下載App 希平方
攻其不背
App 開放下載中
下載App 希平方
攻其不背
App 開放下載中
IE版本不足
您的瀏覽器停止支援了😢使用最新 Edge 瀏覽器或點選連結下載 Google Chrome 瀏覽器 前往下載

免費註冊
! 這組帳號已經註冊過了
Email 帳號
密碼請填入 6 位數以上密碼
已經有帳號了?
忘記密碼
! 這組帳號已經註冊過了
您的 Email
請輸入您註冊時填寫的 Email,
我們將會寄送設定新密碼的連結給您。
寄信了!請到信箱打開密碼連結信
密碼信已寄至
沒有收到信嗎?
如果您尚未收到信,請前往垃圾郵件查看,謝謝!

恭喜您註冊成功!

查看會員功能

註冊未完成

《HOPE English 希平方》服務條款關於個人資料收集與使用之規定

隱私權政策
上次更新日期:2014-12-30

希平方 為一英文學習平台,我們每天固定上傳優質且豐富的影片內容,讓您不但能以有趣的方式學習英文,還能增加內涵,豐富知識。我們非常注重您的隱私,以下說明為當您使用我們平台時,我們如何收集、使用、揭露、轉移及儲存你的資料。請您花一些時間熟讀我們的隱私權做法,我們歡迎您的任何疑問或意見,提供我們將產品、服務、內容、廣告做得更好。

本政策涵蓋的內容包括:希平方學英文 如何處理蒐集或收到的個人資料。
本隱私權保護政策只適用於: 希平方學英文 平台,不適用於非 希平方學英文 平台所有或控制的公司,也不適用於非 希平方學英文 僱用或管理之人。

個人資料的收集與使用
當您註冊 希平方學英文 平台時,我們會詢問您姓名、電子郵件、出生日期、職位、行業及個人興趣等資料。在您註冊完 希平方學英文 帳號並登入我們的服務後,我們就能辨認您的身分,讓您使用更完整的服務,或參加相關宣傳、優惠及贈獎活動。希平方學英文 也可能從商業夥伴或其他公司處取得您的個人資料,並將這些資料與 希平方學英文 所擁有的您的個人資料相結合。

我們所收集的個人資料, 將用於通知您有關 希平方學英文 最新產品公告、軟體更新,以及即將發生的事件,也可用以協助改進我們的服務。

我們也可能使用個人資料為內部用途。例如:稽核、資料分析、研究等,以改進 希平方公司 產品、服務及客戶溝通。

瀏覽資料的收集與使用
希平方學英文 自動接收並記錄您電腦和瀏覽器上的資料,包括 IP 位址、希平方學英文 cookie 中的資料、軟體和硬體屬性以及您瀏覽的網頁紀錄。

隱私權政策修訂
我們會不定時修正與變更《隱私權政策》,不會在未經您明確同意的情況下,縮減本《隱私權政策》賦予您的權利。隱私權政策變更時一律會在本頁發佈;如果屬於重大變更,我們會提供更明顯的通知 (包括某些服務會以電子郵件通知隱私權政策的變更)。我們還會將本《隱私權政策》的舊版加以封存,方便您回顧。

