ABOUT THE SPEAKER
Paola Antonelli - Design curator
Paola Antonelli is on a mission to introduce -- and explain -- design to the world. With her shows at New York's Museum of Modern Art, she celebrates design's presence in every part of life.

Why you should listen

Since she stepped back from practicing architecture in order to focus on writing about design, teaching and curating gallery exhibitions, Italian native Paola Antonelli has become a force to be reckoned with in the design world. Working at the Museum of Modern Art in New York since 1994, she is senior curator of the gallery's Architecture and Design department and, as of 2012, the museum's first ever director of research and development. Antonelli has worked on shows such as "Humble Masterpieces," which celebrated traditionally unheralded design icons such as the paperclip; "Design and the Elastic Mind," considering the relationship of design and technology, and "Talk to Me ," which looked at design and the communication of people and objects.

Ever mindful that the majority of visitors to MOMA are attracted by artists such as Picasso and Matisse, Antonelli works to ensure that if they do stumble across a design-related show, they'll be both entertained and enlightened. In 2012, she led a move to acquire 14 video games for the museum's permanent collection.

More profile about the speaker
Paola Antonelli | Speaker | TED.com
TEDSalon NY2013

Paola Antonelli: Why I brought Pac-Man to MoMA

Paola Antonelli: 为什么我把«小精灵»带到现代艺术博物馆

Filmed:
1,000,810 views

当现代艺术博物馆的建筑设计部资深馆长宣布在2012年收藏了14部电子游戏,“全乱套了”。在这个范围宽广,寓教于乐,极有见地的讲话中,Paola Antonelli解释了为什么她乐于挑战关于艺术和画廊的先入为主的想法,并描述了她热切希望帮助更广泛地理解设计。
- Design curator
Paola Antonelli is on a mission to introduce -- and explain -- design to the world. With her shows at New York's Museum of Modern Art, she celebrates design's presence in every part of life. Full bio

Double-click the English transcript below to play the video.

