ABOUT THE SPEAKER
Nora Atkinson - Craft curator
Nora Atkinson is a craft curator, a humanist and a romantic -- as she says, "I can’t believe I get to do what I do for a living."

Why you should listen

Nora Atkinson is the Lloyd Herman Curator of Craft Renwick Gallery, Smithsonian American Art Museum Washington, D.C. As she writes, "I was born and raised in the Northwest, and I find my perspective heavily influenced by its laid-back, pioneering spirit. After earning my MA from the University of Washington, I intended to curate art, but fell into the unusual specialty of craft, which appeals to me as a way of living differently in the modern world that tells us something about being human; I continue to be fascinated by the place of the handmade in our increasingly digital age.

"In 2014, after eight years at Bellevue Arts Museum, I moved to DC to join the Renwick Gallery. I attended my first Burning Man in 2017 as research for my exhibition 'No Spectators: The Art of Burning Man,' which explores the event as a creative laboratory and one of the most important cultural movements of our time. As a curator, I tell stories through objects, and I want to teach people to approach the world with curious eyes and find the magic around them. My work is as much about inspiring people as transmitting knowledge."

More profile about the speaker
Nora Atkinson | Speaker | TED.com
TED2018

Nora Atkinson: Why art thrives at Burning Man

诺拉 · 阿特金森: 为什么艺术能在火人节蓬勃发展起来?

Filmed:
439,585 views

手工艺策展人诺拉 · 阿特金森带我们走进了内华达州的黑石沙漠,去看看火人节中设计精美和参与性极强的艺术作品。她说她在火人节艺术展里发现了博物馆里所缺少的东西:好奇心和参与性。她问:“在我们的当代社会里,若这不是艺术,什么才是艺术呢?”
- Craft curator
Nora Atkinson is a craft curator, a humanist and a romantic -- as she says, "I can’t believe I get to do what I do for a living." Full bio

