TED2019
Es Devlin: Mind-blowing stage sculptures that fuse music and technology
艾斯·代弗林: 令人叹为观止的融合音乐与科技的舞台雕塑
Filmed:
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从一个草图开始，它逐渐演变成了一部比真人更具有传奇色彩的视觉杰作，一场人类连接的庆典。传奇艺术家兼设计师 Es Devlin（艾斯·代弗林）为我们带来了关于她作品的视觉之旅——包括她为碧昂斯、阿黛尔、坎耶·维斯特、U2乐队等创作的标志性舞台雕塑——也预览了即将到来的2020年迪拜世博会上她的设计。
Es Devlin - Artist, designer
Es Devlin is an artist and designer practicing across the worlds of art, music and technology. Full bio
Es Devlin is an artist and designer practicing across the worlds of art, music and technology. Full bio
Double-click the English transcript below to play the video.
00:17
These are sequences from a play called
"The Lehman Trilogy,"
"The Lehman Trilogy,"
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这些片段取自“雷曼兄弟三部曲”，
00:21
which traces the origins
of Western capitalism
of Western capitalism
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它用三个小时追溯了西方资本主义
00:26
in three hours,
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的起源，
00:27
with three actors and a piano.
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只用了3位演员和1台钢琴。
00:31
And my role was to create a stage design
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而我的任务是设计舞台，
00:35
to write a visual language for this work.
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为这部作品创作视觉语言。
00:39
The play describes Atlantic crossings,
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这部话剧展现了跨越大西洋，
00:43
Alabama cotton fields,
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阿拉巴马州棉花田，
00:44
New York skylines,
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纽约天际线的故事，
00:47
and we framed the whole thing
within this single revolving cube,
within this single revolving cube,
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我们把整个叙事装在
了这个旋转的立方体里，
了这个旋转的立方体里，
00:53
a kind of kinetic cinema
through the centuries.
through the centuries.
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几个世纪来的一种动态电影形式。
00:57
It's like a musical instrument
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这就像一个由三个人
01:00
played by three performers.
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演奏的乐器。
01:03
And as they step their way
around and through
around and through
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随着它们顺着雷曼兄弟的生活
01:06
the lives of the Lehman brothers,
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一步步地走过去，
01:08
we, the audience,
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观众们
01:11
begin to connect
with the simple, human origins
with the simple, human origins
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开始与那些简单的，
人类起源的东西连接，
人类起源的东西连接，
01:15
at the root of the complex
global financial systems
global financial systems
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它们是复杂的全球金融体系的根源，
01:19
that we're all still in thrall to today.
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我们至今仍受其束缚。
01:23
I used to play musical instruments
myself when I was younger.
myself when I was younger.
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我小时候曾经玩过乐器。
01:27
My favorite was the violin.
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我最钟爱的是小提琴。
01:31
It was this intimate transfer of energy.
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这是一种能量的亲密传递。
01:34
You held this organic sculpture
up to your heart,
up to your heart,
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你把这个充满生命的
小提琴放到你的心上，
小提琴放到你的心上，
01:37
and you poured the energy
of your whole body
of your whole body
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就会你整个身体的能量
01:40
into this little piece of wood,
and heard it translated into music.
and heard it translated into music.
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注入到这块儿小木头里面，
听着它被翻译成音乐。
听着它被翻译成音乐。
01:46
And I was never particularly
good at the violin,
good at the violin,
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我并不是特别擅长拉小提琴，
01:49
but I used to sit at the back
of the second violin section
of the second violin section
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但是我曾经是哈斯丁青年管弦乐团
01:54
in the Hastings Youth Orchestra,
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第二小提琴席位靠后的成员，
01:57
scratching away.
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就那么拉着。
01:59
We were all scratching
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我们每个人都专心拉着琴，
02:01
and marveling at this symphonic sound
that we were making
that we were making
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对我们共同弹奏出
的交响乐感到惊叹，
的交响乐感到惊叹，
02:06
that was so much
more beautiful and powerful
more beautiful and powerful
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这比我们自己任何时候的独奏
02:08
than anything we would ever
have managed on our own.
have managed on our own.