服務條款
歡迎您加入看 ”希平方學英文”
上次更新日期:2013-09-09

歡迎您加入看 ”希平方學英文”
感謝您使用我們的產品和服務(以下簡稱「本服務」),本服務是由 希平方學英文 所提供。
本服務條款訂立的目的,是為了保護會員以及所有使用者(以下稱會員)的權益,並構成會員與本服務提供者之間的契約,在使用者完成註冊手續前,應詳細閱讀本服務條款之全部條文,一旦您按下「註冊」按鈕,即表示您已知悉、並完全同意本服務條款的所有約定。如您是法律上之無行為能力人或限制行為能力人(如未滿二十歲之未成年人),則您在加入會員前,請將本服務條款交由您的法定代理人(如父母、輔助人或監護人)閱讀,並得到其同意,您才可註冊及使用 希平方學英文 所提供之會員服務。當您開始使用 希平方學英文 所提供之會員服務時,則表示您的法定代理人(如父母、輔助人或監護人)已經閱讀、了解並同意本服務條款。 我們可能會修改本條款或適用於本服務之任何額外條款,以(例如)反映法律之變更或本服務之變動。您應定期查閱本條款內容。這些條款如有修訂,我們會在本網頁發佈通知。變更不會回溯適用,並將於公布變更起十四天或更長時間後方始生效。不過,針對本服務新功能的變更,或基於法律理由而為之變更,將立即生效。如果您不同意本服務之修訂條款,則請停止使用該本服務。

第三人網站的連結 本服務或協力廠商可能會提供連結至其他網站或網路資源的連結。您可能會因此連結至其他業者經營的網站,但不表示希平方學英文與該等業者有任何關係。其他業者經營的網站均由各該業者自行負責,不屬希平方學英文控制及負責範圍之內。

兒童及青少年之保護 兒童及青少年上網已經成為無可避免之趨勢,使用網際網路獲取知識更可以培養子女的成熟度與競爭能力。然而網路上的確存有不適宜兒童及青少年接受的訊息,例如色情與暴力的訊息,兒童及青少年有可能因此受到心靈與肉體上的傷害。因此,為確保兒童及青少年使用網路的安全,並避免隱私權受到侵犯,家長(或監護人)應先檢閱各該網站是否有保護個人資料的「隱私權政策」,再決定是否同意提出相關的個人資料;並應持續叮嚀兒童及青少年不可洩漏自己或家人的任何資料(包括姓名、地址、電話、電子郵件信箱、照片、信用卡號等)給任何人。

為了維護 希平方學英文 網站安全,我們需要您的協助:

您承諾絕不為任何非法目的或以任何非法方式使用本服務,並承諾遵守中華民國相關法規及一切使用網際網路之國際慣例。您若係中華民國以外之使用者,並同意遵守所屬國家或地域之法令。您同意並保證不得利用本服務從事侵害他人權益或違法之行為,包括但不限於:
A. 侵害他人名譽、隱私權、營業秘密、商標權、著作權、專利權、其他智慧財產權及其他權利;
B. 違反依法律或契約所應負之保密義務;
C. 冒用他人名義使用本服務;
D. 上載、張貼、傳輸或散佈任何含有電腦病毒或任何對電腦軟、硬體產生中斷、破壞或限制功能之程式碼之資料;
E. 干擾或中斷本服務或伺服器或連結本服務之網路,或不遵守連結至本服務之相關需求、程序、政策或規則等,包括但不限於:使用任何設備、軟體或刻意規避看 希平方學英文 - 看 YouTube 學英文 之排除自動搜尋之標頭 (robot exclusion headers);

服務中斷或暫停
本公司將以合理之方式及技術,維護會員服務之正常運作,但有時仍會有無法預期的因素導致服務中斷或故障等現象,可能將造成您使用上的不便、資料喪失、錯誤、遭人篡改或其他經濟上損失等情形。建議您於使用本服務時宜自行採取防護措施。 希平方學英文 對於您因使用(或無法使用)本服務而造成的損害,除故意或重大過失外,不負任何賠償責任。

版權宣告
上次更新日期:2013-09-16

希平方學英文 內所有資料之著作權、所有權與智慧財產權,包括翻譯內容、程式與軟體均為 希平方學英文 所有,須經希平方學英文同意合法才得以使用。
希平方學英文歡迎你分享網站連結、單字、片語、佳句,使用時須標明出處,並遵守下列原則:

  • 禁止用於獲取個人或團體利益,或從事未經 希平方學英文 事前授權的商業行為
  • 禁止用於政黨或政治宣傳,或暗示有支持某位候選人
  • 禁止用於非希平方學英文認可的產品或政策建議
  • 禁止公佈或傳送任何誹謗、侮辱、具威脅性、攻擊性、不雅、猥褻、不實、色情、暴力、違反公共秩序或善良風俗或其他不法之文字、圖片或任何形式的檔案
  • 禁止侵害或毀損希平方學英文或他人名譽、隱私權、營業秘密、商標權、著作權、專利權、其他智慧財產權及其他權利、違反法律或契約所應付支保密義務
  • 嚴禁謊稱希平方學英文辦公室、職員、代理人或發言人的言論背書,或作為募款的用途

網站連結
歡迎您分享 希平方學英文 網站連結,與您的朋友一起學習英文。

抱歉傳送失敗!

不明原因問題造成傳送失敗,請儘速與我們聯繫!
希平方 x ICRT

「Aaron Koblin:利用數據使我們形象化」Visualizing Ourselves...With Crowd-Sourced Data

觀看次數:2593  • 

框選或點兩下字幕可以直接查字典喔!

So I think data can actually make us more human. We're collecting and creating all kinds of data about how we're living our lives, and it's enabling us to tell some amazing stories. Recently, a wise media theorist Tweeted, "The 19th century culture was defined by the novel, the 20th century culture was defined by the cinema, and the culture of the 21st century will be defined by the interface." And I believe this is going to prove true. Our lives are being driven by data, and the presentation of that data is an opportunity for us to make some amazing interfaces that tell great stories. So I'm going to show you a few of the projects that I've been working on over the last couple years that reflect on our lives and our systems.

This is a project called Flight Patterns. What you're looking at is airplane traffic over North America for a 24-hour period. As you see, everything starts to fade to black, and you see people going to sleep. Followed by that, you see on the West coast planes moving across, the red-eye flights to the East coast. And you'll see everybody waking up on the East coast, followed by European flights coming in the upper right-hand corner. Everybody's moving from the East coast to the West coast. You see San Francisco and Los Angeles start to make their journeys down to Hawaii in the lower left-hand corner.

I think it's one thing to say there's 140,000 planes being monitored by the federal government at any one time, and it's another thing to see that system as it ebbs and flows. This is a time-lapse image of that exact same data, but I've color-coded it by type, so you can see the diversity of aircraft that are in the skies above us. And I started making these, and I put them into Google Maps and allow you to zoom in and see individual airports and the patterns that are occurring there. So here we can see the white represents low altitudes, and the blue are higher altitudes. And you can zoom in. This is taking a look at Atlanta. You can see this is a major shipping airport, and there's all kinds of activity there. You can also toggle between altitude for model and manufacturer. See again, the diversity. And you can scroll around and see some of the different airports and the different patterns that they have. This is scrolling up the East coast. You can see some of the chaos that's happening in New York with the air traffic controller shaving to deal with all those major airports next to each other.

So zooming back out real quick, we see, again, the U.S.—you get Florida down in the right-hand corner. Moving across to the West coast, you see San Francisco and Los Angeles—big low-traffic zones across Nevada and Arizona. And that's us down there in L.A. and Long Beach on the bottom. I started taking a look as well at different perimeters, because you can choose what you want to pull out from the data. This is looking at ascending versus descending flights. And you can see, over time, the ways the airports change. You see the holding patterns that start to develop in the bottom of the screen. And you can see, eventually the airport actually flips directions.

So this is another project that I worked on with the Sensible Cities Lab at MIT. This is visualizing international communications. So it's how New York communicates with other international cities. And we set this up as a live globe in the Museum of Modern Art in New York for the Design the Elastic Mind exhibition. And it had a live feed with a 24-hour offset, so you could see the changing relationship and some demographic info coming through AT&T's data and revealing itself. This is another project I worked on with Sensible Cities Lab and CurrentCity.org. And it's visualizing SMS messages being sent in the city of Amsterdam. So you're seeing the daily ebb and flow of people sending SMS messages from different parts of the city, until we approach New Year's Eve, where everybody says, "Happy New Year!"