00:12
I'm almost几乎 like a crazy evangelical福音.
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我几乎像一个疯狂的福音派信徒,
00:14
I've always known已知 that the age年龄 of design设计 is upon us,
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一直深信设计时代来临,
00:17
almost几乎 like a rapture欢天喜地.
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几乎像狂喜一般。
00:19
If the day is sunny晴朗, I think,
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如果晴天,我就会想,
00:20
"Oh, the gods have had a good design设计 day."
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“哦,众神设计日快乐。”
00:23
Or, I go to a show显示 and I see a beautiful美丽 piece by an artist艺术家,
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如果我去看展览,看到一件艺术家展示的精美作品,
00:27
particularly尤其 beautiful美丽, I say
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特别的漂亮,我就会说,
00:29
he's so good because he clearly明确地 looked看着 to design设计
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他如此优秀是因为他清楚地希望设计ˎ
00:32
to understand理解 what he needed需要 to do.
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理解他需要做什么。
00:33
So I really do believe that design设计
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因此我真确实相信,
00:36
is the highest最高 form形成 of creative创作的 expression表达.
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设计是创造性表达的最高形式。
00:39
That's why I'm talking to you today今天 about the age年龄 of design设计,
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这就是为什么今天我和你们谈论设计时代。
00:42
and the age年龄 of design设计 is the age年龄 in which哪一个 design设计
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设计时代是这样的,
00:45
is still cute可爱 furniture家具, is still posters海报,
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其设计仍然是可爱的家具ˎ海报
00:49
is still fast快速 cars汽车, what you see at MoMA纽约现代艺术博物馆 today今天.
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和快车,就是你们今天在现代艺术博物馆(MoMa)看到的东西。
00:51
But in truth真相, what I really would like to explain说明
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但事实上,我确实想要向公众,
00:55
to the public上市 and to the audiences观众 of MoMA纽约现代艺术博物馆 is that
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向现代艺术博物馆的听众解释的是
00:58
the most interesting有趣 chairs椅子 are the ones那些
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这些最有意思的椅子
01:00
that are actually其实 made制作 by a robot机器人,
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实际上是由机器人制造的。
01:03
like this beautiful美丽 chair椅子 by Dirk短剑 Vander范德 KooijKooij,
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比如说这张漂亮的椅子是Dirk Vander Kooij设计的。
01:06
where a robot机器人 deposits存款 a toothpaste-like牙膏状 slur诽谤
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机器人将回收的冰箱部件上的牙膏状污物
01:10
of recycled回收 refrigerator冰箱 parts部分,
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储存在那里,
01:12
as if he were a big candy糖果, and makes品牌 a chair椅子 out of it.
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仿佛是一粒大糖果,然后造出了一把椅子。
01:17
Or good design设计 is digital数字 fonts字体 that we use all the time
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好的设计就像我们一直使用的数字字体一样,
01:21
and that become成为 part部分 of our identity身分.
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成为我们身份的一部分。
01:23
I want people to understand理解
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我想让人们理解
01:24
that design设计 is so much more than cute可爱 chairs椅子,
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设计远远不止是可爱的椅子。
01:28
that it is first and foremost最重要的是 everything that is around us
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设计是我们生活中
01:31
in our life.
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周围首要的一切。
01:33
And it's interesting有趣 how so much of what we're talking about
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有趣的是,
01:35
tonight今晚 is not simply只是 design设计 but interaction相互作用 design设计.
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我们今晚谈论的不是简单的设计,而是交互设计。
01:39
And in fact事实, interaction相互作用 design设计 is what I've been trying
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实际上,几年来我一直在努力尝试把交互设计
01:43
to insert in the collection采集 of the Museum博物馆 of Modern现代 Art艺术
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引入到现代艺术博物馆的收藏品中。
01:45
for a few少数 years年份, starting开始 not very timidly怯生生地
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开始时并不很胆怯,
01:48
but just pointedly尖锐 with works作品, for instance,
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但是只针对作品,例如,
01:51
by Martin马丁 Wattenberg瓦滕伯格 -- the way a machine
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由Martin Wattenberg设计的一个机器人自己下棋的方式,
01:53
plays播放 chess with itself本身, that you see here,
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你这里看到的。
01:56
or Lisa丽莎 StrausfeldStrausfeld and her partners伙伴, the Sugar interface接口
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或者是Lisa Strausfeld和她的同伴设计的Sugar界面
02:00
for One Laptop笔记本电脑 Per Child儿童,
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用于儿童笔记本电脑。
02:02
Toshio敏夫 Iwai's岩井的 Tenori-OnTENORI,在 musical音乐 instruments仪器,
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Toshio Iwai设计的酷炫电子乐器,
02:06
and Philip菲利普 Worthington's沃辛顿 Shadow阴影 Monsters怪物,
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Philip Worthington设计的«Shadow Monsters»,
02:09
and John约翰 Maeda's前田的 Reactive反应 Books图书,
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John Maeda的«Reactive Books»,
02:11
and also Jonathan乔纳森 Harris哈里斯 and Sep九月 Kamvar'sKamvar的 I Want You To Want Me.
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还有Jonathan Harris和Sep Kamvar合作的«I Want You To Want Me»。
02:15
These were some of the first acquisitions收购 that really
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这些是部分最先收购的设计品,
02:18
introduced介绍 the idea理念 of interaction相互作用 design设计 to the public上市.
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它们确实把交互设计的理念带给了大众。
02:21
But more recently最近, I've been trying really to go even deeper更深
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但最近,我一直在尝试真正
02:26
into interaction相互作用 design设计 with examples例子
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用实例更加深入交互设计,
02:28
that are emotionally感情上 really suggestive提示
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这些实例在感情上真的暗示,
02:30
and that really explain说明 interaction相互作用 design设计 at a level水平
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在一定的水平上真正解释了交互设计。
02:33
that is almost几乎 undeniable不可否认.
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这几乎是无可否认的。
02:35
The Wind Map地图, by Wattenberg瓦滕伯格 and Fernanda费尔南达 Viégas加油站,
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Wattenberg和Fernanda Viégas制作的«实时风地图»,
02:38
I don't know if you've ever seen看到 it -- it's really fantastic奇妙.
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我不知道你们是否曾经见过,确实非常的奇妙。
02:41
It looks容貌 at the territory领土 of the United联合的 States状态
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这地图是根据美国版图做的。
02:43
as if it were a wheat小麦 field领域 that is procured采购 by the winds
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仿佛它又像被风吹拂的小麦田。
02:49
and that is really giving you a pictorial画报 image图片
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不过它确实展现给你一幅图案形象,
02:52
of what's going on with the winds in the United联合的 States状态.
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关于美国的风正在吹向哪里。
02:55
But also, more recently最近, we started开始 acquiring收购 video视频 games游戏,
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另外近来我们开始收购一些电子游戏,
03:00
and that's where all hell地狱 broke打破 loose疏松
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至此全乱套了,