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都更加美妙和充满活力。
02:11
And now, as I create
large-scale performances,
large-scale performances,
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当我创作大型演出时，
02:16
I am always working with teams
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我总是和规模差不多
02:17
that are at least the size
of a symphony orchestra.
of a symphony orchestra.
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像交响乐团那么大的团队合作。
02:21
And whether we are creating
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不管我们是在为
02:24
these revolving giant
chess piece time tunnels
chess piece time tunnels
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理查德·瓦格纳的歌剧
创造这些旋转
创造这些旋转
02:28
for an opera by Richard Wagner
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的巨大棋形时间隧道，
02:30
or shark tanks and mountains
for Kanye West,
for Kanye West,
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还是为坎耶·韦斯特的
《鲨鱼坦克》和《群山》创作时，
《鲨鱼坦克》和《群山》创作时，
02:34
we're always seeking to create
the most articulate sculpture,
the most articulate sculpture,
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我们总是寻求创造最清晰的雕塑，
02:40
the most poetic instrument
of communication to an audience.
of communication to an audience.
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最诗意的工具与观众交流。
02:44
When I say poetic,
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我说的诗意，
02:47
I just mean language
at its most condensed,
at its most condensed,
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意思是语言是浓缩的，
02:50
like a song lyric,
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就像一首抒情歌，
02:53
a poetic puzzle
to be unlocked and unpacked.
to be unlocked and unpacked.
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像一个有待被解开的诗意的谜题。
02:57
And when we were preparing
to design Beyoncé's "Formation" tour,
to design Beyoncé's "Formation" tour,
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当我们准备为碧昂斯
设计“ Formation”之旅时，
设计“ Formation”之旅时，
03:01
we looked at all the lyrics,
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我们看了所有的歌词，
03:04
and we came across this poem
that Beyoncé wrote.
that Beyoncé wrote.
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我们还偶然看到了碧昂斯写的诗歌。
03:09
"I saw a TV preacher when I was scared,
at four or five about bad dreams
at four or five about bad dreams
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“当我四五岁，害怕做噩梦时，
看到一个电视传教士许诺说，
看到一个电视传教士许诺说，
03:13
who promised he'd say a prayer
if I put my hand to the TV.
if I put my hand to the TV.
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如果我把手放到电视上，他就会祈祷。
03:18
That's the first time I remember prayer,
an electric current running through me."
an electric current running through me."
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那是我记忆中第一次祈祷，
一股电流穿过我的身体。”
一股电流穿过我的身体。”
03:23
And this TV that transmitted prayer
to Beyoncé as a child
to Beyoncé as a child
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于是这台在碧昂斯小时候
给她传递祷告的电视，
给她传递祷告的电视，
03:28
became this monolithic revolving sculpture
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变成了这个旋转雕塑
03:31
that broadcast Beyoncé
to the back of the stadium.
to the back of the stadium.
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把碧昂斯的表演播送到体育馆后面。
03:36
And the stadium is a mass congregation.
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体育馆是一个大型的集会场所。
03:40
It's a temporary population
of a hundred thousand people
of a hundred thousand people
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成千上万的人临时聚集于此
03:43
who have all come there to sing along
with every word together,
with every word together,
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跟着一个字一个字地
一起唱起来，
一起唱起来，
03:47
but they've also come there
each seeking one-to-one intimacy
each seeking one-to-one intimacy
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但他们也来此寻求
与表演者一对一的
与表演者一对一的
03:52
with the performer.
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亲密感。
03:54
And we, as we conceive the show,
we have to provide intimacy
we have to provide intimacy
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而我们，当我们在构思这个
演出时，我们必须提供
演出时，我们必须提供
03:58
on a grand scale.
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大规模的亲密感。
04:00
It usually starts with sketches.
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它通常开始于草图。
04:02
I was drawing
this 60-foot-high, revolving,
this 60-foot-high, revolving,
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我画出这60英尺高，旋转着
04:07
broadcast-quality portrait of the artist,
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的广播质量的艺术家肖像，
04:11
and then I tore
the piece of paper in half.
the piece of paper in half.
