El año 2050 se perfila como un punto crucial en la evolución de nuestra sociedad. Con avances en ciencia y tecnología, el mundo experimentará cambios significativos que afectarán diversos aspectos de nuestra vida diaria. En este fascinante recorrido, exploraremos cómo los descubrimientos actuales influirán en la energía, la medicina, la moda, el deporte y otros sectores. Las proyecciones para el futuro, respaldadas por expertos y pensadores de renombre, nos ofrecen una visión clara de los retos económicos, ecológicos y culturales que debemos enfrentar.
A medida que la población mundial crece, la necesidad de soluciones sostenibles se vuelve primordial. La energía renovable, la biotecnología y las innovaciones en transporte son solo algunas de las áreas donde se anticipan avances. Además, la integración de la inteligencia artificial en nuestra vida cotidiana promete revolucionar la forma en que trabajamos y nos comunicamos.
En cada episodio de nuestra serie, utilizamos efectos especiales de última generación para ilustrar cómo serán nuestras ciudades, hogares y estilos de vida. No se trata solo de ciencia ficción; es una mirada a un futuro que ya está tomando forma. Prepárate para descubrir cómo los sueños de hoy se convertirán en la realidad del mañana.
#Futuro2050, #InnovacionesTecnológicas, #TendenciasFuturas
**Keywords:** futuro 2050, avances tecnológicos, energía renovable, biotecnología, inteligencia artificial, desafíos ecológicos, medicina del futuro, vida sostenible, tendencias culturales, proyecciones económicas
A medida que la población mundial crece, la necesidad de soluciones sostenibles se vuelve primordial. La energía renovable, la biotecnología y las innovaciones en transporte son solo algunas de las áreas donde se anticipan avances. Además, la integración de la inteligencia artificial en nuestra vida cotidiana promete revolucionar la forma en que trabajamos y nos comunicamos.
En cada episodio de nuestra serie, utilizamos efectos especiales de última generación para ilustrar cómo serán nuestras ciudades, hogares y estilos de vida. No se trata solo de ciencia ficción; es una mirada a un futuro que ya está tomando forma. Prepárate para descubrir cómo los sueños de hoy se convertirán en la realidad del mañana.
#Futuro2050, #InnovacionesTecnológicas, #TendenciasFuturas
**Keywords:** futuro 2050, avances tecnológicos, energía renovable, biotecnología, inteligencia artificial, desafíos ecológicos, medicina del futuro, vida sostenible, tendencias culturales, proyecciones económicas
Categoría
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DiversiónTranscripción
00:00The pyramids of Egypt, the Moais of Easter Island, the Great Wall of China and the Acropolis
00:14of Athens.
00:16All these cultural relics unite us and are part of the legacy of the most valuable humanity.
00:22Our heritage is not just bricks and stones, but it is all our history and the values
00:28that it transmits to us.
00:32And what will happen in 2050 with this shared heritage?
00:36The dangers they face are innumerable.
00:39What can we do in the future to avoid this situation and pass this heritage on to future
00:54generations?
00:58The creative people are trying to find out all possible ways to raise awareness, educate
01:05and preserve what we already have.
01:08All over the world, archaeologists, restorers and scientists are inventing tools and developing
01:14techniques to overcome the limits and understand, protect and legate this heritage of the past.
01:26We hope that archaeologists of the future will know these places through virtual data,
01:33because the physical environment will have disappeared or will be seriously damaged.
01:39For some, it is about discovering a hidden piece of this legacy, unexplored or inaccessible
01:44places.
01:45There is a lot to discover underwater, as far as archaeology is concerned.
01:51But a machine that allows us to be there, without the need to be physically there, is
01:57impressive.
01:58Why don't we go back in time and create a Facebook of the past?
02:06I would love to rebuild the social networks of the past, see what relationship there was
02:10between people, their friends, their professional contacts.
02:16Others are already designing the museum of the future.
02:21I can easily imagine that in the future there will be tactile technology that allows us
02:27to imagine the touch of something without actually touching it.
02:31All these dreamers follow in the footsteps of those who, before them, sought to legate
02:35our cultural heritage.
02:37It is a need that has been with us since, well, since we started leaving our mark on
02:42the earth.