03:03
in a really interesting有趣 way. (Laughter笑声)
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以一种非常有趣的方式乱了。(笑声)
03:05
There are still people that believe that there's a high and there's a low.
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仍然有人确信有高雅有低俗,
03:07
And that's really what I find so intriguing奇妙
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这真的是令我感到有趣的地方,
03:10
about the reactions反应 that we've我们已经 had to the anointment涂油
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对于在现代艺术博物馆收藏品中
03:15
of video视频 games游戏 in the MoMA纽约现代艺术博物馆 collection采集.
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收购的电子游戏的反应。
03:17
We've我们已经 -- No, first of all, New York纽约 Magazine杂志 always gets得到 it.
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我们,不,首先,纽约杂志总是最先得到。
03:20
I love them. So we are in the right quadrant象限.
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我爱他们。所以我们是在右边的象限。
03:23
We are in the Highbrow知识分子 -- that's daring大胆, that's courageous勇敢 --
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我们是知识分子,有胆量,有勇气,
03:27
and Brilliant辉煌, which哪一个 is great.
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并且有智慧,这相当的棒。
03:28
Timidly怯生生地, we've我们已经 been higher更高 on the diagonal对角线 in other situations情况,
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缺乏自信地说,我们在其它情况下的对角线上的位置也更高。
03:32
but it's okay. It's good. It's good. It's good. (Laughter笑声)
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但是没关系。这很好,很好,很好。(笑声)
03:35
But here comes the art艺术 critic评论家. Oh, that was fantastic奇妙.
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但是接着出现了艺术评论家。噢,那是奇妙的。
03:38
So the first was Jonathan乔纳森 Jones琼斯 from The Guardian监护人.
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首先是来自«卫报»的Jonathan Jones。
03:40
"Sorry, MoMA纽约现代艺术博物馆, video视频 games游戏 are not art艺术."
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“抱歉,现代艺术博物馆,电子游戏不是艺术。”
03:43
Did I ever say they were art艺术? I was talking about interaction相互作用 design设计. Excuse借口 me.
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对不起,我说过它们是艺术吗?我在谈论交互设计。
03:47
"Exhibiting参展 Pac-Man吃豆人 and Tetris俄罗斯方块 alongside并肩 Picasso毕加索 and Van面包车 Gogh梵高" --
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“在Picasso和Van Gogh的作品旁边展示Pac-Man和俄罗斯方块游戏”
03:51
They're two floors地板 away. (Laughter笑声) —
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他们相隔有两层楼远。(笑声)
03:54
"will mean game游戏 over for any real真实 understanding理解 of art艺术."
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“将意味着游戏结束就会对艺术有任何真正理解。”
03:59
I'm bringing使 in the end结束 of the world世界. You know?
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我将带来世界的尽头,你们知道吗?
04:03
We were talking about the rapture欢天喜地? It's coming未来.
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我们正在谈论狂喜是吧?它就要来了。
04:05
And Jonathan乔纳森 Jones琼斯 is making制造 it happen发生.
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Jonathan Jones正在使其发生。
04:07
So the same相同 Guardian监护人 rebuts反驳,
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同样的«卫报»反驳说,
04:10
"Are video视频 games游戏 art艺术: the debate辩论 that shouldn't不能 be.
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“电子游戏是艺术吗?不该有的辩论。”
04:13
Last week, Guardian监护人 art艺术 critic评论家 blah胡说 blah胡说 suggested建议
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上周,«卫报»艺术评论家的瞎说表明
04:16
that games游戏 cannot不能 qualify修饰 as art艺术. But is he right?
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游戏不可能有艺术资格。但他对吗?
04:19
And does it matter?" Thank you. Does it matter?
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这重要吗?谢谢。重要吗?
04:21
You know, it's like once一旦 again there's this whole整个 problem问题
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你们知道,就像再次有这样的设计的整体问题,
04:24
of design设计 being存在 often经常 misunderstood误解 for art艺术,
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即设计经常会被误解为艺术,
04:27
or the idea理念 that is so diffuse扩散 that designers设计师 want to
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或者普遍流传着这种观点,
04:31
aspire立志 to, would like to be called, artists艺术家.
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设计师想要ˎ渴望ˎ喜欢被人叫做艺术家。
04:34
No. Designers设计师 aspire立志 to be really great designers设计师.
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不。设计师渴望成为真正伟大的设计师。
04:38
Thank you very much. And that's more than enough足够.
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非常感谢。这就足够了。
04:39
So my knight骑士 in shining闪亮的 armor盔甲, John约翰 Maeda前田,
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因此我的白马王子,John Maeda,
04:43
without any prompt提示, came来了 out with this big declaration宣言
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没有任何的提示,发出了这个大宣言,
04:46
on why video视频 games游戏 belong属于 in the MoMA纽约现代艺术博物馆.
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为什么电子游戏属于现代艺术博物馆。
04:49
And that was fantastic奇妙. And I thought that was it.
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这是极了不起的。至少我是这么认为的。
04:51
But then there was another另一个 wonderfully奇妙 pretentious自命不凡 article文章
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不过又有另一篇极其自命不凡的文章,
04:55
that came来了 out in The New Republic共和国, so pretentious自命不凡,
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刊登在«新共和杂志»上,真的非常自命不凡。
04:58
by LielLiel Leibovitz莱博维茨, and it said, "MoMA纽约现代艺术博物馆 has mistaken错误 video视频 games游戏 for art艺术." Again.
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是Liel Leibovitz写的,文章说,“现代艺术博物馆居然把电子游戏误以为是艺术”,再一次出现否定的声音。
05:02
"The museum博物馆 is putting Pac-Man吃豆人 alongside并肩 Picasso毕加索." Again.
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“博物馆正在把«小精灵»置于Picasso旁边”,又一次如是说。
05:05
"That misses错过 the point."
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“这样忽略了重点。”
05:06
Excuse借口 me. You're missing失踪 the point.
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抱歉,你们正在忽略重点内容。
05:08
And here, look, the above以上 question is put bluntly直言:
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这儿,看,上述问题被直截了当地提出来了:
05:12
"Are video视频 games游戏 art艺术? No. Video视频 games游戏 aren't art艺术
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“电子游戏是艺术吗?不,电子游戏不是艺术,
05:15
because they are quite相当 thoroughly something else其他: code."
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因为它们是相当彻底的别的东西:代码。”
05:20
Oh, so Picasso毕加索 is not art艺术 because it's oil paint涂料. Right?
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噢,所以Picasso不是艺术因为它是油漆,对吗?
05:24
So it's so fantastic奇妙 to see
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因此如此美妙地看到
05:26
how these feathers羽毛 that were ruffled发威,
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这些羽毛是如何被激惹起来,
05:29
and these reactions反应, were so vehement慷慨.
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这些反应是多么的激烈。
05:31
And you know what?
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你知道吗?
05:32
The International国际 Cat Video视频 Film电影 Festival
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国际猫的视频电影节
05:35
didn't have that much of a reaction反应. (Laughter笑声)
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并没有引起如此多的反应。(笑声)
05:37
I think this was truly fantastic奇妙.
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我认为这是十分棒的。
05:39
We were talking about dancing跳舞 ponies小马, but I was really jealous
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我们谈论跳舞的小马,
05:42
of the Walker助步车 Arts艺术 Center中央 for putting up this festival,
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但我真的很嫉妒沃克艺术中心支持设置这个节日,
05:45
because it's very, very wonderful精彩.
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因为它真的非常非常精彩。