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

00:12
It's like a dream梦想.
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就像做梦一样,
00:15
Imagine想像, in the empty desert沙漠,
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想象在荒无人烟的沙漠里,
00:17
you come upon a huge巨大 wheel
ringed环状的 in skeletons骷髅,
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你看到了一个巨大的轮子,
上面挂满了一圈骷髅,
00:22
and someone有人 invites邀请 you to come pull
a series系列 of heavy ropes绳索 at its base基础,
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然后有人邀请你一起拉动
底下那串沉重的绳子,
00:26
so you walk步行 to one side,
where a team球队 is waiting等候,
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你走到底部的一边,
那里已经有一群人就位了。
00:29
and you all throw your backs into it,
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你们所有人用尽全力往后拉,
00:31
and you pull in turn,
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然后又轮流拉,
00:34
and eventually终于, the wheel roars怒吼 to life,
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最终,轮子轰隆隆的动起来了。
00:36
lights灯火 begin开始 to flicker闪烁,
and the audience听众 cheers干杯,
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灯光开始闪烁,观众开始欢呼,
00:40
and you've just activated活性
Peter彼得 Hudson's哈德逊 "Charon卡戎,"
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各位刚刚成功启动了Peter Hudson的
作品“卡戎”(冥府的渡神),
00:43
one of the world's世界 largest最大 zoetropeszoetropes.
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这是世界上最大的西洋幻境之一。
00:47
This is the farthest最远 thing
from marketable销售 art艺术.
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但这也是最不具有商业价值的艺术品。
00:51
(Laughter笑声)
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(笑声)
00:54
It's huge巨大, it's dangerous危险,
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它很庞大,很危险,
00:56
it takes a dozen people to run,
and it doesn't go with the sofa沙发.
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要十几个人合力才能启动,
还不能坐在沙发上观看。
01:00
(Laughter笑声)
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(笑声)
01:01
It's beautifully精美 crafted精雕细琢
and completely全然 useless无用,
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虽然制作精良,但却毫无用处,
可是却无比壮观。
01:05
and it's wonderful精彩.
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01:08
You're unlikely不会 to see works作品 like "Charon卡戎"
in the art-world艺术-世界 headlines新闻头条.
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在当今的艺术世界里,像《卡戎》
这样的作品不太可能出现在头条上。
01:12
These days, the buying购买
and selling销售 of artwork艺术品
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如今,人们对艺术作品买卖的关注
01:15
often经常 gets得到 more attention注意
than the works作品 themselves他们自己.
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超过了作品本身。
01:18
In the last year, a Jean-Michel让 - 米歇尔· Basquiat巴斯奎特
sold出售 for 110 million百万 dollars美元,
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去年,尚 · 米榭 · 巴斯奇亚的
一幅作品卖到了一亿一千万美元,
01:23
the highest最高 price价钱 ever achieved实现
for the work of an American美国 artist艺术家,
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成为了美国艺术家历史上
卖得最贵的作品,
01:27
and a painting绘画 by Leonardo莱昂纳多 daDA Vinci达芬奇
sold出售 for 450 million百万,
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还有列奥纳多 · 达 · 芬奇的一幅画
最终以4500万美元成交,
01:31
setting设置 a new auction拍卖 record记录.
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创下了拍卖会上的历史新高。
01:35
Still, these are big, important重要 artists艺术家,
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但毕竟,这些都是伟大的,
举足轻重的艺术家们,
01:39
but still, when you look at these works作品
and you look at the headlines新闻头条,
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可即便如此,当大家看到这些作品,
看到那些成交的新闻标题时,
01:42
you have to ask yourself你自己,
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依然要问问自己,
01:45
"Do I care关心 about these
because they move移动 me,
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“我在意这些作品是因为
它们让我深受触动,
01:48
or do I care关心 about them
because they're expensive昂贵
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还是因为它们卖得很贵,
01:51
and I think they're supposed应该 to?"
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所以我认为他们本应如此?”
01:53
In our contemporary现代的 world世界, it can be hard
to separate分离 those two things.
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在当今社会,要将价格和作品本身的
价值区分看待也许很难。
01:59
But what if we tried试着?
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但如果我们能试一试呢?
02:02
What if we redefined重新定义 art's艺术的 value --
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要是我们能够不再用价格来
02:05
not by its price价钱 tag标签,
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定义一幅作品的价值,
02:06
but by the emotional情绪化 connection连接 it creates创建
between之间 the artist艺术家 and the audience听众,
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而是由作品给艺术家与观众之间
搭建这座情感交流的桥梁,
或者作品给社会带来的好处,
02:11
or the benefits好处 it gives our society社会,
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02:14
or the fulfillment履行 it gives
the artists艺术家 themselves他们自己?
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又或者是艺术家们所得到的
成就感来重新定义呢?
02:19
This is Nevada's内华达州的 Black黑色 Rock Desert沙漠,
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这是内华达州的黑石沙漠,