02:43Rupestrian paintings are more than 30,000 years old.
02:46We appreciate the relics of the past, and so it should be, because they are our history.
02:50That is why, to preserve and share these treasures, we immediately had the idea of centralizing
02:55them all in one place.
02:56Thus, in the 6th century BC, the princess Babylonia in Higaldinana built the first
03:01museum.
03:02However, that word only appeared in the Greek temples dedicated to the muses and to house
03:07the best of art and science.
03:10Already in the 1st century of our era, Pliny the Elder made all works of universal value
03:14accessible to all citizens.
03:18Preserving them was another story.
03:19But when it came to preserving its prestige, the religious authorities did not run out
03:24on budget.
03:25The Temple of the Sun in the Inca capital, Cuzco, was renovated in 1450.
03:30And the Vatican was no exception.
03:32In the middle of the 16th century, it restored the frescoes of the Sistine Chapel, which were already
03:37damaged.
03:38In the search for these valuable relics, we also began to look underground.
03:44At the beginning of the 18th century, the excavations of Pompeii and Herculean in Italy launched
03:50a methodical archeology.
03:52At the same time, pieces from all corners of the world formed large collections.
03:58The British Museum opened its doors in 1753 and 40 years later, the Louvre Palace became
04:05a museum.
04:06Throughout the 19th century, great scientists such as Faraday, Pasteur and Roentgen put
04:11their discoveries to the service of art conservation.
04:16The 20th century marked the beginning of a new dimension.
04:19In 1959, the Aswan dam project threatened to swallow the Egyptian temples of Abu
04:25Sinbel.
04:26There was an urgent need to safeguard our common universal heritage and the money to
04:31do so.
04:32As a result, in 1972, UNESCO established the Convention on the Protection of World Heritage.
04:40In the third millennium, many of these places are in danger.
04:43In the digital era of new technologies, the future of our past is in serious danger.
04:48Can you imagine Egypt without the pyramids?
04:54Can you imagine Peru without the Machu Picchu?
04:58In fact, I think people understand perfectly the great importance of preserving our heritage.
05:06Finding the mummy of Nefertiti or burying the Holy Grail?
05:13And if in 2050 technological advances would allow us to access previously inaccessible places
05:20and new fields of research?
05:23And if that would allow us to discover new traces of our heritage that we did not know?
05:29Going out to look for sunken treasures in the seabed that have been waiting for centuries
05:33to rise to the surface is a dream that can awaken our adventurous spirit.
05:39UNESCO estimates that there are more than 3 million pieces yet to be discovered, some
05:45of them with invaluable value.
05:48The challenge is to respond to the great demand of a population that wants to access their
05:54heritage.
05:55Sunken treasures for centuries or even millennia that are in an incredible state of conservation
06:02because the sea water and not being exposed to sunlight when the price is at a considerable
06:07depth, make the organic material such as saltwater, leather and wine be preserved for long periods
06:13of time and obtain fascinating information for archaeology, for history and for the history
06:19of our methods.
06:21At Stanford University in California, Oussana Khatib, a world authority in robotics, has
06:26invented the marine archaeologist of tomorrow.
06:30The laboratory he leads has developed the OceanOne, a unique robot capable of challenging
06:36the depths.
06:37Designed especially to search for our submerged heritage, it will explore with as much ease
06:43as a man the remains that are more than 100 meters deep and that are inaccessible for
06:49now.
06:53As far as archaeology is concerned, we cannot do all the work that we would like.
06:59So having a machine that allows us to be there, without being physically there, is
07:06impressive.
07:08Ah yes, leave it like that for a moment.
07:31Okay, now close it.
07:34Robotics is something I discovered during my doctorate.
07:39It was love at first sight.
07:42Open it again.
07:47Bravo.
07:49Most of what we currently have are robots that can explore, that can navigate, but that
07:56cannot do much.
07:58And OceanOne was the result of thinking, maybe we can build a humanoid diver that can reach
08:07those places.
08:08And that was the beginning of our adventure with OceanOne.
08:13Our mission, or at least that is how we consider it, is to take the robotics of the controlled
08:19manufacturing environment, where everything is structured, to an entirely open, unknown
08:25environment, and that you cannot pre-program.
