演講MP3+雙語文稿:我如何利用生物數(shù)據(jù)講故事

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【演講者及介紹】Heidi Boisvert

Heidi Boisvert，藝術(shù)家和創(chuàng)意技術(shù)專家，她利用流行文化、新興技術(shù)和神經(jīng)科學(xué)的力量來點(diǎn)燃文化變革。

【演講主題】我如何利用生物數(shù)據(jù)來講述更好的故事——以及社會(huì)變化

【中英文字幕】

翻譯者 Jingdan Niu 校對(duì)者 Wanting Zhong

00:13

For the past 15 years I've been trying tochange your mind. In my work I harness pop culture and emerging technology toshift cultural norms. I've made video games to promote human rights, I've madeanimations to raise awareness about unfair immigration laws and I've even madelocation-based augmented reality apps to change perceptions around homelessnesswell before Pokémon Go.

過去的 15 年間，我一直在嘗試改變你們的想法。我的工作是利用流行文化和新興技術(shù)來改變文化規(guī)范。我做過電子游戲來促進(jìn)人權(quán)，做過動(dòng)畫片來提高關(guān)于不公平的移民法案的意識(shí)，以及做過基于定位的增強(qiáng)現(xiàn)實(shí)應(yīng)用來改變對(duì)無家可歸者的看法，比 Pokemon Go 早了不少。

00:41

(Laughter)

（笑聲）

00:42

But then I began to wonder whether a gameor an app can really change attitudes and behaviors, and if so, can I measurethat change? What's the science behind that process? So I shifted my focus frommaking media and technology to measuring their neurobiological effects.

之后我開始琢磨，是否有游戲或者應(yīng)用可以真的改變態(tài)度和行為，如果可以，我能否衡量這種改變？這個(gè)過程背后的科學(xué)依據(jù)是什么？所以我把我的工作重心從制作媒體和技術(shù)轉(zhuǎn)移到了測(cè)量它們的神經(jīng)生物學(xué)效應(yīng)。

01:03

Here's what I discovered. The web, mobiledevices, virtual and augmented reality were rescripting our nervous systems.And they were literally changing the structure of our brain. The verytechnologies I had been using to positively influence hearts and minds wereactually eroding functions in the brain necessary for empathy and decision-making.In fact, our dependence upon the web and mobile devices might be taking overour cognitive and affective faculties, rendering us socially and emotionallyincompetent, and I felt complicit in this dehumanization.

這是我的發(fā)現(xiàn)。網(wǎng)絡(luò)、移動(dòng)設(shè)備、虛擬現(xiàn)實(shí)和增強(qiáng)現(xiàn)實(shí)技術(shù)在改寫我們的神經(jīng)系統(tǒng)。它們確實(shí)在改變我們大腦的結(jié)構(gòu)。我曾經(jīng)一直用來積極影響心靈和思想的技術(shù)，實(shí)際上正在逐漸侵蝕大腦中 對(duì)于同理心和決策力 不可或缺的功能。事實(shí)上，我們對(duì)網(wǎng)絡(luò) 和移動(dòng)設(shè)備的依賴 也許正在取代我們 的認(rèn)知和情感能力，讓我們的社交以及 情感功能變得低下，而我感覺我是這種 去人情化的幫兇。

01:43

I realized that before I could continuemaking media about social issues, I needed to reverse engineer the harmfuleffects of technology. To tackle this I asked myself, "How can I translatethe mechanisms of empathy, the cognitive, affective and motivational aspects,into an engine that simulates the narrative ingredients that move us to act?"To answer this, I had to build a machine.

我意識(shí)到在我能夠繼續(xù)制作關(guān)于社會(huì)話題的媒體之前，我需要把科技的不良影響反轉(zhuǎn)過來。為了解決這個(gè)問題，我反問自己，“我如何才能把同理心的機(jī)理，它的認(rèn)知、情感和動(dòng)機(jī)方面的原理, 轉(zhuǎn)化成模擬能促使我們行動(dòng)的故事素材的引擎?”為了回答這個(gè)問題，我不得不造了臺(tái)機(jī)器。

02:12

(Laughter)

（笑聲）

02:14

I've been developing an open-sourcebiometric lab, an AI system which I call the Limbic Lab. The lab not onlycaptures the brain and body's unconscious response to media and technology butalso uses machine learning to adapt content based on these biologicalresponses.

我一直在開發(fā)一個(gè)開源的生物計(jì)量實(shí)驗(yàn)室，這是一個(gè)人工智能系統(tǒng)，我叫它大腦邊緣實(shí)驗(yàn)室。實(shí)驗(yàn)室不僅能準(zhǔn)確記錄大腦和身體對(duì)媒體和技術(shù)的無意識(shí)反應(yīng)，還能使用機(jī)器學(xué)習(xí)技術(shù)基于這些生物學(xué)反應(yīng)來改寫內(nèi)容。

02:32

My goal is to find out what combination ofnarrative ingredients are the most appealing and galvanizing to specific targetaudiences to enable social justice, cultural and educational organizations tocreate more effective media.

