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  • I was speaking to a group of about 300 kids,

    子ども博物館で6~8才の

  • ages six to eight, at a children's museum,

    子供300人と話す機会があって

  • and I brought with me a bag full of legs,

    ここにあるような義足を

  • similar to the kinds of things you see up here,

    カバンいっぱい持って行き

  • and had them laid out on a table for the kids.

    机の上に並べたの

  • And, from my experience, you know, kids are naturally curious

    子供は本来見知らぬものや

  • about what they don't know, or don't understand,

    異質なものに対して

  • or is foreign to them.

    好奇心旺盛

  • They only learn to be frightened of those differences

    大人が恐怖心を植えつけたり

  • when an adult influences them to behave that way,

    失礼がないようにと

  • and maybe censors that natural curiosity,

    子供の好奇心を押さえ込んだり

  • or you know, reins in the question-asking

    質問を遮ったりするから

  • in the hopes of them being polite little kids.

    子供は異質なものを恐れてしまう

  • So I just pictured a first grade teacher out in the lobby

    実際先生がはしゃぐ子供たちに言ったわ

  • with these unruly kids, saying, "Now, whatever you do,

    「間違ってもエミーさんの足を」

  • don't stare at her legs."

    「じろじろ見ないこと」

  • But, of course, that's the point.

    でも大切なのはそこ

  • That's why I was there, I wanted to invite them to look and explore.

    義足に触れてもらうのが目的

  • So I made a deal with the adults

    そこで私は先生にこう持ちかけた

  • that the kids could come in without any adults for two minutes

    「2分間だけ子供たちと話がしたい」

  • on their own.

    「大人抜きで」

  • The doors open, the kids descend on this table of legs,

    扉が開き、子供たちは義足に群がった

  • and they are poking and prodding, and they're wiggling toes,

    つついたり、つま先を動かしたり

  • and they're trying to put their full weight on the sprinting leg

    短距離走用の義足に

  • to see what happens with that.

    全体重をかけてみたり

  • And I said, "Kids, really quickly --

    私は尋ねた「今朝ふと思ったの」

  • I woke up this morning, I decided I wanted to be able to jump over a house --

    「家を跳び越えてみたいって」

  • nothing too big, two or three stories --

    「2、3階建ての家よ」

  • but, if you could think of any animal, any superhero, any cartoon character,

    「動物、スーパーヒーロー、アニメキャラ」

  • anything you can dream up right now,

    「何でもいいの」

  • what kind of legs would you build me?"

    「どんな足なら跳べるかしら」

  • And immediately a voice shouted, "Kangaroo!"

    「カンガルー!」と誰かが叫んだ

  • "No, no, no! Should be a frog!"

    「だめだめ!カエル!」

  • "No. It should be Go Go Gadget!"

    「ガジェット警部がいいよ!」

  • "No, no, no! It should be the Incredibles."

    「ちがうよ!Mr.インクレディブルだよ!」

  • And other things that I don't -- aren't familiar with.

    私が聞いたことのないものまで

  • And then, one eight-year-old said,

    すると8才の子が

  • "Hey, why wouldn't you want to fly too?"

    「ねえ、空を飛びたいとは思わないの?」

  • And the whole room, including me, was like, "Yeah."

    みんな口をそろえて言ったわ「もちろん!」

  • (Laughter)

    (笑)

  • And just like that, I went from being a woman

    しつけられた子供の目には

  • that these kids would have been trained to see as "disabled"

    障害者として映ったであろう私は

  • to somebody that had potential that their bodies didn't have yet.

    今や未知の可能性を秘めた体の持ち主

  • Somebody that might even be super-abled.

    超人にだってなれる

  • Interesting.

    おもしろいでしょ

  • So some of you actually saw me at TED, 11 years ago.

    私は11年前もこの場に立ちました

  • And there's been a lot of talk about how life-changing this conference is

    TEDで人生が変わったという声を

  • for both speakers and attendees, and I am no exception.

    何度も耳にしますが、私もそのひとり

  • TED literally was the launch pad to the next decade of my life's exploration.

    TEDはその後の人生探求の出発点だった

  • At the time, the legs I presented were groundbreaking in prosthetics.

    その時紹介したのが当時画期的とされた義足

  • I had woven carbon fiber sprinting legs

    チーターの後肢をモデルに

  • modeled after the hind leg of a cheetah,

    炭素繊維で作った

  • which you may have seen on stage yesterday.

    短距離走用の義足です

  • And also these very life-like, intrinsically painted silicone legs.

    そしてこの本物さながらのシリコンの足

  • So at the time, it was my opportunity to put a call out

    従来の医療の枠を越えて

  • to innovators outside the traditional medical prosthetic community

    革新者を集め、科学と技術を駆使した

  • to come bring their talent to the science and to the art

    義足作りを目指した

  • of building legs.

    形、機能、美の価値を

  • So that we can stop compartmentalizing form, function and aesthetic,

    別々に追求するのをやめるには

  • and assigning them different values.

    いいチャンス

  • Well, lucky for me, a lot of people answered that call.