08:29So what we try to do is to create a robot with skills, skills of physical interaction,
08:36and then allowing the man to guide the robot.
08:40And that's what OceanOne is about.
08:43So what we try to do is to create a robot that can navigate, that can explore, that can
08:52navigate, that can navigate, that can navigate, that can navigate, that can navigate, that
08:57can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
08:58that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
08:59that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:00that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:01that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:02that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:03that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:04that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:05that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:06that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:07that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:18that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:25that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:31that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:36that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:41that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:46that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:49that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:52that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:55that can navigate, that can navigate, that can navigate, that can navigate, that can navigate,
09:59All right, let's go, let's go, Denny.
10:01Frank, please, can you give me a hand?
10:06It's still moving as before.
10:09Yes, wait. It's getting close to 85.4.
10:18I really think exploring the interior of these places,
10:23going deep in depth, requires a lot of help.
10:29And the concept of Ocean One is to form an orchestrated team of robots
10:36that work together, placing structures, moving material,
10:41opening carefully, removing and putting things.
10:46This is a new dimension of possibilities for archaeology in the oceans and in the seas.
11:04In 2050, we will continue to feel attracted to the mythical sites.
11:08We want to continue exploring ancient places, visiting famous castles.
11:13We want to be there, where everything happened,
11:16feeling its atmosphere and projecting ourselves into a past era.
11:22But in the future, to be able to preserve the most fragile places,
11:26we will have to protect them from mass tourism.
11:33We have to continue limiting the number of visitors,
11:36imposing increasingly strict visiting conditions.
11:40If access to the millenary construction of Chichen Itza in Mexico is already prohibited
11:45and visits to the temples of Angkor are restricted,
11:48can we admire the pyramids of Egypt in 2050?
12:03Why do we like to visit historical places?
12:06It is thought that the most important thing is to see how they were built and not to see reality,
12:11but to see the reconstructions that allow us to imagine the history of that place is something magical.
12:19That is what the artist and visionary Adam Lowe understood.
12:22He combines cutting-edge technology with more traditional knowledge to make facsimiles.
12:28Thanks to their copies made with amazing fidelity,
12:32the valuable and fragile objects kept so far can leave the collections and can be shown to the public.
12:46This is the story of this little book from the 12th century,
12:49kept in a chest for 700 years.
12:53Adam Lowe's copies allow the public to enjoy the precious archaeological sites of our heritage without damaging them.
13:03With the number of people who want to have access to culture,
13:08it is critically important to adopt new strategies to have a responsible cultural tourism.
13:23Very good.
13:33I have to admit, I think, what you've done here on the...
13:36I have to admit that you have done a beautiful job.
13:39I don't think many people have actually seen a 3D physical model with this precision and complexity,
13:46and it's so natural and so similar to the original.
13:49I think feeling him in wood is fabulous.
13:54Fifteen years ago, when I would go to the dinners of middle-class people,
13:58and I would say that I was dedicated to making copies,
14:01everyone would say, what a horror.
14:03As if you had thrown a fart or something worse.
14:08What I would like is to change the perception of what we do,
14:12because our job is to preserve and protect things, not destroy them like crazy.
14:19This looks very good.
14:20I like those greens.
14:22They're very convincing.
14:23But the blacks should be more black.
14:25Okay.
14:29Fact to Marte began as a collaboration between myself and Manuel Franquelo,
14:34who is an extraordinary Spanish painter, but also an exceptional engineer.
14:39The first thing we focused on was a 3D scanner that recorded the surface of objects with great precision,
14:46which means that, for example, we could record this wall that I have in front of me,
14:51we could process the data and reproduce that wall.
14:55One next to the other would have the same quality.
14:58Each grain on the surface of a tomb or a sculpture can be faithfully documented.
15:04We don't just record the shape.
15:06We build a system to record both the shape and the surface.
15:11As you can see here, we have exactly three marks that correspond to each other.
15:16By heating the skin and pressing on it,
15:19by fitting perfectly in that slightly bulging position,
15:23the realism will be out of sight.
15:28The first thing we do is to measure the size of the wall.
15:31We measure the width of the wall.