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然后我把一张纸撕成两半。
04:13
I split the mask
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我撕开面具，
04:15
to try to access the human
underneath it all.
underneath it all.
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试图接近隐藏在面具下的人。
04:19
And it's one thing to do sketches,
but of course translating from a sketch
but of course translating from a sketch
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画草图是一回事，但把草图转化成
04:23
into a tourable revolving
six-story building
six-story building
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可观赏的六层旋转建筑
04:27
took some exceptional engineers
working around the clock for three months,
working around the clock for three months,
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需要一些杰出的工程师
夜以继日地工作三个月，
夜以继日地工作三个月，
04:31
until finally we arrived in Miami
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直到我们最终于2016年4月
04:34
and opened the show in April 2016.
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抵达迈阿密开始这个演出。
04:37
(Video: Cheers)
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（视频：欢呼）
04:43
(Music: "Formation," Beyoncé)
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(音乐: "Formation," 碧昂斯)
04:45
Beyoncé: Y'all haters corny
with that Illuminati mess
with that Illuminati mess
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碧昂斯：你特么的黑子们成天
唠叨光明会那些破事，
唠叨光明会那些破事，
04:50
Paparazzi, catch my fly,
and my cocky fresh
and my cocky fresh
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狗仔围追堵截老娘的航班，
偷拍老娘傲人光彩。
偷拍老娘傲人光彩。
04:54
I'm so reckless when I rock
my Givenchy dress
my Givenchy dress
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老娘一身潮牌，无所畏惧为所欲为，
这特么就是老娘的调调。
这特么就是老娘的调调。
04:58
I'm so possessive so I rock
his Roc necklaces
his Roc necklaces
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老娘我就是霸道，
将老娘男人的Roc收入囊中。
将老娘男人的Roc收入囊中。
05:01
My daddy Alabama
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老娘的爸来自阿拉巴马州，
05:03
Momma Louisiana
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俺妈是地道的路易斯安人，
05:05
You mix that negro with that Creole
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你们造就了我这个带着
克里奥尔血统的黑人 ，
克里奥尔血统的黑人 ，
05:07
make a Texas bama
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让我好好生活在德克萨斯。
05:10
(Music ends)
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（音乐结束）
05:12
I call my work --
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我把我的工作叫做——
05:13
(Cheers, applause)
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（欢呼，鼓掌）
谢谢。
05:14
Thank you.
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05:16
(Cheers, applause)
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（欢呼，鼓掌）
05:17
I call my work stage sculpture,
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我把我的工作叫做舞台雕塑，
05:21
but of course what's really being sculpted
is the experience of the audience,
is the experience of the audience,
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但当然真正被雕塑
的是观众的体验，
的是观众的体验，
05:26
and as directors and designers,
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并且作为一个导演和设计者，
05:28
we have to take responsibility
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我们要对观众跟我们
05:29
for every minute
that the audience spend with us.
that the audience spend with us.
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花的每一分钟负责。
05:33
We're a bit like pilots
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我们有点像飞行员，
05:35
navigating a flight path
for a hundred thousand passengers.
for a hundred thousand passengers.
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为10万名乘客导航。
05:40
And in the case of the Canadian
artist The Weeknd,
artist The Weeknd,
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在加拿大艺术家威肯的例子中，
05:44
we translated this flight path literally
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我们把这条飞行路线
05:46
into an origami paper folding airplane
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翻译成一架折纸飞机，
05:51
that took off over the heads
of the audience,
of the audience,
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在观众头上起飞，
05:53
broke apart in mid-flight, complications,
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在飞行中途解体，幻化出不同的造型，
05:56
and then rose out of the ashes restored
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然后在演出结束后
05:59
at the end of the show.
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在灰烬中重生。
06:01
And like any flight,
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跟任何飞行一样，
06:04
the most delicate part
is the liftoff, the beginning,
is the liftoff, the beginning,
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最微妙的部分是起飞，开始，
06:07
because when you design a pop concert,
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因为当你设计一场流行音乐会时，
06:09
the prime material
that you're working with
that you're working with
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你使用的主要材料不需要
06:12
is something that doesn't take trucks
or crew to transport it.
or crew to transport it.