So this is an interactive tool that you can move around and see different parts of the city. This is looking at another event. This is called Queen's Day. So again, you get this daily ebb and flow of people sending SMS messages from different parts of the city. And then you're going to see people start to gather in the center of the city to celebrate the night before, which happens right here. And then you can see people celebrating the next day. And you can pause it and step back and forth and see different phases.

So now on to something completely different. Some of you may recognize this. This is Baron Wolfgang von Kempelen's mechanical chess playing machine. And it's this amazing robot that plays chess extremely well, except for one thing: it's not a robot at all. There's actually a legless man that sits in that box and controls this chess player. This was the inspiration for a web service by Amazon called the Mechanical Turk—named after this guy. And it's based on the premise that there are certain things that are easy for people, but really difficult for computers. So they made this web service and said, "Any programmer can write a piece of software and tap into the minds of thousands of people." The nerdy side of me thought, "Wow, this is amazing. I can tap into thousands of people's minds." And the other nerdy side of me thought, "This is horrible. This is completely bizarre. What does this mean for the future of mankind, where we're all plugged into this borg?" I was probably being a little extreme. But what does this mean when we have no context for what it is that we're working on, and we're just doing these little labors?

So I created this drawing tool. I asked people to draw a sheep facing to the left. And I said, "I'll pay you two cents for your contribution." And I started collecting sheep. And I collected a lot, a lot of different sheep. Lots of sheep. I took the first 10,000 sheep that I collected, and I put them on a website called TheSheepMarket.com where you can actually buy collections of 20 sheep. You can't pick individual sheep, but you can buy a single plate block of stamps as a commodity. And juxtaposed against this grid, you see actually, by rolling over each individual one, the humanity behind this hugely mechanical process. I think there's something really interesting to watching people as they go through this creative toil—something we can all relate to, this creative process of trying to come up with something from nothing. I think it was really interesting to juxtapose this humanity versus this massive distributed grid. Kind of amazing what some people did.

So here's a few statistics from the project. Approximate collection rate of 11 sheep per hour, which would make a working wage of 69 cents per hour. There were 662 rejected sheep that didn't meet "sheep-like" criteria and were thrown out of the flock. The amount of time spent drawing ranged from four seconds to 46 minutes. That gives you an idea of the different types of motivations and dedication. And there were 7,599 people that contributed to the project, or were unique IP addresses --so about how many people contributed. But only one of them out of the 7,599 said this. Which I was pretty surprised by. I expected people to be wondering, "Why did I draw a sheep?" And I think it's a pretty valid question.

And there's a lot of reasons why I chose sheep. Sheep were the first animal to be raised from mechanically processed byproducts, the first to be selectively bred for production traits, the first animal to be cloned. Obviously, we think of sheep as followers. And there's this reference to "Le Petit Prince" where the narrator asks the prince to draw a sheep. He draws sheep after sheep. The narrator's only appeased when he draws a box. And he says, "It's not about a scientific rendering of a sheep. It's about your own interpretation and doing something different." And I like that.

So this is a clip from Charlie Chaplin's "Modern Times." It's showing Charlie Chaplin dealing with some of the major changes during the Industrial Revolution. So there were no longer shoe makers, but now there are people slapping soles on people's shoes. And the whole idea of one's relationship to their work changed a lot. So I thought this was an interesting clip to divide into 16 pieces and feed into the Mechanical Turk with a drawing tool. This basically allowed—what you see on the left side is the original frame, and on the right side you see that frame as interpreted by 16 people who have no idea what it is they're doing.