15:33We measure the height of the wall.
15:35By heating the skin and pressing on it,
15:38by fitting perfectly in that slightly bulging position,
15:42the realism will be out of sight.
15:51In Egypt, tombs were built to last forever,
15:55but they were not built to be visited.
15:58As soon as someone enters, the climate changes,
16:01the conditions inside the tomb change,
16:04and this is the real objective,
16:06to get people to think,
16:08can I understand Seti I's tomb by looking at the facsimile,
16:11or do I have to visit the original and contribute to its destruction?
16:26Technology has a really critical role to play
16:29in the conservation and protection of works of art.
16:34Will that change things?
16:36Yes, it will change things,
16:38because high-resolution data,
16:41such as color,
16:44and what could be under the surface or on the surface,
16:48we are looking for multisensory ways
16:51to make a copy that is the same, that smells the same,
16:54and that even tastes the same.
16:58I think the work we are trying to do is revolutionary.
17:05For me, walking into the facsimile of Tutankhamun's tomb
17:10is something that gives me a visceral response in the stomach,
17:16because at a certain distance you can't tell the difference.
17:27I know that there are many purists
17:29who only look for authenticity and the true stuff,
17:33but I think that new technologies
17:36give us the incredible opportunity to discover certain things.
17:47Preserving our heritage as best as possible
17:50also includes restoring it,
17:52knowing when and how to intervene in an object that we want to preserve.
17:57To achieve this, we must first understand what it is made of,
18:00discover the process of making it,
18:03and reveal its fragility.
18:07There are two things for which science or scientific data can be used
18:12to understand what is happening with that piece of art
18:15in terms of its degradation,
18:18and we can also use those data to see how those things have been made.
18:25Ultra-powerful analytical tools capable of providing such data,
18:29such as the X-ray and infrared fluorescence spectrometer,
18:34already exist in research laboratories.
18:36In 2050, they will be in all restoration workshops.
18:41Culture is not static.
18:44Culture would only disappear if it wasn't questioned,
18:47if it wasn't explored, and if it wasn't investigated.
18:50And these new tools help us do that.
18:54Scientists, restorers and historians who feel passion
18:58and want to preserve our cultural heritage,
19:01observe to see beyond the color,
19:04and reach the heart of the object to reproduce the action of the brush
19:08and restore it to slow down the impact of time on our heritage.
19:15In 50 years, we will possibly know exactly what the object is made of,
19:20what color it is, how it was assembled, or how the pieces were joined,
19:24whether it is inside a mummy or inside a completely closed ceramic jar.
19:29We have a series of challenges ahead that can teach us many things.
19:34In 2050, the analytical tools should allow us to restore original polychromies,
19:40such as the statues of the Acropolis of Athens,
19:43and then maybe we will have the right methods
19:46to dare to restore pieces as emblematic as the Mona Lisa.
19:50My dream is to have a complete scanner of a work of art
19:56before I start working with it.
20:00Marion Boillyé is a restorer.
20:03For 30 years, she has been looking for new technologies
20:06that help her better understand the works that pass through her hands
20:09and solve the mystery of how these Tibetan tanks were made,
20:13painted tanks that date back to the 12th century.
20:17Together with the chemistry of the National Center for Scientific Research,
20:21Lorenz de Viguerie, Marion Boillyé gives us a detailed report of these tanks
20:25that have not been studied until now and that are difficult to restore.
20:30I believe that each restoration is a mystery.
20:33When we approach a work, we do not know what it has been subjected to.
20:43The Malaquites
21:00I have to restore this work.
21:03The Malaquite greens and the azure ones,
21:07I don't know if they are pure.
21:09If we could get out of doubt, it would be magnificent.
21:14When you start a restoration,
21:17there is a period of comprehension, of reading.
21:21There is a period of analysis and a period of diagnosis
21:25in which you decide whether to do something.
21:28Sometimes you don't dare because you don't have enough knowledge.
21:35The difficulty of restoration is to be able to mix
21:39what you know about painting, about its history,
21:43about the history of techniques and new technologies
21:47and the new tools we have at our disposal.
21:50I have made a calibration of Lalin A10.
