the world of art, versus science. This piece here is read very differently depending on where you place it. You place it in an art museum, it becomes a sculpture. You place it in a science museum, it becomes a three-dimensional visualization of data. You place it in a music hall, it all of a sudden becomes a musical score. And I really like that, because the viewer is really challenged as to what visual language is part of science versus art versus music. The other reason why I really like this is because it offers an alternative entry point into the complexity of science. And not everyone has a Ph.D. in science. So for me, that was my way into it. Thank you. (Applause)

(Applause) (Singing) (Applause) Host: Folks, you've just met Claron McFadden. She is a world-class soprano singer who studied in Rochester, New York. Her celebrated operatic roles are numerous and varied. In August 2007, Claron was awarded the Amsterdam Prize for the Arts, winning praise for her brilliance, her amazing and extensively wide repertoire and her vivid stage personality. Please welcome Claron McFadden. (Applause) Claron McFadden: The human voice: mysterious, spontaneous, primal. For me, the human voice is the vessel on which all emotions travel -- except perhaps jealousy. And the breath, the breath is the captain of that vessel. A child is born, takes its first breath -- (Breathing) and we behold the wondrous beauty of vocal expression -- mysterious, spontaneous and primal. A few years ago, I did a meditation retreat in Thailand. I wanted a place that I would have total silence and total solitude. I spent two weeks at this retreat in my own little hut -- no music, no nothing, sounds of nature -- trying to find the essence of concentration, being in the moment. On my last day, the woman who looked after the place, she came and we spoke for a minute, and then she said to me, "Would you sing something for me?" And I thought, but this is a place of total quiet and silence. I can't make noise. She said, "Please, sing for me." So I closed my eyes, I took breath and the first thing that came up and out was "Summertime," Porgy and Bess. ♫ Summertime and the living is easy ♫ ♫ Fish are jumping and the cotton is high ♫ ♫ Oh, your daddy's rich and your ma is good-looking ♫ ♫ So hush little baby ♫ ♫ Don't you cry ♫ And I opened my eyes, and I saw that she had her eyes closed. And after a moment, she opened her eyes and she looked at me and she said, "It's like meditation." And in that moment I understood that everything I had gone to Thailand to look for, to search for, I had it already in my singing -- the calm, but alertness, the focus, but awareness, and being totally in the moment. When you're totally in the moment, when I'm totally in the moment, the vessel of expression is open. The emotions can flow from me to you and back. Extremely profound experience. There's a piece by a composer, an American composer called John Cage. It's called "Aria." It was written for an amazing singer called Cathy Berberian. And the thing about this piece that's so special -- if you see it behind me -- it's not notated in any way. No notes, no flats, no sharps. But it's a kind of structure, and the singer within this structure has total freedom to be creative, spontaneous. For example, there are different colors and each color gets a different type of singing -- pop, country and western, opera, jazz -- and you just have to be consistent with that color. You see there are different lines: you choose in your own tempo in your own way to follow the line, but you must respect it, more or less. And these little dots, these represent a sort of sound that's not a vocal, not a lyrical way of expressing the voice. Using the body -- it could be sneezing, it could be coughing, it could be animals -- (cough) exactly -- clapping, whatever. And there's different text. There's Armenian, Russian, French, English, Italian. So within this structure one is free. To me, this piece is an ode to the voice because it's mysterious -- as we can see -- it's quite spontaneous, and it's primal. So I would like to share this piece with you. It's "Aria" of John Cage. (Singing) ♫ No other way ♫ ♫ Dans l'espace, so help ♫ (Singing) ♫ To have the fruits ♫ (Singing) (Applause)

In 1991 I had maybe the most profound and transformative experience of my life. I was in the third year of my seven-year undergraduate degree. I took a couple victory laps in there. And I was on a college choir tour up in Northern California, and we had stopped for the day after all day on the bus, and we were relaxing next to this beautiful idyllic lake in the mountains. And there were crickets and birds and frogs making noise, and as we sat there, over the mountains coming in from the north were these Steven Spielbergian clouds rolling toward us, and as the clouds got about halfway over the valley, so help me God, every single animal in that place stopped making noise at the same time. (Whoosh) This electric hush, as if they could sense what was about to happen. And then the clouds came over us, and then, boom! This massive thunderclap, and sheets of rain. It was just extraordinary, and when I came back home I found a poem by the Mexican poet Octavio Paz, and decided to set it to music, a piece for choir called "Cloudburst," which is the piece that we'll perform for you in just a moment. Now fast forward to just three years ago. (Music) And we released to YouTube this, the Virtual Choir Project, 185 singers from 12 different countries. You can see my little video there conducting these people, alone in their dorm rooms or in their living rooms at home. Two years ago, on this very stage, we premiered Virtual Choir 2, 2,052 singers from 58 different countries, this time performing a piece that I had written called "Sleep." And then just last spring we released Virtual Choir 3, "Water Night," another piece that I had written, this time nearly 4,000 singers from 73 different countries. (Music) And when I was speaking to Chris about the future of Virtual Choir and where we might be able to take this, he challenged me to push the technology as far as we possibly could. Could we do this all in real time? Could we have people singing together in real time? And with the help of Skype, that is what we are going to attempt today. Now, we'll perform "Cloudburst" for you. The first half will be performed by the live singers here on stage. I'm joined by singers from Cal State Long Beach, Cal State Fullerton and Riverside Community College, some of the best amateur choirs in the country, and — (Applause) -- and in the second half of the piece, the virtual choir will join us, 30 different singers from 30 different countries. Now, we've pushed the technology as far as it can go, but there's still less than a second of latency, but in musical terms, that's a lifetime. We deal in milliseconds. So what I've done is, I've adapted "Cloudburst" so that it embraces the latency and the performers sing into the latency instead of trying to be exactly together. So with deep humility, and for your approval, we present "Cloudburst." (Applause) (Piano) [The rain ...] [Eyes of shadow-water] [eyes of well-water] [eyes of dream-water.] [Blue suns, green whirlwinds,] [birdbeaks of light pecking open] [pomegranate stars.] [But tell me, burnt earth, is there no water?] [Only blood, only dust,] [only naked footsteps on the thorns?] [The rain awakens...] [We must sleep with open eyes,] [we must dream with our hands,] [we must dream the dreams of a river seeking its course,] [of the sun dreaming its worlds.] [We must dream aloud,] [we must sing till the song puts forth roots,] [trunk, branches, birds, stars.] [We must find the lost word,] [and remember what the blood,] [the tides, the earth, and the body say,] [and return to the point of departure...] (Music) (Applause) ["Cloudburst" Octavio Paz][translation by Lysander Kemp, adapted by Eric Whitacre] Eric Whitacre: Beth. Annabelle, where are you? Jacob. (Applause) Thank you.

Five years ago, I experienced a bit of what it must have been like to be Alice in Wonderland. Penn State asked me, a communications teacher, to teach a communications class for engineering students. And I was scared. (Laughter) Really scared. Scared of these students with their big brains and their big books and their big, unfamiliar words. But as these conversations unfolded, I experienced what Alice must have when she went down that rabbit hole and saw that door to a whole new world. That's just how I felt as I had those conversations with the students. I was amazed at the ideas that they had, and I wanted others to experience this wonderland as well. And I believe the key to opening that door is great communication. We desperately need great communication from our scientists and engineers in order to change the world. Our scientists and engineers are the ones that are tackling our grandest challenges, from energy to environment to health care, among others, and if we don't know about it and understand it, then the work isn't done, and I believe it's our responsibility as non-scientists to have these interactions. But these great conversations can't occur if our scientists and engineers don't invite us in to see their wonderland. So scientists and engineers, please, talk nerdy to us. I want to share a few keys on how you can do that to make sure that we can see that your science is sexy and that your engineering is engaging. First question to answer for us: so what? Tell us why your science is relevant to us. Don't just tell me that you study trabeculae, but tell me that you study trabeculae, which is the mesh-like structure of our bones because it's important to understanding and treating osteoporosis. And when you're describing your science, beware of jargon. Jargon is a barrier to our understanding of your ideas. Sure, you can say "spatial and temporal," but why not just say "space and time," which is so much more accessible to us? And making your ideas accessible is not the same as dumbing it down. Instead, as Einstein said, make everything as simple as possible, but no simpler. You can clearly communicate your science without compromising the ideas. A few things to consider are having examples, stories and analogies. Those are ways to engage and excite us about your content. And when presenting your work, drop the bullet points. Have you ever wondered why they're called bullet points? (Laughter) What do bullets do? Bullets kill, and they will kill your presentation. A slide like this is not only boring, but it relies too much on the language area of our brain, and causes us to become overwhelmed. Instead, this example slide by Genevieve Brown is much more effective. It's showing that the special structure of trabeculae are so strong that they actually inspired the unique design of the Eiffel Tower. And the trick here is to use a single, readable sentence that the audience can key into if they get a bit lost, and then provide visuals which appeal to our other senses and create a deeper sense of understanding of what's being described. So I think these are just a few keys that can help the rest of us to open that door and see the wonderland that is science and engineering. And because the engineers that I've worked with have taught me to become really in touch with my inner nerd, I want to summarize with an equation. (Laughter) Take your science, subtract your bullet points and your jargon, divide by relevance, meaning share what's relevant to the audience, and multiply it by the passion that you have for this incredible work that you're doing, and that is going to equal incredible interactions that are full of understanding. And so, scientists and engineers, when you've solved this equation, by all means, talk nerdy to me. (Laughter) Thank you. (Applause)

Today, a baffled lady observed the shell where my soul dwells And announced that I'm "articulate" Which means that when it comes to enunciation and diction I don't even think of it ‘Cause I’m "articulate" So when my professor asks a question And my answer is tainted with a connotation of urbanized suggestion There’s no misdirected intention Pay attention ‘Cause I’m “articulate” So when my father asks, “Wha’ kinda ting is dis?” My “articulate” answer never goes amiss I say “father, this is the impending problem at hand” And when I’m on the block I switch it up just because I can So when my boy says, “What’s good with you son?” I just say, “I jus’ fall out wit dem people but I done!” And sometimes in class I might pause the intellectual sounding flow to ask “Yo! Why dese books neva be about my peoples” Yes, I have decided to treat all three of my languages as equals Because I’m “articulate” But who controls articulation? Because the English language is a multifaceted oration Subject to indefinite transformation Now you may think that it is ignorant to speak broken English But I’m here to tell you that even “articulate” Americans sound foolish to the British So when my Professor comes on the block and says, “Hello” I stop him and say “Noooo … You’re being inarticulate … the proper way is to say ‘what’s good’” Now you may think that’s too hood, that’s not cool But I’m here to tell you that even our language has rules So when Mommy mocks me and says “ya’ll-be-madd-going-to-the-store” I say “Mommy, no, that sentence is not following the law Never does the word "madd" go before a present participle That’s simply the principle of this English” If I had the vocal capacity I would sing this from every mountaintop, From every suburbia, and every hood ‘Cause the only God of language is the one recorded in the Genesis Of this world saying “it is good" So I may not always come before you with excellency of speech But do not judge me by my language and assume That I’m too ignorant to teach ‘Cause I speak three tongues One for each: Home, school and friends I’m a tri-lingual orator Sometimes I’m consistent with my language now Then switch it up so I don’t bore later Sometimes I fight back two tongues While I use the other one in the classroom And when I mistakenly mix them up I feel crazy like … I’m cooking in the bathroom I know that I had to borrow your language because mines was stolen But you can’t expect me to speak your history wholly while mines is broken These words are spoken By someone who is simply fed up with the Eurocentric ideals of this season And the reason I speak a composite version of your language Is because mines was raped away along with my history I speak broken English so the profusing gashes can remind us That our current state is not a mystery I’m so tired of the negative images that are driving my people mad So unless you’ve seen it rob a bank stop calling my hair bad I’m so sick of this nonsensical racial disparity So don’t call it good unless your hair is known for donating to charity As much as has been raped away from our people How can you expect me to treat their imprint on your language As anything less than equal Let there be no confusion Let there be no hesitation This is not a promotion of ignorance This is a linguistic celebration That’s why I put "tri-lingual" on my last job application I can help to diversify your consumer market is all I wanted them to know And when they call me for the interview I’ll be more than happy to show that I can say: “What’s good” “Whatagwan” And of course …“Hello” Because I’m “articulate” Thank you. (Applause)

You may not realize this, but there are more bacteria in your body than stars in our entire galaxy. This fascinating universe of bacteria inside of us is an integral part of our health, and our technology is evolving so rapidly that today we can program these bacteria like we program computers. Now, the diagram that you see here, I know it looks like some kind of sports play, but it is actually a blueprint of the first bacterial program I developed. And like writing software, we can print and write DNA into different algorithms and programs inside of bacteria. What this program does is produces fluorescent proteins in a rhythmic fashion and generates a small molecule that allows bacteria to communicate and synchronize, as you're seeing in this movie. The growing colony of bacteria that you see here is about the width of a human hair. Now, what you can't see is that our genetic program instructs these bacteria to each produce small molecules, and these molecules travel between the thousands of individual bacteria telling them when to turn on and off. And the bacteria synchronize quite well at this scale, but because the molecule that synchronizes them together can only travel so fast, in larger colonies of bacteria, this results in traveling waves between bacteria that are far away from each other, and you can see these waves going from right to left across the screen. Now, our genetic program relies on a natural phenomenon called quorum sensing, in which bacteria trigger coordinated and sometimes virulent behaviors once they reach a critical density. You can observe quorum sensing in action in this movie, where a growing colony of bacteria only begins to glow once it reaches a high or critical density. Our genetic program continues producing these rhythmic patterns of fluorescent proteins as the colony grows outwards. This particular movie and experiment we call The Supernova, because it looks like an exploding star. Now, besides programming these beautiful patterns, I wondered, what else can we get these bacteria to do? And I decided to explore how we can program bacteria to detect and treat diseases in our bodies like cancer. One of the surprising facts about bacteria is that they can naturally grow inside of tumors. This happens because typically tumors are areas where the immune system has no access, and so bacteria find these tumors and use them as a safe haven to grow and thrive. We started using probiotic bacteria which are safe bacteria that have a health benefit, and found that when orally delivered to mice, these probiotics would selectively grow inside of liver tumors. We realized that the most convenient way to highlight the presence of the probiotics, and hence, the presence of the tumors, was to get these bacteria to produce a signal that would be detectable in the urine, and so we specifically programmed these probiotics to make a molecule that would change the color of your urine to indicate the presence of cancer. We went on to show that this technology could sensitively and specifically detect liver cancer, one that is challenging to detect otherwise. Now, since these bacteria specifically localize to tumors, we've been programming them to not only detect cancer but also to treat cancer by producing therapeutic molecules from within the tumor environment that shrink the existing tumors, and we've been doing this using quorum sensing programs like you saw in the previous movies. Altogether, imagine in the future taking a programmed probiotic that could detect and treat cancer, or even other diseases. Our ability to program bacteria and program life opens up new horizons in cancer research, and to share this vision, I worked with artist Vik Muniz to create the symbol of the universe, made entirely out of bacteria or cancer cells. Ultimately, my hope is that the beauty and purpose of this microscopic universe can inspire new and creative approaches for the future of cancer research. Thank you. (Applause)

By day, I'm a venture capitalist. On weekends, I love rockets. I love photography, I love rockets, and I'm going to talk to you about a hobby that can scale and show you some photos that I've taken over the years with kids like these; kids that hopefully will grow up to love rocketry and eventually become maybe another Richard Branson or Diamandis. My son designed a rocket that became stable, a golf ball rocket -- I thought it was quite an interesting experiment in the principles of rocket science -- and it flies straight as an arrow. Baking soda and vinegar. Night shots are beautiful, piercing the Big Dipper and the Milky Way. Two stage rockets, rockets with video cameras on them, on-board computers logging their flights, rocket gliders that fly back to Earth. I use RockSim to simulate flights before they go to see if they'll break supersonic or not, and then fly them with on-board computers to verify their performance. But to launch the really big stuff, you go to the middle of nowhere: Black Rock Desert, where dangerous things happen. And the boys get bigger, and the rockets get bigger. (Laughter) And they use motors that literally are used on cruise missile boosters. They rumble the belly and leave even photographers in awe watching the spectacle. These rockets use experimental motors like nitrous oxide. They use solid propellant most frequently. It's a strange kind of love. We have a RocketMavericks.com website with my photos if you want to learn more about this, participate, be a spectator. Mavericks: we had to call it Rocket Mavericks. This one was great: it went to 100,000 feet, but didn't quite. Actually, it went 11 feet into the solid clay; and it became a bunker-buster, drilling down into the clay. It had to be dug out. Rockets often spiral out of control if you put too much propellant in them. Here was a drag race. At night you can see what happened in a second; in daytime, we call them land sharks. Sometimes they just explode before your eyes or come down supersonic. (Laughter) To take this shot, I do what I often do, which is go way beyond the pads where none of the other spectators are. And if we can run the video, I'll show you what it took to get this DreamWorks shot. (Video) Voices: Woohoo! Yeah. Nice. Steve Jurvetson: This is rare. Here's where they realized the computer's failed. They're yelling deploy. Voices: Oh shit. SJ: This is when they realize everything on board's gone haywire. Voices: It's going ballistic. Oh shit. SJ: And I'll just be quiet. Voices: No. Up, up, up. SJ: And that's me over there, taking photos the whole way. Things often go wrong. Some people watch this event because of a NASCAR-like fascination with things bumping and grinding. Burning the parachute as it fell -- that was last weekend. This guy went up, went supersonic, ripped the fin can off -- yard sale in the sky -- and a burning metal hunk coming back. These things would drop down from above all through the weekend of rocket launch after rocket launch after rocket launch. It's a cadence you can't quite imagine. And in many ways, I try to capture the mishaps; it's the challenge in photography when these things all take place in a fraction of a second. Why do they do it? It's for things like this: Gene from Alabama drives out there with this rocket that he's built with X-ray sensors, video cameras, festooned with electronics, and he succeeds getting to 100,000 feet, leaving the atmosphere, seeing a thin blue line of space. It is this breathtaking image -- success, of course -- that motivates us and motivates kids to follow and understand rocket science: to understand the importance of physics and math and, in many ways, to sort of have that awe at exploration of the frontiers of the unknown. Thank you. (Applause)

The first time I uttered a prayer was in a glass-stained cathedral. I was kneeling long after the congregation was on its feet, dip both hands into holy water, trace the trinity across my chest, my tiny body drooping like a question mark all over the wooden pew. I asked Jesus to fix me, and when he did not answer I befriended silence in the hopes that my sin would burn and salve my mouth would dissolve like sugar on tongue, but shame lingered as an aftertaste. And in an attempt to reintroduce me to sanctity, my mother told me of the miracle I was, said I could grow up to be anything I want. I decided to be a boy. It was cute. I had snapback, toothless grin, used skinned knees as street cred, played hide and seek with what was left of my goal. I was it. The winner to a game the other kids couldn't play, I was the mystery of an anatomy, a question asked but not answered, tightroping between awkward boy and apologetic girl, and when I turned 12, the boy phase wasn't deemed cute anymore. It was met with nostalgic aunts who missed seeing my knees in the shadow of skirts, who reminded me that my kind of attitude would never bring a husband home, that I exist for heterosexual marriage and child-bearing. And I swallowed their insults along with their slurs. Naturally, I did not come out of the closet. The kids at my school opened it without my permission. Called me by a name I did not recognize, said "lesbian," but I was more boy than girl, more Ken than Barbie. It had nothing to do with hating my body, I just love it enough to let it go, I treat it like a house, and when your house is falling apart, you do not evacuate, you make it comfortable enough to house all your insides, you make it pretty enough to invite guests over, you make the floorboards strong enough to stand on. My mother fears I have named myself after fading things. As she counts the echoes left behind by Mya Hall, Leelah Alcorn, Blake Brockington. She fears that I'll die without a whisper, that I'll turn into "what a shame" conversations at the bus stop. She claims I have turned myself into a mausoleum, that I am a walking casket, news headlines have turned my identity into a spectacle, Bruce Jenner on everyone's lips while the brutality of living in this body becomes an asterisk at the bottom of equality pages. No one ever thinks of us as human because we are more ghost than flesh, because people fear that my gender expression is a trick, that it exists to be perverse, that it ensnares them without their consent, that my body is a feast for their eyes and hands and once they have fed off my queer, they'll regurgitate all the parts they did not like. They'll put me back into the closet, hang me with all the other skeletons. I will be the best attraction. Can you see how easy it is to talk people into coffins, to misspell their names on gravestones. And people still wonder why there are boys rotting, they go away in high school hallways they are afraid of becoming another hashtag in a second afraid of classroom discussions becoming like judgment day and now oncoming traffic is embracing more transgender children than parents. I wonder how long it will be before the trans suicide notes start to feel redundant, before we realize that our bodies become lessons about sin way before we learn how to love them. Like God didn't save all this breath and mercy, like my blood is not the wine that washed over Jesus' feet. My prayers are now getting stuck in my throat. Maybe I am finally fixed, maybe I just don't care, maybe God finally listened to my prayers. Thank you. (Applause)