And this was the inspiration for a project that I worked on with my friend Takashi Kawashima. We decided to use the Mechanical Turk for exactly what it was meant for, which is making money. So we took a hundred dollar bill and divided it into 10,000 teeny pieces, and we fed those into the Mechanical Turk. We asked people to draw what it was that they saw. But here there was no sheep-like criteria. People, if they drew a stick figure or a smiley face, it actually made it into the bill. So what you see is actually a representation of how well people did what it was they were asked to do. So we took these hundred dollar bills, and we put them on a website called TenThousandsCents.com, where you can browse through and see all the individual contributions. And you can also trade real hundred-dollar bills for fake hundred-dollar bills and make a donation to the Hundred Dollar Laptop Project, which is now known as One Laptop Per Child. This is again showing all the different contributions. You see some people did beautiful stipple renderings, like this one on top—spent a long time making realistic versions. And other people would draw stick figures or smiley faces. Here on the right-hand side in the middle you see this one guy writing, "$0.01!!! Really?" That's all I'm getting paid for this?

So the last Mechanical Turk project I'm going to talk to you about is called Bicycle Built for 2000. This is a collaboration with my friend Daniel Massey. You may recognize these two guys. This is Max Mathews and John Kelly from Bell Labs in the '60s, where they created the song "Daisy Bell," which was the world's first singing computer. You may recognize it from "2001: A Space Odyssey." When HAL's dying at the end of the film he starts singing this song, as a reference to when computers became human. So we resynthesized this song. This is what that sounded like. We broke down all the individual notes in the singing as well as the phonemes in the singing.

And we took all of those individual pieces, and we fed them into another Turk request. This is what it would look like if you went to the site. You type in your code, but you first test your mic. You'd be fed a simple audio clip. And then you'd do your best to recreate that with your own voice. After previewing it and confirming it's what you submitted, you could submit it into the Mechanical Turk with no other context. And this is what we first got back from the very first set of submissions.
So James Surowieki has this idea of the wisdom of crowds, that says that a whole bunch of people are smarter than any individual. We wanted to see how this applies to collaborative, distributed music making, where nobody has any idea what it is they're working on. So if you go to the BicycleBuiltforTwoThousand.com you can actually hear what all this sounds like together. I'm sorry for this.

So stepping back for a quick second, when I was at UCLA going to grad school, I was also working at a place called the Center for Embedded Network Sensing. And I was writing software to visualize laser scanners. So basically motion through 3D space. And this was seen by a director in L.A. named James Frost who said, "Wait a minute. You mean we can shoot a music video without actually using any video?"So we did exactly that. We made a music video for one of my favorite bands, Radiohead. And I think one of my favorite parts of this project was not just shooting a video with lasers, but we also open sourced it, and we made it released as a Google Code project, where people could download a bunch of the data and some source code to build their own versions of it. And people were making some amazing things. This is actually two of my favorites: the pin-board Thom Yorke and a LEGO Thom Yorke. A whole YouTube channel of people submitting really interesting content. More recently, somebody even 3D-printed Thom Yorke's head, which is a little creepy, but pretty cool.

So with everybody making so much amazing stuff and actually understanding what it was they were working on, I was really interested in trying to make a collaborative project where people were working together to build something. And I met a music video director named Chris Milk. And we started bouncing around ideas to make a collaborative music video project. But we knew we really needed the right person to kind of rally behind and build something for. So we put the idea on the back burner for a few months. And he ended up talking to Rick Rubin, who was finishing up Johnny Cash's final albumcalled "Ain't No Grave." The lyrics to the leading track are "Ain't no grave can hold my body down." So we thought this was the perfect project to build a collaborative memorial and a virtual resurrection for Johnny Cash.

So I teamed up with my good friend Ricardo Cabello, also known as Mr. doob, who's a much better programmer than I am, and he made this amazing Flash drawing tool. As you know, an animation is a series of images. So what we did was cross-cut a bunch of archival footage of Johnny Cash, and at eight frames a second, we allowed individuals to draw a single frame that would get woven into this dynamically changing music video. So I don't have time to play the entire thing for you, but I want to show you two short clips. One is the beginning of the music video. And that's going to be followed by a short clip of people who have already contributed to the project talking about it briefly.