05:47
And there's this Flaubert福楼拜 quote引用 that I love:
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引用一句我所钟爱的Flaubert的话,
05:50
"I have always tried试着 to live生活 in an ivory象牙 tower,
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“我一直尝试着住在一座象牙塔里,
05:52
but a tide浪潮 of shit拉屎 is beating跳动 at its walls墙壁,
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但是一股胡说八道的言论在敲打它的墙壁,
05:55
threatening危险的 to undermine破坏 it."
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威胁着要破坏它。”
05:57
I consider考虑 myself the tide浪潮 of shit拉屎.
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我认为我自己就是那一股胡说八道的言论。
05:59
(Laughter笑声) (Applause掌声)
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(笑声)(掌声)
06:04
You know, we have to go through通过 that.
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你们知道,我们必须穿越它。
06:06
Even in the 1930s, my colleagues同事
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即使在十九世纪30年代,我的同行们
06:09
that were trying to put together一起 an abstract抽象 art艺术 show显示
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准备举办一个抽象艺术展,把这些类型的作品都汇集起来,
06:11
had all of these works作品 stopped停止 by the customs海关 officers长官
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但是被海关工作人员阻止了,
06:14
that decided决定 they were not art艺术.
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这些人决定着这些作品不是艺术。
06:16
So it's happened发生 before, and it will happen发生 in the future未来,
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这样的事情在以前发生过,在将来还会发生,
06:19
but right now I can tell you that I am so, so proud骄傲
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但是现在,我能告诉你们我是如此地骄傲,
06:23
to be able能够 to call Pac-Man吃豆人 part部分 of the MoMA纽约现代艺术博物馆 collection采集.
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能把«小精灵»称为现代艺术博物馆藏品的一部分。
06:27
And the same相同 with, for instance, Tetris俄罗斯方块, original原版的 version, the Soviet苏联 one.
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同样地,例如,«俄罗斯方块»,苏联的原始版本
06:33
And you know, the amount of work --
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你们知道,这个工作量…
06:35
yeah, Alexey阿列克谢 Pajitnov帕基特诺夫 was working加工 for the Soviet苏联 government政府
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好吧,Alexey Pajitnov那时正为苏联政府工作,
06:39
and that's how he developed发达 Tetris俄罗斯方块,
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这也是他如何开发了«俄罗斯方块»。
06:41
and Alexey阿列克谢 himself他自己 reconstructed重建 the whole整个 game游戏
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Alexey自己又重建了整个游戏,
06:45
and even gave us a simulation模拟 of the cathode阴极 ray射线 tube
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甚至给了我们一个模拟的阴极射线管,
06:48
that makes品牌 it look slightly bombed轰炸.
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使它看上去有点像遭轰炸的。
06:52
And it's fantastic奇妙.
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这是多么令人惊叹啊。
06:53
So behind背后 these acquisitions收购 is an enormous巨大 amount of work,
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在这些收购品的背后是无比巨大的工作量,
06:57
because we're still the Museum博物馆 of Modern现代 Art艺术,
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因为我们仍然是现代艺术博物馆,
06:58
so even when we tackle滑车 popular流行 culture文化,
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所以纵使我们正视通俗文化,
07:00
we tackle滑车 it as a form形成 of interaction相互作用 design设计
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我们视它为交互设计的一种形式,
07:03
and as something that has to go into the collection采集 at MoMA纽约现代艺术博物馆,
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现代艺术博物馆必须收藏的藏品。
07:05
therefore因此, has to be researched研究.
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因此,它必须被研究。
07:07
So to get to choosing选择 Eric埃里克 Chahi'sChahi的
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让我们从众多电子游戏中,
07:10
wonderful精彩 Another另一个 World世界, amongst其中包括 others其他,
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选择Eric Chahi的美好的«另一个世界»来看,
07:13
we put together一起 a panel面板 of experts专家,
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我们组织了一个专家小组,
07:14
and we worked工作 on this acquisition获得,
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为这个收购而努力,
07:16
and it's mostly大多 myself and Kate凯特 Carmody卡莫迪 and Paul保罗 Galloway加洛韦.
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主要是我自己、Kate Carmody和Paul Galloway
07:19
We worked工作 on it for a year and a half.
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为此我们工作了一年半,
07:22
So many许多 people helped帮助 us — designers设计师 of games游戏,
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有很多人帮助了我们,游戏的设计师们,
07:25
you might威力 know Jamin贾敏 Warren养兔场
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你们可能知道Jamin Warren,
07:27
and his collaborators合作者 at Kill Screen屏幕 magazine杂志,
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和他的«Kill Screen»杂志的合作者们。
07:29
and you know, Kevin凯文 Slavin斯莱文. You name名称 it.
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你知道,还有Kevin Slavin,只要你能想到的,
07:31
We bugged窃听 everybody每个人, because we knew知道 that we were ignorant愚昧.
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我们烦扰了每一个人,因为我们了解自己是多么无知。
07:34
We were not real真实 gamers游戏玩家 enough足够,
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我们还不足以是真正的游戏玩家,
07:36
so we had to really talk to them.
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所以我们必须真正与他们交谈。
07:38
And so we decided决定, of course课程, to have Sim City 2000,
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所以我们决定拥有«模拟城市2000»,
07:42
not the other Sim City, that one in particular特定,
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当然不是其它版本的«模拟城市»,尤其是那一版,
07:45
so the criteria标准 that we developed发达 along沿 the way
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在我们发展的道路上建立起来的标准十分强大。
07:48
were really strong强大, and were not only criteria标准 of selection选择.
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而且不单是选拔标准,
07:51
They were also criteria标准 of exhibition展览 and of preservation保存.
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还包括展示和保存的标准。
07:55
That's what makes品牌 this acquisition获得 more than a little game游戏
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这也使得这个收购超越了一个小小的游戏,
07:59
or a little joke玩笑. It's truly a way to think of how to preserve保留
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或开个小玩笑,这真的是一种思路考虑如何保存
08:03
and show显示 artifacts文物 that will more and more
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和展示文物,
08:05
become成为 part部分 of our lives生活 in the future未来.
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这些东西将越来越成为我们未来生活的一部分。
08:07
We live生活 today今天, as you know very well, not in the digital数字,
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我们生活在当下,正如你很清楚的那样,不是在数字中,
08:10
not in the physical物理, but in the kind of minestrone意大利蔬菜汤
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也不是在物质中,而是在那种通心粉里。
08:14
that our mind心神 makes品牌 of the two.
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我们的思想中融合了这两种。
08:16
And that's really where interaction相互作用 lies,
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这确实是交互作用之所在,
08:19
and that's the importance重要性 of interaction相互作用.
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是交互作用的重要性。
08:21
And in order订购 to explain说明 interaction相互作用, we need to really
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为了解释交互作用,
08:24
bring带来 people in and make them realize实现
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我们确实需要把人们带进,
08:27
how interaction相互作用 is part部分 of their lives生活.
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并且让他们意识到交互作用如何组成了他们生活中的一部分。
08:29