02:22
about as far as you can get
from the galleries画廊 of New York纽约
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是离纽约,伦敦和香港的画廊
02:25
and London伦敦 and Hong香港 Kong.
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最远的地方。
02:27
And here, for just about
30 years年份, at Burning燃烧 Man,
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就在这儿,仅仅用了30年,
在火人节这个节日,
02:31
a movement运动 has been forming成型
that does exactly究竟 that.
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一场艺术改革运动就此兴起。
02:35
Since以来 its early anarchist无政府主义者 years年份,
Burning燃烧 Man has grown长大的 up.
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从最初一场无政府主义者的狂欢,
至现在,火人节发展成熟。
02:38
Today今天, it's more of an experiment实验
in collective集体 dreaming做梦.
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如今,这个节日更像是一种
实现集体梦想的实验。
02:42
It's a year-round常年 community社区,
and every一切 August八月, for a single week,
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黑石市全年开放,
在每年八月里的某一周,
02:46
70,000 people power功率 down their technology技术
and pilgrimage朝圣 out into the desert沙漠
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有七万多名游客放下手中的
电子产品,前来沙漠朝拜,
02:52
to build建立 an anti-consumerist反消费主义 society社会
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就是为了建造一个超越日常生活的,
02:54
outside the bounds界限
of their everyday每天 lives生活.
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反消费主义的社会。
02:57
The conditions条件 are brutal野蛮.
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沙漠的条件是艰苦的,
02:59
Strangers陌生人 will hug拥抱 you,
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但陌生人之间会相互拥抱鼓励,
03:01
and every一切 year, you will swear发誓
it was better the last,
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而你每年都信誓旦旦的说
这最好是最后一次来这儿了,
03:05
but it's still ridiculous荒谬
and freeing自由化 and alive,
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尽管如此,但它却那么
荒诞不羁,生气蓬勃。
03:09
and the art艺术 is one thing
that thrives蓬勃发展 here.
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艺术在这片天地里,
繁荣的发展了起来。
03:14
So this is me
on the desert沙漠 playa普拉亚 last year
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这是我去年在沙漠盐湖拍的,
03:18
with my brother哥哥, obviously明显 hard at work.
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还有我的弟弟,
很显然他正在辛勤的劳作。
03:20
(Laughter笑声)
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(笑声)
03:22
I'd been studying研究 the art艺术
of Burning燃烧 Man for several一些 years年份,
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我已经研究火人节艺术好几年了,
03:24
for an exhibition展览 I curated策划
at the Smithsonian's史密森的 Renwick伦威克 Gallery画廊,
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为了在史密森尼博物院的分馆
伦威克美术馆举办一次展会,
03:29
and what fascinates着迷 me the most
isn't the quality质量 of the work here,
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这里最令我着迷的
不是这些作品的质量,
虽然它们确实制作精良,
03:33
which哪一个 is actually其实 rather high,
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03:35
it's why people come out here
into the desert沙漠 again and again
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而是为什么大家一次又一次的
来到这个荒芜的沙漠,
03:39
to get their hands dirty and make
in our increasingly日益 digital数字 age年龄.
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在这个日益数码化的时代,
选择亲自动手,制作一些东西。
03:45
Because it seems似乎 like this gets得到
to something that's essentially实质上 human人的.
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因为这样做似乎触及到了
人类本质上的一些东西。
03:50
Really, the entire整个
encampment扎营 of Burning燃烧 Man
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整个火人节的大本营,
03:52
could be thought of as one giant巨人
interactive互动 art艺术 installation安装
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真的可以被视为是一个巨大的,
交互式的艺术装置,
03:56
driven驱动 by the participation参与
of everyone大家 in it.
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由每一位参与其中的志愿者驱动。
03:59
One thing that sets this work aside在旁边
from the commercial广告 art艺术 world世界
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让这个大本营与外面的商业
艺术世界不同的是,
04:03
is that anyone任何人 who makes品牌 work can show显示 it.
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在这里,只要是你亲手制作的
作品,你都可以带来展示。
04:06
These days, around 300 art艺术 installations安装
and countless无数 artistic艺术的 gestures手势
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时至今日,有大概300多件
艺术装置和数不清的艺术作品
04:10
go to the playa普拉亚.
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都在被运往这个沙漠盐湖。
04:12
None没有 of them are sold出售 there.
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但没有一件艺术作品会在这里卖掉。
04:14
At the end结束 of the week,
if the works作品 aren't burned,
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接近火人节的尾声时,
如果艺术家们不愿烧掉自己的作品,
04:17
artists艺术家 have to cart大车 them
back out and store商店 them.
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那么他们就得将作品运回去,
收藏起来,
如果不是因为热爱,
谁又愿意这样折腾一番呢呢?
04:20
It's a tremendous巨大 labor劳动 of love.
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虽然沙漠里确实有着火人节
独特的审美标准,
04:24
Though虽然 there is certainly当然
a Burning燃烧 Man aesthetic审美,
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04:27