21:53I don't know if you will be able to calculate it with your device,
21:58but you have the whole range of pigments and their origin.
22:02If they come from Tibet, Nepal, India, Japan,
22:08maybe we can study the tank thoroughly.
22:11I hope so.
22:29With a combination of analysis techniques
22:32such as X-ray fluorescence,
22:35specific images or hyperspectral images,
22:39photographic techniques under different lighting,
22:42UVA, infrared,
22:45I think we can help Marion Boyer to know the exact composition,
22:49to know which pigments and which dyes have been used
22:53so that she can reproduce exactly that mixture.
22:57Here, to help the restorer, we can click on an area
23:01and I get the associated spectrum that tells me which pigments have been used.
23:13We can say that your first idea is the right one.
23:19We know where we are going.
23:22We can be sure of the colors and what the painter wanted,
23:27because the most important thing is to respect that.
23:33Now, in the future, with a simple camera or a video camera,
23:42I hope we can get to the heart of the object
23:45and be closer than ever to the painter.
23:48Preserving works of art of our heritage as its authors conceived it
23:52is a dream within our reach.
23:58In 2050, maybe we can travel back in time
24:01and immerse ourselves in the time of our ancestors.
24:07What are those?
24:09They're your mother's memory tabs.
24:11With them, you can watch the world through her eyes.
24:20What do I do?
24:22Place one on each temple.
24:27Natalie!
24:35Natalie!
24:37Imagine that we could restructure a Facebook from the Middle Ages,
24:41go back in time with Google Maps
24:44and find out who lived here or there,
24:46who went out with whom,
24:48and know all the little secrets of the neighborhood.
24:53We have the information from yesterday and from today.
24:56We have images and videos.
24:58How can we put all that together
25:00to one day choose a drop-down menu
25:03and have a general image of that time?
25:06For example, 1602.
25:08What was going on in this part of the world at that time?
25:13We'll have a series of new instruments at our disposal
25:16that will profoundly change the environment of research.
25:20Everything will become popular and spread
25:23to show how things have evolved over time
25:26and how our heritage has evolved.
25:34Máquina del Tiempo de Venecia
25:36is the name of Frédéric Caplan's crazy project.
25:39This artificial intelligence researcher
25:41is digitizing the 80 km of archives in the city of Los Canales.
25:47They are using digital simulation
25:49to reconstruct 1,000 years of history
25:51and urban planning.
25:56We are in year zero of a new era of historical research.
26:00We are about to make many unexplored documents available.
26:05There are so many new technologies
26:07that allow us to handle this great mass
26:10that we have the impression
26:12that history is about to begin.
26:20The Dream
26:38The dream when I see these corridors full of documents
26:41is to think,
26:43could we transform them into an information system?
26:46Could we search in this file as we do on the Internet?
26:49Could we type, for example, the name of a Venetian
26:52and find all the documents in which that name appears
26:55regardless of which part of the file it is?
26:59This is Cardinal Mazzarino.
27:02For the peace...
27:05Between the two crowns, yes.
27:10In these 80 km of documents
27:12is a good part of the history of Europe
27:14that is still unexplored.
27:17How many documents have already led to many investigations?
27:20One or two percent?
27:22The challenge with a project like the time machine in Venice
27:25is to make it possible to do a great investigation
27:28in a system of information
27:30that is currently hidden in these documents on paper.
27:33We have to do an immense work of translation,
27:36transformation and readaptation of the data of the past.
27:44If we want to transform these kilometers of documents
27:47into an information system,
27:49we have to digitize them.
27:51This requires specific techniques
27:53since there are a large number of very old documents.
27:56We therefore have to develop
27:58a massive digitization technique
28:00that respects the documents.
28:02Then, when we have millions of images,
28:05we have to develop algorithms
28:07that allow us to read their content.
28:10We have to develop algorithms
28:12that allow us to read their content,
28:14recognize certain words.
28:18Then we have to create a graph
28:20to relate people and places
28:22that form a kind of Facebook of the past
28:25in which we can reconstruct
28:27the context of a particular person,
28:30their relationships and a part of their biography.
28:34One of the great challenges in the history of art
28:37is to do what we are doing
28:39with text and images.