So when I talk about it, I don't talk only about video视频 games游戏,
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当我谈论它的时候,我不会只说电子游戏,
08:31
which哪一个 are in a way the purest最纯净的 form形成 of interaction相互作用,
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某种程度上它们是交互作用最纯粹的形式,
08:34
unadulterated纯正 by any kind of function功能 or finality终局.
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不掺杂某种功能或结果。
08:37
I also talk about the MetroCard捷运卡 vending自动售货机 machine,
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我还会讲捷运卡自动售货机,
08:40
which哪一个 I consider考虑 a masterpiece杰作 of interaction相互作用.
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我认为它是交互作用的杰作。
08:43
I mean, that interface接口 is beautiful美丽.
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我的意思是,它的界面是很漂亮的。
08:45
It looks容貌 like a burly结实 MTAMTA guy coming未来 out of the tunnel隧道.
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它看上去像一个魁梧的地铁男走出隧道。
08:49
You know, with your mitt手套 you can actually其实 paw爪子
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你们知道,带着手套你依然可以笨拙去拿捷运卡。
08:52
the MetroCard捷运卡, and I talk about how bad
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我想说
08:55
ATM自动取款机 machines usually平时 are.
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自动柜员机通常是多么的差劲。
08:58
So I let people understand理解 that it's up to them
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所以我想让人们明白,
09:01
to know how to judge法官 interaction相互作用
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由他们自己决定该如何评判交互作用,
09:03
so as to know when it's good or when it's bad.
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以便知道何时好何时坏。
09:05
So when I show显示 The Sims模拟人生,
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当我展出«模拟人生»时,
09:07
I try to make people really feel what it meant意味着
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我努力想让人们真正地感受到,
09:11
to have an interaction相互作用 with The Sims模拟人生,
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与«模拟人生»交互到底意味着什么,
09:13
not only the fun开玩笑 but also the responsibility责任
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除了乐趣还有责任,
09:15
that came来了 with the Tamagotchi宠物蛋.
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这也是«电子鸡»所带给我们的。
09:17
You know, video视频 games游戏 can be truly deep
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你们知道,电子游戏可以非常地深入,
09:19
even when they're completely全然 mindless没头脑.
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甚至当它们完全盲目时。
09:20
I'm sure that all of you know Katamari块魂 Damacy.
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我确信在座的各位都知道«块魂»,
09:23
It's about rolling压延 a ball and picking选择 up as many许多 objects对象 as you can
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它是一种在有限的时间里滚动一个球,
09:27
in a finite有限 amount of time
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并抓住尽量多的物品的游戏,
09:28
and hopefully希望 you'll你会 be able能够 to make it into a planet行星.
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希望你将能使它成为一个星球。
09:31
I've never made制作 it into a planet行星, but that's it.
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我从没使它成为一个星球,但仅此而已。
09:33
Or, you know, Vib-RibbonVIB-丝带 was not distributed分散式 here in the United联合的 States状态.
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你们知道,«线条兔»并没有在美国发行,
09:36
It was a PlayStation的PlayStation game游戏, but mostly大多 for Japan日本.
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它是一个PS游戏,但主要是在日本。
09:38
And it was one of the first video视频 games游戏
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它是最早的电子游戏之一,
09:40
in which哪一个 you could choose选择 your own拥有 music音乐.
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游戏里你可以选用自己的音乐,
09:42
So you would put into the PlayStation的PlayStation,
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你可以在PS机里
09:44
you would put your own拥有 CD光盘,
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放你自己的CD,
09:46
and then the game游戏 would change更改 alongside并肩 your music音乐. So really fantastic奇妙.
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然后游戏就会随着你的音乐而改变。所以真是奇妙。
09:51
Not to mention提到 Eve前夕 Online线上.
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更不用说«星战前夜»了。
09:52
Eve前夕 Online线上 is an artificial人造 universe宇宙, if you wish希望,
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如果你想的话,«星战前夜»是一个人造宇宙,
09:55
but one of the diplomats外交官 that was killed杀害 in Benghazi班加西,
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一位外交官在Benghazi被害,
09:58
not Ambassador大使 Stevens史蒂文斯, but one of his collaborators合作者,
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不是Ambassador Stevens,而是他的合作者之一,
10:00
was a really big shot射击 in Eve前夕 Online线上,
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在«星战前夜»里真是个大人物。
10:02
so here you have a diplomat外交官 in the real真实 world世界
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所以这里在现实世界中你有一个外交官,
10:05
that spends his time in Eve前夕 Online线上
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他把自己的时间都花在玩«星战前夜»这个游戏上,
10:07
to kind of test测试, maybe, all of his ideas思路 about diplomacy外交
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可能有点考验他所有的想法关于外交ˎ
10:11
and about universe-building宇宙建设, and to the point that
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宇宙建设,到如此地步,
10:14
the first announcement公告 of the bombing轰炸
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第一次宣布轰炸
10:16
was actually其实 given特定 on Eve前夕 Online线上,
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实际上是在«星战前夜»发出的。
10:19
and after his death死亡, several一些 parts部分 of the universe宇宙
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在他死后,
10:21
were named命名 after him.
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宇宙的几部分将以他的名字命名。
10:23
And I was just recently最近 at the Eve前夕 Online线上 fan风扇 festival
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我最近去了Reykjavík参加了«星战前夜»迷们的聚会,
10:27
in Reykjav雷克雅未克ík that was quite相当 amazing惊人.
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相当的令人惊叹。
10:29
I mean, we're talking about an experience经验
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我指,我们谈起某一次体验,
10:31
that of course课程 can seem似乎 weird奇怪的 to many许多,
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当然在许多人看来可能会是怪异的,
10:34
but that is very educational教育性.
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但它是极有教育意义的。
10:36
Of course课程, there are games游戏 that are even more educational教育性.
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当然,有更加有教育意义的游戏。
10:39
Dwarf矮人 Fortress堡垒 is like the holy grail大盘
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«矮人要塞»就像这种
10:41
of this kind of massive大规模的 multiplayer多人 online线上 game游戏,
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大型多人在线游戏的圣杯。
10:44
and in fact事实 the two Adams亚当斯 brothers兄弟 were in Reykjav雷克雅未克ík,
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事实上,Adams俩兄弟也在Reykjavík,
10:46
and they were greeted欢迎
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迎接他们的是
10:49
by a standing常设 ovation欢呼 by all the Eve前夕 Online线上 fans球迷.
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全场«星战前夜»迷们的起立鼓掌。
10:52
It was amazing惊人 to see. And it's a beautiful美丽 game游戏.
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看上去相当的神奇,其本身就是一个漂亮的游戏。
10:55
So you start开始 seeing眼看 here that
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你可以从这儿看起,
10:57
the aesthetics美学 that are so important重要
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对于像现代艺术博物馆这样的博物馆藏品来说,
10:59
to a museum博物馆 collection采集 like MoMA's现代艺术博物馆
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美学是十分重要的。
11:01