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卡车或工作人员来运输。
06:16
It doesn't cost anything,
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它几乎不需要任何成本，
06:18
and yet it fills every atom of air
in the arena, before the show starts.
in the arena, before the show starts.
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然而在演出开始前，
它就充满了赛场中的空气。
它就充满了赛场中的空气。
06:23
It's the audience's anticipation.
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这就是观众的期待。
06:27
Everyone brings with them
the story of how they came to get there,
the story of how they came to get there,
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每个人都带着他们
如何来到这里的故事，
如何来到这里的故事，
他们旅行的距离，
06:30
the distances they traveled,
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为了支付票价所需
花费的工作时长。
花费的工作时长。
06:32
the months they had to work
to pay for the tickets.
to pay for the tickets.
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有时候他们会在户外过夜，
06:34
Sometimes they sleep overnight
outside the arena,
outside the arena,
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06:38
and our first task is to deliver
for an audience on their anticipation,
for an audience on their anticipation,
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我们的第一个任务是向
观众传递他们的期望，
观众传递他们的期望，
06:42
to deliver their first sight
of the performer.
of the performer.
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让观众第一眼就看到他们。
06:48
When I work with men,
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当我跟男星合作时，
06:51
they're quite happy to have their music
transformed into metaphor --
transformed into metaphor --
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他们很高兴把他们
的音乐变成隐喻——
的音乐变成隐喻——
06:55
spaceflights, mountains.
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太空飞行器，高山。
06:58
But with women, we work a lot with masks
and with three-dimensional portraiture,
and with three-dimensional portraiture,
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但跟女星合作时，我们经常
使用面具和三维肖像，
使用面具和三维肖像，
07:03
because the fans of the female artist
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因为女艺术家的粉丝
07:06
crave her face.
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渴望看到她的脸。
07:09
And when the audience arrived to see
Adele's first live concert in five years,
Adele's first live concert in five years,
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当观众来到现场观看阿黛尔
五年来首场现场演唱会时，
五年来首场现场演唱会时，
07:14
they were met with this image
of her eyes asleep.
of her eyes asleep.
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他们看到的是这张沉睡的照片。
07:18
If they listened carefully,
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如果他们仔细倾听，
07:20
they would hear her sleeping breath
echoing around the arena,
echoing around the arena,
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还会听到她睡眠的
呼吸在空气中回响，
呼吸在空气中回响，
07:24
waiting to wake up.
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等待被叫醒。
07:26
Here's how the show began.
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这是演出开始的样子。
07:28
(Video: Cheers, applause)
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（视频：欢呼，鼓掌）
07:34
(Music)
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（音乐）
07:35
Adele: Hello.
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阿黛尔：哈罗。
07:36
(Cheers, applause)
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（欢呼，鼓掌）
07:48
Es Devlin: With U2,
we're navigating the audience
we're navigating the audience
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艾斯·代弗林：
而针对U2，我们引导观众
而针对U2，我们引导观众
07:50
over a terrain that spans three decades
of politics, poetry and music.
of politics, poetry and music.
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在空旷的场地上跨越30年的
政治、诗歌和音乐。
政治、诗歌和音乐。
07:56
And over many months, meeting
with the band and their creative teams,
with the band and their creative teams,
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在接下来的几个月里，
我与乐队和他们的创意团队见了面，
我与乐队和他们的创意团队见了面，
08:00
this is the sketch that kept recurring,
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这是一张反复出现的草图，
08:02
this line, this street,
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这些线条，这条街道，
08:06
the street that connects
the band's past with their present,
the band's past with their present,
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街道把乐队的过去和现在连在一起，
08:09
the tightrope that they walk
as activists and artists,
as activists and artists,
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做为活动分子和艺术家，
他们走在钢丝上，
他们走在钢丝上，
08:13
a walk through cinema
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走在电影中，
08:14
that allows the band
to become protagonists
to become protagonists
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让乐队自己成为诗歌中
08:17
in their own poetry.