    幸い多くの人が賛同してくれて

  • And the journey started, funny enough, with a TED conference attendee --

    TED参加者のチー・パールマンを知ったのもこの頃

  • Chee Pearlman, who hopefully is in the audience somewhere today.

    今日も会場にいるはずよ

  • She was the editor then of a magazine called ID,

    チーは当時『ID』誌の編集者で

  • and she gave me a cover story.

    トップ記事で私を紹介してくれた

  • This started an incredible journey.

    これが大きなきっかけとなり

  • Curious encounters were happening to me at the time;

    心躍る出会いが次々と生まれた

  • I'd been accepting numerous invitations to speak

    チーター義足のデザインについて

  • on the design of the cheetah legs around the world.

    世界中から講演依頼が殺到

  • And people would come up to me after the conference, after my talk,

    講演の後は男性も女性も

  • men and women.

    みんな集まってきた

  • And the conversation would go something like this,

    そしてこんな風に言われるの

  • "You know Aimee, you're very attractive.

    「エミー 、すごく魅力的だよ」

  • You don't look disabled."

    「とても身体障害者に見えない」

  • (Laughter)

    私だって

  • I thought, "Well, that's amazing,

    そんな風に感じたことないわ

  • because I don't feel disabled."

    と心の中で思いながら

  • And it really opened my eyes to this conversation

    だけどこの会話で、美しさには探求の余地があることを

  • that could be explored, about beauty.

    気づかされました

  • What does a beautiful woman have to look like?

    美しい女性ってどんな姿?

  • What is a sexy body?

    魅力的な体って?

  • And interestingly, from an identity standpoint,

    アイデンティティという視点から

  • what does it mean to have a disability?

    障害を持つことにはどんな意味がある?

  • I mean, people -- Pamela Anderson has more prosthetic in her body than I do.

    パメラ・アンダーソンの体は人工的でも

  • Nobody calls her disabled.

    障害者とは呼ばれないでしょ

  • (Laughter)

    (笑)

  • So this magazine, through the hands of graphic designer Peter Saville,

    『ID』の記事はグラフィックデザイナーのピーター・サヴィルから

  • went to fashion designer Alexander McQueen, and photographer Nick Knight,

    ファッションデザイナーのアレキサンダー・マックイーンと

  • who were also interested in exploring that conversation.

    写真家のニック・ナイトに渡った

  • So, three months after TED I found myself on a plane

    TEDの3ヶ月後、初のモデル撮影を

  • to London, doing my first fashion shoot,

    ロンドンで行いました

  • which resulted in this cover --

    それがこの表紙

  • "Fashion-able"?

    見出しは「ファッション化?」

  • Three months after that, I did my first runway show for Alexander McQueen

    3ヶ月後にはマックイーンのショーでモデルを務め

  • on a pair of hand-carved wooden legs made from solid ash.

    トネリコ製の手彫りの義足を履いたら

  • Nobody knew -- everyone thought they were wooden boots.

    観客は木のブーツだと勘違い

  • Actually, I have them on stage with me:

    これが実物です

  • grapevines, magnolias -- truly stunning.

    ブドウのつるとモクレンの見事な美

  • Poetry matters.

    詩も大切よ

  • Poetry is what elevates the banal and neglected object

    詩は平凡でなおざりになったものを

  • to a realm of art.

    芸術に変える

  • It can transform the thing that might have made people fearful

    詩は人々が恐れていたものを

  • into something that invites them to look,

    興味深くし

  • and look a little longer,

    もう少しだけ見てみたい

  • and maybe even understand.

    理解したいものに変える

  • I learned this firsthand with my next adventure.

    マシュー・バーニーの「クレマスター・サイクル」が

  • The artist Matthew Barney, in his film opus called the "The Cremaster Cycle."

    私にそのことを教えてくれた

  • This is where it really hit home for me --

    私の義足は履く彫刻なのだと

  • that my legs could be wearable sculpture.

    心から痛感した

  • And even at this point, I started to move away from the need to replicate human-ness

    そのとき私は人間らしさの復元だけに美の理想を見出す視点から

  • as the only aesthetic ideal.

    解放されつつありました

  • So we made what people lovingly referred to as glass legs

    「ガラスの脚」として親しまれた義足は

  • even though they're actually optically clear polyurethane,

    実はボーリング玉の素材と同じ

  • a.k.a. bowling ball material.

    透明なポリウレタン製

  • Heavy!

    重いのよ!

  • Then we made these legs that are cast in soil

    これは土の中で鋳造した義足

  • with a potato root system growing in them, and beetroots out the top,

    ジャガイモとテンサイが根を張ってるわ

  • and a very lovely brass toe.

    つま先は真ちゅう

  • That's a good close-up of that one.

    これが拡大画像

  • Then another character was a half-woman, half-cheetah --

    次は上半身が女性、下半身がチーター

  • a little homage to my life as an athlete.

    アスリート人生への感謝の印

  • 14 hours of prosthetic make-up

    特殊メイクに14時間かけ

  • to get into a creature that had articulated paws,

    本格的な足や爪としなやかな尻尾を持つ

  • claws and a tail that whipped around,

    生き物になりきりました

  • like a gecko.