are kept不停 alive also by the selection选择 of these games游戏.
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选择这些游戏使美学依然有其影响。
11:05
And you know, Valve -- you know, Portal门户 --
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你们知道,Valve开发的«传送门»,
11:07
is an example of a video视频 game游戏 in which哪一个
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是电子游戏的一个例子。
11:09
you have a certain某些 type类型 of violence暴力
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在游戏里你有某种暴力行为,
11:11
which哪一个 also leads引线 me to talk about
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这也导致我谈谈
11:13
one of the biggest最大 issues问题 that we had to discuss讨论
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我们一定要讨论的其中一个最大的问题,
11:16
when we acquired后天 the video视频 games游戏, what to do with violence暴力.
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当我们收购电子游戏时,该如何对待暴力呢?
11:18
Right? We had to make decisions决定.
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是吧?我们必须做出一个决定。
11:20
At MoMA纽约现代艺术博物馆, interestingly有趣, there's a lot of violence暴力
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有趣的是,在现代艺术博物馆,
11:24
depicted描绘 in the art艺术 part部分 of the collection采集,
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艺术部分的藏品描绘了许多暴力。
11:27
but when I came来了 to MoMA纽约现代艺术博物馆 19 years年份 ago, and as an Italian意大利,
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但是当我19年前来到现代艺术博物馆的时候,作为一个意大利人,
11:30
I said, "You know what, we need a Beretta贝雷塔."
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我说,“你知道,我们需要一个枪支制造商。”
11:31
And I was told, "No. No guns枪炮 in the design设计 collection采集."
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有人对我说,“不,设计收藏中没有枪支。”
11:35
And I was like, "Why?"
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我就问,“为什么?”
11:35
Interestingly有趣的是, I learned学到了 that it's considered考虑
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有趣的是,我才知道需要考虑
11:39
that in design设计 and in the design设计 collection采集,
247
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在设计和设计收藏品中,
11:41
what you see is what you get.
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你看到的就是你得到的。
11:42
So when you see a gun, it's an instrument仪器 for killing谋杀 in the design设计 collection采集.
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当你看到一把枪的时候,它是一个设计收藏品中的杀人工具。
11:46
If it's in the art艺术 collection采集,
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如果它在艺术收集品中,
11:47
it might威力 be a critique批判 of the killing谋杀 instrument仪器.
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它可能是批判杀人工具。
11:51
So it's very interesting有趣.
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因此这是非常有趣的。
11:53
But we are acquiring收购 our critical危急 dimension尺寸 also in design设计,
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但是我们也从设计中得到批判性的视角,
11:56
so maybe one day we'll be able能够 to acquire获得 also the guns枪炮.
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因此可能有一天,我们也将会收购手枪。
11:58
But here, in this particular特定 case案件, we decided决定,
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但是这里,在此个别情况下,我们
12:01
you know, with Kate凯特 and Paul保罗,
256
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和Kate 与Paul决定,
12:03
that we would have no gratuitous免费的 violence暴力.
257
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我们将摒弃无端的暴力。
12:05
So we have Portal门户 because you shoot射击 walls墙壁
258
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所以我们收藏了«传送门»,因为你们向墙壁射击
12:08
in order订购 to create创建 new spaces空间.
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是为了创造新的空间。
12:09
We have Street Fighter战斗机 IIII, because martial arts艺术 are good.
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我们收藏了«街头霸王 II»,因为武术是好的。
12:12
(Laughter笑声)
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(笑声)
12:14
But we don't have GTAGTA because,
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但我们没有收藏«侠盗猎车手»,因为,
12:18
maybe it's my own拥有 reflection反射,
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可能是我自己的反思,
12:19
I've never been able能够 to do anything but crashing轰然 cars汽车
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我从不会做任何事情除了撞毁汽车,
12:22
and shooting射击 prostitutes妓女 and pimps皮条客.
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枪击妓女及皮条客们。
12:24
So it was not very constructive建设性. (Laughter笑声)
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所以它并不是非常有建设性的。(笑声)
12:27
So, I'm making制造 fun开玩笑 of it, but we discussed讨论 this
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好吧,我在嘲笑它,但是我们讨论这件事
12:31
for so many许多 days. You have no idea理念.
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有许多天了。你一点主意也没有。
12:34
And to this day, I am ambivalent矛盾,
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至今我仍然在矛盾着。
12:37
but when you have instead代替 games游戏 like Flow, there's no doubt怀疑.
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但是当你有替代的游戏像«浮游世界»,当然毫无疑问。
12:40
It's like, it's about serenity宁静 and it's about sublime升华.
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它有点像是关于宁静和崇高的。
12:43
It's about experiencing经历 what it means手段 to be a sea creature生物.
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它是关于体验变成海洋生物意味着什么。
12:48
Then we have a few少数 also side-scrollers侧滚动条 -- classical古典 ones那些.
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我们也有少量像«横向卷轴»等的经典游戏。
12:52
So it's quite相当 a hefty沉重 collection采集.
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这的确是一个巨大的收藏。
12:53
And right now, we started开始 with the first 14,
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现在,让我们从最初的14个开始,
12:56
but we have several一些 that are coming未来 up,
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我们还有数个即将收购的游戏,
12:57
and the reason原因 why we haven't没有 acquired后天 them yet然而
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为什么我们还没有收购它们呢?
12:59
is because you don't acquire获得 just the game游戏.
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因为你不会只收购游戏,
13:02
You acquire获得 the relationship关系 with the company公司.
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你还收购与公司之间的关系。
13:04
What we want, what we aspire立志 to, is the code.
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我们想要,渴望得到的是代码。
13:07
It's very hard to get, of course课程.
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当然,这是很难得到的。
13:08
But that's what would enable启用 us to preserve保留
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不过这也使我们能够
13:10
the video视频 games游戏 for a really long time,
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>在一段很长的时间里保存游戏。
13:12
and that's what museums博物馆 do.
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这也是博物馆所做的。
13:14
They also preserve保留 artifacts文物 for posterity后人.
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当然他们也为后人保存文物。
13:16
In absence缺席 of the code, because, you know,
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因为,你们知道,如果没有代码,
13:19
video视频 game游戏 companies公司 are not very forthcoming即将到来 in some cases,
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电子游戏公司在某些情况下不是很愿意,
13:23
in absence缺席 of that, we acquire获得 the relationship关系 with the company公司.
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在没有代码的情况下,我们收购与公司的关系。
13:26
We're going to stay with them forever永远.
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我们将永远和它们在一起,
13:27
They're not going to get rid摆脱 of us.
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他们不会摆脱我们。
13:29
And one day, we'll get that code. (Laughter笑声)
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总有一天,我们会得到那个代码。(笑声)
13:32
But I want to explain说明 to you the criteria标准 that we chose选择