28:41It has been very difficult to achieve so far
28:44because the works were still inaccessible.
28:47That is why we have developed in our laboratory
28:51a search engine called Replica.
28:54Thanks to the methods of learning
28:57of artificial intelligence,
28:59this program can recover images
29:02from visual similarities.
29:05Therefore, we have the possibility
29:08with a single click
29:10to see all the visual similarities
29:13of a sketch,
29:15of a composition,
29:17of a chiaroscuro.
29:19This wealth is priceless,
29:22but it is still to be explored.
29:25I think it is the next step
29:28for the history of art of the future.
29:35When you reconstruct the city,
29:37not only do you have to reproduce the buildings
29:40for which there are plans or images
29:42that represent the facades.
29:44You have to create hypotheses
29:46about the minor architecture
29:48for which there are certain clues,
29:50but not necessarily
29:52a visual iconographic proof.
29:55For that we need more algorithms,
29:58to build architectural grammar
30:01and generate the missing buildings
30:04according to those hypotheses.
30:07That is the only way
30:10to fill the gaps
30:13between the data
30:15and a continuous representation of the past.
30:20How will we experience
30:22this co-presence of the past?
30:25The models of the past
30:27could align directly with the present.
30:31With a simple tablet
30:33I see that it has changed.
30:35I see both worlds,
30:37one related to the other.
30:39The time machine in Venice
30:41tries to demonstrate a method.
30:44If all these methodologies
30:46could be used
30:48in other European cities,
30:50this territory of the past
30:52would gradually take shape
30:54and would add that dimension
30:56that is visually absent from the Internet.
30:59The passage of time.
31:05In the future, the past
31:07will become another territory
31:09to explore on the Internet.
31:11We will learn to experience that other dimension
31:14as long as we have files to revive,
31:16but that is not always possible.
31:24The wear and tear of time
31:26and other natural degradations
31:28are eroding the memory
31:30of a valuable part of our past.
31:33But there are more violent dangers
31:35that threaten our heritage
31:37that is at risk of being eliminated forever.
31:40We are talking, unfortunately,
31:43of the human behavior
31:45that is unacceptable.
31:47Be it any type of conflict,
31:49war, espolio,
31:51or, as recently,
31:53terrorist attacks are causing
31:57a very negative impact
31:59on our heritage.
32:01The Bamiyan Buddhas were destroyed,
32:04dynamited by religious reasons,
32:06and at the time
32:08they were two magnificent
32:10and colossal Buddha statues
32:12on the rock.
32:14Today there are only two holes left.
32:17We could try to find
32:19all the photos taken by tourists
32:21over the years
32:23and put them on the computer
32:25to try to reconstruct
32:27a 3D model
32:29from those photos.
32:33Reconstructing models in three dimensions
32:35from digital images
32:37is a strategy that is gaining followers
32:39quickly.
32:41Old places and temples
32:43can be kept in memory,
32:45but for the digital simulation
32:47to be in consonance with reality
32:49and reflect the original context,
32:51the level of precision must be impeccable.
32:53And that precision can only be obtained
32:55by extracting data in situ.
33:01The Frenchman Yves Huvelman
33:03has made the field work his vocation.
33:05He and his team are developing
33:07new tools to document
33:09the remains located in conflict areas,
33:11the last witnesses
33:13of ancient civilizations.
33:15For this, he conducts studies
33:17in the most threatened places
33:19on our planet.
33:23We think especially
33:25about future archaeologists
33:27who will only find these places
33:29through virtual data
33:31because the physical environment
33:33will be very damaged
33:35or will have disappeared.
33:39The future of archaeology
33:41is in the hands of the future archaeologists.
33:49Just after finishing
33:51my architecture studies,
33:53I went to countries like
33:55Syria, Afghanistan, Iran.
33:57I realized that
33:59the archaeological sites
34:01were disappearing
34:03at great speed in these regions.
34:05There are very few
34:07archaeological traces left.
34:09The slightest clue
34:11has a great historical importance.
34:13Here you can clearly see
34:15the steps.
34:17We have to represent
34:19this type of detail
34:21in the scanner
34:23that we make from here.
34:25I think we could provide
34:27a contextualized documentation
34:29of the place by combining
34:31two completely new technologies.