pioneered首创 by artists艺术家 like
Kate凯特 Raudenbush兰登布什 and Michael迈克尔 Christian基督教,
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该标准由Kate Raudenbush和
Michael Christian等艺术家领衔创立,
04:30
much of the distinctive独特
character字符 of the work here
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但这里大多数作品的显著特点,
还是来源于沙漠本身。
04:33
comes from the desert沙漠 itself本身.
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04:35
For a work to succeed成功,
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要想一个作品大获成功,
04:36
it has to be portable手提 enough足够
to make the journey旅程,
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首先得确保它方便运输,
起码能完成这趟旅程,
04:39
rugged崎岖 enough足够 to withstand经受
the wind and weather天气 and participants参与者,
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其次还要够坚挺,抵挡得住狂风,
恶劣天气和众多参与者的影响,
04:44
stimulating刺激 in daylight阳光 and darkness黑暗,
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在昼与夜的交替中要给人
带来感官的刺激,
04:46
and engaging without interpretation解释.
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不用太多诠释,
就能够让大家参与其中。
04:50
Encounters邂逅 with monumental纪念
and intimate亲密 works作品 here feel surreal超现实主义.
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这里,与不朽、充满亲和力的作品
接触,给人的感觉是那么不真实。
04:54
Scale规模 has a tendency趋势 to fool傻子 the eyes眼睛.
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作品的规模很轻易就骗过人的双眼,
04:57
What looked看着 enormous巨大 in an artist's艺术家 studio工作室
could get lost丢失 on the playa普拉亚,
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那些在艺术工作室里看起来巨大无比的
作品可能进了盐湖就找不见了,
05:01
but there are virtually实质上 no spatial空间的 limits范围,
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但是实际上,
沙漠里是没有空间限制的,
05:04
so artists艺术家 can dream梦想
as big as they can build建立.
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所以艺术家们可以尽情的
建造自己想要的规模。
05:08
Some pieces bowl you over by their grace恩典
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有一些作品优雅得让你为之倾倒,
05:11
and others其他 by the sheer绝对 audacity大胆
it took to bring带来 them here.
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还有一些作品则需十足的胆量和
放肆才能够呈现于人们眼前。
05:18
Burning燃烧 Man's人的 irreverent不敬 humor幽默
comes out in pieces
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火人节那玩世不恭的幽默体现在
05:21
like Rebekah利百加 Waites'玛塔等待 "Church教会 Trap陷阱,"
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像Rebekah Waites的作品
《教堂的陷阱》上,
05:23
a tiny country国家 chapel教堂 set precariously摇摇欲坠
on a wooden beam光束, like a mousetrap捕鼠器,
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一个小型的乡村教堂摇摇欲坠的
支在木梁上,造型像个捕鼠夹一样,
05:28
that lured引诱 participants参与者 in
to find religion宗教 --
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吸引着游客们进入
这间教堂寻找信仰 ——
05:31
it was built内置 and burned in 2013 ...
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这个作品已于2013年建造并烧毁。
05:37
while other works作品,
like Christopher克里斯托弗 Schardt'sSchardt 的 "Firmament苍穹,"
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其它的作品,
如Christopher Schardt的《苍穹》,
05:40
aim目标 for the sublime升华.
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目的是为了表现庄严的感觉,
05:41
Here, under a canopy华盖 of dancing跳舞 lights灯火
set to classical古典 music音乐,
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游客们躺在交错的灯光下,
聆听着古典的音乐,
05:45
participants参与者 could escape逃逸
the thumping rave狂欢 beats节拍
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借此逃离周围那狂野的节拍
05:48
and chaos混沌 all around.
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和喧嚣。
05:53
At night, the city swarms成群
with mutant突变体 vehicles汽车,
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夜晚时分,黑石市到处都
穿梭着改装过的车辆,
05:56
the only cars汽车 allowed允许 to roam漫游 the playa普拉亚.
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盐湖里唯一允许行驶的车辆。
05:59
And if necessity必要性
is the mother母亲 of invention发明,
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如果说需求是创造力之母,
06:02
here, absurdity荒谬 is its father父亲.
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那么在盐湖里,
荒诞则是创造力之父。
06:04
(Laughter笑声)
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(笑声)
06:05
They zigzag蜿蜒 from artwork艺术品 to artwork艺术品
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这两点在不同的作品上各有体现,
06:07
like some bizarre奇异的, random随机
public上市 transportation运输 system系统,
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比如一些造型怪诞随性的
运输车辆,
06:10
pulsing脉动 with light and sound声音.
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闪光和音效此起彼伏。
06:13
When artists艺术家 stop worrying令人担忧
about critics批评者 and collectors收藏家
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当艺术家们不再担心作品
是否会遭到批判或被人收藏时,
06:16
and start开始 making制造 work for themselves他们自己,
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他们就真的开始在为自己创造了,
06:19
these are the kinds
of marvelous奇妙 toys玩具 they create创建.
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这些都是他们创造出来最棒的玩具。
06:23
And what's amazing惊人 is that, by and large,
when people first come to Burning燃烧 Man,
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但最神奇的一点是,总的来说
当大家第一次来庆祝火人节时,
06:27
they don't know how to make this stuff东东.