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但是我想向你们解释我们选择交互设计的准则,
13:35
for interaction相互作用 design设计. Aesthetics美学 are really important重要.
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美学是非常重要的。
13:38
And I'm showing展示 you Core核心 War战争 here,
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在这儿我想向你们展示«磁芯大战»,
13:40
which哪一个 is an early game游戏 that takes advantage优点 aesthetically美学
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它是一种早期的游戏,
13:44
of the limitations限制 of the processor处理器.
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从美学上利用处理器的局限性。
13:45
So the kind of interferences干扰 that you see here
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你在这里看到的这种干扰,
13:49
that look like beautiful美丽 barriers障碍 in the game游戏
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看起来像游戏中的美丽屏障,
13:51
are actually其实 a consequence后果 of the processor's处理器 limitedness有限性,
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事实上是处理器局限性的后果,
13:56
which哪一个 is fantastic奇妙. So aesthetics美学 is always important重要.
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真是很奇妙。所以美学始终是非常重要的。
13:59
And so is space空间, the spatial空间的 aspect方面 of games游戏.
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游戏的空间方面也是如此。
14:03
You know, I feel that the best最好 video视频 games游戏
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我觉得最好的电子游戏是那些
14:05
are the ones那些 that have really savvy精明 architects建筑师
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在幕后由真正资深的设计师制作的。
14:08
that are behind背后 them, and if they're not architects建筑师,
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如果他们不是受过良好训练的架构师,
14:11
bona博纳 fide国际棋联 trained熟练 in architecture建筑, they have that feeling感觉.
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他们就不会有这种感觉。
14:14
But the spatial空间的 evolution演化 in video视频 games游戏 is extremely非常 important重要.
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但空间演变在电子游戏中是极其重要的。
14:18
Time. The way we experience经验 time in video视频 games游戏,
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时间,我们在电子游戏中度过时间的方式,
14:21
as in other forms形式 of interaction相互作用 design设计,
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像在其它形式的交互设计中一样,
14:23
is really quite相当 amazing惊人.
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确实是令人惊叹的。
14:25
It can be real真实 time or it can be the time within the game游戏,
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它可以是真实的时间,也可以是游戏中的时间。
14:28
as is in Animal动物 Crossing路口, where seasons季节
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例如在«动物之森»中,
14:30
follow跟随 each other at their own拥有 pace步伐.
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季节以各自的节奏更替。
14:33
So time, space空间, aesthetics美学,
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所以时间ˎ空间ˎ美学,
14:36
and then, most important重要, behavior行为.
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然后,最重要的行为。
14:38
The real真实 core核心 issue问题 of interaction相互作用 design设计 is behavior行为.
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交互设计的真正的核心问题是行为。
14:42
Designers设计师 that deal合同 with interaction相互作用 design设计 behaviors行为
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设计师们处理交互设计行为。
14:46
that go to influence影响 the rest休息 of our lives生活.
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这些行为去影响我们生活的其它部分。
14:48
They're not just limited有限 to our interaction相互作用 with the screen屏幕.
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它们并不局限于我们与屏幕的互动。
14:51
In this case案件, I'm showing展示 you Marble大理石 Madness疯狂,
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在这个例子中,我将给你们展示«疯狂石头»。
14:53
which哪一个 is a beautiful美丽 game游戏
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这是一个美丽的游戏。
14:54
in which哪一个 the controller调节器 is a big sphere领域 that vibrates振动 with you,
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控制者是一个大球体和你一起颤动,
14:57
so you have a sphere领域 that's moving移动 in this landscape景观,
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所以在这种风景下你有一个运动的球体。
15:00
and the sphere领域, the controller调节器 itself本身, gives you a sense of the movement运动.
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这个球体,控制者本身,给了你运动的感觉。
15:04
In a way, you can see how video视频 games游戏
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某种程度上,你可以看到电子游戏
15:06
are the purest最纯净的 aspect方面 of interaction相互作用 design设计
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怎样是最纯净的交互设计方面,
15:09
and are very useful有用 to explain说明 what interaction相互作用 is.
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以及在解释交互设计是什么时是如此的有用。
15:14
We don't want to show显示 the video视频 games游戏
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我们不想使用一些设备来展示电子游戏,
15:16
with the paraphernalia用具. No arcade拱廊 nostalgia怀旧之情.
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没有怀旧街机游戏。
15:19
If anything, we want to show显示 the code,
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如果可以的话,我们想展示代码。
15:21
and here you see Ben Fry's弗莱的 distellamapdistellamap of Pac-Man吃豆人,
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这里你看到Ben Fry的«小精灵»游戏的
15:24
of the Pac-Man吃豆人 code.
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操作代码与图形的混合。
15:25
So the way we acquired后天 the games游戏 is very interesting有趣
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我们收购游戏的方式是十分有趣的,
15:29
and very unorthodox非正统的. You see them here
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也是极不寻常的。你看在这里,
15:32
displayed显示 alongside并肩 other examples例子 of design设计,
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它们陈列在其它设计样品的旁边,
15:36
furniture家具 and other parts部分,
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家具和其他的部分,
15:37
but there's no paraphernalia用具, no nostalagianostalagia,
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但是这儿没有游戏设备,没有怀旧街机,
15:40
only the screen屏幕 and a little shelf with the controllers控制器.
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只有屏幕和带控制器的小架子。
15:43
The controllers控制器 are, of course课程, part部分 of the experience经验,
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当然,控制器是这种体验的一部分,
15:45
so you cannot不能 do away with it.
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因而你不可以没有它。
15:48
But interestingly有趣, this choice选择 was not condemned谴责
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有趣的是,这个选择并没有被游戏者们
15:52
too vehemently严词 by gamers游戏玩家.
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太过强烈地谴责。
15:54
I was afraid害怕 that they would kill us,
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我以前曾担心他们会杀了我们,
15:55
and instead代替 they understood了解, especially特别
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相反,他们理解了我们,
15:57
when I told them that I was trying to apply应用 the same相同 stratagem计策
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特别是当我告诉他们我正尝试
16:00
that Philip菲利普 Johnson约翰逊 applied应用的 in 1934
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应用Philip Johnson在1934年使用的相同的攻略。
16:03
when he wanted to make people understand理解
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他当时想让人们理解设计的重要性,
16:05
the importance重要性 of design设计, and he took propeller螺旋桨 blades叶片
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他采用了螺旋桨推进器,
16:07
and pieces of machinery机械 and
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一些机器的零件,
16:10
in the MoMA纽约现代艺术博物馆 galleries画廊 he put them on white白色 pedestals基座
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他把它们放在现代艺术博物馆走廊里的白色底座上,
16:13
against反对 white白色 walls墙壁, as if they were Brancusi布朗库西 sculptures雕塑.
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紧靠着白色的墙壁,就好像它们是Brancusi的雕塑。