What better way to pay tribute to the man than to make something for one of his songs.

I felt really sad when he died. And I just thought it'd be wonderful, it'd be really nice to contribute something to his memory.

It really allows this last recording of his to be a living, breathing memorial.

For all of the frames to be drawn by fans, each individual frame, it's got a very powerful feeling to it.

I've seen everybody from Japan, Venezuela, to the States, to Knoxville, Tennessee.

As much as is different from frame to frame, it really is personal.

Watching the video in my room, I could see me not understanding at the beginning of it. And I just worked and worked through problems, until my little wee battles that I was fighting within the picture all began to resolve themselves. You can actually see the point when I know what I'm doing, and a lot of light and dark comes into it. And in a weird way, that's what I actually like about Johnny Cash's music as well. It's the sum total of his life, all the things that had happened—the bad things, the good things. You're hearing a person's life.

So if you go to the website JohnnyCashProject.com, what you'll see is the video playing above. And below it are all the individual frames that people have been submitting to the project. So this isn't finished at all, but it's an ongoing project where people can continue to collaborate. If you roll over any one of those individual thumbnails, you can see the person who drew that individual thumbnail and where they were located. And if you find one that you're interested in, you can actually click on it and open up an information panel where you're able to rate that frame, which helps it bubble up to the top. And you can also see the way that it was drawn. Again, you can get the playback and personal contribution. In addition to that, it's listed, the artist's name, the location, how long they spent drawing it. And you can pick a style. So this one was tagged "Abstract." But there's a bunch of different styles. And you can sort the video a number of different ways. You can say, "I want to see the pointillist version or the sketchy version or the realistic version." And then this is, again, the abstract version, which ends up getting a little bit crazy.

So the last project I want to talk to you about is another collaboration with Chris Milk. And this is called "The Wilderness Downtown." It's an online music video for the Arcade Fire. Chris and I were really amazed by the potential now with modern web browsers, where you have HTML5 audio and video and the power of JavaScript to render amazingly fast. And we wanted to push the idea of the music video that was meant for the Web beyond the four-by-three or sixteen-by-nine window and try to make it play out and choreograph throughout the screen. But most importantly, I think, we really wanted to make an experience that was unlike the Johnny Cash Project, where you had a small group of people spending a lot of time to contribute something for everyone. What if we had a very low commitment, but delivered something individually unique to each person who contributed?

So the project starts off by asking you to enter the address of the home where you grew up. And you type in the address—it actually creates a music video specifically for you, pulling in Google maps and Street view images into the experience itself. So this should really be seen at home with you typing in your own address, but I'm going to give you a little preview of what you can expect.

So I think, if there's one thing to take away from my talk today, it's that an interface can be a powerful narrative device. And as we collect more and more personally and socially relevant data, we have an opportunity, and maybe even an obligation, to maintain the humanity and tell some amazing stories as we explore and collaborate together.

Thanks a lot.

播放本句

登入使用學習功能

使用Email登入

HOPE English 播放器使用小提示

  • 功能簡介

    單句重覆、重複上一句、重複下一句:以句子為單位重覆播放,單句重覆鍵顯示綠色時為重覆播放狀態;顯示白色時為正常播放狀態。按重複上一句、重複下一句時就會自動重覆播放該句。
    收錄佳句:點擊可增減想收藏的句子。

    中、英文字幕開關:中、英文字幕按鍵為綠色為開啟,灰色為關閉。鼓勵大家搞懂每一句的內容以後,關上字幕聽聽看,會發現自己好像在聽中文說故事一樣,會很有成就感喔!
    收錄單字:框選英文單字可以收藏不會的單字。
  • 分享
    如果您有收錄很優秀的句子時,可以分享佳句給大家,一同看佳句學英文!