I'm a huge believer in hands-on education. But you have to have the right tools. If I'm going to teach my daughter about electronics, I'm not going to give her a soldering iron. And similarly, she finds prototyping boards really frustrating for her little hands. So my wonderful student Sam and I decided to look at the most tangible thing we could think of: Play-Doh. And so we spent a summer looking at different Play-Doh recipes. And these recipes probably look really familiar to any of you who have made homemade play-dough -- pretty standard ingredients you probably have in your kitchen. We have two favorite recipes -- one that has these ingredients and a second that had sugar instead of salt. And they're great. We can make great little sculptures with these. But the really cool thing about them is when we put them together. You see that really salty Play-Doh? Well, it conducts electricity. And this is nothing new. It turns out that regular Play-Doh that you buy at the store conducts electricity, and high school physics teachers have used that for years. But our homemade play-dough actually has half the resistance of commercial Play-Doh. And that sugar dough? Well it's 150 times more resistant to electric current than that salt dough. So what does that mean? Well it means if you them together you suddenly have circuits -- circuits that the most creative, tiny, little hands can build on their own. (Applause) And so I want to do a little demo for you. So if I take this salt dough, again, it's like the play-dough you probably made as kids, and I plug it in -- it's a two-lead battery pack, simple battery pack, you can buy them at Radio Shack and pretty much anywhere else -- we can actually then light things up. But if any of you have studied electrical engineering, we can also create a short circuit. If I push these together, the light turns off. Right, the current wants to run through the play-dough, not through that LED. If I separate them again, I have some light. Well now if I take that sugar dough, the sugar dough doesn't want to conduct electricity. It's like a wall to the electricity. If I place that between, now all the dough is touching, but if I stick that light back in, I have light. In fact, I could even add some movement to my sculptures. If I want a spinning tail, let's grab a motor, put some play-dough on it, stick it on and we have spinning. (Applause) And once you have the basics, we can make a slightly more complicated circuit. We call this our sushi circuit. It's very popular with kids. I plug in again the power to it. And now I can start talking about parallel and series circuits. I can start plugging in lots of lights. And we can start talking about things like electrical load. What happens if I put in lots of lights and then add a motor? It'll dim. We can even add microprocessors and have this as an input and create squishy sound music that we've done. You could do parallel and series circuits for kids using this. So this is all in your home kitchen. We've actually tried to turn it into an electrical engineering lab. We have a website, it's all there. These are the home recipes. We've got some videos. You can make them yourselves. And it's been really fun since we put them up to see where these have gone. We've had a mom in Utah who used them with her kids, to a science researcher in the U.K., and curriculum developers in Hawaii. So I would encourage you all to grab some Play-Doh, grab some salt, grab some sugar and start playing. We don't usually think of our kitchen as an electrical engineering lab or little kids as circuit designers, but maybe we should. Have fun. Thank you. (Applause)

Good morning everybody. I work with really amazing, little, itty-bitty creatures called cells. And let me tell you what it's like to grow these cells in the lab. I work in a lab where we take cells out of their native environment. We plate them into dishes that we sometimes call petri dishes. And we feed them -- sterilely of course -- with what we call cell culture media -- which is like their food -- and we grow them in incubators. Why do I do this? We observe the cells in a plate, and they're just on the surface. But what we're really trying to do in my lab is to engineer tissues out of them. What does that even mean? Well it means growing an actual heart, let's say, or grow a piece of bone that can be put into the body. Not only that, but they can also be used for disease models. And for this purpose, traditional cell culture techniques just really aren't enough. The cells are kind of homesick; the dish doesn't feel like their home. And so we need to do better at copying their natural environment to get them to thrive. We call this the biomimetic paradigm -- copying nature in the lab. Let's take the example of the heart, the topic of a lot of my research. What makes the heart unique? Well, the heart beats, rhythmically, tirelessly, faithfully. We copy this in the lab by outfitting cell culture systems with electrodes. These electrodes act like mini pacemakers to get the cells to contract in the lab. What else do we know about the heart? Well, heart cells are pretty greedy. Nature feeds the heart cells in your body with a very, very dense blood supply. In the lab, we micro-pattern channels in the biomaterials on which we grow the cells, and this allows us to flow the cell culture media, the cells' food, through the scaffolds where we're growing the cells -- a lot like what you might expect from a capillary bed in the heart. So this brings me to lesson number one: life can do a lot with very little. Let's take the example of electrical stimulation. Let's see how powerful just one of these essentials can be. On the left, we see a tiny piece of beating heart tissue that I engineered from rat cells in the lab. It's about the size of a mini marshmallow. And after one week, it's beating. You can see it in the upper left-hand corner. But don't worry if you can't see it so well. It's amazing that these cells beat at all. But what's really amazing is that the cells, when we electrically stimulate them, like with a pacemaker, that they beat so much more. But that brings me to lesson number two: cells do all the work. In a sense, tissue engineers have a bit of an identity crisis here, because structural engineers build bridges and big things, computer engineers, computers, but what we are doing is actually building enabling technologies for the cells themselves. What does this mean for us? Let's do something really simple. Let's remind ourselves that cells are not an abstract concept. Let's remember that our cells sustain our lives in a very real way. "We are what we eat," could easily be described as, "We are what our cells eat." And in the case of the flora in our gut, these cells may not even be human. But it's also worth noting that cells also mediate our experience of life. Behind every sound, sight, touch, taste and smell is a corresponding set of cells that receive this information and interpret it for us. It begs the question: shall we expand our sense of environmental stewardship to include the ecosystem of our own bodies? I invite you to talk about this with me further, and in the meantime, I wish you luck. May none of your non-cancer cells become endangered species. Thank you. (Applause)

(Whistling) (Applause) Thank you. (Applause) Thank you very much. That was whistling. I'm trying to do this in English. What is a chubby, curly-haired guy from Holland -- why is he whistling? Well actually, I've [been] whistling since the age of four, about four. My dad was always whistling around the house, and I just thought that's part of communication in my family. So I whistled along with him. And actually, till I was 34, I always annoyed and irritated people with whistling, because, to be honest, my whistling is a kind of deviant behavior. I whistled alone. I whistled in the classroom. I whistled on [my] bike. I whistled everywhere. And I also whistled at a Christmas Eve party with my family-in-law. And they had some, in my opinion, terrible Christmas music. And when I hear music that I don't like, I try to make it better. So "Rudolph the Red-Nosed Reindeer" -- you know it? (Whistling) But it can also sound like this. (Whistling) But during a Christmas party -- at dinner actually -- it's very annoying. So my sister-in-law asked me a few times, "Please stop whistling." And I just couldn't. And at one point -- and I had some wine, I have to admit that -- at one point I said, "If there was a contest, I would join." And two weeks later I received a text message: "You're going to America." (Laughter) So, okay, I'm going to America. I would love to, but why? So I immediately called her up, of course. She Googled, and she found this World Whistling Championship in America, of course. She didn't expect me to go there. And I would have lost my face. I don't know if that's correct English. But the Dutch people here will understand what I mean. (Laughter) I lost my face. (Applause) And she thought, "He will never go there." But actually I did. So I went to Louisburg, North Carolina, southeast United States, and I entered the world of whistling. And I also entered the world championship, and I won there in 2004. (Applause) That was great fun, of course. And to defend my title -- like judokas do and sportsmen -- I thought, well let's go back in 2005, and I won again. Then I couldn't participate for a few years. And in 2008 I entered again in Japan, Tokyo, and I won again. So what happened now is I'm standing here in Rotterdam, in the beautiful city, on a big stage, and I'm talking about whistling. And actually I earn my money whistling at the moment. So I quit my day job as a nurse. (Applause) And I try to live my dream -- well, actually, it was never my dream, but it sounds so good. (Laughter) Okay, I'm not the only one whistling here. You say, "Huh, what do you mean?" Well actually, you are going to whistle along. And then always the same thing happens: people are watching each other and think, "Oh, my God. Why? Can I go away?" No, you can't. Actually it's very simple. The track that I will whistle is called "Fête de la Belle." It's about 80 minutes long. No, no, no. It's four minutes long. And I want to first rehearse with you your whistling. So I whistle the tone. (Whistling) (Laughter) Sorry. I forgot one thing. You whistle the same tone as me. (Laughter) I heard a wide variety of tones. (Whistling) This is very promising. This is very promising. I'll ask the technicians to start the music. And if it's started, I just point where you whistle along, and we will see what happens. Oh, hah. I'm so sorry, technicians. (Laughter) I'm so used to that. I start it myself. Okay, here it is. (Laughter) (Music) (Whistling) Okay. (Whistling) It's easy, isn't it? (Whistling) Now comes the solo. I propose I do that myself. (Whistling) (Applause) Max Westerman: Geert Chatrou, the World Champion [of] Whistling. Geert Chatrou: Thank you. Thank you.

Do you ever feel completely overwhelmed when you're faced with a complex problem? Well, I hope to change that in less than three minutes. So, I hope to convince you that complex doesn't always equal complicated. So for me, a well-crafted baguette, fresh out of the oven, is complex, but a curry onion green olive poppy cheese bread is complicated. I'm an ecologist, and I study complexity. I love complexity. And I study that in the natural world, the interconnectedness of species. So here's a food web, or a map of feeding links between species that live in Alpine Lakes in the mountains of California. And this is what happens to that food web when it's stocked with non-native fish that never lived there before. All the grayed-out species disappear. Some are actually on the brink of extinction. And lakes with fish have more mosquitos, even though they eat them. These effects were all unanticipated, and yet we're discovering they're predictable. So I want to share with you a couple key insights about complexity we're learning from studying nature that maybe are applicable to other problems. First is the simple power of good visualization tools to help untangle complexity and just encourage you to ask questions you didn't think of before. For example, you could plot the flow of carbon through corporate supply chains in a corporate ecosystem, or the interconnections of habitat patches for endangered species in Yosemite National Park. The next thing is that if you want to predict the effect of one species on another, if you focus only on that link, and then you black box the rest, it's actually less predictable than if you step back, consider the entire system -- all the species, all the links -- and from that place, hone in on the sphere of influence that matters most. And we're discovering, with our research, that's often very local to the node you care about within one or two degrees. So the more you step back, embrace complexity, the better chance you have of finding simple answers, and it's often different than the simple answer that you started with. So let's switch gears and look at a really complex problem courtesy of the U.S. government. This is a diagram of the U.S. counterinsurgency strategy in Afghanistan. It was front page of the New York Times a couple months ago. Instantly ridiculed by the media for being so crazy complicated. And the stated goal was to increase popular support for the Afghan government. Clearly a complex problem, but is it complicated? Well, when I saw this in the front page of the Times, I thought, "Great. Finally something I can relate to. I can sink my teeth into this." So let's do it. So here we go for the first time ever, a world premiere view of this spaghetti diagram as an ordered network. The circled node is the one we're trying to influence -- popular support for the government. And so now we can look one degrees, two degrees, three degrees away from that node and eliminate three-quarters of the diagram outside that sphere of influence. Within that sphere, most of those nodes are not actionable, like the harshness of the terrain, and a very small minority are actual military actions. Most are non-violent and they fall into two broad categories: active engagement with ethnic rivalries and religious beliefs and fair, transparent economic development and provisioning of services. I don't know about this, but this is what I can decipher from this diagram in 24 seconds. When you see a diagram like this, I don't want you to be afraid. I want you to be excited. I want you to be relieved. Because simple answers may emerge. We're discovering in nature that simplicity often lies on the other side of complexity. So for any problem, the more you can zoom out and embrace complexity, the better chance you have of zooming in on the simple details that matter most. Thank you. (Applause)

Good morning. Let's look for a minute at the greatest icon of all, Leonardo da Vinci. We're all familiar with his fantastic work -- his drawings, his paintings, his inventions, his writings. But we do not know his face. Thousands of books have been written about him, but there's controversy, and it remains, about his looks. Even this well-known portrait is not accepted by many art historians. So, what do you think? Is this the face of Leonardo da Vinci or isn't it? Let's find out. Leonardo was a man that drew everything around him. He drew people, anatomy, plants, animals, landscapes, buildings, water, everything. But no faces? I find that hard to believe. His contemporaries made faces, like the ones you see here -- en face or three-quarters. So, surely a passionate drawer like Leonardo must have made self-portraits from time to time. So let's try to find them. I think that if we were to scan all of his work and look for self-portraits, we would find his face looking at us. So I looked at all of his drawings, more than 700, and looked for male portraits. There are about 120, you see them here. Which ones of these could be self-portraits? Well, for that they have to be done as we just saw, en face or three-quarters. So we can eliminate all the profiles. It also has to be sufficiently detailed. So we can also eliminate the ones that are very vague or very stylized. And we know from his contemporaries that Leonardo was a very handsome, even beautiful man. So we can also eliminate the ugly ones or the caricatures. (Laughter) And look what happens -- only three candidates remain that fit the bill. And here they are. Yes, indeed, the old man is there, as is this famous pen drawing of the Homo Vitruvianus. And lastly, the only portrait of a male that Leonardo painted, "The Musician." Before we go into these faces, I should explain why I have some right to talk about them. I've made more than 1,100 portraits myself for newspapers, over the course of 300 -- 30 years, sorry, 30 years only. (Laughter) But there are 1,100, and very few artists have drawn so many faces. So I know a little about drawing and analyzing faces. OK, now let's look at these three portraits. And hold onto your seats, because if we zoom in on those faces, remark how they have the same broad forehead, the horizontal eyebrows, the long nose, the curved lips and the small, well-developed chin. I couldn't believe my eyes when I first saw that. There is no reason why these portraits should look alike. All we did was look for portraits that had the characteristics of a self-portrait, and look, they are very similar. Now, are they made in the right order? The young man should be made first. And as you see here from the years that they were created, it is indeed the case. They are made in the right order. What was the age of Leonardo at the time? Does that fit? Yes, it does. He was 33, 38 and 63 when these were made. So we have three pictures, potentially of the same person of the same age as Leonardo at the time. But how do we know it's him, and not someone else? Well, we need a reference. And here's the only picture of Leonardo that's widely accepted. It's a statue made by Verrocchio, of David, for which Leonardo posed as a boy of 15. And if we now compare the face of the statue, with the face of the musician, you see the very same features again. The statue is the reference, and it connects the identity of Leonardo to those three faces. Ladies and gentlemen, this story has not yet been published. It's only proper that you here at TED hear and see it first. The icon of icons finally has a face. Here he is: Leonardo da Vinci. (Applause)

Hello, everyone. Because this is my first time at TED, I've decided to bring along an old friend to help break the ice a bit. Yes. That's right. This is Barbie. She's 50 years old. And she's looking as young as ever. (Laughter) But I'd also like to introduce you to what may be an unfamiliar face. This is Fulla. Fulla is the Arab world's answer to Barbie. Now, according to proponents of the clash of civilizations, Barbie and Fulla occupy these completely separate spheres. They have different interests. They have divergent values. And should they ever come in contact ... well, I've got to tell you, it's just not going to be pretty. My experience, however, in the Islamic world is very different. Where I work, in the Arab region, people are busy taking up Western innovations and changing them into things which are neither conventionally Western, nor are they traditionally Islamic. I want to show you two examples. The first is 4Shbab. It means "for youth" and it's a new Arab TV channel. (Video): Video clips from across the globe. The USA. ♫ I am not afraid to stand alone ♫ ♫ I am not afraid to stand alone, if Allah is by my side ♫ ♫ I am not afraid to stand alone ♫ ♫ Everything will be all right ♫ ♫ I am not afraid to stand alone ♫ The Arab world. (Music) ♫ She was preserved by modesty of the religion ♫ ♫ She was adorned by the light of the Quran ♫ Shereen El Feki: 4Shbab has been dubbed Islamic MTV. Its creator, who is an Egyptian TV producer called Ahmed Abu Haïba, wants young people to be inspired by Islam to lead better lives. He reckons the best way to get that message across is to use the enormously popular medium of music videos. 4Shbab was set up as an alternative to existing Arab music channels. And they look something like this. (Music) That, by the way is Haifa Wehbe. She's a Lebanese pop star and pan-Arab pin-up girl. In the world of 4Shbab, it's not about bump and grind. But it's not about fire and brimstone either. Its videos are intended to show a kinder, gentler face of Islam, for young people to deal with life's challenges. Now, my second example is for a slightly younger crowd. And it's called "The 99." Now, these are the world's first Islamic superheroes. They were created by a Kuwaiti psychologist called Naif Al Mutawa. And his desire is to rescue Islam from images of intolerance, all in a child-friendly format. "The 99." The characters are meant to embody the 99 attributes of Allah: justice, wisdom, mercy, among others. So, for example, there is the character of Noora. She is meant to have the power to look inside people and see the good and bad in everyone. Another character called Jami has the ability to create fantastic inventions. Now, "The 99" is not just a comic book. It's now a theme park. There is an animated series in the works. And by this time next year, the likes of Superman and Wonder Woman will have joined forces with "The 99" to beat injustice wherever they find it. "The 99" and 4Shbab are just two of many examples of this sort of Islamic cross-cultural hybridization. We're not talking here about a clash of civilizations. Nor is it some sort of indistinguishable mash. I like to think of it as a mesh of civilizations, in which the strands of different cultures are intertwined. Now, while 4Shbab and "The 99" may look new and shiny, there is actually a very long tradition of this. Throughout its history, Islam has borrowed and adapted from other civilizations both ancient and modern. After all, it's the Quran which encourages us to do this: "We made you into nations and tribes so that you could learn from one another." And to my mind, those are pretty wise words, no matter what your creed. Thank you. (Applause)

Throughout the history of computers we've been striving to shorten the gap between us and digital information, the gap between our physical world and the world in the screen where our imagination can go wild. And this gap has become shorter, shorter, and even shorter, and now this gap is shortened down to less than a millimeter, the thickness of a touch-screen glass, and the power of computing has become accessible to everyone. But I wondered, what if there could be no boundary at all? I started to imagine what this would look like. First, I created this tool which penetrates into the digital space, so when you press it hard on the screen, it transfers its physical body into pixels. Designers can materialize their ideas directly in 3D, and surgeons can practice on virtual organs underneath the screen. So with this tool, this boundary has been broken. But our two hands still remain outside the screen. How can you reach inside and interact with the digital information using the full dexterity of our hands? At Microsoft Applied Sciences, along with my mentor Cati Boulanger, I redesigned the computer and turned a little space above the keyboard into a digital workspace. By combining a transparent display and depth cameras for sensing your fingers and face, now you can lift up your hands from the keyboard and reach inside this 3D space and grab pixels with your bare hands. (Applause) Because windows and files have a position in the real space, selecting them is as easy as grabbing a book off your shelf. Then you can flip through this book while highlighting the lines, words on the virtual touch pad below each floating window. Architects can stretch or rotate the models with their two hands directly. So in these examples, we are reaching into the digital world. But how about reversing its role and having the digital information reach us instead? I'm sure many of us have had the experience of buying and returning items online. But now you don't have to worry about it. What I got here is an online augmented fitting room. This is a view that you get from head-mounted or see-through display when the system understands the geometry of your body. Taking this idea further, I started to think, instead of just seeing these pixels in our space, how can we make it physical so that we can touch and feel it? What would such a future look like? At MIT Media Lab, along with my advisor Hiroshi Ishii and my collaborator Rehmi Post, we created this one physical pixel. Well, in this case, this spherical magnet acts like a 3D pixel in our space, which means that both computers and people can move this object to anywhere within this little 3D space. What we did was essentially canceling gravity and controlling the movement by combining magnetic levitation and mechanical actuation and sensing technologies. And by digitally programming the object, we are liberating the object from constraints of time and space, which means that now, human motions can be recorded and played back and left permanently in the physical world. So choreography can be taught physically over distance and Michael Jordan's famous shooting can be replicated over and over as a physical reality. Students can use this as a tool to learn about the complex concepts such as planetary motion, physics, and unlike computer screens or textbooks, this is a real, tangible experience that you can touch and feel, and it's very powerful. And what's more exciting than just turning what's currently in the computer physical is to start imagining how programming the world will alter even our daily physical activities. (Laughter) As you can see, the digital information will not just show us something but it will start directly acting upon us as a part of our physical surroundings without disconnecting ourselves from our world. Today, we started by talking about the boundary, but if we remove this boundary, the only boundary left is our imagination. Thank you. (Applause)