34:33The first technology
34:35is that of drones.
34:37Drones allow us
34:39to take thousands of images
34:41from a territory.
34:43The second technology
34:45is an algorithm
34:47that processes a lot of images
34:49that represent the same object
34:51to reconstruct
34:53that object in 3D.
34:55The first thing we do
34:57is a general map
34:59of the place
35:01around which
35:03the flying wing
35:05flies at an altitude
35:07of 200 meters.
35:09Then it goes down
35:11again,
35:13about 80 meters,
35:15for example,
35:17to capture more details
35:19of the areas of interest.
35:21I can't stabilize it.
35:25Then we also use
35:27what we call
35:29ground captures,
35:31using bars of different heights
35:33that allow us to complete
35:35this documentation
35:37to be able to go down
35:39to the millimeter scale
35:41or less,
35:43to the details
35:45that interest us.
35:47In fact,
35:49we could call it
35:51multiscale captures,
35:53and also architectural,
35:55to see the blocks
35:57with great precision.
35:59And we have a capture
36:01at the level of details
36:03that includes a small inscription,
36:05the mark of some tools
36:07to carve the stone,
36:09and that will allow us
36:11to make a reasonable interpretation
36:13of the construction methods
36:15or even of the epigraphy
36:17of the texts engraved
36:19on these stones.
36:23We are very excited
36:25about the future progress
36:27of these techniques.
36:29In a few years,
36:31we have witnessed
36:33the speed at which
36:35they have evolved.
36:37The world has so many
36:39archaeological sets
36:41in its heritage,
36:43and what we want
36:45is that autonomous machines
36:47can be used
36:49all over the world
36:51and that everyone
36:53can participate
36:55in this digitization,
36:57in this digitalized file
36:59of the world.
37:01With our team in Paris,
37:03we are building
37:05a collaborative platform.
37:07Everyone can put
37:09their images on this platform.
37:11We have to be aware
37:13that when someone
37:15visits an archaeological site
37:17and takes a picture,
37:19that picture has a historical value.
37:25Radical democratization
37:27of technology
37:29and access to it
37:31turns us from passive
37:33readers and data consumers
37:35to active participants.
37:43And these tools
37:45will change our connection
37:47not only in these historical places.
37:53Currently, museums
37:55have more and more visitors.
37:57New technologies,
37:59augmented reality
38:01and virtual reality
38:03are revolutionizing
38:05our relationships
38:07with the objects
38:09that are exhibited here.
38:11We are already starting
38:13to interact with them.
38:15The next level
38:17is augmented reality
38:19in the objects themselves.
38:21You can observe an object,
38:23but by digitally
38:25augmenting it,
38:27you can see it
38:29in a different way.
38:31The next level
38:33is augmented reality
38:35in the objects themselves.
38:37You can observe an object,
38:39but by digitally
38:41augmenting it,
38:43you can see it
38:45in a different way.
38:47You can section it
38:49and it looks like you're
38:51chopping it,
38:53but it's superimposed information
38:55that you experience
38:57in a different way.
38:59How will our museums
39:01be in 2050?
39:03Can we visit the Louvre
39:05or the Hermitage
39:07from anywhere in the world?
39:09It's a dream to visit
39:11a virtual museum
39:13that will allow, for example,
39:15to see all the works of art
39:17of an artist.
39:19We would have to travel
39:21around the world
39:23to see all the works
39:25of the same painter
39:27such as Leonardo da Vinci,
39:29for example.
39:31The Louvre has many of its works,
39:33but to see them all,
39:35you would have to travel
39:37to Florence, Milan,
39:39as long as there are
39:41those works of our heritage
39:43that interest us the most.
39:45You could have access
39:47to all the collections
39:49of the museums,
39:51even those that are in their reserves
39:53and cannot be seen by the public.
39:55These new types
39:57of interactive platforms
39:59that allow us to access
40:01digital reality,
40:03these technologies
40:05will allow us to access
40:07the world and experience it
40:09in a different way.
40:11Through these experiments,
40:13the Smithsonian Museum
40:15of the United States,
40:17which has the largest
40:19collections in the world,
40:21would make its 137 million objects
40:23accessible.