我的目標(biāo)就是找出哪些敘述成分的組合對(duì)特定的目標(biāo)觀眾是最有吸引力 也最有激勵(lì)性的，從而使社會(huì)正義、 文化和教育組織 能夠制作出更有效的媒體內(nèi)容。

02:47

The Limbic Lab consists of two components:a narrative engine and a media machine. While a subject is viewing orinteracting with media content, the narrative engine takes in and syncsreal-time data from brain waves, biophysical data like heart rate, blood flow,body temperature and muscle contraction, as well as eye-tracking and facialexpressions. Data is captured at key places where critical plot points,character interaction or unusual camera angles occur. Like the final scene in"Game of Thrones, Red Wedding," when shockingly, everybody dies.

大腦邊緣實(shí)驗(yàn)室由兩個(gè)部分組成：【注：邊緣系統(tǒng)為負(fù)責(zé)情緒的腦區(qū)】一個(gè)敘事引擎和一個(gè)媒體機(jī)器。當(dāng)一位被試者在觀看或者和媒體內(nèi)容互動(dòng)時(shí)，敘事引擎會(huì)采集并同步實(shí)時(shí)數(shù)據(jù)，比如腦電波數(shù)據(jù)，包括心跳、血流量、體溫、以及肌肉收縮 的生物物理學(xué)數(shù)據(jù)，以及眼動(dòng)追蹤和面部表情。數(shù)據(jù)在關(guān)鍵地方被準(zhǔn)確記錄，比如關(guān)鍵情節(jié)點(diǎn)、角色互動(dòng)或者不尋常鏡頭角度發(fā)生的時(shí)候。比如在《權(quán)力的游戲之血色婚禮》的最后一幕，令人震驚地，每個(gè)人都死了。

03:26

(Laughter)

（笑聲）

03:29

Survey data on that person's politicalbeliefs, along with their psychographic and demographic data, are integratedinto the system to gain a deeper understanding of the individual.

被試者的政治信仰的問卷數(shù)據(jù)，以及他們的心理及人口統(tǒng)計(jì)的調(diào)查數(shù)據(jù)，也整合在了系統(tǒng)里，以獲取對(duì)個(gè)體更深層的了解。

03:40

Let me give you an example. Matchingpeople's TV preferences with their views on social justice issues reveals thatAmericans who rank immigration among their top three concerns are more likelyto be fans of "The Walking Dead," and they often watch for theadrenaline boost, which is measurable.

我給你們舉個(gè)例子。將人們對(duì)電視節(jié)目的偏好與他們對(duì)社會(huì)公平事件的看法相匹配，揭示了將移民列為他們最關(guān)心問題前三的美國人，更可能是《行尸走肉》的粉絲，并且他們經(jīng)常為了腎上腺素的刺激收看節(jié)目，這也是可以測(cè)量的。

04:01

A person's biological signature and theirsurvey response combines into a database to create their unique media imprint.Then our predictive model finds patterns between media imprints and tells mewhich narrative ingredients are more likely to lead to engagement in altruisticbehavior rather than distress and apathy. The more imprints added to thedatabase across mediums from episodic television to games, the better thepredictive models become. In short, I am mapping the first media genome.

一個(gè)人的生物學(xué)信號(hào)和他們的問卷回復(fù)組成了一個(gè)創(chuàng)造他們獨(dú)一無二媒體印記的數(shù)據(jù)庫。然后我們的預(yù)測(cè)模型會(huì)尋找媒體印記之間的規(guī)律，告訴我哪些敘事成分更有可能引起利他行為，而不是痛苦和冷漠。從電視劇到游戲，越多媒體印記加入到數(shù)據(jù)庫中，預(yù)測(cè)模型就變得越好。總之，我正在繪制第一個(gè)媒體基因組。

04:36

(Applause and cheers)

（鼓掌歡呼）

04:44

Whereas the human genome identifies allgenes involved in sequencing human DNA, the growing database of media imprintswill eventually allow me to determine the media DNA for a specific person.

人類基因組確定了所有與人類 DNA 序列相關(guān)的基因，而不斷增長的媒體印記數(shù)據(jù)庫將最終幫助我 確定一個(gè)特定的人 的媒體 DNA。

04:58

Already the Limbic Lab's narrative enginehelps content creators refine their storytelling, so that it resonates with theirtarget audiences on an individual level.