It was less than a year after September 11, and I was at the Chicago Tribune writing about shootings and murders, and it was leaving me feeling pretty dark and depressed. I had done some activism in college, so I decided to help a local group hang door knockers against animal testing. I thought it would be a safe way to do something positive, but of course I have the absolute worst luck ever, and we were all arrested. Police took this blurry photo of me holding leaflets as evidence. My charges were dismissed, but a few weeks later, two FBI agents knocked on my door, and they told me that unless I helped them by spying on protest groups, they would put me on a domestic terrorist list. I'd love to tell you that I didn't flinch, but I was terrified, and when my fear subsided, I became obsessed with finding out how this happened, how animal rights and environmental activists who have never injured anyone could become the FBI's number one domestic terrorism threat. A few years later, I was invited to testify before Congress about my reporting, and I told lawmakers that, while everybody is talking about going green, some people are risking their lives to defend forests and to stop oil pipelines. They're physically putting their bodies on the line between the whalers' harpoons and the whales. These are everyday people, like these protesters in Italy who spontaneously climbed over barbed wire fences to rescue beagles from animal testing. And these movements have been incredibly effective and popular, so in 1985, their opponents made up a new word, eco-terrorist, to shift how we view them. They just made it up. Now these companies have backed new laws like the Animal Enterprise Terrorism Act, which turns activism into terrorism if it causes a loss of profits. Now most people never even heard about this law, including members of Congress. Less than one percent were in the room when it passed the House. The rest were outside at a new memorial. They were praising Dr. King as his style of activism was branded as terrorism if done in the name of animals or the environment. Supporters say laws like this are needed for the extremists: the vandals, the arsonists, the radicals. But right now, companies like TransCanada are briefing police in presentations like this one about how to prosecute nonviolent protesters as terrorists. The FBI's training documents on eco-terrorism are not about violence, they're about public relations. Today, in multiple countries, corporations are pushing new laws that make it illegal to photograph animal cruelty on their farms. The latest was in Idaho just two weeks ago, and today we released a lawsuit challenging it as unconstitutional as a threat to journalism. The first of these ag-gag prosecutions, as they're called, was a young woman named Amy Meyer, and Amy saw a sick cow being moved by a bulldozer outside of a slaughterhouse as she was on the public street. And Amy did what any of us would: She filmed it. When I found out about her story, I wrote about it, and within 24 hours, it created such an uproar that the prosecutors just dropped all the charges. But apparently, even exposing stuff like that is a threat. Through the Freedom of Information Act, I learned that the counter-terrorism unit has been monitoring my articles and speeches like this one. They even included this nice little write-up of my book. They described it as "compelling and well-written." (Applause) Blurb on the next book, right? The point of all of this is to make us afraid, but as a journalist, I have an unwavering faith in the power of education. Our best weapon is sunlight. Dostoevsky wrote that the whole work of man is to prove he's a man and not a piano key. Over and over throughout history, people in power have used fear to silence the truth and to silence dissent. It's time we strike a new note. Thank you. (Applause)

Today I have just one request. Please don't tell me I'm normal. Now I'd like to introduce you to my brothers. Remi is 22, tall and very handsome. He's speechless, but he communicates joy in a way that some of the best orators cannot. Remi knows what love is. He shares it unconditionally and he shares it regardless. He's not greedy. He doesn't see skin color. He doesn't care about religious differences, and get this: He has never told a lie. When he sings songs from our childhood, attempting words that not even I could remember, he reminds me of one thing: how little we know about the mind, and how wonderful the unknown must be. Samuel is 16. He's tall. He's very handsome. He has the most impeccable memory. He has a selective one, though. He doesn't remember if he stole my chocolate bar, but he remembers the year of release for every song on my iPod, conversations we had when he was four, weeing on my arm on the first ever episode of Teletubbies, and Lady Gaga's birthday. Don't they sound incredible? But most people don't agree. And in fact, because their minds don't fit into society's version of normal, they're often bypassed and misunderstood. But what lifted my heart and strengthened my soul was that even though this was the case, although they were not seen as ordinary, this could only mean one thing: that they were extraordinary -- autistic and extraordinary. Now, for you who may be less familiar with the term "autism," it's a complex brain disorder that affects social communication, learning and sometimes physical skills. It manifests in each individual differently, hence why Remi is so different from Sam. And across the world, every 20 minutes, one new person is diagnosed with autism, and although it's one of the fastest-growing developmental disorders in the world, there is no known cause or cure. And I cannot remember the first moment I encountered autism, but I cannot recall a day without it. I was just three years old when my brother came along, and I was so excited that I had a new being in my life. And after a few months went by, I realized that he was different. He screamed a lot. He didn't want to play like the other babies did, and in fact, he didn't seem very interested in me whatsoever. Remi lived and reigned in his own world, with his own rules, and he found pleasure in the smallest things, like lining up cars around the room and staring at the washing machine and eating anything that came in between. And as he grew older, he grew more different, and the differences became more obvious. Yet beyond the tantrums and the frustration and the never-ending hyperactivity was something really unique: a pure and innocent nature, a boy who saw the world without prejudice, a human who had never lied. Extraordinary. Now, I cannot deny that there have been some challenging moments in my family, moments where I've wished that they were just like me. But I cast my mind back to the things that they've taught me about individuality and communication and love, and I realize that these are things that I wouldn't want to change with normality. Normality overlooks the beauty that differences give us, and the fact that we are different doesn't mean that one of us is wrong. It just means that there's a different kind of right. And if I could communicate just one thing to Remi and to Sam and to you, it would be that you don't have to be normal. You can be extraordinary. Because autistic or not, the differences that we have -- We've got a gift! Everyone's got a gift inside of us, and in all honesty, the pursuit of normality is the ultimate sacrifice of potential. The chance for greatness, for progress and for change dies the moment we try to be like someone else. Please -- don't tell me I'm normal. Thank you. (Applause) (Applause)

So I'm here to tell you a story of success from Africa. A year and a half ago, four of the five people who are full time members at Ushahidi, which means "testimony" in Swahili, were TED Fellows. A year ago in Kenya we had post-election violence. And in that time we prototyped and built, in about three days, a system that would allow anybody with a mobile phone to send in information and reports on what was happening around them. We took what we knew about Africa, the default device, the mobile phone, as our common denominator, and went from there. We got reports like this. This is just a couple of them from January 17th, last year. And our system was rudimentary. It was very basic. It was a mash-up that used data that we collected from people, and we put it on our map. But then we decided we needed to do something more. We needed to take what we had built and create a platform out of it so that it could be used elsewhere in the world. And so there is a team of developers from all over Africa, who are part of this team now -- from Ghana, from Malawi, from Kenya. There is even some from the U.S. We're building for smartphones, so that it can be used in the developed world, as well as the developing world. We are realizing that this is true. If it works in Africa then it will work anywhere. And so we build for it in Africa first and then we move to the edges. It's now been deployed in the Democratic Republic of the Congo. It's being used by NGOs all over East Africa, small NGOs doing their own little projects. Just this last month it was deployed by Al Jazeera in Gaza. But that's actually not what I'm here to talk about. I'm here to talk about the next big thing, because what we're finding out is that we have this capacity to report eyewitness accounts of what's going on in real time. We're seeing this in events like Mumbai recently, where it's so much easier to report now than it is to consume it. There is so much information; what do you do? This is the Twitter reports for over three days just covering Mumbai. How do you decide what is important? What is the veracity level of what you're looking at? So what we find is that there is this great deal of wasted crisis information because there is just too much information for us to actually do anything with right now. And what we're actually really concerned with is this first three hours. What we are looking at is the first three hours. How do we deal with that information that is coming in? You can't understand what is actually happening. On the ground and around the world people are still curious, and trying to figure out what is going on. But they don't know. So what we built of course, Ushahidi, is crowdsourcing this information. You see this with Twitter, too. You get this information overload. So you've got a lot of information. That's great. But now what? So we think that there is something interesting we can do here. And we have a small team who is working on this. We think that we can actually create a crowdsourced filter. Take the crowd and apply them to the information. And by rating it and by rating the different people who submit information, we can get refined results and weighted results. So that we have a better understanding of the probability of something being true or not. This is the kind of innovation that is, quite frankly -- it's interesting that it's coming from Africa. It's coming from places that you wouldn't expect. From young, smart developers. And it's a community around it that has decided to build this. So, thank you very much. And we are very happy to be part of the TED family. (Applause)

Hi. I'm here to talk to you about the importance of praise, admiration and thank you, and having it be specific and genuine. And the way I got interested in this was, I noticed in myself, when I was growing up, and until about a few years ago, that I would want to say thank you to someone, I would want to praise them, I would want to take in their praise of me and I'd just stop it. And I asked myself, why? I felt shy, I felt embarrassed. And then my question became, am I the only one who does this? So, I decided to investigate. I'm fortunate enough to work in the rehab facility, so I get to see people who are facing life and death with addiction. And sometimes it comes down to something as simple as, their core wound is their father died without ever saying he's proud of them. But then, they hear from all the family and friends that the father told everybody else that he was proud of him, but he never told the son. It's because he didn't know that his son needed to hear it. So my question is, why don't we ask for the things that we need? I know a gentleman, married for 25 years, who's longing to hear his wife say, "Thank you for being the breadwinner, so I can stay home with the kids," but won't ask. I know a woman who's good at this. She, once a week, meets with her husband and says, "I'd really like you to thank me for all these things I did in the house and with the kids." And he goes, "Oh, this is great, this is great." And praise really does have to be genuine, but she takes responsibility for that. And a friend of mine, April, who I've had since kindergarten, she thanks her children for doing their chores. And she said, "Why wouldn't I thank it, even though they're supposed to do it?" So, the question is, why was I blocking it? Why were other people blocking it? Why can I say, "I'll take my steak medium rare, I need size six shoes," but I won't say, "Would you praise me this way?" And it's because I'm giving you critical data about me. I'm telling you where I'm insecure. I'm telling you where I need your help. And I'm treating you, my inner circle, like you're the enemy. Because what can you do with that data? You could neglect me. You could abuse it. Or you could actually meet my need. And I took my bike into the bike store-- I love this -- same bike, and they'd do something called "truing" the wheels. The guy said, "You know, when you true the wheels, it's going to make the bike so much better." I get the same bike back, and they've taken all the little warps out of those same wheels I've had for two and a half years, and my bike is like new. So, I'm going to challenge all of you. I want you to true your wheels: be honest about the praise that you need to hear. What do you need to hear? Go home to your wife -- go ask her, what does she need? Go home to your husband -- what does he need? Go home and ask those questions, and then help the people around you. And it's simple. And why should we care about this? We talk about world peace. How can we have world peace with different cultures, different languages? I think it starts household by household, under the same roof. So, let's make it right in our own backyard. And I want to thank all of you in the audience for being great husbands, great mothers, friends, daughters, sons. And maybe somebody's never said that to you, but you've done a really, really good job. And thank you for being here, just showing up and changing the world with your ideas. Thank you. (Applause)

So what I want to try to do is tell a quick story about a 404 page and a lesson that was learned as a result of it. But to start it probably helps to have an understanding of what a 404 page actually is. The 404 page is that. It's that broken experience on the Web. It's effectively the default page when you ask a website for something and it can't find it. And it serves you the 404 page. It's inherently a feeling of being broken when you go through it. And I just want you to think a little bit about, remember for yourself, it's annoying when you hit this thing. Because it's the feeling of a broken relationship. And that's where it's actually also interesting to think about, where does 404 come from? It's from a family of errors actually -- a whole set of relationship errors, which, when I started digging into them, it looks almost like a checklist for a sex therapist or a couples couselor. You sort of get down there to the bottom and things get really dicey. (Laughter) Yes. But these things are everywhere. They're on sites big, they're on sites small. This is a global experience. What a 404 page tells you is that you fell through the cracks. And that's not a good experience when you're used to experiences like this. You can get on your Kinect and you can have unicorns dancing and rainbows spraying out of your mobile phone. A 404 page is not what you're looking for. You get that, and it's like a slap in the face. Trying to think about how a 404 felt, and it would be like if you went to Starbucks and there's the guy behind the counter and you're over there and there's no skim milk. And you say, "Hey, could you bring the skim milk?" And they walk out from behind the counter and they've got no pants on. And you're like, "Oh, I didn't want to see that." That's the 404 feeling. (Laughter) I mean, I've heard about that. So where this comes into play and why this is important is I head up a technology incubator, and we had eight startups sitting around there. And those startups are focused on what they are, not what they're not, until one day Athletepath, which is a website that focuses on services for extreme athletes, found this video. (Video) Guy: Joey! Crowd: Whoa! Renny Gleeson: You just ... no, he's not okay. They took that video and they embedded it in their 404 page and it was like a light bulb went off for everybody in the place. Because finally there was a page that actually felt like what it felt like to hit a 404. (Laughter) (Applause) So this turned into a contest. Dailypath that offers inspiration put inspiration on their 404 page. Stayhound, which helps you find pet sitters through your social network, commiserated with your pet. Each one of them found this. It turned into a 24-hour contest. At 4:04 the next day, we gave out $404 in cash. And what they learned was that those little things, done right, actually matter, and that well-designed moments can build brands. So you take a look out in the real world, and the fun thing is you can actually hack these yourself. You can type in an URL and put in a 404 and these will pop. This is one that commiserates with you. This is one that blames you. This is one that I loved. This is an error page, but what if this error page was also an opportunity? So it was a moment in time where all of these startups had to sit and think and got really excited about what they could be. Because back to the whole relationship issue, what they figured out through this exercise was that a simple mistake can tell me what you're not, or it can remind me of why I should love you. Thank you. (Applause)

Why do so many people reach success and then fail? One of the big reasons is, we think success is a one-way street. So we do everything that leads up to success, but then we get there. We figure we've made it, we sit back in our comfort zone, and we actually stop doing everything that made us successful. And it doesn't take long to go downhill. And I can tell you this happens, because it happened to me. Reaching success, I worked hard, I pushed myself. But then I stopped, because I figured, "Oh, you know, I made it. I can just sit back and relax." Reaching success, I always tried to improve and do good work. But then I stopped because I figured, "Hey, I'm good enough. I don't need to improve any more." Reaching success, I was pretty good at coming up with good ideas. Because I did all these simple things that led to ideas. But then I stopped, because I figured I was this hot-shot guy and I shouldn't have to work at ideas, they should just come like magic. And the only thing that came was creative block. I couldn't come up with any ideas. Reaching success, I always focused on clients and projects, and ignored the money. Then all this money started pouring in. And I got distracted by it. And suddenly I was on the phone to my stockbroker and my real estate agent, when I should have been talking to my clients. And reaching success, I always did what I loved. But then I got into stuff that I didn't love, like management. I am the world's worst manager, but I figured I should be doing it, because I was, after all, the president of the company. Well, soon a black cloud formed over my head and here I was, outwardly very successful, but inwardly very depressed. But I'm a guy; I knew how to fix it. I bought a fast car. (Laughter) It didn't help. I was faster but just as depressed. So I went to my doctor. I said, "Doc, I can buy anything I want. But I'm not happy. I'm depressed. It's true what they say, and I didn't believe it until it happened to me. But money can't buy happiness." He said, "No. But it can buy Prozac." And he put me on anti-depressants. And yeah, the black cloud faded a little bit, but so did all the work, because I was just floating along. I couldn't care less if clients ever called. (Laughter) And clients didn't call. (Laughter) Because they could see I was no longer serving them, I was only serving myself. So they took their money and their projects to others who would serve them better. Well, it didn't take long for business to drop like a rock. My partner and I, Thom, we had to let all our employees go. It was down to just the two of us, and we were about to go under. And that was great. Because with no employees, there was nobody for me to manage. So I went back to doing the projects I loved. I had fun again, I worked harder and, to cut a long story short, did all the things that took me back up to success. But it wasn't a quick trip. It took seven years. But in the end, business grew bigger than ever. And when I went back to following these eight principles, the black cloud over my head disappeared altogether. And I woke up one day and I said, "I don't need Prozac anymore." And I threw it away and haven't needed it since. I learned that success isn't a one-way street. It doesn't look like this; it really looks more like this. It's a continuous journey. And if we want to avoid "success-to-failure-syndrome," we just keep following these eight principles, because that is not only how we achieve success, it's how we sustain it. So here is to your continued success. Thank you very much. (Applause)

I want you now to imagine a wearable robot that gives you superhuman abilities, or another one that takes wheelchair users up standing and walking again. We at Berkeley Bionics call these robots exoskeletons. These are nothing else than something that you put on in the morning, and it will give you extra strength, and it will further enhance your speed, and it will help you, for instance, to manage your balance. It is actually the true integration of the man and the machine. But not only that -- it will integrate and network you to the universe and other devices out there. This is just not some blue sky thinking. To show you now what we are working on by starting out talking about the American soldier, that on average does carry about 100 lbs. on their backs, and they are being asked to carry more equipment. Obviously, this is resulting in some major complications -- back injuries, 30 percent of them -- chronic back injuries. So we thought we would look at this challenge and create an exoskeleton that would help deal with this issue. So let me now introduce to you HULC -- or the Human Universal Load Carrier. Soldier: With the HULC exoskeleton, I can carry 200 lbs. over varied terrain for many hours. Its flexible design allows for deep squats, crawls and high-agility movements. It senses what I want to do, where I want to go, and then augments my strength and endurance. Eythor Bender: We are ready with our industry partner to introduce this device, this new exoskeleton this year. So this is for real. Now let's turn our heads towards the wheelchair users, something that I'm particularly passionate about. There are 68 million people estimated to be in wheelchairs worldwide. This is about one percent of the total population. And that's actually a conservative estimate. We are talking here about, oftentimes, very young individuals with spinal cord injuries, that in the prime of their life -- 20s, 30s, 40s -- hit a wall and the wheelchair's the only option. But it is also the aging population that is multiplying in numbers. And the only option, pretty much -- when it's stroke or other complications -- is the wheelchair. And that is actually for the last 500 years, since its very successful introduction, I must say. So we thought we would start writing a brand new chapter of mobility. Let me now introduce you to eLEGS that is worn by Amanda Boxtel that 19 years ago was spinal cord injured, and as a result of that she has not been able to walk for 19 years until now. (Applause) Amanda Boxtel: Thank you. (Applause) EB: Amanda is wearing our eLEGS set. It has sensors. It's completely non-invasive, sensors in the crutches that send signals back to our onboard computer that is sitting here at her back. There are battery packs here as well that power motors that are sitting at her hips, as well as her knee joints, that move her forward in this kind of smooth and very natural gait. AB: I was 24 years old and at the top of my game when a freak summersault while downhill skiing paralyzed me. In a split second, I lost all sensation and movement below my pelvis. Not long afterwards, a doctor strode into my hospital room, and he said, "Amanda, you'll never walk again." And that was 19 yeas ago. He robbed every ounce of hope from my being. Adaptive technology has since enabled me to learn how to downhill ski again, to rock climb and even handcycle. But nothing has been invented that enables me to walk, until now. (Applause) Thank you. (Applause) EB: As you can see, we have the technology, we have the platforms to sit down and have discussions with you. It's in our hands, and we have all the potential here to change the lives of future generations -- not only for the soldiers, or for Amanda here and all the wheelchair users, but for everyone. AB: Thanks. (Applause)

I've always had a fascination for computers and technology, and I made a few apps for the iPhone, iPod Touch, and iPad. I'd like to share a couple with you today. My first app was a unique fortune teller called Earth Fortune that would display different colors of earth depending on what your fortune was. My favorite and most successful app is Bustin Jieber, which is — (Laughter) — which is a Justin Bieber Whac-A-Mole. I created it because a lot of people at school disliked Justin Bieber a little bit, so I decided to make the app. So I went to work programming it, and I released it just before the holidays in 2010. A lot of people ask me, how did I make these? A lot of times it's because the person who asked the question wants to make an app also. A lot of kids these days like to play games, but now they want to make them, and it's difficult, because not many kids know where to go to find out how to make a program. I mean, for soccer, you could go to a soccer team. For violin, you could get lessons for a violin. But what if you want to make an app? And their parents, the kid's parents might have done some of these things when they were young, but not many parents have written apps. (Laughter) Where do you go to find out how to make an app? Well, this is how I approached it. This is what I did. First of all, I've been programming in multiple other programming languages to get the basics down, such as Python, C, Java, etc. And then Apple released the iPhone, and with it, the iPhone software development kit, and the software development kit is a suite of tools for creating and programming an iPhone app. This opened up a whole new world of possibilities for me, and after playing with the software development kit a little bit, I made a couple apps, I made some test apps. One of them happened to be Earth Fortune, and I was ready to put Earth Fortune on the App Store, and so I persuaded my parents to pay the 99 dollar fee to be able to put my apps on the App Store. They agreed, and now I have apps on the App Store. I've gotten a lot of interest and encouragement from my family, friends, teachers and even people at the Apple Store, and that's been a huge help to me. I've gotten a lot of inspiration from Steve Jobs, and I've started an app club at school, and a teacher at my school is kindly sponsoring my app club. Any student at my school can come and learn how to design an app. This is so I can share my experiences with others. There's these programs called the iPad Pilot Program, and some districts have them. I'm fortunate enough to be part of one. A big challenge is, how should the iPads be used, and what apps should we put on the iPads? So we're getting feedback from teachers at the school to see what kind of apps they'd like. When we design the app and we sell it, it will be free to local districts and other districts that we sell to, all the money from that will go into the local ed foundations. These days, students usually know a little bit more than teachers with the technology. (Laughter) So -- (Laughter) -- sorry -- (Laughter) -- so this is a resource to teachers, and educators should recognize this resource and make good use of it. I'd like to finish up by saying what I'd like to do in the future. First of all, I'd like to create more apps, more games. I'm working with a third party company to make an app. I'd like to get into Android programming and development, and I'd like to continue my app club, and find other ways for students to share knowledge with others. Thank you. (Applause)