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的主角。
08:19
(Music: U2's "Where the Streets
Have No Name")
Have No Name")
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（U2的音乐：那里的街道没有名字）
08:22
Bono: I wanna run
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保罗：我想要跑
08:26
I want to hide
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我想要藏
08:29
I wanna tear down the walls
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我想要撕倒这面
08:33
That hold me inside
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围住我的墙
08:38
Es Devlin: The end of the show
is like the end of a flight.
is like the end of a flight.
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艾斯·代弗林：
演出的结束就像航班的落地。
演出的结束就像航班的落地。
这是一次抵达。
08:41
It's an arrival.
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08:42
It's a transfer from the stage
out to the audience.
out to the audience.
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这是一场从舞台向观众的传送。
08:47
For the British band Take That,
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对英国乐队“Take That”，
08:50
we ended the show by sending
an 80-foot high mechanical human figure
an 80-foot high mechanical human figure
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演出结束时，我们把
一个80英尺高的机械人
一个80英尺高的机械人
08:54
out to the center of the crowd.
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送到了人群的中心。
08:57
(Music)
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（音乐）
09:05
Like many translations
from music to mechanics,
from music to mechanics,
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像很多从音乐到机械的转变，
09:08
this one was initially deemed
entirely technically impossible.
entirely technically impossible.
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这个设想起初被认为
在技术上是不可行的。
在技术上是不可行的。
09:13
The first three engineers
we took it to said no,
we took it to said no,
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前三名工程师说不行，
09:16
and eventually,
the way that it was achieved
the way that it was achieved
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最终实现这个的方式是
09:18
was by keeping the entire
control system together
control system together
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在全国巡演途中保持
09:22
while it toured around the country,
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整个控制系统的完整，
所以我们不得不把它
折叠放在平板货车上，
折叠放在平板货车上，
09:24
so we had to fold it up
onto a flatbed truck
onto a flatbed truck
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09:27
so it could tour around
without coming apart.
without coming apart.
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这样它就不需要拆开了再运走。
09:29
And of course, what this meant
was that the dimension of its head
was that the dimension of its head
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于是当然，这意味着它头部尺寸
09:32
was entirely determined
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完全取决于
09:34
by the lowest motorway bridge
that it had to travel under on its tour.
that it had to travel under on its tour.
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它旅行运输途中最低的高速公路桥。
09:39
And I have to tell you that it turns out
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我要告诉你们的是，
09:42
there is an unavoidable
and annoyingly low bridge
and annoyingly low bridge
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就在汉堡城外有一座无法绕过的矮桥，
09:45
low bridge just outside Hamburg.
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低到让人无法忍受。
09:47
(Laughter)
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（笑声）
09:50
(Music)
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（音乐）
09:56
Another of the most technically complex
pieces that we've worked on
pieces that we've worked on
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我们另一个最具技术复杂性的作品
10:01
is the opera "Carmen"
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是在奥地利的布列根兹
10:03
at Bregenz Festival in Austria.
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音乐节上的歌剧《卡门》。
10:07
We envisaged Carmen's hands rising
out of Lake Constance,
out of Lake Constance,
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我们设想卡门的手
从康斯坦斯湖伸出来，
从康斯坦斯湖伸出来，
10:11
and throwing this deck
of cards in the air
of cards in the air
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把这副纸牌抛向空中，
让它们悬在天空和大海之间。
10:13
and leaving them suspended
between sky and sea.
between sky and sea.
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10:16
But this transient gesture,
this flick of the wrists
this flick of the wrists
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但是这个短暂的动作，
这个手腕的轻弹
这个手腕的轻弹
10:20
had to become a structure
that would be strong enough
that would be strong enough
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必须具备足够坚固的结构
10:23
to withstand two Austrian winters.
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来熬过奥地利的两个冬天。
10:27
So there's an awful lot
that you don't see in this photograph
that you don't see in this photograph
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这张照片背后隐藏了
10:30
that's working really hard.