40:25Currently, it only exhibits 2%.
40:31The Museum of the Future
40:33will have other big surprises.
40:35Immersion technologies
40:37will make our experience
40:39educational, entertaining
40:41and unique.
40:49Experiences that may
40:51allow us to touch
40:53everything we see in museums.
41:01This is what Robert Eerdman
41:03of the Dutch Institute
41:05of Conservation, Art and Science.
41:07This American doctor
41:09had an experience that changed his life.
41:11Since then, he has put his knowledge
41:13and his talent as a programmer
41:15at the service of the Rijksmuseum
41:17in Amsterdam, so that in the future
41:19many people like him can benefit
41:21from the proximity to paintings.
41:27Introducing technologies and methods
41:29and sciences from other fields
41:31that are usually associated
41:33with cultural heritage
41:35or museums,
41:37would really help the world
41:39to advance a lot in that field.
41:55Just by pure coincidence,
41:57I was in Chicago
41:59at a baseball game.
42:01A friend of mine worked
42:03in the Department of Conservation
42:05of the Chicago Institute of Art
42:07and she kindly gave me a tour
42:09of the public area.
42:11During that tour,
42:13she let me touch one of the paintings
42:15and, for me, it was an electrifying moment.
42:23When a visitor comes to a museum,
42:25he only has the context of the museum.
42:27They may have some explanatory text
42:29or a brochure,
42:31and if they are cults,
42:33they may know something more
42:35about that particular object
42:37or have read something somewhere.
42:39The value of those individual objects
42:41in a museum and the amazing stories
42:43they have is not at all apparent.
42:45If you work in a museum,
42:47you have the opportunity
42:49to see the secret life of art,
42:51as I call it.
42:53If you are only a visitor,
42:55you have the opportunity
42:57to experience the objects
42:59in more depth
43:01and to understand them better.
43:03With the technologies
43:05that interpret scientific data
43:07and merge and condense them,
43:09we can make them directly
43:11accessible to the public,
43:13not only to the scientists.
43:19Also, the development
43:21of the museum
43:23also develops
43:25web visualization technology
43:27that will work
43:29on all browsers in the world
43:31and also on mobile phones,
43:33which will allow access
43:35to the data,
43:37enter the work
43:39and shred the layers of a painting.
43:41If we take as an example
43:43the painting of the Jewish bride,
43:45which is one of the paintings
43:47of Rembrandt
43:49that is here in the Rijksmuseum,
43:51we can then experience
43:53what it would be to fly
43:55down into the canvas
43:57and see closely
43:59each of the nuances of the work.
44:01A completely different way
44:03to observe a painting.
44:05In the future,
44:07I can easily imagine
44:09that there will be
44:11several tactile technologies
44:13that will allow us to feel,
44:15to imagine that we feel something
44:17without actually touching it.
44:19This is just the beginning,
44:21but the fact of having the Internet
44:23is supposed to have
44:25a huge democratizing force.
44:27I'm sure
44:29that this accessibility
44:31will continue to grow.
44:33If we can make the work
44:35we do accessible
44:37through the Internet
44:39in an intuitive and magical way,
44:41we will contribute
44:43to the general public
44:45being able to observe
44:47The museums are museums
44:49and they are places
44:51where people want to forget everything
44:53and want to reach the feeling
44:55of, my God,
44:57all this I'm observing is real.
44:59Therefore, the virtual museum
45:01is not a threat,
45:03it is an alternative
45:05and this is how it should be considered.
45:07New technologies
45:09will not cast a shadow on museums,
45:11on the contrary.
45:13Whether the museum is virtual or real,
45:15the question of heritage
45:17goes beyond its walls.
45:19The most important thing
45:21we have in our society
45:23is our past,
45:25what we are.
45:27The challenge for 2050
45:29is to help each of us
45:31to forge an essential link
45:33with the past we share
45:35and that it is crucial
45:37that we continue to transmit
45:39to future generations.
45:41My dream for the future
45:43is that heritage should be
45:45part of our life,
45:47that culture in general
45:49should not be considered
45:51something for the elites.
45:55Not only should we know
45:57our past,
45:59but we can learn from it
46:01to build a better future.