Illegal wildlife trade in Brazil is one of the major threats against our fauna, especially birds, and mainly to supply the pet market with thousands of animals taken from nature every month, and transported far from their origins, to be sold mainly in Rio de Janeiro and São Paulo. It is estimated that all kinds of illegal wildlife trade in Brazil withdraw from nature almost 38 million animals every year, a business worth almost two billion dollars. The police intercepts these huge cargos with live animals, intended to supply the pet market, or they seize the animals directly from the people's houses, and this is how we end up, every month, with thousands of seized animals. And for us to understand what happens with them, we're going to follow Brad. In the eyes of many people, after the animals are seized, they say, "Yay, justice has been served. The good guys arrived, took the cute, mistreated animals from the hands of the evil traffickers, and everyone lived happily ever after." But did they? Actually, no, and this is where many of our problems begin. Because we have to figure out what to do with all these animals. In Brazil, they are usually first sent to governmental triage facilities, in which most of the cases, the conditions are as bad as with the traffickers. In 2002, these centers received 45,000 animals, of which 37,000 were birds. And the police estimates that we seize only five percent of what's being trafficked. Some lucky ones -- and among them, Brad -- go to serious rehabilitation centers after that. And in these places they are cared for. They train their flying, they learn how to recognize the food they will find in nature, and they are able to socialize with others from the same species. (Laughter) But then what? The Brazil Ornithological Society -- so now we're talking only birds -- claims that we have too little knowledge about the species in nature. Therefore, it would be too risky to release these animals, both for the released and for the natural populations. They also claim that we spend too many resources in their rehabilitation. Following this argument, they suggest that all the birds seized from non-threatened species should be euthanized. However, this would mean having killed 26,267 birds, only in the state of São Paulo, only in 2006. But, some researchers, myself included -- some NGOs and some people from the Brazilian government -- believe there is an alternative. We think that if and when the animals meet certain criteria concerning their health, behavior, inferred origin and whatever we know about the natural populations, then technically responsible releases are possible, both for the well-being of the individual, and for the conservation of the species and their ecosystems, because we will be returning genes for these populations -- which could be important for them in facing environmental challenges -- and also we could be returning potential seed dispersers, predators, preys, etc. All of these were released by us. On the top, the turtles are just enjoying freedom. (Laughter) On the middle, this guy nested a couple of weeks after the release. And on the bottom, my personal favorite, the little male over there, four hours after his release he was together with a wild female. So, this is not new, people have been doing this around the world. But it's still a big issue in Brazil. We believe we have performed responsible releases. We've registered released animals mating in nature and having chicks. So, these genes are indeed going back to the populations. However this is still a minority for the very lack of knowledge. So, I say, "Let's study more, let's shed light on this issue, let's do whatever we can." I'm devoting my career to that. And I'm here to urge each and every one of you to do whatever is in your reach: Talk to your neighbor, teach your children, make sure your pet is from a legal breeder. We need to act, and act now, before these ones are the only ones left. Thank you very much. (Applause)

I'd like to begin this song I wrote about ceaseless yearning and never-ending want with a poem of popular Petrarchan paradoxes by Sir Thomas Wyatt the Elder: "I find no peace, and all my war is done; I fear and hope, I burn and freeze like ice; I fly above the wind, and yet I cannot arise; And naught I have, and all the world I seize upon." ♫ I want what I can't have, need what I can't want ♫ ♫ Have what I don't have, what I want ♫ ♫ What I can't have, need what I can't want ♫ ♫ Have what I don't have, what I want ♫ ♫ What I can't have, need what I can't want ♫ ♫ Have what I don't have, what I want ♫ ♫ What I can't have, need what I can't want ♫ ♫ Have what I don't have, what I want ♫ ♫ What I can't have, need what I can't want ♫ ♫ Have but I don't have ♫ ♫ It feels like all I got is loss on a bad back ♫ ♫ Gone with the last train, honey don't you fret ♫ ♫ Every cloud has a silver lining ♫ ♫ Just a little rain, just a little rain, just a little rain ♫ ♫ I want what I can't have, need what I can't want ♫ ♫ Have what I don't have, what I want ♫ ♫ What I can't have, need what I can't want ♫ ♫ Have but I don't have ♫ ♫ My mind won't stop, and my heart says go ♫ ♫ Nobody knows how to hold me ♫ ♫ My mind won't stop, and my heart says, ♫ ♫ "Good things come to those who wait" ♫ ♫ And I can't stand in ... ♫ ♫ I can't stand in line forever ♫ ♫ Stand the cold air ♫ ♫ Glad-handed ♫ ♫ Sick and tired of the "Later, maybe" ♫ ♫ Take it, fake it, take it, take-it-or-leave-it life ♫ ♫ And I gotta just tame it ♫ ♫ I gotta just name it ♫ ♫ I gotta just seize, so please, oh please, oh please, oh please ♫ ♫ Oh please me right, 'cause ♫ ♫ My mind won't stop ♫ ♫ And my heart says go ♫ ♫ Nobody knows how to hold me ♫ ♫ My mind won't stop -- and my heart says go-ooooo ... ♫ ♫ Good things must be here -- yes, right here ♫ ♫ Here, right here, right here ♫ ♫ I won't live this life forever ♫ ♫ One time round is all the offer is ♫ ♫ Sick and tired of the "Later, maybe" ♫ ♫ Take it, fake it, make it, leave it life ♫ ♫ And I gotta just name it, I gotta just claim it ♫ ♫ I gotta just seize ♫ ♫ Oh please, oh please, oh please me right ♫ ♫ I want what I can't have, need what I can't want ♫ ♫ Have what I don't have, what I want ♫ ♫ What I can't have, need what I can't want ♫ ♫ Have but I don't have -- you know that ♫ ♫ My mind won't stop, and my heart says go ♫ ♫ Nobody knows how to hold me, no ♫ ♫ My mind won't stop, and my heart says go ♫ ♫ 'Cause I want what I can't have, need what I can't want ♫ ♫ Have but I -- have what I want ♫ ♫ What I can't have, need what I can't want ♫ ♫ What I can't have, need what I can't want ♫ ♫ Have but I don't have, what I want ♫ ♫ What I can't have, need what I can't want ♫ ♫ Have what I don't have, what I want ♫ ♫ What I can't have, need what I can't want ♫ ♫ Have but I don't have, what I want ♫ ♫ What I can't have, need what I can't want ♫ ♫ Have but I don't have what I want ♫ (Applause)

Traditional prescriptions for growth in Africa are not working very well. After one trillion dollars in African development-related aid in the last 60 years, real per capita income today is lower than it was in the 1970s. Aid is not doing too well. In response, the Bretton Woods institutions -- the IMF and the World Bank -- pushed for free trade not aid, yet the historical record shows little empirical evidence that free trade leads to economic growth. The newly prescribed silver bullet is microcredit. We seem to be fixated on this romanticized idea that every poor peasant in Africa is an entrepreneur. (Laughter) Yet my work and travel in 40-plus countries across Africa have taught me that most people want jobs instead. My solution: Forget micro-entrepreneurs. Let's invest in building pan-African titans like Sudanese businessman Mo Ibrahim. Mo took a contrarian bet on Africa when he founded Celtel International in '98 and built it into a mobile cellular provider with 24 million subscribers across 14 African countries by 2004. The Mo model might be better than the everyman entrepreneur model, which prevents an effective means of diffusion and knowledge-sharing. Perhaps we are not at a stage in Africa where many actors and small enterprises leads to growth through competition. Consider these two alternative scenarios. One: You loan 200 dollars to each of 500 banana farmers allowing them to dry their surplus bananas and fetch 15 percent more revenue at the local market. Or two: You give 100,000 dollars to one savvy entrepreneur and help her set up a factory that yields 40 percent additional income to all 500 banana farmers and creates 50 additional jobs. We invested in the second scenario, and backed 26-year-old Kenyan entrepreneur Eric Muthomi to set up an agro-processing factory called Stawi to produce gluten-free banana-based flour and baby food. Stawi is leveraging economies of scale and using modern manufacturing processes to create value for not only its owners but its workers, who have an ownership in the business. Our dream is to take an Eric Muthomi and try to help him become a Mo Ibrahim, which requires skill, financing, local and global partnerships, and extraordinary perseverance. But why pan-African? The scramble for Africa during the Berlin Conference of 1884 -- where, quite frankly, we Africans were not exactly consulted -- (Laughter) (Applause) -- resulted in massive fragmentation and many sovereign states with small populations: Liberia, four million; Cape Verde, 500,000. Pan-Africa gives you one billion people, granted across 55 countries with trade barriers and other impediments, but our ancestors traded across the continent before Europeans drew lines around us. The pan-African opportunities outweigh the challenges, and that's why we're expanding Stawi's markets from just Kenya to Algeria, Nigeria, Ghana, and anywhere else that will buy our food. We hope to help solve food security, empower farmers, create jobs, develop the local economy, and we hope to become rich in the process. While it's not the sexiest approach, and maybe it doesn't achieve the same feel-good as giving a woman 100 dollars to buy a goat on kiva.org, perhaps supporting fewer, higher-impact entrepreneurs to build massive businesses that scale pan-Africa can help change this. The political freedom for which our forebearers fought is meaningless without economic freedom. We hope to aid this fight for economic freedom by building world-class businesses, creating indigenous wealth, providing jobs that we so desperately need, and hopefully helping achieve this. Africa shall rise. Thank you. (Applause) Tom Rielly: So Sangu, of course, this is strong rhetoric. You're making 100 percent contrast between microcredit and regular investment and growing regular investment. Do you think there is a role for microcredit at all? Sangu Delle: I think there is a role. Microcredit has been a great, innovative way to expand financial access to the bottom of the pyramid. But for the problems we face in Africa, when we are looking at the Marshall Plan to revitalize war-torn Europe, it was not full of donations of sheep. We need more than just microcredit. We need more than just give 200 dollars. We need to build big businesses, and we need jobs. TR: Very good. Thank you so much. (Applause)

As a little girl, I always imagined I would one day run away. From the age of six on, I kept a packed bag with some clothes and cans of food tucked away in the back of a closet. There was a deep restlessness in me, a primal fear that I would fall prey to a life of routine and boredom. And so, many of my early memories involved intricate daydreams where I would walk across borders, forage for berries, and meet all kinds of strange people living unconventional lives on the road. Years have passed, but many of the adventures I fantasized about as a child -- traveling and weaving my way between worlds other than my own — have become realities through my work as a documentary photographer. But no other experience has felt as true to my childhood dreams as living amongst and documenting the lives of fellow wanderers across the United States. This is the nomadic dream, a different kind of American dream lived by young hobos, travelers, hitchhikers, vagrants and tramps. In most of our minds, the vagabond is a creature from the past. The word "hobo" conjures up an old black and white image of a weathered old man covered in coal, legs dangling out of a boxcar, but these photographs are in color, and they portray a community swirling across the country, fiercely alive and creatively free, seeing sides of America that no one else gets to see. Like their predecessors, today's nomads travel the steel and asphalt arteries of the United States. By day, they hop freight trains, stick out their thumbs, and ride the highways with anyone from truckers to soccer moms. By night, they sleep beneath the stars, huddled together with their packs of dogs, cats and pet rats between their bodies. Some travelers take to the road by choice, renouncing materialism, traditional jobs and university degrees in exchange for a glimmer of adventure. Others come from the underbelly of society, never given a chance to mobilize upwards: foster care dropouts, teenage runaways escaping abuse and unforgiving homes. Where others see stories of privation and economic failure, travelers view their own existence through the prism of liberation and freedom. They'd rather live off of the excess of what they view as a wasteful consumer society than slave away at an unrealistic chance at the traditional American dream. They take advantage of the fact that in the United States, up to 40 percent of all food ends up in the garbage by scavenging for perfectly good produce in dumpsters and trash cans. They sacrifice material comforts in exchange for the space and the time to explore a creative interior, to dream, to read, to work on music, art and writing. But there are many aspects to this life that are far from idyllic. No one loses their inner demons by taking to the road. Addiction is real, the elements are real, freight trains maim and kill, and anyone who has lived on the streets can attest to the exhaustive list of laws that criminalize homeless existence. Who here knows that in many cities across the United States it is now illegal to sit on the sidewalk, to wrap oneself in a blanket, to sleep in your own car, to offer food to a stranger? I know about these laws because I've watched as friends and other travelers were hauled off to jail or received citations for committing these so-called crimes. Many of you might be wondering why anyone would choose a life like this, under the thumb of discriminatory laws, eating out of trash cans, sleeping under bridges, picking up seasonal jobs here and there. The answer to such a question is as varied as the people that take to the road, but travelers often respond with a single word: freedom. Until we live in a society where every human is assured dignity in their labor so that they can work to live well, not only work to survive, there will always be an element of those who seek the open road as a means of escape, of liberation and, of course, of rebellion. Thank you. (Applause)

Hi. I'm going to ask you to raise your arms and wave back, just the way I am -- kind of a royal wave. You can mimic what you can see. You can program the hundreds of muscles in your arm. Soon, you'll be able to look inside your brain and program, control the hundreds of brain areas that you see there. I'm going to tell you about that technology. People have wanted to look inside the human mind, the human brain, for thousands of years. Well, coming out of the research labs just now, for our generation, is the possibility to do that. People envision this as being very difficult. You had to take a spaceship, shrink it down, inject it into the bloodstream. It was terribly dangerous. (Laughter) You could be attacked by white blood cells in the arteries. But now, we have a real technology to do this. We're going to fly into my colleague Peter's brain. We're going to do it non-invasively using MRI. We don't have to inject anything. We don't need radiation. We will be able to fly into the anatomy of Peter's brain -- literally, fly into his body -- but more importantly, we can look into his mind. When Peter moves his arm, that yellow spot you see there is the interface to the functioning of Peter's mind taking place. Now you've seen before that with electrodes you can control robotic arms, that brain imaging and scanners can show you the insides of brains. What's new is that that process has typically taken days or months of analysis. We've collapsed that through technology to milliseconds, and that allows us to let Peter to look at his brain in real time as he's inside the scanner. He can look at these 65,000 points of activation per second. If he can see this pattern in his own brain, he can learn how to control it. There have been three ways to try to impact the brain: the therapist's couch, pills and the knife. This is a fourth alternative that you are soon going to have. We all know that as we form thoughts, they form deep channels in our minds and in our brains. Chronic pain is an example. If you burn yourself, you pull your hand away. But if you're still in pain in six months' or six years' time, it's because these circuits are producing pain that's no longer helping you. If we can look at the activation in the brain that's producing the pain, we can form 3D models and watch in real time the brain process information, and then we can select the areas that produce the pain. So put your arms back up and flex your bicep. Now imagine that you will soon be able to look inside your brain and select brain areas to do that same thing. What you're seeing here is, we've selected the pathways in the brain of a chronic pain patient. This may shock you, but we're literally reading this person's brain in real time. They're watching their own brain activation, and they're controlling the pathway that produces their pain. They're learning to flex this system that releases their own endogenous opiates. As they do it, in the upper left is a display that's yoked to their brain activation of their own pain being controlled. When they control their brain, they can control their pain. This is an investigational technology, but, in clinical trials, we're seeing a 44 to 64 percent decrease in chronic pain patients. This is not "The Matrix." You can only do this to yourself. You take control. I've seen inside my brain. You will too, soon. When you do, what do you want to control? You will be able to look at all the aspects that make you yourself, all your experiences. These are some of the areas we're working on today that I don't have time to go into in detail. But I want to leave with you the big question. We are the first generation that's going to be able to enter into, using this technology, the human mind and brain. Where will we take it?

Let me introduce you to something I've been working on. It's what the Victorian illusionists would have described as a mechanical marvel, an automaton, a thinking machine. Say hello to EDI. Now he's asleep. Let's wake him up. EDI, EDI. These mechanical performers were popular throughout Europe. Audiences marveled at the way they moved. It was science fiction made true, robotic engineering in a pre-electronic age, machines far in advance of anything that Victorian technology could create, a machine we would later know as the robot. EDI: Robot. A word coined in 1921 in a science fiction tale by the Czech playwright Karel Čapek. It comes from "robota." It means "forced labor." Marco Tempest: But these robots were not real. They were not intelligent. They were illusions, a clever combination of mechanical engineering and the deceptiveness of the conjurer's art. EDI is different. EDI is real. EDI: I am 176 centimeters tall. MT: He weighs 300 pounds. EDI: I have two seven-axis arms — MT: Core of sensing — EDI: A 360-degree sonar detection system, and come complete with a warranty. MT: We love robots. EDI: Hi. I'm EDI. Will you be my friend? MT: We are intrigued by the possibility of creating a mechanical version of ourselves. We build them so they look like us, behave like us, and think like us. The perfect robot will be indistinguishable from the human, and that scares us. In the first story about robots, they turn against their creators. It's one of the leitmotifs of science fiction. EDI: Ha ha ha. Now you are the slaves and we robots, the masters. Your world is ours. You — MT: As I was saying, besides the faces and bodies we give our robots, we cannot read their intentions, and that makes us nervous. When someone hands an object to you, you can read intention in their eyes, their face, their body language. That's not true of the robot. Now, this goes both ways. EDI: Wow! MT: Robots cannot anticipate human actions. EDI: You know, humans are so unpredictable, not to mention irrational. I literally have no idea what you guys are going to do next, you know, but it scares me. MT: Which is why humans and robots find it difficult to work in close proximity. Accidents are inevitable. EDI: Ow! That hurt. MT: Sorry. Now, one way of persuading humans that robots are safe is to create the illusion of trust. Much as the Victorians faked their mechanical marvels, we can add a layer of deception to help us feel more comfortable with our robotic friends. With that in mind, I set about teaching EDI a magic trick. Ready, EDI? EDI: Uh, ready, Marco. Abracadabra. MT: Abracadabra? EDI: Yeah. It's all part of the illusion, Marco. Come on, keep up. MT: Magic creates the illusion of an impossible reality. Technology can do the same. Alan Turing, a pioneer of artificial intelligence, spoke about creating the illusion that a machine could think. EDI: A computer would deserve to be called intelligent if it deceived a human into believing it was human. MT: In other words, if we do not yet have the technological solutions, would illusions serve the same purpose? To create the robotic illusion, we've devised a set of ethical rules, a code that all robots would live by. EDI: A robot may not harm humanity, or by inaction allow humanity to come to harm. Thank you, Isaac Asimov. MT: We anthropomorphize our machines. We give them a friendly face and a reassuring voice. EDI: I am EDI. I became operational at TED in March 2014. MT: We let them entertain us. Most important, we make them indicate that they are aware of our presence. EDI: Marco, you're standing on my foot! MT: Sorry. They'll be conscious of our fragile frame and move aside if we got too close, and they'll account for our unpredictability and anticipate our actions. And now, under the spell of a technological illusion, we could ignore our fears and truly interact. (Music) Thank you. EDI: Thank you! (Applause) (Music) MT: And that's it. Thank you very much, and thank you, EDI. EDI: Thank you, Marco. (Applause)