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很多表面看不出的艰辛。
10:32
It's a lot of ballast and structure
and support around the back,
and support around the back,
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后面有很多压舱物，结构和支撑，
10:36
and I'm going to show you the photos
that aren't on my website.
that aren't on my website.
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我要给你们看网站上没有的照片。
10:40
They're photos of the back of a set,
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也就是背面的照片，
10:42
the part that's not designed
for the audience to see,
for the audience to see,
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这个不设计给观众看的部分，
10:46
however much work it's doing.
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然而却是花了很多工作的地方。
10:52
And you know, this is actually the dilemma
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这其实
10:55
for an artist who is working
as a stage designer,
as a stage designer,
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对于舞台设计艺术家来说是个窘境，
10:58
because so much of what I make is fake,
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因为我做的很多东西都是虚假的，
11:03
it's an illusion.
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它是假象。
11:06
And yet every artist works in pursuit
of communicating something that's true.
of communicating something that's true.
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然而每个艺术家都追求
传达一些真实的东西。
传达一些真实的东西。
11:12
But we are always asking ourselves:
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但我们总是问自己：
11:15
"Can we communicate truth
using things that are false?"
using things that are false?"
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“我们能够使用虚假的
东西来传达真相吗？”
东西来传达真相吗？”
11:20
And now when I attend
the shows that I've worked on,
the shows that I've worked on,
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如今当我参加自己参与设计的演出时，
11:23
I often find I'm the only one
who is not looking at the stage.
who is not looking at the stage.
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我通常发现我是唯一
一个不盯着舞台的人。
一个不盯着舞台的人。
11:28
I'm looking at something
that I find equally fascinating,
that I find equally fascinating,
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我在看一样同样吸引我的东西，
11:33
and it's the audience.
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那就是观众。
11:34
(Cheers)
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（欢呼）
11:36
I mean, where else do you witness this:
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我指的是，你在哪里还能
见到这样的景象呢：
见到这样的景象呢：
11:38
(Cheers)
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（欢呼）
11:39
this many humans, connected, focused,
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如此多的人，彼此连接，聚精会神，
11:43
undistracted and unfragmented?
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且团结一致？
11:48
And lately, I've begun to make work
that originates here,
that originates here,
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最近，我开始创作源自这里的作品，
11:52
in the collective voice of the audience.
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源自观众的集体声音中的作品。
11:56
"Poem Portraits" is a collective poem.
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“诗肖像”是一首集体主义诗歌。
12:00
It began at the Serpentine
Gallery in London,
Gallery in London,
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它始于伦敦的蛇形画廊，
12:03
and everybody is invited
to donate one word to a collective poem.
to donate one word to a collective poem.
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每个人都被邀请为一首
集体诗歌贡献一个词。
集体诗歌贡献一个词。
12:08
And instead of that large
single LED portrait
single LED portrait
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与体育馆后面播放的
12:12
that was broadcasting
to the back of the stadium,
to the back of the stadium,
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一张大型肖像相比，
在这种情况下，每个观众
12:14
in this case, every member of the audience
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12:17
gets to take their own portrait
home with them,
home with them,
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可以把自己的肖像带回家，
12:19
and it's woven in with the words
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它与他们为集体诗歌
12:21
that they've contributed
to the collective poem.
to the collective poem.
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所做的贡献交织在一起。
12:24
So they keep a fragment
of an ever-evolving collective work.
of an ever-evolving collective work.
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因此，他们可以保留一个不断
演变的集体工作的片段。
演变的集体工作的片段。
12:29
And next year, the collective poem
will take architectural form.
will take architectural form.
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明年这首集体诗歌将采用建筑形式。
12:35
This is the design for the UK Pavilion
at the World Expo 2020.
at the World Expo 2020.
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这是2020年世博会英国馆的设计。
12:42
The UK ...
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英国…
12:45
In my lifetime,
it's never felt this divided.
it's never felt this divided.
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在我一生中，从未有过
如此分裂的状态。
如此分裂的状态。
12:49
It's never felt this noisy
with divergent voices.
with divergent voices.