大腦邊緣實(shí)驗(yàn)室的敘事引擎能幫助內(nèi)容創(chuàng)作者完善他們講故事的方式，使其能在個(gè)體層面上與目標(biāo)觀眾產(chǎn)生共鳴。

05:11

The Limbic Lab's other component, the mediamachine, will assess how media elicits an emotional and physiological response,then pulls scenes from a content library targeted to person-specific media DNA.

大腦邊緣實(shí)驗(yàn)室的另外一部分，媒體機(jī)器，將會(huì)評(píng)估媒體如何引起觀眾感情和生理上的反應(yīng)，并從內(nèi)容庫中提取出針對(duì)特定個(gè)人媒體 DNA 的內(nèi)容。

05:26

Applying artificial intelligence tobiometric data creates a truly personalized experience. One that adapts contentbased on real-time unconscious responses. Imagine if nonprofits and mediamakers were able to measure how audiences feel as they experience it and altercontent on the fly. I believe this is the future of media.

針對(duì)生物特征數(shù)據(jù)使用人工智能 能夠創(chuàng)造真正個(gè)性化的體驗(yàn)。這種體驗(yàn)?zāi)芑趯?shí)時(shí)的 無意識(shí)反應(yīng)而對(duì)內(nèi)容進(jìn)行調(diào)整。想象一下，如果非盈利組織 和媒體制作者能在觀眾體驗(yàn)內(nèi)容 的同時(shí)測(cè)量他們的感受，并且動(dòng)態(tài)調(diào)整內(nèi)容會(huì)怎樣。我相信這是媒體的未來。

05:53

To date, most media and social-changestrategies have attempted to appeal to mass audiences, but the future is mediacustomized for each person. As real-time measurement of media consumption andautomated media production becomes the norm, we will soon be consuming mediatailored directly to our cravings using a blend of psychographics, biometricsand AI. It's like personalized medicine based on our DNA. I call it"biomedia."

迄今，大部分媒體和社會(huì)變革戰(zhàn)略 已經(jīng)嘗試過吸引普羅大眾，但是未來是媒體 為每一個(gè)人定制的時(shí)代。因?yàn)槊襟w消費(fèi)的實(shí)時(shí)評(píng)估 和自動(dòng)媒體制作會(huì)變成常態(tài)，很快，我們將會(huì)消費(fèi)到利用 心理學(xué)、生物識(shí)別技術(shù)和人工智能 為我們的欲望量身定制的媒體。它們就像是基于我們 DNA 的個(gè)性化醫(yī)療。我稱它為“生物媒體”。

06:25

I am currently testing the Limbic Lab in apilot study with the Norman Lear Center, which looks at the top 50 episodictelevision shows. But I am grappling with an ethical dilemma. If I design atool that can be turned into a weapon, should I build it? By open-sourcing thelab to encourage access and inclusivity, I also run the risk of enablingpowerful governments and profit-driven companies to appropriate the platformfor fake news, marketing or other forms of mass persuasion. For me, therefore,it is critical to make my research as transparent to lay audiences as GMOlabels. However, this is not enough. As creative technologists, we have aresponsibility not only to reflect upon how present technology shapes ourcultural values and social behavior, but also to actively challenge thetrajectory of future technology. It is my hope that we make an ethicalcommitment to harvesting the body's intelligence for the creation of authenticand just stories that transform media and technology from harmful weapons intonarrative medicine.

我現(xiàn)在正在與諾曼·李爾中心一起【注：USC 的公共政策研究所】對(duì)大腦邊緣實(shí)驗(yàn)室進(jìn)行前導(dǎo)研究，研究對(duì)象是排名前 50 的電視劇。但是我正在和道德困境作斗爭。如果我設(shè)計(jì)的工具能夠被變成武器，我應(yīng)該把它造出來嗎？實(shí)驗(yàn)室的開源 是為了鼓勵(lì)使用和包容，但我同樣冒著可能會(huì)讓 強(qiáng)勢(shì)政府和盈利企業(yè) 為了捏造新聞、市場(chǎng)營銷 和其它形式的大范圍勸導(dǎo) 而私自占用平臺(tái)的風(fēng)險(xiǎn)。因此，對(duì)我來說，使我的研究 能夠像轉(zhuǎn)基因標(biāo)簽?zāi)菢?對(duì)外行透明是非常重要的。然而，這還不夠。作為創(chuàng)新技術(shù)人員，我們有責(zé)任不但要反思現(xiàn)在的技術(shù)如何塑造了我們的文化價(jià)值觀和社會(huì)行為，同樣也要主動(dòng)挑戰(zhàn)未來科技的發(fā)展軌跡。我的希望是做出道德上的承諾，我們獲取身體信息，是為了創(chuàng)造出真實(shí)和正義的故事，將媒體和科技從有害的武器轉(zhuǎn)變成敘事的良藥。

07:42

Thank you.

謝謝大家。

07:44

(Applause and cheers)

（鼓掌歡呼）