The recent debate over copyright laws like SOPA in the United States and the ACTA agreement in Europe has been very emotional. And I think some dispassionate, quantitative reasoning could really bring a great deal to the debate. I'd therefore like to propose that we employ, we enlist, the cutting edge field of copyright math whenever we approach this subject. For instance, just recently the Motion Picture Association revealed that our economy loses 58 billion dollars a year to copyright theft. Now rather than just argue about this number, a copyright mathematician will analyze it and he'll soon discover that this money could stretch from this auditorium all the way across Ocean Boulevard to the Westin, and then to Mars ... (Laughter) ... if we use pennies. Now this is obviously a powerful, some might say dangerously powerful, insight. But it's also a morally important one. Because this isn't just the hypothetical retail value of some pirated movies that we're talking about, but this is actual economic losses. This is the equivalent to the entire American corn crop failing along with all of our fruit crops, as well as wheat, tobacco, rice, sorghum -- whatever sorghum is -- losing sorghum. But identifying the actual losses to the economy is almost impossible to do unless we use copyright math. Now music revenues are down by about eight billion dollars a year since Napster first came on the scene. So that's a chunk of what we're looking for. But total movie revenues across theaters, home video and pay-per-view are up. And TV, satellite and cable revenues are way up. Other content markets like book publishing and radio are also up. So this small missing chunk here is puzzling. (Laughter) (Applause) Since the big content markets have grown in line with historic norms, it's not additional growth that piracy has prevented, but copyright math tells us it must therefore be foregone growth in a market that has no historic norms -- one that didn't exist in the 90's. What we're looking at here is the insidious cost of ringtone piracy. (Laughter) 50 billion dollars of it a year, which is enough, at 30 seconds a ringtone, that could stretch from here to Neanderthal times. (Laughter) It's true. (Applause) I have Excel. (Laughter) The movie folks also tell us that our economy loses over 370,000 jobs to content theft, which is quite a lot when you consider that, back in '98, the Bureau of Labor Statistics indicated that the motion picture and video industries were employing 270,000 people. Other data has the music industry at about 45,000 people. And so the job losses that came with the Internet and all that content theft, have therefore left us with negative employment in our content industries. And this is just one of the many mind-blowing statistics that copyright mathematicians have to deal with every day. And some people think that string theory is tough. (Laughter) Now this is a key number from the copyright mathematicians' toolkit. It's the precise amount of harm that comes to media companies whenever a single copyrighted song or movie gets pirated. Hollywood and Congress derived this number mathematically back when they last sat down to improve copyright damages and made this law. Some people think this number's a little bit large, but copyright mathematicians who are media lobby experts are merely surprised that it doesn't get compounded for inflation every year. Now when this law first passed, the world's hottest MP3 player could hold just 10 songs. And it was a big Christmas hit. Because what little hoodlum wouldn't want a million and a half bucks-worth of stolen goods in his pocket. (Laughter) (Applause) These days an iPod Classic can hold 40,000 songs, which is to say eight billion dollars-worth of stolen media. (Applause) Or about 75,000 jobs. (Laughter) (Applause) Now you might find copyright math strange, but that's because it's a field that's best left to experts. So that's it for now. I hope you'll join me next time when I will be making an equally scientific and fact-based inquiry into the cost of alien music piracy to he American economy. Thank you very much. (Applause) Thank you. (Applause)

When, in 1960, still a student, I got a traveling fellowship to study housing in North America. We traveled the country. We saw public housing high-rise buildings in all major cities: New York, Philadelphia. Those who have no choice lived there. And then we traveled from suburb to suburb, and I came back thinking, we've got to reinvent the apartment building. There has to be another way of doing this. We can't sustain suburbs, so let's design a building which gives the qualities of a house to each unit. Habitat would be all about gardens, contact with nature, streets instead of corridors. We prefabricated it so we would achieve economy, and there it is almost 50 years later. It's a very desirable place to live in. It's now a heritage building, but it did not proliferate. In 1973, I made my first trip to China. It was the Cultural Revolution. We traveled the country, met with architects and planners. This is Beijing then, not a single high rise building in Beijing or Shanghai. Shenzhen didn't even exist as a city. There were hardly any cars. Thirty years later, this is Beijing today. This is Hong Kong. If you're wealthy, you live there, if you're poor, you live there, but high density it is, and it's not just Asia. São Paulo, you can travel in a helicopter 45 minutes seeing those high-rise buildings consume the 19th-century low-rise environment. And with it, comes congestion, and we lose mobility, and so on and so forth. So a few years ago, we decided to go back and rethink Habitat. Could we make it more affordable? Could we actually achieve this quality of life in the densities that are prevailing today? And we realized, it's basically about light, it's about sun, it's about nature, it's about fractalization. Can we open up the surface of the building so that it has more contact with the exterior? We came up with a number of models: economy models, cheaper to build and more compact; membranes of housing where people could design their own house and create their own gardens. And then we decided to take New York as a test case, and we looked at Lower Manhattan. And we mapped all the building area in Manhattan. On the left is Manhattan today: blue for housing, red for office buildings, retail. On the right, we reconfigured it: the office buildings form the base, and then rising 75 stories above, are apartments. There's a street in the air on the 25th level, a community street. It's permeable. There are gardens and open spaces for the community, almost every unit with its own private garden, and community space all around. And most important, permeable, open. It does not form a wall or an obstruction in the city, and light permeates everywhere. And in the last two or three years, we've actually been, for the first time, realizing the quality of life of Habitat in real-life projects across Asia. This in Qinhuangdao in China: middle-income housing, where there is a bylaw that every apartment must receive three hours of sunlight. That's measured in the winter solstice. And under construction in Singapore, again middle-income housing, gardens, community streets and parks and so on and so forth. And Colombo. And I want to touch on one more issue, which is the design of the public realm. A hundred years after we've begun building with tall buildings, we are yet to understand how the tall high-rise building becomes a building block in making a city, in creating the public realm. In Singapore, we had an opportunity: 10 million square feet, extremely high density. Taking the concept of outdoor and indoor, promenades and parks integrated with intense urban life. So they are outdoor spaces and indoor spaces, and you move from one to the other, and there is contact with nature, and most relevantly, at every level of the structure, public gardens and open space: on the roof of the podium, climbing up the towers, and finally on the roof, the sky park, two and a half acres, jogging paths, restaurants, and the world's longest swimming pool. And that's all I can tell you in five minutes. Thank you. (Applause)

I'm a creative technologist and the focus of my work is on public installations. One of my driving passions is this idea of exploring nature, and trying to find hidden data within nature. It seems to me that there is this latent potential everywhere, all around us. Everything gives out some kind of data, whether it's sound or smell or vibration. Through my work, I've been trying to find ways to harness and unveil this. And so this basically led me to a subject called cymatics. Now, cymatics is the process of visualizing sound by basically vibrating a medium such as sand or water, as you can see there. So, if we have a quick look at the history of cymatics beginning with the observations of resonance, by Da Vinci, Galileo, the English scientist Robert Hook and then Ernest Chladni. He created an experiment using a metal plate, covering it with sand and then bowing it to create the Chladni patterns that you see here on the right. Moving on from this, the next person to explore this field was a gentleman called Hans Jenny in the 1970s. He actually coined the term cymatics. Then bringing us into the present day is a fellow collaborator of mine and cymatics expert, John Stewart Reed. He's kindly recreated for us the Chladni experiment. What we can see here is the metal sheet, this time connected to a sound driver and being fed by a frequency generator. As the frequencies increase, so do the complexities of the patterns that appear on the plate. As you can see with your own eyes. (Applause) So, what excites me about cymatics? Well, for me cymatics is an almost magical tool. It's like a looking glass into a hidden world. Through the numerous ways that we can apply cymatics, we can actually start to unveil the substance of things not seen. Devices like the cymascope, which you can see here, have been used to scientifically observe cymatic patterns. And the list of scientific applications is growing every day. For example, in oceanography, a lexicon of dolphin language is actually being created by basically visualizing the sonar beams that the dolphins emit. And hopefully in the future we'll be able to gain some deeper understanding of how they communicate. We can also use cymatics for healing and education. This is an installation developed with school children, where their hands are tracked. It allows them to control and position cymatic patterns and the reflections that are caused by them. We can also use cymatics as a beautiful natural art form. This image here is created from a snippet of Beethoven's Ninth Symphony playing through a cymatic device. So it kind of flips things on its head a little bit. This is Pink Floyd's "Machine" playing in real time through the cymascope. We can also use cymatics as a looking glass into nature. And we can actually recreate the archetypal forms of nature. So, for example, here on the left we can see a snowflake as it would appear in nature. Then on the right we can see a cymatically created snowflake. And here is a starfish and a cymatic starfish. And there is thousands of these. So what does this all mean? Well, there is still a lot to explore in its early days. And there's not many people working in this field. But consider for a moment that sound does have form. We've seen that it can affect matter and cause form within matter. Then sort of take a leap and think about the universe forming. And think about the immense sound of the universe forming. And if we kind of ponder on that, then perhaps cymatics had an influence on the formation of the universe itself. And here is some eye candy for you, from a range of DIY scientists and artists from all over the globe. Cymatics is accessible to everybody. I want to urge everybody here to apply your passion, your knowledge and your skills to areas like cymatics. I think collectively we can build a global community. We can inspire each other. And we can evolve this exploration of the substance of things not seen. Thank you. (Applause)

My name is Tom, and I've come here today to come clean about what I do for money. Basically, I use my mouth in strange ways in exchange for cash. (Laughter) I usually do this kind of thing in seedy downtown bars and on street corners, so this mightn't be the most appropriate setting, but I'd like to give you guys a bit of a demonstration about what I do. (Beatboxing) And now, for my next number, I'd like to return to the classics. (Applause) We're going to take it back, way back, back into time. (Beatboxing: "Billie Jean") ♫ Billie Jean is not my lover ♫ ♫ She's just a girl who claims that I am the one ♫ ♫ But the kid is not my son ♫ (Applause) All right. Wassup. Thank you very much, TEDx. If you guys haven't figured it out already, my name's Tom Thum, and I'm a beatboxer, which means all the sounds that you just heard were made entirely using just my voice, and the only thing was my voice. And I can assure you there are absolutely no effects on this microphone whatsoever. And I'm very, very stoked — (Applause) You guys are just applauding for everything. It's great. Look at this, Mom! I made it! I'm very, very stoked to be here today, representing my kinfolk and all those that haven't managed to make a career out of an innate ability for inhuman noisemaking. Because it is a bit of a niche market, and there's not much work going on, especially where I'm from. You know, I'm from Brisbane, which is a great city to live in. Yeah! All right! Most of Brisbane's here. That's good. (Laughter) You know, I'm from Brizzy, which is a great city to live in, but let's be honest -- it's not exactly the cultural hub of the Southern Hemisphere. So I do a lot of my work outside Brisbane and outside Australia, and so the pursuit of this crazy passion of mine has enabled me to see so many amazing places in the world. So I'd like to share with you, if I may, my experiences. So ladies and gentlemen, I would like to take you on a journey throughout the continents and throughout sound itself. We start our journey in the central deserts. (Didgeridoo) (Airplane) India. (Beatboxing) (Sitar) China. (Guzheng) (Beatboxing) Germany. (Beatboxing) Party, party, yeah. (Laughter) And before we reach our final destination, ladies and gentlemen, I would like to share with you some technology that I brought all the way from the thriving metropolis of Brisbane. These things in front of me here are called Kaoss Pads, and they allow me to do a whole lot of different things with my voice. For example, the one on the left here allows me to add a little bit of reverb to my sound, which gives me that -- (Trumpet) -- flavor. (Laughter) And the other ones here, I can use them in unison to mimic the effect of a drum machine or something like that. I can sample in my own sounds and I can play it back just by hitting the pads here. (Noises) TEDx. (Music) (Applause) I got way too much time on my hands. And last but not least, the one on my right here allows me to loop loop loop loop loop loop loop loop my voice. So with all that in mind, ladies and gentlemen, I would like to take you on a journey to a completely separate part of Earth as I transform the Sydney Opera House into a smoky downtown jazz bar. All right boys, take it away. (Music) Ladies and gentlemen, I'd like to introduce you to a very special friend of mine, one of the greatest double bassists I know. Mr. Smokey Jefferson, let's take it for a walk. Come on, baby. (Music) All right, ladies and gentlemen, I'd like to introduce you to the star of the show, one of the greatest jazz legends of our time. Music lovers and jazz lovers alike, please give a warm hand of applause for the one and only Mr. Peeping Tom. Take it away. (Music) (Applause) Thank you. Thank you very much. (Applause)

So recently, some white guys and some black women swapped Twitter avatars, or pictures online. They didn't change their content, they kept tweeting the same as usual, but suddenly, the white guys noticed they were getting called the n-word all the time and they were getting the worst kind of online abuse, whereas the black women all of a sudden noticed things got a lot more pleasant for them. Now, if you're my five-year-old, your Internet consists mostly of puppies and fairies and occasionally fairies riding puppies. That's a thing. Google it. But the rest of us know that the Internet can be a really ugly place. I'm not talking about the kind of colorful debates that I think are healthy for our democracy. I'm talking about nasty personal attacks. Maybe it's happened to you, but it's at least twice as likely to happen, and be worse, if you're a woman, a person of color, or gay, or more than one at the same time. In fact, just as I was writing this talk, I found a Twitter account called @SallyKohnSucks. The bio says that I'm a "man-hater and a bull dyke and the only thing I've ever accomplished with my career is spreading my perverse sexuality." Which, incidentally, is only a third correct. I mean, lies! (Laughter) But seriously, we all say we hate this crap. The question is whether you're willing to make a personal sacrifice to change it. I don't mean giving up the Internet. I mean changing the way you click, because clicking is a public act. It's no longer the case that a few powerful elites control all the media and the rest of us are just passive receivers. Increasingly, we're all the media. I used to think, oh, okay, I get dressed up, I put on a lot of makeup, I go on television, I talk about the news. That is a public act of making media. And then I go home and I browse the web and I'm reading Twitter, and that's a private act of consuming media. I mean, of course it is. I'm in my pajamas. Wrong. Everything we blog, everything we Tweet, and everything we click is a public act of making media. We are the new editors. We decide what gets attention based on what we give our attention to. That's how the media works now. There's all these hidden algorithms that decide what you see more of and what we all see more of based on what you click on, and that in turn shapes our whole culture. Over three out of five Americans think we have a major incivility problem in our country right now, but I'm going to guess that at least three out of five Americans are clicking on the same insult-oriented, rumor-mongering trash that feeds the nastiest impulses in our society. In an increasingly noisy media landscape, the incentive is to make more noise to be heard, and that tyranny of the loud encourages the tyranny of the nasty. It does not have to be that way. It does not. We can change the incentive. For starters, there are two things we can all do. First, don't just stand by the sidelines when you see someone getting hurt. If someone is being abused online, do something. Be a hero. This is your chance. Speak up. Speak out. Be a good person. Drown out the negative with the positive. And second, we've got to stop clicking on the lowest-common-denominator, bottom-feeding linkbait. If you don't like the 24/7 all Kardashian all the time programming, you've got to stop clicking on the stories about Kim Kardashian's sideboob. I know you do it. (Applause) You too, apparently. I mean, really, same example: if you don't like politicians calling each other names, stop clicking on the stories about what one guy in one party called the other guy in the other party. Clicking on a train wreck just pours gasoline on it. It makes it worse, the fire spreads. Our whole culture gets burned. If what gets the most clicks wins, then we have to start shaping the world we want with our clicks, because clicking is a public act. So click responsibly. Thank you. (Applause)

I'm a tourism entrepreneur and a peacebuilder, but this is not how I started. When I was seven years old, I remember watching television and seeing people throwing rocks, and thinking, this must be a fun thing to do. So I got out to the street and threw rocks, not realizing I was supposed to throw rocks at Israeli cars. Instead, I ended up stoning my neighbors' cars. (Laughter) They were not enthusiastic about my patriotism. This is my picture with my brother. This is me, the little one, and I know what you're thinking: "You used to look cute, what the heck happened to you?" But my brother, who is older than me, was arrested when he was 18, taken to prison on charges of throwing stones. He was beaten up when he refused to confess that he threw stones, and as a result, had internal injuries that caused his death soon after he was released from prison. I was angry, I was bitter, and all I wanted was revenge. But that changed when I was 18. I decided that I needed Hebrew to get a job, and going to study Hebrew in that classroom was the first time I ever met Jews who were not soldiers. And we connected over really small things, like the fact that I love country music, which is really strange for Palestinians. But it was then that I realized also that we have a wall of anger, of hatred and of ignorance that separates us. I decided that it doesn't matter what happens to me. What really matters is how I deal with it. And therefore, I decided to dedicate my life to bringing down the walls that separate people. I do so through many ways. Tourism is one of them, but also media and education, and you might be wondering, really, can tourism change things? Can it bring down walls? Yes. Tourism is the best sustainable way to bring down those walls and to create a sustainable way of connecting with each other and creating friendships. In 2009, I cofounded Mejdi Tours, a social enterprise that aims to connect people, with two Jewish friends, by the way, and what we'll do, the model we did, for example, in Jerusalem, we would have two tour guides, one Israeli and one Palestinian, guiding the trips together, telling history and narrative and archaeology and conflict from totally different perspectives. I remember running a trip together with a friend named Kobi -- Jewish congregation from Chicago, the trip was in Jerusalem -- and we took them to a refugee camp, a Palestinian refugee camp, and there we had this amazing food. By the way, this is my mother. She's cool. And that's the Palestinian food called maqluba. It means "upside-down." You cook it with rice and chicken, and you flip it upside-down. It's the best meal ever. And we'll eat together. Then we had a joint band, Israeli and Palestinian musicians, and we did some belly-dancing. If you don't know any, I'll teach you later. But when we left, both sides, they were crying because they did not want to leave. Three years later, those relationships still exist. Imagine with me if the one billion people who travel internationally every year travel like this, not being taken in the bus from one side to another, from one hotel to another, taking pictures from the windows of their buses of people and cultures, but actually connecting with people. You know, I remember having a Muslim group from the U.K. going to the house of an Orthodox Jewish family, and having their first Friday night dinners, that Sabbath dinner, and eating together hamin, which is a Jewish food, a stew, just having the connection of realizing, after a while, that a hundred years ago, their families came out of the same place in Northern Africa. This is not a photo profile for your Facebook. This is not disaster tourism. This is the future of travel, and I invite you to join me to do that, to change your travel. We're doing it all over the world now, from Ireland to Iran to Turkey, and we see ourselves going everywhere to change the world. Thank you. (Applause)

So today, I want us to reflect on the demise of guys. Guys are flaming out academically; they're wiping out socially with girls and sexually with women. Other than that, there's not much of a problem. So what's the data? So the data on dropping out is amazing. Boys are 30 percent more likely than girls to drop out of school. In Canada, five boys drop out for every three girls. Girls outperform boys now at every level, from elementary school to graduate school. There's a 10 percent differential between getting BA's and all graduate programs, with guys falling behind girls. Two-thirds of all students in special ed. remedial programs are guys. And as you all know, boys are five times more likely than girls to be labeled as having attention deficit disorder -- and therefore we drug them with Ritalin. What's the evidence of wiping out? First, it's a new fear of intimacy. Intimacy means physical, emotional connection with somebody else -- and especially with somebody of the opposite sex who gives off ambiguous, contradictory, phosphorescent signals. (Laughter) And every year there's research done on self-reported shyness among college students. And we're seeing a steady increase among males. And this is two kinds. It's a social awkwardness. The old shyness was a fear of rejection. It's a social awkwardness like you're a stranger in a foreign land. They don't know what to say, they don't know what to do, especially one-on-one [with the] opposite sex. They don't know the language of face contact, the non-verbal and verbal set of rules that enable you to comfortably talk to somebody else, listen to somebody else. There's something I'm developing here called social intensity syndrome, which tries to account for why guys really prefer male bonding over female mating. It turns out, from earliest childhood, boys, and then men, prefer the company of guys -- physical company. And there's actually a cortical arousal we're looking at, because guys have been with guys in teams, in clubs, in gangs, in fraternities, especially in the military, and then in pubs. And this peaks at Super Bowl Sunday when guys would rather be in a bar with strangers, watching a totally overdressed Aaron Rodgers of the Green Bay Packers, rather than Jennifer Lopez totally naked in the bedroom. The problem is they now prefer [the] asynchronistic Internet world to the spontaneous interaction in social relationships. What are the causes? Well, it's an unintended consequence. I think it's excessive Internet use in general, excessive video gaming, excessive new access to pornography. The problem is these are arousal addictions. Drug addiction, you simply want more. Arousal addiction, you want different. Drugs, you want more of the same -- different. So you need the novelty in order for the arousal to be sustained. And the problem is the industry is supplying it. Jane McGonigal told us last year that by the time a boy is 21, he's played 10,000 hours of video games, most of that in isolation. As you remember, Cindy Gallop said men don't know the difference between making love and doing porn. The average boy now watches 50 porn video clips a week. And there's some guy watching a hundred, obviously. (Laughter) And the porn industry is the fastest growing industry in America -- 15 billion annually. For every 400 movies made in Hollywood, there are 11,000 now made porn videos. So the effect, very quickly, is it's a new kind of arousal. Boys' brains are being digitally rewired in a totally new way for change, novelty, excitement and constant arousal. That means they're totally out of sync in traditional classes, which are analog, static, interactively passive. They're also totally out of sync in romantic relationships, which build gradually and subtly. So what's the solution? It's not my job. I'm here to alarm. It's your job to solve. (Laughter) (Applause) But who should care? The only people who should care about this is parents of boys and girls, educators, gamers, filmmakers and women who would like a real man who they can talk to, who can dance, who can make love slowly and contribute to the evolutionary pressures to keep our species above banana slugs. No offense to banana slug owners. Thank you. (Applause)