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它从来没有感到如此的嘈杂，
发出过如此多不同的声音。
发出过如此多不同的声音。
12:53
And it's never felt this much
in need of places
in need of places
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它从来没有感到如此需要一个地方，
12:56
where voices might connect and converge.
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在那里各种声音可以
相互联系，相互融合。
相互联系，相互融合。
12:58
And it's my hope
that this wooden sculpture,
that this wooden sculpture,
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我的希望是这个木制雕塑，
13:02
this wooden instrument,
a bit like that violin I used to play,
a bit like that violin I used to play,
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这个木质乐器，有点像我
过去演奏过的小提琴，
过去演奏过的小提琴，
13:05
might be a place where people
can play and enter their word
can play and enter their word
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人们可以在圆锥的一端玩耍
13:10
at one end of the cone,
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并输入他们的文字，
13:12
emerge at the other end of the building,
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并在另一端出现，
13:14
and find that their word has joined
a collective poem, a collective voice.
a collective poem, a collective voice.
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从而发现他们的文字加入了
一首集体诗歌，发出了集体的声音。
一首集体诗歌，发出了集体的声音。
13:20
(Music)
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（音乐）
13:34
These are simple experiments
in machine learning.
in machine learning.
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这些是机器学习的简单实验。
13:38
The algorithm that generates
the collective poem is pretty simple.
the collective poem is pretty simple.
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产生集体诗歌的算法非常简单。
13:44
It's like predictive text,
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它就像预测文本一样，
13:45
only it's trained on millions of words
written by poets in the 19th century.
written by poets in the 19th century.
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只不过它是以19世纪诗人
写的几百万字为训练基础的。
写的几百万字为训练基础的。
13:51
So it's a sort of convergence
of intelligence, past and present,
of intelligence, past and present,
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所以它有点过去和现在，
13:56
organic and inorganic.
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有机和无机的智慧融合。
13:59
And we were inspired
by the words of Stephen Hawking.
by the words of Stephen Hawking.
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我们被史蒂芬·霍金的话所鼓舞。
14:02
Towards the end of his life,
he asked quite a simple question:
he asked quite a simple question:
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在他生命的终点，他问
了个非常简单的问题：
了个非常简单的问题：
14:06
If we as a species were ever
to come across another advanced life-form,
to come across another advanced life-form,
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如果我们作为一个物种遇到
另一种高级形式的生命，
另一种高级形式的生命，
14:12
an advanced civilization,
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一个更先进的文明，
14:15
how would we speak to them?
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我们将如何跟他们沟通？
14:17
What collective language
would we speak as a planet?
would we speak as a planet?
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我们作为地球该说什么集体语言？
14:23
The language of light
reaches every audience.
reaches every audience.
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灯光的语言能够传递给每一个观众。
14:28
All of us are touched by it.
None of us can hold it.
None of us can hold it.
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我们每个人都能被触碰到，
但每个人都无法抓住它。
但每个人都无法抓住它。
14:32
And in the theater, we begin each work
in a dark place, devoid of light.
in a dark place, devoid of light.
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在剧院中，我们在黑暗场景中
开始工作，远离光源。
开始工作，远离光源。
14:38
We stay up all night focusing the lights,
programming the lights,
programming the lights,
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我们彻夜不眠地聚焦灯光，
对灯光进行编程，
对灯光进行编程，
14:42
trying to find new ways
to sculpt and carve light.
to sculpt and carve light.
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试图找到塑造灯光的新方法。
14:47
(Music)
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（音乐）
14:51
This is a portrait of our practice,
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这是我们实践的写照，
14:57
always seeking new ways
to shape and reshape light,
to shape and reshape light,
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总是寻找塑造和重塑灯光的方式，
15:01
always finding words for things
that we no longer need to say.
that we no longer need to say.
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总是要为我们不再需要说出来
的东西寻找语言。
的东西寻找语言。
15:08
And I want to say that this,
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我想说的是，这个，
15:13
and everything that I've just shown you,
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还有我刚给你们展示的所有东西，
15:15
no longer exists in physical form.