16:16
He created创建 this strange奇怪 distance距离, this shock休克,
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他创造了这个怪异的间隔,这种冲击,
16:20
that made制作 people realize实现 how gorgeous华丽 formally正式地,
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使人们认识到是这些设计零件是
16:23
and also important重要 functionally功能, design设计 pieces were.
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多么华丽而又庄重并且有着重要的功能。
16:27
I would like to do the same相同 with video视频 games游戏.
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我也想这样来介绍电子游戏。
16:29
By getting得到 rid摆脱 of the sticky carpets地毯 and the cigarette香烟 butts烟头
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摆脱了黏地毯和烟蒂
16:32
and everything else其他 that we might威力 remember记得 from our childhood童年,
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以及任何可能回忆起我们童年的东西。
16:35
I want people to understand理解
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我想让人们明白
16:40
that those are important重要 forms形式 of design设计.
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这些是设计的重要形式。
16:42
And in a way, the video视频 games游戏, the fonts字体 and everything else其他
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某种程度上,电子游戏、字体以及其它任何东西,
16:45
lead us to make people understand理解
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都引导我们使人们理解
16:47
a wider更宽的 meaning含义 for design设计.
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设计的更广泛的含义。
16:50
One of my dream梦想 acquisitions收购,
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我梦想的收购品之一,
16:52
which哪一个 has been on hold保持 for a few少数 years年份
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已经搁置了好几年,
16:54
but now will come back on the front面前 burner刻录机,
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不过现在将要回到首要位置的,
16:57
is a 747.
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是一架747。
16:58
I would like to acquire获得 it, but without owning拥有 it.
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我想要收购它,但不想拥有它。
17:01
I don't want it to be at MoMA纽约现代艺术博物馆 and possessed拥有 by MoMA纽约现代艺术博物馆.
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我不想要它出现并被现代艺术博物馆所拥有,
17:04
I want it to keep flying飞行.
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我想要它继续飞翔。
17:06
So it's an acquisition获得 where MoMA纽约现代艺术博物馆 makes品牌 an arrangement安排
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这是一个收藏品,现代艺术博物馆与航空公司达成了一个协议,
17:09
with an airline航空公司 and keeps保持 the Boeing波音 747 flying飞行.
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让波音747继续飞翔。
17:14
And the same相同 with the "@" sign标志 that we acquired后天 a few少数 years年份 ago.
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同样,我们几年前收购的"@"符号 ,
17:17
It was the first example of an acquisition获得 of something
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它是公共领域收藏品的
17:19
that is in the public上市 domain.
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第一个例子。
17:21
And what I say to people, it's almost几乎 as if
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我想对人们说的是,这几乎就像是
17:23
a butterfly蝴蝶 were flying飞行 by
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一只蝴蝶在飞舞,
17:25
and we captured捕获 the shadow阴影 on the wall,
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我们抓住了它在墙壁上的影子,
17:28
and just we're showing展示 the shadow阴影.
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而我们只是在展示这个影子。
17:29
So in a way, we're showing展示 a manifestation表现
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换言之,我们正在展示一种
17:31
of something that is truly important重要
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非常重要东西的表现,
17:34
and that is part部分 of our identity身分 but that nobody没有人 can have.
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这是我们身份的一部分,没人可以拥有。
17:37
And it's too long to explain说明 the acquisition获得,
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要解释收购实在是需要太多的言语了。
17:39
but if you want to go on the MoMA纽约现代艺术博物馆 blog博客,
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不过如果你想上现代艺术博物馆的博客,
17:42
there's a long post岗位 where I explain说明 why
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有一篇很长的帖子里我解释了为什么
17:44
it's such这样 a great example of design设计.
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它是这样一个设计很好的例子。
17:46
Along沿 the way, I've had to burn烧伤 a few少数 chairs椅子. You know?
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在这个过程中,我不得不烧掉几把椅子。你们知道吗?
17:50
I've had to do away with a few少数 concepts概念 of design设计 past过去.
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我不得不废除过去设计的一些概念。
17:54
But I see that people are coming未来 along沿,
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然而我看到人们正在进步,
17:57
that the audiences观众, paradoxically自相矛盾,
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相反的是,相比我的一些同事们而言,听众们
17:59
are much more responsive响应 and much more understanding理解
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更加积极响应而且更加理解
18:01
of this expansion扩张 of design设计 than some of my colleagues同事 are.
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这种设计的扩展。
18:05
Design设计 is truly everywhere到处,
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设计是真的无处不在。
18:07
and design设计 is as important重要 as anything,
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设计和任何事情一样重要。
18:10
and I'm so glad高兴 that, because of its diversity多样
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我很欣慰,由于它的多样性,
18:12
and because of its centrality中心地位 to our lives生活,
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由于它是我们生活中的中心,
18:15
many许多 more people are coming未来 to it
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越来越多的人们正在认识它,
18:16
as a profession职业, as a passion,
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作为一个专业,或者一种激情,
18:19
and as, very simply只是, part部分 of their own拥有 culture文化.
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或者简单地作为自己修养的一部分。
18:21
Thank you very much.
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非常感谢。
18:23
(Applause掌声)
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(掌声)
Translated by ge tang
Reviewed by Catherine Gu

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ABOUT THE SPEAKER
Paola Antonelli - Design curator
Paola Antonelli is on a mission to introduce -- and explain -- design to the world. With her shows at New York's Museum of Modern Art, she celebrates design's presence in every part of life.

Why you should listen

Since she stepped back from practicing architecture in order to focus on writing about design, teaching and curating gallery exhibitions, Italian native Paola Antonelli has become a force to be reckoned with in the design world. Working at the Museum of Modern Art in New York since 1994, she is senior curator of the gallery's Architecture and Design department and, as of 2012, the museum's first ever director of research and development. Antonelli has worked on shows such as "Humble Masterpieces," which celebrated traditionally unheralded design icons such as the paperclip; "Design and the Elastic Mind," considering the relationship of design and technology, and "Talk to Me ," which looked at design and the communication of people and objects.

Ever mindful that the majority of visitors to MOMA are attracted by artists such as Picasso and Matisse, Antonelli works to ensure that if they do stumble across a design-related show, they'll be both entertained and enlightened. In 2012, she led a move to acquire 14 video games for the museum's permanent collection.

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Paola Antonelli | Speaker | TED.com