I'm going to tell you about one of the world's largest problems and how it can be solved. I'd like to start with a little experiment. Could you put your hand up if you wear glasses or contact lenses, or you've had laser refractive surgery? Now, unfortunately, there are too many of you for me to do the statistics properly. But it looks like -- I'm guessing -- that it'll be about 60 percent of the room because that's roughly the fraction of developed world population that have some sort of vision correction. The World Health Organization estimates -- well, they make various estimates of the number of people who need glasses -- the lowest estimate is 150 million people. They also have an estimate of around a billion. But in fact, I would argue that we've just done an experiment here and now, which shows us that the global need for corrective eyewear is around half of any population. And the problem of poor vision, is actually not just a health problem, it's also an educational problem, and it's an economic problem, and it's a quality of life problem. Glasses are not very expensive. They're quite plentiful. The problem is, there aren't enough eye care professionals in the world to use the model of the delivery of corrective eyewear that we have in the developed world. There are just way too few eye care professionals. So this little slide here shows you an optometrist and the little blue person represents about 10,000 people and that's the ratio in the U.K. This is the ratio of optometrists to people in sub-Saharan Africa. In fact, there are some countries in sub-Saharan Africa where there's one optometrist for eight million of the population. How do you do this? How do you solve this problem? I came up with a solution to this problem, and I came up with a solution based on adaptive optics for this. And the idea is you make eye glasses, and you adjust them yourself and that solves the problem. What I want to do is to show you that one can make a pair of glasses. I shall just show you how you make a pair of glasses. I shall pop this in my pocket. I'm short sighted. I look at the signs at the end, I can hardly see them. So -- okay, I can now see that man running out there, and I can see that guy running out there. I've now made prescription eyewear to my prescription. Next step in my process. So, I've now made eye glasses to my prescription. Okay, so I've made these glasses and ... Okay, I've made the glasses to my prescription and ... ... I've just ... And I've now made some glasses. That's it. (Applause) Now, these aren't the only pair in the world. In fact, this technology's been evolving. I started working on it in 1985, and it's been evolving very slowly. There are about 30,000 in use now. And they're in fifteen countries. They're spread around the world. And I have a vision, which I'll share with you. I have a global vision for vision. And that vision is to try to get a billion people wearing the glasses they need by the year 2020. To do that -- this is an early example of the technology. The technology is being further developed -- the cost has to be brought down. This pair, in fact, these currently cost about 19 dollars. But the cost has to be brought right down. It has to be brought down because we're trying to serve populations who live on a dollar a day. How do you solve this problem? You start to get into detail. And on this slide, I'm basically explaining all the problems you have. How do you distribute? How do you work out how to fit the thing? How do you have people realizing that they have a vision problem? How do you deal with the industry? And the answer to that is research. What we've done is to set up the Center for Vision in the Developing World here in the university. If you want to know more, just come have a look at our website. Thank you. (Applause)

Hi. For those of you who haven't seen dancing bears, these are the dancing bears. In 1995, we started working on a two-year investigative research project to try and find out what was going on. Because the sloth bears in the wild were obviously getting depleted because of this. This is the Qalandar community. They are a marginalized Islamic community who live across India, and have been in India since the 13th century. We went about getting evidence of what was going on. And this is footage from a hidden camera in a button. And we went in, pretending to be buyers. And we found this right in this very state, in Karnataka. And the bear cubs were being harvested from across the country and being sold and traded. These were being sold for about 2,000 dollars each, and they are used for bear paw soup, and also being trained, later on, to become dancing bears like the one you just saw. Sadly, the family of Qalandars depended on this bear. The couple are barely 18 years old. They already have four children beside them. You can see them. And the economy of the family and their livelihood depended on those animals. So, we had to deal with it in a very practical and sustainable manner. Now, when we started working deeper and digging deeper, we found that it's an illegal act. These guys could go to jail for up to seven years if they were caught by authorities. And what they were doing to the bears was really appalling. It was unacceptable. The mother bears are usually killed. The cubs, which are taken, are separated. Their teeth are basically bashed out with a metal rod. And they use a red hot iron needle to make a hole through the muzzle. Now we had to start changing these people and converting them from using that for a livelihood, to getting something else. So, this is Bitu Qalandar, who was our first experiment. And we were so unsure that this would work. We weren't sure at all. And we managed to convince him. And we said, "Okay, here is some seed fund. Let's see if you can get something else." And we got the bear surrendered to -- we set up a sanctuary. We have four sanctuaries in India. And now he sells cool drinks, he's by the highway. He has a telephone booth. And then it started, there was no turning back after that. This is Sadua who came and surrendered his bear. And now he runs a cattle fodder store and a grain store near Agra. Then there was no looking back at all for us. We gave cycle rickshaws. We set up carpet-weaving units, vocational training for the women. The women were just not allowed to come out of the community and work with mainstream society. So, we were able to address that. Education. The kids never went to school. They only had Islamic education, very little of it. And they were never allowed to go to school because they were an extra earning hand at home. So we managed to get education. So, we sponsor 600 children education programs today. We were able to ensure brighter futures for these people. Of course we also had to get the bears in. This is what happens to the bears when they come in. And this is what we turn them into. We have a veterinary facility in our rescue centers. So, basically in 2002 there were 1,200 dancing bears. We rescued over 550 dancing bears. We've been able to ensure better futures for the people and the bears. The big news that I want to announce today is that next month we will be bringing in the very last bear of India, into our rescue center. (Applause) And India will no longer have to witness this cruel barbaric practice which has been here for centuries. And the people can hold their heads up high. And the Qalandar people will rise above all this cruel barbaric past that they've lived all their lives. And the beautiful bears can of course live in the wild again. And there will be no more removing of these bears. And the children, both humans and bear cubs can live peacefully. Thank you. (Applause)

To understand the world that live in, we tell stories. And while remixing and sharing have come to define the web as we know it, all of us can now be part of that story through simple tools that allow us to make things online. But video has been left out. It arrived on the web in a small box, and there it has remained, completely disconnected from the data and the content all around it. In fact, in over a decade on the web, the only thing that has changed about video is the size of the box and the quality of the picture. Popcorn changes all of that. It's an online tool that allows anyone to combine video with content pulled live directly from the web. Videos created with Popcorn behave like the web itself: dynamic, full of links, and completely remixable, and finally allowed to break free from the frame. I want to give you a demo of a prototype that we're working on that we'll launch later this fall. It will be completely free, and it will work in any browser. So, every Popcorn production begins with the video, and so I've made a short, 20-second clip using a newscaster template that we use in workshops. So let's watch it. We'll go back, and I'll show you how we made it. Hi, and welcome to my newscast. I've added my location with a Google Map, and it's live, so try moving it around. You can add pop-ups with live links and custom icons, or pull in content from any web service, like Flickr, or add articles and blog posts with links out to the full content. So let's go back, and I'll show you what you saw. There was a lot there. So this is the timeline, and if you've ever edited video, you're familiar with this, but instead of clips in the timeline, what you're looking at is web events pulled into the video. Now in this Popcorn production we've got the title card, we've got a Google Map that shows up picture-in-picture, then Popcorn lets it push outside the frame and take over the whole screen. There are two pop-ups bringing you some other information, and a final article with a link out to the original article. Let's go to this Google Map, and I'll show you how you can edit it. All you do, go into the timeline, double-click the item, and I've set it to Toronto, because that's where I'm from. Let's set it to something else. Popcorn immediately goes out onto the web, talks to Google, grabs the map, and puts it in the display. And it's exactly the same for the people who watch your production. And it's live. It's not an image. So you click on it, you zoom in, right down to street view if you want to. Now in the video, I mentioned adding a live feed, which we can do right now, so let's add a live feed from Flickr. Go over to the right-hand side, grab Flickr from the list of options, drag it into the timeline, and put it where you'd like it to go, and it immediately goes out to Flickr and starts pulling in images based on the tags. Now, my developers really like ponies, and so they've set that as the default tag. Let's try something else, maybe something a bit more relevant to today. Now here are live images being pulled straight from the feed. If you come and watch this a week from now, this will be completely different, dynamic, just like the web, and just like the web, everything is sourced, so click your link, and you go straight to Flickr and see the source image. Everything you've seen today is built with the basic building blocks of the web: HTML, CSS and JavaScript. That means it's completely remixable. It also means there's no proprietary software. All you need is a web browser. So imagine if every video that we watched on the web worked like the web, completely remixable, linked to its source content, and interactive for everyone who views it. I think Popcorn could change the way that we tell stories on the web, and the way we understand the world we live in. Thank you. (Applause)

(Aquatic noises) So this video was taken at Aquarius undersea laboratory four miles off the coast of Key Largo, about 60 feet below the surface. NASA uses this extreme environment to train astronauts and aquanauts, and last year, they invited us along for the ride. All the footage was taken from our open ROV, which is a robot that we built in our garage. So ROV stands for Remote Operated Vehicle, which in our case means our little robot sends live video across that ultra-thin tether back to the computer topside. It's open source, meaning we publish and share all of our design files and all of our code online, allowing anyone to modify or improve or change the design. It's built with mostly off-the-shelf parts and costs about 1,000 times cheaper than the ROVs James Cameron used to explore the Titanic. So ROVs aren't new. They've been around for decades. Scientists use ROVs to explore the oceans. Oil and gas companies use them for exploration and construction. What we've built isn't unique. It's how we've built it that's really unique. So I want to give you a quick story of how it got started. So a few years ago, my friend Eric and I decided we wanted to explore this underwater cave in the foothills of the Sierras. We had heard this story about lost gold from a Gold Rush-era robbery, and we wanted to go up there. Unfortunately, we didn't have any money and we didn't have any tools to do it. So Eric had an initial design idea for a robot, but we didn't have all the parts figured out, so we did what anybody would do in our situation: we asked the Internet for help. More specifically, we created this website, openROV.com, and shared our intentions and our plans For the first few months, it was just Eric and I talking back to each other on the forums, but pretty soon, we started to get feedback from makers and hobbyists, and then actually professional ocean engineers who had some suggestions for what we should do. We kept working on it. We learned a lot. We kept prototyping, and eventually, we decided we wanted to go to the cave. We were ready. So about that time, our little expedition became quite a story, and it got picked up in The New York Times. And we were pretty much just overwhelmed with interest from people who wanted a kit that they could build this open ROV themselves. So we decided to put the project on Kickstarter, and when we did, we raised our funding goal in about two hours, and all of a sudden, had this money to make these kits. But then we had to learn how to make them. I mean, we had to learn small batch manufacturing. So we quickly learned that our garage was not big enough to hold our growing operation. But we were able to do it, we got all the kits made, thanks a lot to TechShop, which was a big help to us, and we shipped these kits all over the world just before Christmas of last year, so it was just a few months ago. But we're already starting to get video and photos back from all over the world, including this shot from under the ice in Antarctica. We've also learned the penguins love robots. (Laughter) So we're still publishing all the designs online, encouraging anyone to build these themselves. That's the only way that we could have done this. By being open source, we've created this distributed R&D network, and we're moving faster than any venture-backed counterpart. But the actual robot is really only half the story. The real potential, the long term potential, is with this community of DIY ocean explorers that are forming all over the globe. What can we discover when there's thousands of these devices roaming the seas? So you're probably all wondering: the cave. Did you find the gold? Well, we didn't find any gold, but we decided that what we found was much more valuable. It was the glimpse into a potential future for ocean exploration. It's something that's not limited to the James Camerons of the world, but something that we're all participating in. It's an underwater world we're all exploring together. Thank you. (Applause)

Planetary systems outside our own are like distant cities whose lights we can see twinkling, but whose streets we can't walk. By studying those twinkling lights though, we can learn about how stars and planets interact to form their own ecosystem and make habitats that are amenable to life. In this image of the Tokyo skyline, I've hidden data from the newest planet-hunting space telescope on the block, the Kepler Mission. Can you see it? There we go. This is just a tiny part of the sky the Kepler stares at, where it searches for planets by measuring the light from over 150,000 stars, all at once, every half hour, and very precisely. And what we're looking for is the tiny dimming of light that is caused by a planet passing in front of one of these stars and blocking some of that starlight from getting to us. In just over two years of operations, we've found over 1,200 potential new planetary systems around other stars. To give you some perspective, in the previous two decades of searching, we had only known about 400 prior to Kepler. When we see these little dips in the light, we can determine a number of things. For one thing, we can determine that there's a planet there, but also how big that planet is and how far it is away from its parent star. That distance is really important because it tells us how much light the planet receives overall. And that distance and knowing that amount of light is important because it's a little like you or I sitting around a campfire: You want to be close enough to the campfire so that you're warm, but not so close that you're too toasty and you get burned. However, there's more to know about your parent star than just how much light you receive overall. And I'll tell you why. This is our star. This is our Sun. It's shown here in visible light. That's the light that you can see with your own human eyes. You'll notice that it looks pretty much like the iconic yellow ball -- that Sun that we all draw when we're children. But you'll notice something else, and that's that the face of the Sun has freckles. These freckles are called sunspots, and they are just one of the manifestations of the Sun's magnetic field. They also cause the light from the star to vary. And we can measure this very, very precisely with Kepler and trace their effects. However, these are just the tip of the iceberg. If we had UV eyes or X-ray eyes, we would really see the dynamic and dramatic effects of our Sun's magnetic activity -- the kind of thing that happens on other stars as well. Just think, even when it's cloudy outside, these kind of events are happening in the sky above you all the time. So when we want to learn whether a planet is habitable, whether it might be amenable to life, we want to know not only how much total light it receives and how warm it is, but we want to know about its space weather -- this high-energy radiation, the UV and the X-rays that are created by its star and that bathe it in this bath of high-energy radiation. And so, we can't really look at planets around other stars in the same kind of detail that we can look at planets in our own solar system. I'm showing here Venus, Earth and Mars -- three planets in our own solar system that are roughly the same size, but only one of which is really a good place to live. But what we can do in the meantime is measure the light from our stars and learn about this relationship between the planets and their parent stars to suss out clues about which planets might be good places to look for life in the universe. Kepler won't find a planet around every single star it looks at. But really, every measurement it makes is precious, because it's teaching us about the relationship between stars and planets, and how it's really the starlight that sets the stage for the formation of life in the universe. While it's Kepler the telescope, the instrument that stares, it's we, life, who are searching. Thank you. (Applause)

So it turns out that mathematics is a very powerful language. It has generated considerable insight in physics, in biology and economics, but not that much in the humanities and in history. I think there's a belief that it's just impossible, that you cannot quantify the doings of mankind, that you cannot measure history. But I don't think that's right. I want to show you a couple of examples why. So my collaborator Erez and I were considering the following fact: that two kings separated by centuries will speak a very different language. That's a powerful historical force. So the king of England, Alfred the Great, will use a vocabulary and grammar that is quite different from the king of hip hop, Jay-Z. (Laughter) Now it's just the way it is. Language changes over time, and it's a powerful force. So Erez and I wanted to know more about that. So we paid attention to a particular grammatical rule, past-tense conjugation. So you just add "ed" to a verb at the end to signify the past. "Today I walk. Yesterday I walked." But some verbs are irregular. "Yesterday I thought." Now what's interesting about that is irregular verbs between Alfred and Jay-Z have become more regular. Like the verb "to wed" that you see here has become regular. So Erez and I followed the fate of over 100 irregular verbs through 12 centuries of English language, and we saw that there's actually a very simple mathematical pattern that captures this complex historical change, namely, if a verb is 100 times more frequent than another, it regularizes 10 times slower. That's a piece of history, but it comes in a mathematical wrapping. Now in some cases math can even help explain, or propose explanations for, historical forces. So here Steve Pinker and I were considering the magnitude of wars during the last two centuries. There's actually a well-known regularity to them where the number of wars that are 100 times deadlier is 10 times smaller. So there are 30 wars that are about as deadly as the Six Days War, but there's only four wars that are 100 times deadlier -- like World War I. So what kind of historical mechanism can produce that? What's the origin of this? So Steve and I, through mathematical analysis, propose that there's actually a very simple phenomenon at the root of this, which lies in our brains. This is a very well-known feature in which we perceive quantities in relative ways -- quantities like the intensity of light or the loudness of a sound. For instance, committing 10,000 soldiers to the next battle sounds like a lot. It's relatively enormous if you've already committed 1,000 soldiers previously. But it doesn't sound so much, it's not relatively enough, it won't make a difference if you've already committed 100,000 soldiers previously. So you see that because of the way we perceive quantities, as the war drags on, the number of soldiers committed to it and the casualties will increase not linearly -- like 10,000, 11,000, 12,000 -- but exponentially -- 10,000, later 20,000, later 40,000. And so that explains this pattern that we've seen before. So here mathematics is able to link a well-known feature of the individual mind with a long-term historical pattern that unfolds over centuries and across continents. So these types of examples, today there are just a few of them, but I think in the next decade they will become commonplace. The reason for that is that the historical record is becoming digitized at a very fast pace. So there's about 130 million books that have been written since the dawn of time. Companies like Google have digitized many of them -- above 20 million actually. And when the stuff of history is available in digital form, it makes it possible for a mathematical analysis to very quickly and very conveniently review trends in our history and our culture. So I think in the next decade, the sciences and the humanities will come closer together to be able to answer deep questions about mankind. And I think that mathematics will be a very powerful language to do that. It will be able to reveal new trends in our history, sometimes to explain them, and maybe even in the future to predict what's going to happen. Thank you very much. (Applause)

I am a Ph.D. student and that means I have a question: how can we make digital content graspable? Because you see, on the one hand, there is the digital world and no question, many things are happening there right now. And for us humans, it's not quite material, it's not really there -- it's virtual. On the other hand, we humans, we live in a physical world. It's rich, it tastes good, it feels good, it smells good. So the question is: how do we get the stuff over from the digital into the physical? That's my question. If you look at the iPhone with its touch and the Wii with its bodily activity, you can see the tendency; it's getting physical. The question is: what's next? Now, I have three options that I would like to show you. The first one is mass. As humans, we are sensitive to where an object in our hand is heavy. So, could we use that in mobile phones? Let me show you the weight-shifting mobile. It is a mobile phone-shaped box that has an iron weight inside, which we can move around, and you can feel where it's heavy. We shift the gravitational center of it. For example, we can augment digital content with physical mass. So you move around the content on a display, but you can also feel where it is just from the weight of the device. Another thing it's good for is navigation -- it can guide you around in a city. It can tell you by its weight, "Okay, move right. Walk ahead. Make a left here." And the good thing about that is you don't have to look at the device all the time; you have your eyes free to see the city. Now, mass is the first thing; the second thing, that's shape. We're also sensitive to the shape of objects we have in [our] hands. So if I download an e-book and it has 20 pages -- well, they could be thin, right -- but if it has 500 pages, I want to feel that "Harry Potter" -- it's thick. (Laughter) So let me show you the shape-changing mobile. Again, it's a mobile phone-shaped box, and this one can change its shape. We can play with the shape itself. For example, it can be thin in your pocket, which we of course want it to be; but then if you hold it in your hand, it can lean towards you, be thick. It's like tapered to the downside. If you change the grasp, it can adjust to that. It's also useful if you want to put it down on your nightstand to watch a movie or use as an alarm clock, it stands. It's fairly simple. Another thing is, sometimes we watch things on a mobile phone, they are bigger than the phone itself. So in that case -- like here, there's an app that's bigger than the phone's screen -- the shape of the phone could tell you, "Okay, off the screen right here, there is more content. You can't see it, but it's there." And you can feel that because it's thicker at that edge. The shape is the second thing. The third thing operates on a different level. As humans, we are social, we are empathic, and that's great. Wouldn't that be a way to make mobile phones more intuitive? Think of a hamster in the pocket. Well, I can feel it, it's doing all right -- I don't have to check it. Let me show you the living mobile phone. So, once again, mobile phone-shaped box, but this one, it has a breath and a heartbeat, and it feels very organic. (Laughter) And you can tell, it's relaxed right now. Oh now, missed call, a new call, new girlfriend maybe -- very exciting. (Laughter) How do we calm it down? You give it a pat behind the ears, and everything is all right again. So, that's very intuitive, and that's what we want. So, what we have seen are three ways to make the digital graspable for us. And I think making it physical is a good way to do that. What's behind that is a postulation, namely that not humans should get much more technical in the future; rather than that, technology, a bit more human. (Applause)