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他们并不知道如何制造这些东西。
06:30
It's the active活性 collaborative共同
maker制作者 community社区 there
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但正是有了这一群互相合作的制造者,
06:32
that makes品牌 this possible可能.
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这一切变成了可能。
06:35
Collectives集体 like Five Ton Crane起重机
come together一起 to share分享 skills技能
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像“五吨起重机”这样的组织团体
会聚在一起分享创作技巧,
06:39
and take on complex复杂 projects项目
a single artist艺术家 would never even attempt尝试,
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还会承接一些单个艺术家们
永远不会尝试的复杂的项目,
06:43
from a Gothic哥特 rocket火箭 ship that appears出现
ready准备 to take off at any moment时刻
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如看起来似乎随时要
起飞的哥特式火箭船,
06:47
to a fairytale童话 home inside a giant巨人 boot
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还有童话故事里才有的巨靴
一样的家,
06:50
complete完成 with shelves货架
full充分 of artist-made艺术家制作 books图书,
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房中的书架摆满了
艺术家们制作的书本,
06:53
a black黑色 burnt pie馅饼 in the oven烤箱
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还有一个放有烤派的烤箱,
06:55
and a climbable攀爬 beanstalk青苗.
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以及一个可以攀爬的豆茎构成。
06:59
Skilled熟练 or unskilled不熟练, all are welcome欢迎.
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无论技巧娴熟与否,
火人节都欢迎你的到来。
07:02
In fact事实, part部分 of the charm魅力
and the innovation革新 of the work here
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事实上,这些作品之所以
富有魅力和创新精神,
07:06
is that so many许多 makers制造商
aren't artists艺术家 at all,
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部分原因是他们的制作者
根本不是艺术家,
07:09
but scientists科学家们 or engineers工程师
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而是一些科学家,工程师,
07:11
or welders焊工 or garbage垃圾 collectors收藏家,
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电焊工或清洁工罢了。
07:14
and their works作品 cross交叉
disciplinary纪律 boundaries边界,
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他们的作品跨越了学科领域,
07:17
from a grove树林 of origami折纸 mushrooms蘑菇
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从根据蒙古包形状设计
07:19
that developed发达
out of the design设计 for a yurt蒙古包
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发展起来的折纸蘑菇丛,
07:22
to a tree that responds响应
to the voices声音 and biorhythms生物节律
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到能够回应周围一切声音
和生物节律的树木,
07:25
of all those around it
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07:27
through通过 175,000 LEDs发光二极管
embedded嵌入式 in its leaves树叶.
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树叶上镶嵌了十七万五千个
LED感应器。
07:32
In museums博物馆, a typical典型 visitor游客 spends
less than 30 seconds with a work of art艺术,
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在博物馆里,游客们平均花在每一幅
艺术品上的时间不超过30秒钟,
我经常看到游客们在
作品简介的标签之间徘徊,
07:38
and I often经常 watch people wander漫步
from label标签 to label标签,
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寻读信息,
07:41
searching搜索 for information信息,
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07:42
as though虽然 the entire整个 story故事
of a work of art艺术
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仿佛这幅作品的全部故事
07:45
could be contained
in that one 80-word-字 text文本.
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都包含在那一张80字的
作品简介里一样。
07:49
But in the desert沙漠,
there are no gatekeepers守门
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但在黑石沙漠,
这里没有看守的门卫,
07:52
and no placards举牌 explaining说明 the art艺术,
just natural自然 curiosity好奇心.
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没有艺术作品的解说,
只有单纯的好奇而已。
07:57
You see a work on the horizon地平线,
and you ride towards it.
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你在远处看到一个作品,
就驱车向前驶去,
08:01
When you arrive到达, you walk步行 all around it,
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等你到达了,你绕着它走一圈,
08:03
you touch触摸 it, you test测试 it.
143
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摸一摸,试一试,
08:05
Is it sturdy粗壮 enough足够 to climb on?
Will I be impaled刺穿 by it?
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是不是够坚硬可以攀爬?
会不会被刺伤?
08:09
(Laughter笑声)
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(笑声)
08:11
Art艺术 becomes a place地点
for extended扩展 interaction相互作用,
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艺术成为了延申互动的地方,
08:14
and although虽然 the display显示
might威力 be short-lived短命,
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虽然这里作品的展示时间也许很短,
08:17
the experience经验 stays入住 with you.
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但这段经历会永远伴随着你。
08:21
Nowhere无处 is that truer更真实 at Burning燃烧 Man
than at the Temple寺庙.
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在火人节里,没有一个地方
比“庙宇”更加真实。
08:25
In 2000, David大卫 Best最好 and Jack插口 Haye海耶
built内置 the first Temple寺庙,
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2002年, David Best和
Jack Haye建立了第一座庙宇,
08:29
and after a member会员 of their team球队
was killed杀害 tragically可悲 in an accident事故
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497357
3447
但不幸的是他们团队中的
一名成员在活动开幕前