    ヤモリみたいに

  • (Laughter)

    (笑)

  • And then another pair of legs we collaborated on were these --

    もう一つ共同制作したのがこちら

  • look like jellyfish legs,

    クラゲの足のよう

  • also polyurethane.

    これもポリウレタンです

  • And the only purpose that these legs can serve,

    映画以外での

  • outside the context of the film,

    この足の使い道は

  • is to provoke the senses and ignite the imagination.

    感覚に訴え想像力を刺激すること

  • So whimsy matters.

    奇抜さも大事よ

  • Today, I have over a dozen pair of prosthetic legs

    私は義足を12足以上持ってます

  • that various people have made for me,

    多くの人が手がけ

  • and with them I have different negotiations of the terrain under my feet,

    それぞれが違った感覚を足もとに与えてくれる

  • and I can change my height --

    身長だって変えられる

  • I have a variable of five different heights.

    私の身長は5種類

  • (Laughter)

    (笑)

  • Today, I'm 6'1".

    今日は185cm

  • And I had these legs made a little over a year ago

    1年前、英国ドーセット州の整形外科で

  • at Dorset Orthopedic in England

    作ってもらったものを

  • and when I brought them home to Manhattan,

    マンハッタンに持ち帰り

  • my first night out on the town, I went to a very fancy party.

    パーティーに行った時のこと

  • And a girl was there who has known me for years

    普段173cmの私を知る

  • at my normal 5'8".

    長年の友人が

  • Her mouth dropped open when she saw me,

    私を見てビックリ

  • and she went, "But you're so tall!"

    「すごい背が高いじゃない!」

  • And I said, "I know. Isn't it fun?"

    私はすかさず「ねぇ!面白いでしょ?」

  • I mean, it's a little bit like wearing stilts on stilts,

    竹馬に竹馬で乗る感覚よ

  • but I have an entirely new relationship to door jams

    想定外だったのは

  • that I never expected I would ever have.

    ドア枠に頭を打ってしまうこと

  • And I was having fun with it.

    それすらも楽しかった

  • And she looked at me,

    しかも友人が言うの

  • and she said, "But, Aimee, that's not fair."

    「でも、エミーそんなのずるいわ」

  • (Laughter)

    (笑)

  • (Applause)

    (拍手)

  • And the incredible thing was she really meant it.

    ウソみたいだけど友人は本気だった

  • It's not fair that you can change your height,

    自由に身長を変えられるなんて

  • as you want it.

    ずるいでしょ

  • And that's when I knew --

    その瞬間――

  • that's when I knew that the conversation with society

    社会の反応がこの10年で

  • has changed profoundly

    大きく変わったと

  • in this last decade.

    実感した

  • It is no longer a conversation about overcoming deficiency.

    もはやハンディは克服するものではなく

  • It's a conversation about augmentation.

    プラスに増幅していくもの

  • It's a conversation about potential.

    社会は可能性に溢れている

  • A prosthetic limb doesn't represent the need to replace loss anymore.

    義肢はもはや失ったものを補うのではない

  • It can stand as a symbol that the wearer

    新たに生まれた空間に

  • has the power to create whatever it is that they want to create

    装着者が自由な創作を実現する

  • in that space.

    力の象徴

  • So people that society once considered to be disabled

    身体障害者とされてきた人々は

  • can now become the architects of their own identities

    今や自分の個性を演出できるんです

  • and indeed continue to change those identities

    自分が秘めた可能性を信じ

  • by designing their bodies

    身体をデザインすることにより

  • from a place of empowerment.

    新たな個性を生み出し続ける

  • And what is exciting to me so much right now

    今、私が心待ちにしているのが

  • is that by combining cutting-edge technology --

    ロボットやバイオニクスなどの最先端技術と

  • robotics, bionics --

    昔からある詩を

  • with the age-old poetry,

    組み合わせることで

  • we are moving closer to understanding our collective humanity.

    私たちが人類全体の人間らしさを理解し始めていること

  • I think that if we want to discover the full potential

    私たちが持つ人間らしさに最大の可能性を

  • in our humanity,

    見出したければ

  • we need to celebrate those heartbreaking strengths

    誰もが持っているすばらしい長所や

  • and those glorious disabilities that we all have.

    偉大な欠陥を褒め称える必要があります

  • I think of Shakespeare's Shylock:

    『ヴェニスの商人』でシャイロックが言ってるでしょ

  • "If you prick us, do we not bleed,

    「針で刺せば血が出る」

  • and if you tickle us, do we not laugh?"

    「くすぐられれば笑いもする」

  • It is our humanity,

    それが私たちの人間らしさであり

  • and all the potential within it,

    そこに潜むすべての可能性が

  • that makes us beautiful.

    私たちを美しくするのです

  • Thank you.

    ありがとうございました

  • (Applause)

    (拍手)

I was speaking to a group of about 300 kids,

子ども博物館で6~8才の

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B1 中級 日本語 TED 義足 障害 チーター エミー 子供

【TED】エーメ・マリンズ:12組の足(Aimee Mullins: It's not fair having 12 pairs of legs)

  • 1919 132
    林容瑛 に公開 2016 年 05 月 19 日
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