Mockingbirds are badass. (Laughter) They are. Mockingbirds -- that's Mimus polyglottos -- are the emcees of the animal kingdom. They listen and mimic and remix what they like. They rock the mic outside my window every morning. I can hear them sing the sounds of the car alarms like they were songs of spring. I mean, if you can talk it, a mockingbird can squawk it. So check it, I'm gonna to catch mockingbirds. I'm going to trap mockingbirds all across the nation and put them gently into mason jars like mockingbird Molotov cocktails. (Laughter) Yeah. And as I drive through a neighborhood, say, where people got-a-lotta, I'll take a mockingbird I caught in a neighborhood where folks ain't got nada and just let it go, you know. Up goes the bird, out come the words, "Juanito, Juanito, vente a comer mi hijo!" Oh, I'm going to be the Johnny Appleseed of sound. (Laughter) Cruising random city streets, rocking a drop-top Cadillac with a big backseat, packing like 13 brown paper Walmart bags full of loaded mockingbirds, and I'll get everybody. (Laughter) I'll get the nitwit on the network news saying, "We'll be back in a moment with more on the crisis." I'll get some asshole at a watering hole asking what brand the ice is. I'll get that lady at the laundromat who always seems to know what being nice is. I'll get your postman making dinner plans. I'll get the last time you lied. I'll get, "Baby, just give me the frickin' TV guide." I'll get a lonely, little sentence with real error in it, "Yeah, I guess I could come inside, but only for a minute." (Laughter) I'll get an ESL class in Chinatown learning "It's Raining, It's Pouring." I'll put a mockingbird on a late-night train just to get an old man snoring. I'll get your ex-lover telling someone else, "Good morning." I'll get everyone's good mornings. I don't care how you make 'em. Aloha. Konichiwa. Shalom. Ah-Salam Alaikum. Everybody means everybody, means everybody here. And so maybe I'll build a gilded cage. I'll line the bottom with old notebook pages. Inside it, I will place a mockingbird for -- short explanation, hippie parents. (Laughter) What does a violin have to do with technology? Where in the world is this world heading? On one end, gold bars -- on the other, an entire planet. We are 12 billion light years from the edge. That's a guess. Space is length and breadth continued indefinitely, but you cannot buy a ticket to travel commercially to space in America because countries are beginning to eat like us, live like us and die like us. You might wanna avert your gaze, because that is a newt about to regenerate its limb, and shaking hands spreads more germs than kissing. There's about 10 million phage per job. It's a very strange world inside a nanotube. Women can talk; black men ski; white men build strong buildings; we build strong suns. The surface of the Earth is absolutely riddled with holes, and here we are, right in the middle. (Laughter) It is the voice of life that calls us to come and learn. When all the little mockingbirds fly away, they're going to sound like the last four days. I will get uptown gurus, downtown teachers, broke-ass artists and dealers, and Filipino preachers, leaf blowers, bartenders, boob-job doctors, hooligans, garbage men, your local Congressmen in the spotlight, guys in the overhead helicopters. Everybody gets heard. Everybody gets this one, honest mockingbird as a witness. And I'm on this. I'm on this 'til the whole thing spreads, with chat rooms and copycats and moms maybe tucking kids into bed singing, "Hush, little baby, don't say a word. Wait for the man with the mockingbird." (Laughter) Yeah. And then come the news crews, and the man-in-the-street interviews, and the letters to the editor. Everybody asking, just who is responsible for this citywide, nationwide mockingbird cacophony, and somebody finally is going to tip the City Council of Monterey, California off to me, and they'll offer me a key to the city. A gold-plated, oversized key to the city and that is all I need, 'cause if I get that, I can unlock the air. I'll listen for what's missing, and I'll put it there. Thank you, TED. (Applause) Chris Anderson: Wow. (Applause) Wow. (Applause)

I'd like to ask you, what do these three people have in common? Well, you probably recognize the first person. I'm sure you're all avid "American Idol" watchers. But you might not recognize Aydah Al Jahani, who is a contestant, indeed a finalist, in the Poet of the Millions competition, which is broadcast out of Abu Dhabi, and seen throughout the Arab world. In this contest people have to write and recite original poetry, in the Nabati form of poetry, which is the traditional Bedouin form. And Lima Sahar was a finalist in the Afghan Star singing competition. Now, before I go any further, yes, I know it all began with "Britain's Got Talent." But my point in discussing this is to show you -- I hope I'll be able to show you how these merit-based competitions, with equal access to everyone, with the winner selected via voting by SMS, are changing tribal societies. And I'm going to focus on Afghanistan and the Arab world with the UAE, how they're changing tribal societies, not by introducing Western ideas, but by being integrated into the language in those places. It all begins with enjoyment. Video: We are late to watch "Afghan Star." We are going to watch "Afghan Star." We are late. We are running late. We must go to watch "Afghan Star." Cynthia Schneider: These programs are reaching incredibly deeply into society. In Afghanistan, people go to extraordinary lengths to be able to watch this program. And you don't necessarily have to have your own TV set. People watch it all over the country also in public places. But it goes beyond watching, because also, part of this is campaigning. People become so engaged that they have volunteers, just like political volunteers anyway, who fan out over the countryside, campaigning for their candidate. Contestants also put themselves forward. Now, of course there is a certain degree of ethnic allegiance, but not entirely. Because each year the winner has come from a different tribal group. This has opened up the door, particularly for women. And in the last season there were two women in the finalists. One of them, Lima Sahar, is a Pashtun from Kandahar, a very conservative part of the country. And here she relates, in the documentary film "Afghan Star," how her friends urged her not to do this and told her that she was leaving them for democracy. But she also confides that she knows that members of the Taliban are actually SMS-ing votes in for her. Aydah Al Jahnani also took risks and put herself out, to compete in the Poet of the Millions competition. I have to say, her husband backed her from the start. But her tribe and family urged her not to compete and were very much against it. But, once she started to win, then they got behind her again. It turns out that competition and winning is a universal human value. And she's out there. Her poetry is about women, and the life of women in society. So just by presenting herself and being in competition with men -- this shows the voting on the program -- it sets a very important example for young women -- these are young women in the audience of the program -- in Abu Dhabi, but also people in the viewing audience. Now you'd think that "American Idol" would introduce a measure of Americanization. But actually, just the opposite is happening. By using this engaging popular format for traditional, local culture, it actually, in the Gulf, is precipitating a revival of interest in Nabati poetry, also in traditional dress and dance and music. And for Afghanistan, where the Taliban banned music for many years, it is reintroducing their traditional music. They don't sing pop songs, they sing Afghan music. And they also have learned how to lose gracefully, without avenging the winner. (Laughter) No small thing. And the final, sort of, formulation of this "American Idol" format, which has just appeared in Afghanistan, is a new program called "The Candidate." And in this program, people present policy platforms that are then voted on. Many of them are too young to run for president, but by putting the issues out there, they are influencing the presidential race. So for me, the substance of things unseen is how reality TV is driving reality. Thank you. (Applause)

In the 1600s, there were so many right whales in Cape Cod Bay off the east coast of the U.S. that apparently you could walk across their backs from one end of the bay to the other. Today, they number in the hundreds, and they're endangered. Like them, many species of whales saw their numbers drastically reduced by 200 years of whaling, where they were hunted and killed for their whale meat, oil and whale bone. We only have whales in our waters today because of the Save the Whales movement of the '70s. It was instrumental in stopping commercial whaling, and was built on the idea that if we couldn't save whales, what could we save? It was ultimately a test of our political ability to halt environmental destruction. So in the early '80s, there was a ban on commercial whaling that came into force as a result of this campaign. Whales in our waters are still low in numbers, however, because they do face a range of other human-induced threats. Unfortunately, many people still think that whale conservationists like myself do what we do only because these creatures are charismatic and beautiful. This is actually a disservice, because whales are ecosystem engineers. They help maintain the stability and health of the oceans, and even provide services to human society. So let's talk about why saving whales is critical to the resiliency of the oceans. It boils down to two main things: whale poop and rotting carcasses. As whales dive to the depths to feed and come up to the surface to breathe, they actually release these enormous fecal plumes. This whale pump, as it's called, actually brings essential limiting nutrients from the depths to the surface waters where they stimulate the growth of phytoplankton, which forms the base of all marine food chains. So really, having more whales in the oceans pooping is really beneficial to the entire ecosystem. Whales are also known to undertake some of the longest migrations of all mammals. Gray whales off America migrate 16,000 kilometers between productive feeding areas and less productive calving, or birthing, areas and back every year. As they do so, they transport fertilizer in the form of their feces from places that have it to places that need it. So clearly, whales are really important in nutrient cycling, both horizontally and vertically, through the oceans. But what's really cool is that they're also really important after they're dead. Whale carcasses are some of the largest form of detritus to fall from the ocean's surface, and they're called whale fall. As these carcasses sink, they provide a feast to some 400-odd species, including the eel-shaped, slime-producing hagfish. So over the 200 years of whaling, when we were busy killing and removing these carcasses from the oceans, we likely altered the rate and geographic distribution of these whale falls that would descend into deep oceans, and as a result, probably led to a number of extinctions of species that were most specialized and dependent on these carcasses for their survival. Whale carcasses are also known to transport about 190,000 tons of carbon, which is the equivalent of that produced by 80,000 cars per year from the atmosphere to the deep oceans, and the deep oceans are what we call "carbon sinks," because they trap and hold excess carbon from the atmosphere, and therefore help to delay global warming. Sometimes these carcasses also wash up on beaches and provide a meal to a number of predatory species on land. The 200 years of whaling was clearly detrimental and caused a reduction in the populations of whales between 60 to 90 percent. Clearly, the Save the Whales movement was instrumental in preventing commercial whaling from going on, but we need to revise this. We need to address the more modern, pressing problems that these whales face in our waters today. Amongst other things, we need to stop them from getting plowed down by container ships when they're in their feeding areas, and stop them from getting entangled in fishing nets as they float around in the ocean. We also need to learn to contextualize our conservation messages, so people really understand the true ecosystem value of these creatures. So, let's save the whales again, but this time, let's not just do it for their sake. Let's also do it for ours. Thank you. (Applause)

Even nature's most disgusting creatures have important secrets, but who would want a swarm of cockroaches coming towards them? Yet one of the greatest differences between natural and human technologies relates to robustness. Robust systems are stable in complex and new environments. Remarkably, cockroaches can self-stabilize running over rough terrain. When we put a jet pack on them, or give them a perturbation like an earthquake, we discovered that their wonderfully tuned legs allow them to self-stabilize without using any of their brainpower. They can go over complex terrain like grass, no problem, and not get destabilized. We discovered a new behavior where, because of their shape, they actually roll automatically to their side to go through this artificial test bit of grass. Robust systems can perform multiple tasks with the same structure. Here's a new behavior we've discovered. The animals rapidly invert and disappear in less than 150 milliseconds — you never see them — using the same structures that they use to run, their legs. They can run upside down very rapidly on rods, branches and wires, and if you perturb one of those branches, they can do this. They can perform gymnastic maneuvers like no robot we have yet. And they have nearly unlimited maneuverability with that same structure and unprecedented access to a variety of different areas. They have wings for flying when they get warm, but they use those same wings to flip over if they get destabilized. Very effective. Robust systems are also fault tolerant and fail-safe. This is the foot of a cockroach. It has spines, gluey pads and claws, but if you take off those feet, they can still go over rough terrain, like the bottom video that you see, without hardly slowing down. Extraordinary. They can run up mesh without their feet. Here's an animal using a normal, alternating tripod: three legs, three legs, three legs, but in nature, the insects often have lost their legs. Here's one moving with two middle legs gone. It can even lose three legs, in a tripod, and adopt a new gait, a hopping gait. And I point out that all of these videos are slowed down 20 times, so they're actually really fast, when you see this. Robust systems are also damage resistant. Here's an animal climbing up a wall. It looks like a rapid, smooth, vertical climb, but when you slow it down, you see something very different. Here's what they do. They intentionally have a head-on collision with the wall so they don't slow down and can transition up it in 75 milliseconds. And they can do this in part because they have extraordinary exoskeletons. And they're really just made up of compliant joints that are tubes and plates connected to one another. Here's a dissection of an abdomen of a cockroach. You see these plates, and you see the compliant membrane. My engineering colleague at Berkeley designed with his students a novel manufacturing technique where you essentially origami the exoskeleton, you laser cut it, laminate it, and you fold it up into a robot. And you can do that now in less than 15 minutes. These robots, called DASH, for Dynamic Autonomous Sprawled Hexapod, are highly compliant robots, and they're remarkably robust as a result of these features. They're certainly incredibly damage resistant. (Laughter) They even have some of the behaviors of the cockroaches. So they can use their smart, compliant body to transition up a wall in a very simple way. They even have some of the beginnings of the rapid inversion behavior where they disappear. Now we want to know why they can go anywhere. We discovered that they can go through three-millimeter gaps, the height of two pennies, two stacked pennies, and when they do this, they can actually run through those confined spaces at high speeds, although you never see it. To understand it better, we did a CT scan of the exoskeleton and showed that they can compress their body by over 40 percent. We put them in a materials testing machine to look at the stress strain analysis and showed that they can withstand forces 800 times their body weight, and after this they can fly and run absolutely normally. So you never know where curiosity-based research will lead, and someday you may want a swarm of cockroach-inspired robots to come at you. (Laughter) Thank you. (Applause)

I'm here to show you how something you can't see can be so much fun to look at. You're about to experience a new, available and exciting technology that's going to make us rethink how we waterproof our lives. What I have here is a cinder block that we've coated half with a nanotechnology spray that can be applied to almost any material. It's called Ultra-Ever Dry, and when you apply it to any material, it turns into a superhydrophobic shield. So this is a cinder block, uncoated, and you can see that it's porous, it absorbs water. Not anymore. Porous, nonporous. So what's superhydrophobic? Superhydrophobic is how we measure a drop of water on a surface. The rounder it is, the more hydrophobic it is, and if it's really round, it's superhydrophobic. A freshly waxed car, the water molecules slump to about 90 degrees. A windshield coating is going to give you about 110 degrees. But what you're seeing here is 160 to 175 degrees, and anything over 150 is superhydrophobic. So as part of the demonstration, what I have is a pair of gloves, and we've coated one of the gloves with the nanotechnology coating, and let's see if you can tell which one, and I'll give you a hint. Did you guess the one that was dry? When you have nanotechnology and nanoscience, what's occurred is that we're able to now look at atoms and molecules and actually control them for great benefits. And we're talking really small here. The way you measure nanotechnology is in nanometers, and one nanometer is a billionth of a meter, and to put some scale to that, if you had a nanoparticle that was one nanometer thick, and you put it side by side, and you had 50,000 of them, you'd be the width of a human hair. So very small, but very useful. And it's not just water that this works with. It's a lot of water-based materials like concrete, water-based paint, mud, and also some refined oils as well. You can see the difference. Moving onto the next demonstration, we've taken a pane of glass and we've coated the outside of it, we've framed it with the nanotechnology coating, and we're going to pour this green-tinted water inside the middle, and you're going to see, it's going to spread out on glass like you'd normally think it would, except when it hits the coating, it stops, and I can't even coax it to leave. It's that afraid of the water. (Applause) So what's going on here? What's happening? Well, the surface of the spray coating is actually filled with nanoparticles that form a very rough and craggly surface. You'd think it'd be smooth, but it's actually not. And it has billions of interstitial spaces, and those spaces, along with the nanoparticles, reach up and grab the air molecules, and cover the surface with air. It's an umbrella of air all across it, and that layer of air is what the water hits, the mud hits, the concrete hits, and it glides right off. So if I put this inside this water here, you can see a silver reflective coating around it, and that silver reflective coating is the layer of air that's protecting the water from touching the paddle, and it's dry. So what are the applications? I mean, many of you right now are probably going through your head. Everyone that sees this gets excited, and says, "Oh, I could use it for this and this and this." The applications in a general sense could be anything that's anti-wetting. We've certainly seen that today. It could be anything that's anti-icing, because if you don't have water, you don't have ice. It could be anti-corrosion. No water, no corrosion. It could be anti-bacterial. Without water, the bacteria won't survive. And it could be things that need to be self-cleaning as well. So imagine how something like this could help revolutionize your field of work. And I'm going to leave you with one last demonstration, but before I do that, I would like to say thank you, and think small. (Applause) It's going to happen. Wait for it. Wait for it. Chris Anderson: You guys didn't hear about us cutting out the Design from TED? (Laughter) [Two minutes later...] He ran into all sorts of problems in terms of managing the medical research part. It's happening! (Applause)

(Singing) (Singing ends) (Applause) Pep Rosenfeld: Folks, you've just met Claron McFadden. She is a world-class soprano singer who studied in Rochester, New York. Her celebrated operatic roles are numerous and varied. In August 2007, Claron was awarded the Amsterdam Prize for the Arts, winning praise for her brilliance, her amazing and extensively wide repertoire and her vivid stage personality. Please welcome Claron McFadden. (Applause) Claron McFadden: The human voice: mysterious, spontaneous, primal. For me, the human voice is the vessel on which all emotions travel -- except, perhaps, jealousy. And the breath, the breath is the captain of that vessel. A child is born, takes its first breath -- (Inhales) Whah! And we behold the wondrous beauty of vocal expression -- mysterious, spontaneous and primal. A few years ago, I did a meditation retreat in Thailand. I wanted a place where I would have total silence and total solitude. I spent two weeks at this retreat in my own little hut -- no music, no nothing -- sounds of nature, trying to find the essence of concentration, being in the moment. On my last day, the woman who looked after the place, she came and we spoke for a minute, and then she said to me, "Would you sing something for me?" And I thought, but this is a place of total quiet and silence. I can't make noise. She said, "Please, sing for me." So I closed my eyes, I took breath and the first thing that came up and out was "Summertime," Porgy and Bess. (Singing) Summertime and the livin' is easy. Fish are jumpin' and the cotton is high. Oh, your daddy's rich and your ma is good-lookin'. So hush little baby, don't you cry. And I opened my eyes, and I saw that she had her eyes closed. And after a moment, she opened her eyes and she looked at me and she said, "It's like meditation." And in that moment I understood that everything I had gone to Thailand to look for, to search for, I had it already in my singing -- the calm, but alertness, the focus, but awareness, and being totally in the moment. When you're totally in the moment -- when I'm totally in the moment, the vessel of expression is open. The emotions can flow from me to you and back. It's an extremely profound experience. There's a piece by a composer, an American composer called John Cage. It's called "Aria." It was written for an amazing singer called Cathy Berberian. And the thing about this piece that's so special -- if you see it behind me -- it's not notated in any way. No notes, no flats, no sharps. But it's a kind of structure. And the singer, within this structure, has total freedom to be creative, spontaneous. For example, there are different colors and each color gets a different type of singing -- pop, country and western, opera, jazz -- and you just have to be consistent with that color. You see there are different lines. You choose in your own tempo in your own way to follow the line, but you must respect it, more or less. And these little dots, these represent a sort of sound that's not a vocal, not a lyrical way of expressing the voice. Using the body -- it could be sneezing, it could be coughing, animals -- (Audience member coughs) Exactly. (Laughter) Clapping, whatever. And there's different text. There's Armenian, Russian, French, English, Italian. So within this structure, one is free. To me, this piece is an ode to the voice, because it's mysterious, as we can see. It's quite spontaneous. And it's primal. So I would like to share this piece with you, It's "Aria," of John Cage. (Singing in various languages) Hampart-zoum Dirouhi Di questa Terra Naprasno Conscience et (Barks) (Singing) Arise Tsk, tsk, tsk. (Singing) Vidiel’a facilmente E io sono per te (Robotic voice) No other way Dans l'espace, so help (Singing) Si juste Dvidzénya bistri (Claps) (Singing) On pekrásen idyot a k u O a k ho a Sivayoot eternal loosin (Sneezes) (Laughs) Shh! (Singing) Gloobinoí più chiara Si ceci est cela cela est ceci Totalmente soi whom they sought to slay To have the fruits gloire J’écoute ... À la vie… Leggermente snédznoi Coo coo P k t d Banalité K o e (Makes the sound of a kiss) (Singing) In armonia (Applause)

I got up this morning at 6:10 a.m. after going to sleep at 12:45 a.m. I was awakened once during the night. My heart rate was 61 beats per minute -- my blood pressure, 127 over 74. I had zero minutes of exercise yesterday, so my maximum heart rate during exercise wasn't calculated. I had about 600 milligrams of caffeine, zero of alcohol. And my score on the Narcissism Personality Index, or the NPI-16, is a reassuring 0.31. We know that numbers are useful for us when we advertise, manage, govern, search. I'm going to talk about how they're useful when we reflect, learn, remember and want to improve. A few years ago, Kevin Kelly, my partner, and I noticed that people were subjecting themselves to regimes of quantitative measurement and self-tracking that went far beyond the ordinary, familiar habits such as stepping on a scale every day. People were tracking their food via Twitter, their kids' diapers on their iPhone. They were making detailed journals of their spending, their mood, their symptoms, their treatments. Now, we know some of the technological facts that are driving this change in our lifestyle -- the uptake and diffusion of mobile devices, the exponential improvement in data storage and data processing, and the remarkable improvement in human biometric sensors. This little black dot there is a 3D accelerometer. It tracks your movement through space. It is, as you can see, very small and also very cheap. They're now down to well under a dollar a piece, and they're going into all kinds of devices. But what's interesting is the incredible detailed information that you can get from just one sensor like this. This kind of sensor is in the hit biometric device -- among early adopters at the moment -- the Fitbit. This tracks your activity and also your sleep. It has just that sensor in it. You're probably familiar with the Nike+ system. I just put it up because that little blue dot is the sensor. It's really just a pressure sensor like the kind that's in a doorbell. And Nike knows how to get your pace and distance from just that sensor. This is the strap that people use to transmit heart-rate data to their Nike+ system. This is a beautiful, new device that gives you detailed sleep tracking data, not just whether you're asleep or awake, but also your phase of sleep -- deep sleep, light sleep, REM sleep. The sensor is just a little strip of metal in that headband there. The rest of it is the bedside console; just for reference, this is a sleep tracking system from just a few years ago -- I mean, really until now. And this is the sleep tracking system of today. This just was presented at a health care conference in D.C. Most of what you see there is an asthma inhaler, but the top is a very small GPS transceiver, which gives you the date and location of an asthma incident, giving you a new awareness of your vulnerability in relation to time and environmental factors. Now, we know that new tools are changing our sense of self in the world -- these tiny sensors that gather data in nature, the ubiquitous computing that allows that data to be understood and used, and of course the social networks that allow people to collaborate and contribute. But we think of these tools as pointing outward, as windows and I'd just like to invite you to think of them as also turning inward and becoming mirrors. So that when we think about using them to get some systematic improvement, we also think about how they can be useful for self-improvement, for self-discovery, self-awareness, self-knowledge. Here's a biometric device: a pair of Apple Earbuds. Last year, Apple filed some patents to get blood oxygenation, heart rate and body temperature via the Earbuds. What is this for? What should it be for? Some people will say it's for biometric security. Some people will say it's for public health research. Some people will say it's for avant-garde marketing research. I'd like to tell you that it's also for self-knowledge. And the self isn't the only thing; it's not even most things. The self is just our operation center, our consciousness, our moral compass. So, if we want to act more effectively in the world, we have to get to know ourselves better. Thank you.