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都不再具有物理形态。
15:18
(Music)
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（音乐）
15:20
In fact, most of what I've made
over the last 25 years
over the last 25 years
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事实上，我过去25年
所做的大部分东西
所做的大部分东西
都不复存在了。
15:23
doesn't exist anymore.
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15:25
But our work endures in memories,
in synaptic sculptures,
in synaptic sculptures,
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但是我们的作品存在于记忆中，
存在于突触雕塑中，
存在于突触雕塑中，
15:29
in the minds of those
who were once present
who were once present
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存在于那些曾经在观众中
15:33
in the audience.
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出现过的人的脑海中。
15:34
(Music)
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（音乐）
15:37
I once read that a poem learnt by heart
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我曾经读过用心记住的诗，
15:43
is what you have left,
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是你所留下的，
15:45
what can't be lost,
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无法丢失的，
15:47
even if your house burns down
and you've lost all your possessions.
and you've lost all your possessions.
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即便你的房子被烧毁
并失去所有的一切。
并失去所有的一切。
15:51
I want to end with some lines
that I learnt by heart a long time ago.
that I learnt by heart a long time ago.
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我想要用很久之前用心
记住的几行诗来结束。
记住的几行诗来结束。
15:56
(Music)
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（音乐）
15:59
They're written by the English
novelist E.M. Forster,
novelist E.M. Forster,
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它们是英国小说家
E.M.福斯特所创作的，
E.M.福斯特所创作的，
16:02
in 1910, just a few years
before Europe, my continent,
before Europe, my continent,
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写于1910年，就在欧洲，
我所在的大陆，
我所在的大陆，
16:06
(Music)
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（音乐）
16:08
began tearing itself apart.
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开始撕裂自己的时候。
16:10
(Music)
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（音乐）
16:12
And his call to convergence
still resonates
still resonates
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他对融合的呼吁仍然在我们现在
16:14
through most of what
we're trying to make now.
we're trying to make now.
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尝试做的大部分事情中产生共鸣。
16:17
(Music)
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（音乐）
16:18
"Only connect! That was
the whole of her sermon.
the whole of her sermon.
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“只有连接，是她所有的布道。
16:23
Only connect the prose and the passion,
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只有连接散文和激情，
16:26
and both will be exalted,
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两者才能升华，
16:29
And human love will be seen at its height.
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人类的爱才能达到顶峰。
16:34
Only connect! And live
in fragments no longer."
in fragments no longer."
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只有连接！并且不再活成散沙。”
16:41
Thank you.
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谢谢。
16:42
(Applause)
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（鼓掌）
Translated by psjmz mz
ABOUT THE SPEAKER
Es Devlin - Artist, designerEs Devlin is an artist and designer practicing across the worlds of art, music and technology.
Why you should listen
Es Devlin is an artist and stage designer. She is known for creating large-scale performative sculptures and environments that fuse music, language and light.
Devlin has conceived touring stage sculptures for Beyoncé, U2, Adele, The Weeknd and Kanye West as well as two decades of design for opera, drama and dance worldwide.
She is supported by a small team of talented designers at Studio Es Devlin who help develop and execute the design work as well as supporting Es’s expanding practice as a solo exhibiting artist.
Devlin's fluorescent red Fifth Lion roared AI-generated collective poetry to crowds in London's Trafalgar Square in September 2018. The 2016 MIRRORMAZE in Peckham, London, and ROOM 2022 at Miami Art Basel 2017 both explored reflective labyrinthine geometries and narratives. In 2018 she collaborated with theoretical physicist Carlo Rovelli on an interpretation of The Order of Time read by Benedict Cumberbatch.
Her practice was the subject of the Netflix documentary series Abstract: The Art Of Design, and she has been named artistic director of the 2020 London Design Biennale. Devlin has been awarded the London Design Medal, three Olivier Awards and a UAL fellowship. She has been named RSA Royal Designer For Industry and was made OBE in 2015.
Studio Es Devlin is designing the UK Pavilion at The World Expo 2020. The Poem Pavilion will continue Devlin's work in AI-generated collective poetry first conceived with Hans Ulrich Obrist at the Serpentine Gallery In London.
Es Devlin | Speaker | TED.com