08:32
shortly不久 before the event事件,
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意外丧生了,
08:34
the building建造 became成为 a makeshift凑合的 memorial纪念馆.
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这座庙宇因此变成了
一个临时的纪念馆,
08:38
By itself本身, it's a magnificent华丽的
piece of architecture建筑,
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它本身是一个宏伟的建筑物,
08:42
but the structure结构体 is only a shell贝壳
until直到 it disappears消失
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相比庙宇在消失前
墙上布满着无数条思想和口讯,
它的华丽构建仅是个外壳。
08:45
under a think blanket of messages消息.
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08:48
"I miss小姐 you."
157
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“我想你。”
08:50
"Please forgive原谅 me."
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“请原谅我。”
08:52
"Even a broken破碎 crayon蜡笔 still colors颜色."
159
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“即便是断掉的彩笔,
依然不失色彩。”
08:55
Intimate亲密 testaments遗嘱 to the most
universal普遍 of human人的 experiences经验,
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人类存在于这世上的
最普遍的亲密见证,
08:59
the experience经验 of loss失利.
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就是生离死别的经历。
09:03
The collective集体 emotion情感 in this place地点
is overpowering压倒性 and indescribable无法形容,
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在活动的最后一晚,
放火焚毁这些艺术作品前,
大家的情绪都已经
无法抑制,难以言表了。
09:09
before it's set afire着火
on the last night of the event事件.
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09:17
Every一切 year, something compels迫使 people
from all different不同 walks散步 of life,
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5861
每一年,总有某些因素驱使着
这些来自各个阶层,
09:22
from all over the world世界,
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来自世界各地的人们,
09:24
to go out into the desert沙漠 and make art艺术
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走出家门走进沙漠,进行艺术创作,
09:27
when there is no money in it.
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即便其中无利可图。
09:30
The work's作品 not always refined精制,
168
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这些作品并非总是制作精良,
09:33
it's not always viable可行,
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并非总是切实可行,
09:34
it's not even always good,
170
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也并非总是令人赏心悦目,
09:37
but it's authentic真实 and optimistic乐观
in a way we rarely很少 see anywhere随地 else其他.
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但它们体现了作者的原创和乐观精神
而这是我们在其他地方难得一见的,
09:43
In these cynical愤世嫉俗的 times,
172
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在这些个愤世嫉俗的时代,
09:46
it's comforting欣慰的 to know that we're still
capable of great feats功勋 of imagination想像力,
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令人宽慰的是,我们知道我们
依然能够发挥自己丰富的想象力,
09:51
and that when we search搜索 for connection连接,
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我们还在不停的寻找彼此间的联系,
09:54
we come together一起 and build建立
cathedrals教堂 in the dust灰尘.
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我们欢聚一堂,在沙尘中建造教堂。
09:58
Forget忘记 the price价钱 tags标签.
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让我们忘掉作品的价格,
10:00
Forget忘记 the big names.
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忘掉那些响当当的作者大名吧。
10:02
What is art艺术 for in our contemporary现代的
world世界 if not this?
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在当代社会里,如果这不是艺术,
那什么才算是艺术呢?
10:08
Thank you.
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谢谢大家。
(掌声)
10:09
(Applause掌声)
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Translated by Ziyun Liao

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ABOUT THE SPEAKER
Nora Atkinson - Craft curator
Nora Atkinson is a craft curator, a humanist and a romantic -- as she says, "I can’t believe I get to do what I do for a living."

Why you should listen

Nora Atkinson is the Lloyd Herman Curator of Craft Renwick Gallery, Smithsonian American Art Museum Washington, D.C. As she writes, "I was born and raised in the Northwest, and I find my perspective heavily influenced by its laid-back, pioneering spirit. After earning my MA from the University of Washington, I intended to curate art, but fell into the unusual specialty of craft, which appeals to me as a way of living differently in the modern world that tells us something about being human; I continue to be fascinated by the place of the handmade in our increasingly digital age.

"In 2014, after eight years at Bellevue Arts Museum, I moved to DC to join the Renwick Gallery. I attended my first Burning Man in 2017 as research for my exhibition 'No Spectators: The Art of Burning Man,' which explores the event as a creative laboratory and one of the most important cultural movements of our time. As a curator, I tell stories through objects, and I want to teach people to approach the world with curious eyes and find the magic around them. My work is as much about inspiring people as transmitting knowledge."

More profile about the speaker
Nora Atkinson | Speaker | TED.com

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