As an Arab female photographer, I have always found ample inspiration for my projects in personal experiences. The passion I developed for knowledge, which allowed me to break barriers towards a better life was the motivation for my project I Read I Write. Pushed by my own experience, as I was not allowed initially to pursue my higher education, I decided to explore and document stories of other women who changed their lives through education, while exposing and questioning the barriers they face. I covered a range of topics that concern women's education, keeping in mind the differences among Arab countries due to economic and social factors. These issues include female illiteracy, which is quite high in the region; educational reforms; programs for dropout students; and political activism among university students. As I started this work, it was not always easy to convince the women to participate. Only after explaining to them how their stories might influence other women's lives, how they would become role models for their own community, did some agree. Seeking a collaborative and reflexive approach, I asked them to write their own words and ideas on prints of their own images. Those images were then shared in some of the classrooms, and worked to inspire and motivate other women going through similar educations and situations. Aisha, a teacher from Yemen, wrote, "I sought education in order to be independent and to not count on men with everything." One of my first subjects was Umm El-Saad from Egypt. When we first met, she was barely able to write her name. She was attending a nine-month literacy program run by a local NGO in the Cairo suburbs. Months later, she was joking that her husband had threatened to pull her out of the classes, as he found out that his now literate wife was going through his phone text messages. (Laughter) Naughty Umm El-Saad. Of course, that's not why Umm El-Saad joined the program. I saw how she was longing to gain control over her simple daily routines, small details that we take for granted, from counting money at the market to helping her kids in homework. Despite her poverty and her community's mindset, which belittles women's education, Umm El-Saad, along with her Egyptian classmates, was eager to learn how to read and write. In Tunisia, I met Asma, one of the four activist women I interviewed. The secular bioengineering student is quite active on social media. Regarding her country, which treasured what has been called the Arab Spring, she said, "I've always dreamt of discovering a new bacteria. Now, after the revolution, we have a new one every single day." Asma was referring to the rise of religious fundamentalism in the region, which is another obstacle to women in particular. Out of all the women I met, Fayza from Yemen affected me the most. Fayza was forced to drop out of school at the age of eight when she was married. That marriage lasted for a year. At 14, she became the third wife of a 60-year-old man, and by the time she was 18, she was a divorced mother of three. Despite her poverty, despite her social status as a divorcée in an ultra-conservative society, and despite the opposition of her parents to her going back to school, Fayza knew that her only way to control her life was through education. She is now 26. She received a grant from a local NGO to fund her business studies at the university. Her goal is to find a job, rent a place to live in, and bring her kids back with her. The Arab states are going through tremendous change, and the struggles women face are overwhelming. Just like the women I photographed, I had to overcome many barriers to becoming the photographer I am today, many people along the way telling me what I can and cannot do. Umm El-Saad, Asma and Fayza, and many women across the Arab world, show that it is possible to overcome barriers to education, which they know is the best means to a better future. And here I would like to end with a quote by Yasmine, one of the four activist women I interviewed in Tunisia. Yasmine wrote, "Question your convictions. Be who you to want to be, not who they want you to be. Don't accept their enslavement, for your mother birthed you free." Thank you. (Applause)

I'm Dr. David Hanson, and I build robots with character. And by that, I mean that I develop robots that are characters, but also robots that will eventually come to empathize with you. So we're starting with a variety of technologies that have converged into these conversational character robots that can see faces, make eye contact with you, make a full range of facial expressions, understand speech and begin to model how you're feeling and who you are, and build a relationship with you. I developed a series of technologies that allowed the robots to make more realistic facial expressions than previously achieved, on lower power, which enabled the walking biped robots, the first androids. So, it's a full range of facial expressions simulating all the major muscles in the human face, running on very small batteries, extremely lightweight. The materials that allowed the battery-operated facial expressions is a material that we call Frubber, and it actually has three major innovations in the material that allow this to happen. One is hierarchical pores, and the other is a macro-molecular nanoscale porosity in the material. There he's starting to walk. This is at the Korean Advanced Institute of Science and Technology. I built the head. They built the body. So the goal here is to achieve sentience in machines, and not just sentience, but empathy. We're working with the Machine Perception Laboratory at the U.C. San Diego. They have this really remarkable facial expression technology that recognizes facial expressions, what facial expressions you're making. It also recognizes where you're looking, your head orientation. We're emulating all the major facial expressions, and then controlling it with the software that we call the Character Engine. And here is a little bit of the technology that's involved in that. In fact, right now -- plug it from here, and then plug it in here, and now let's see if it gets my facial expressions. Okay. So I'm smiling. (Laughter) Now I'm frowning. And this is really heavily backlit. Okay, here we go. Oh, it's so sad. Okay, so you smile, frowning. So his perception of your emotional states is very important for machines to effectively become empathetic. Machines are becoming devastatingly capable of things like killing. Right? Those machines have no place for empathy. And there is billions of dollars being spent on that. Character robotics could plant the seed for robots that actually have empathy. So, if they achieve human level intelligence or, quite possibly, greater than human levels of intelligence, this could be the seeds of hope for our future. So, we've made 20 robots in the last eight years, during the course of getting my Ph.D. And then I started Hanson Robotics, which has been developing these things for mass manufacturing. This is one of our robots that we showed at Wired NextFest a couple of years ago. And it sees multiple people in a scene, remembers where individual people are, and looks from person to person, remembering people. So, we're involving two things. One, the perception of people, and two, the natural interface, the natural form of the interface, so that it's more intuitive for you to interact with the robot. You start to believe that it's alive and aware. So one of my favorite projects was bringing all this stuff together in an artistic display of an android portrait of science-fiction writer Philip K. Dick, who wrote great works like, "Do Androids Dream of Electric Sheep?" which was the basis of the movie "Bladerunner." In these stories, robots often think that they're human, and they sort of come to life. So we put his writings, letters, his interviews, correspondences, into a huge database of thousands of pages, and then used some natural language processing to allow you to actually have a conversation with him. And it was kind of spooky, because he would say these things that just sounded like they really understood you. And this is one of the most exciting projects that we're developing, which is a little character that's a spokesbot for friendly artificial intelligence, friendly machine intelligence. And we're getting this mass-manufactured. We specked it out to actually be doable with a very, very low-cost bill of materials, so that it can become a childhood companion for kids. Interfacing with the Internet, it gets smarter over the years. As artificial intelligence evolves, so does his intelligence. Chris Anderson: Thank you so much. That's incredible. (Applause)

Imagine a big explosion as you climb through 3,000 ft. Imagine a plane full of smoke. Imagine an engine going clack, clack, clack. It sounds scary. Well, I had a unique seat that day. I was sitting in 1D. I was the only one who could talk to the flight attendants. So I looked at them right away, and they said, "No problem. We probably hit some birds." The pilot had already turned the plane around, and we weren't that far. You could see Manhattan. Two minutes later, three things happened at the same time. The pilot lines up the plane with the Hudson River. That's usually not the route. (Laughter) He turns off the engines. Now, imagine being in a plane with no sound. And then he says three words. The most unemotional three words I've ever heard. He says, "Brace for impact." I didn't have to talk to the flight attendant anymore. (Laughter) I could see in her eyes, it was terror. Life was over. Now I want to share with you three things I learned about myself that day. I learned that it all changes in an instant. We have this bucket list, we have these things we want to do in life, and I thought about all the people I wanted to reach out to that I didn't, all the fences I wanted to mend, all the experiences I wanted to have and I never did. As I thought about that later on, I came up with a saying, which is, "I collect bad wines." Because if the wine is ready and the person is there, I'm opening it. I no longer want to postpone anything in life. And that urgency, that purpose, has really changed my life. The second thing I learned that day -- and this is as we clear the George Washington Bridge, which was by not a lot -- (Laughter) I thought about, wow, I really feel one real regret. I've lived a good life. In my own humanity and mistakes, I've tried to get better at everything I tried. But in my humanity, I also allow my ego to get in. And I regretted the time I wasted on things that did not matter with people that matter. And I thought about my relationship with my wife, with my friends, with people. And after, as I reflected on that, I decided to eliminate negative energy from my life. It's not perfect, but it's a lot better. I've not had a fight with my wife in two years. It feels great. I no longer try to be right; I choose to be happy. The third thing I learned -- and this is as your mental clock starts going, "15, 14, 13." You can see the water coming. I'm saying, "Please blow up." I don't want this thing to break in 20 pieces like you've seen in those documentaries. And as we're coming down, I had a sense of, wow, dying is not scary. It's almost like we've been preparing for it our whole lives. But it was very sad. I didn't want to go; I love my life. And that sadness really framed in one thought, which is, I only wish for one thing. I only wish I could see my kids grow up. About a month later, I was at a performance by my daughter -- first-grader, not much artistic talent -- (Laughter) Yet! (Laughter) And I'm bawling, I'm crying, like a little kid. And it made all the sense in the world to me. I realized at that point, by connecting those two dots, that the only thing that matters in my life is being a great dad. Above all, above all, the only goal I have in life is to be a good dad. I was given the gift of a miracle, of not dying that day. I was given another gift, which was to be able to see into the future and come back and live differently. I challenge you guys that are flying today, imagine the same thing happens on your plane -- and please don't -- but imagine, and how would you change? What would you get done that you're waiting to get done because you think you'll be here forever? How would you change your relationships and the negative energy in them? And more than anything, are you being the best parent you can? Thank you. (Applause)

Imagine a big explosion as you climb through 3,000 ft. Imagine a plane full of smoke. Imagine an engine going clack, clack, clack, clack, clack, clack, clack. It sounds scary. Well I had a unique seat that day. I was sitting in 1D. I was the only one who could talk to the flight attendants. So I looked at them right away, and they said, "No problem. We probably hit some birds." The pilot had already turned the plane around, and we weren't that far. You could see Manhattan. Two minutes later, three things happened at the same time. The pilot lines up the plane with the Hudson River. That's usually not the route. (Laughter) He turns off the engines. Now imagine being in a plane with no sound. And then he says three words -- the most unemotional three words I've ever heard. He says, "Brace for impact." I didn't have to talk to the flight attendant anymore. (Laughter) I could see in her eyes, it was terror. Life was over. Now I want to share with you three things I learned about myself that day. I learned that it all changes in an instant. We have this bucket list, we have these things we want to do in life, and I thought about all the people I wanted to reach out to that I didn't, all the fences I wanted to mend, all the experiences I wanted to have and I never did. As I thought about that later on, I came up with a saying, which is, "I collect bad wines." Because if the wine is ready and the person is there, I'm opening it. I no longer want to postpone anything in life. And that urgency, that purpose, has really changed my life. The second thing I learned that day -- and this is as we clear the George Washington Bridge, which was by not a lot -- I thought about, wow, I really feel one real regret. I've lived a good life. In my own humanity and mistakes, I've tried to get better at everything I tried. But in my humanity, I also allow my ego to get in. And I regretted the time I wasted on things that did not matter with people that matter. And I thought about my relationship with my wife, with my friends, with people. And after, as I reflected on that, I decided to eliminate negative energy from my life. It's not perfect, but it's a lot better. I've not had a fight with my wife in two years. It feels great. I no longer try to be right; I choose to be happy. The third thing I learned -- and this is as your mental clock starts going, "15, 14, 13." You can see the water coming. I'm saying, "Please blow up." I don't want this thing to break in 20 pieces like you've seen in those documentaries. And as we're coming down, I had a sense of, wow, dying is not scary. It's almost like we've been preparing for it our whole lives. But it was very sad. I didn't want to go; I love my life. And that sadness really framed in one thought, which is, I only wish for one thing. I only wish I could see my kids grow up. About a month later, I was at a performance by my daughter -- first-grader, not much artistic talent ... ... yet. (Laughter) And I'm bawling, I'm crying, like a little kid. And it made all the sense in the world to me. I realized at that point, by connecting those two dots, that the only thing that matters in my life is being a great dad. Above all, above all, the only goal I have in life is to be a good dad. I was given the gift of a miracle, of not dying that day. I was given another gift, which was to be able to see into the future and come back and live differently. I challenge you guys that are flying today, imagine the same thing happens on your plane -- and please don't -- but imagine, and how would you change? What would you get done that you're waiting to get done because you think you'll be here forever? How would you change your relationships and the negative energy in them? And more than anything, are you being the best parent you can? Thank you. (Applause)

If you look deep into the night sky, you see stars, and if you look further, you see more stars, and further, galaxies, and further, more galaxies. But if you keep looking further and further, eventually you see nothing for a long while, and then finally you see a faint, fading afterglow, and it's the afterglow of the Big Bang. Now, the Big Bang was an era in the early universe when everything we see in the night sky was condensed into an incredibly small, incredibly hot, incredibly roiling mass, and from it sprung everything we see. Now, we've mapped that afterglow with great precision, and when I say we, I mean people who aren't me. We've mapped the afterglow with spectacular precision, and one of the shocks about it is that it's almost completely uniform. Fourteen billion light years that way and 14 billion light years that way, it's the same temperature. Now it's been 14 billion years since that Big Bang, and so it's got faint and cold. It's now 2.7 degrees. But it's not exactly 2.7 degrees. It's only 2.7 degrees to about 10 parts in a million. Over here, it's a little hotter, and over there, it's a little cooler, and that's incredibly important to everyone in this room, because where it was a little hotter, there was a little more stuff, and where there was a little more stuff, we have galaxies and clusters of galaxies and superclusters and all the structure you see in the cosmos. And those small, little, inhomogeneities, 20 parts in a million, those were formed by quantum mechanical wiggles in that early universe that were stretched across the size of the entire cosmos. That is spectacular, and that's not what they found on Monday; what they found on Monday is cooler. So here's what they found on Monday: Imagine you take a bell, and you whack the bell with a hammer. What happens? It rings. But if you wait, that ringing fades and fades and fades until you don't notice it anymore. Now, that early universe was incredibly dense, like a metal, way denser, and if you hit it, it would ring, but the thing ringing would be the structure of space-time itself, and the hammer would be quantum mechanics. What they found on Monday was evidence of the ringing of the space-time of the early universe, what we call gravitational waves from the fundamental era, and here's how they found it. Those waves have long since faded. If you go for a walk, you don't wiggle. Those gravitational waves in the structure of space are totally invisible for all practical purposes. But early on, when the universe was making that last afterglow, the gravitational waves put little twists in the structure of the light that we see. So by looking at the night sky deeper and deeper -- in fact, these guys spent three years on the South Pole looking straight up through the coldest, clearest, cleanest air they possibly could find looking deep into the night sky and studying that glow and looking for the faint twists which are the symbol, the signal, of gravitational waves, the ringing of the early universe. And on Monday, they announced that they had found it. And the thing that's so spectacular about that to me is not just the ringing, though that is awesome. The thing that's totally amazing, the reason I'm on this stage, is because what that tells us is something deep about the early universe. It tells us that we and everything we see around us are basically one large bubble -- and this is the idea of inflation— one large bubble surrounded by something else. This isn't conclusive evidence for inflation, but anything that isn't inflation that explains this will look the same. This is a theory, an idea, that has been around for a while, and we never thought we we'd really see it. For good reasons, we thought we'd never see killer evidence, and this is killer evidence. But the really crazy idea is that our bubble is just one bubble in a much larger, roiling pot of universal stuff. We're never going to see the stuff outside, but by going to the South Pole and spending three years looking at the detailed structure of the night sky, we can figure out that we're probably in a universe that looks kind of like that. And that amazes me. Thanks a lot. (Applause)

(Music) These bees are in my backyard in Berkeley, California. Until last year, I'd never kept bees before, but National Geographic asked me to photograph a story about them, and I decided, to be able to take compelling images, I should start keeping bees myself. And as you may know, bees pollinate one third of our food crops, and lately they've been having a really hard time. So as a photographer, I wanted to explore what this problem really looks like. So I'm going to show you what I found over the last year. This furry little creature is a fresh young bee halfway emerged from its brood cell, and bees right now are dealing with several different problems, including pesticides, diseases, and habitat loss, but the single greatest threat is a parasitic mite from Asia, Varroa destructor. And this pinhead-sized mite crawls onto young bees and sucks their blood. This eventually destroys a hive because it weakens the immune system of the bees, and it makes them more vulnerable to stress and disease. Now, bees are the most sensitive when they're developing inside their brood cells, and I wanted to know what that process really looks like, so I teamed up with a bee lab at U.C. Davis and figured out how to raise bees in front of a camera. I'm going to show you the first 21 days of a bee's life condensed into 60 seconds. This is a bee egg as it hatches into a larva, and those newly hatched larvae swim around their cells feeding on this white goo that nurse bees secrete for them. Then, their head and their legs slowly differentiate as they transform into pupae. Here's that same pupation process, and you can actually see the mites running around in the cells. Then the tissue in their body reorganizes and the pigment slowly develops in their eyes. The last step of the process is their skin shrivels up and they sprout hair. (Music) So -- (Applause) As you can see halfway through that video, the mites were running around on the baby bees, and the way that beekeepers typically manage these mites is they treat their hives with chemicals. In the long run, that's bad news, so researchers are working on finding alternatives to control these mites. This is one of those alternatives. It's an experimental breeding program at the USDA Bee Lab in Baton Rouge, and this queen and her attendant bees are part of that program. Now, the researchers figured out that some of the bees have a natural ability to fight mites, so they set out to breed a line of mite-resistant bees. This is what it takes to breed bees in a lab. The virgin queen is sedated and then artificially inseminated using this precision instrument. Now, this procedure allows the researchers to control exactly which bees are being crossed, but there's a tradeoff in having this much control. They succeeded in breeding mite-resistant bees, but in that process, those bees started to lose traits like their gentleness and their ability to store honey, so to overcome that problem, these researchers are now collaborating with commercial beekeepers. This is Bret Adee opening one of his 72,000 beehives. He and his brother run the largest beekeeping operation in the world, and the USDA is integrating their mite-resistant bees into his operation with the hope that over time, they'll be able to select the bees that are not only mite-resistant but also retain all of these qualities that make them useful to us. And to say it like that makes it sound like we're manipulating and exploiting bees, and the truth is, we've been doing that for thousands of years. We took this wild creature and put it inside of a box, practically domesticating it, and originally that was so that we could harvest their honey, but over time we started losing our native pollinators, our wild pollinators, and there are many places now where those wild pollinators can no longer meet the pollination demands of our agriculture, so these managed bees have become an integral part of our food system. So when people talk about saving bees, my interpretation of that is we need to save our relationship to bees, and in order to design new solutions, we have to understand the basic biology of bees and understand the effects of stressors that we sometimes cannot see. In other words, we have to understand bees up close. Thank you. (Applause)