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

諾菈艾金森: 為什麼在燃燒人節慶裡,藝術能找到一片天

Filmed:
439,585 views

工藝策展人諾菈艾金森帶我們走一遭內華達的黑石沙漠,去看看燃燒人節慶中設計得非常美麗的參與式藝術,並說明她發現博物館通常少了「好奇心」和「參與」。她問:「在我們現代的世界裡,若這不是藝術,什麼才是藝術?」
- 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夢想.
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就像作夢一樣。
00:15
Imagine想像, in the empty desert沙漠,
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想像一下,在空蕩蕩的沙漠,
00:17
you come upon a huge巨大 wheel
ringed環狀的 in skeletons骷髏,
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你發現了一個巨大的輪子,
周圍都是骨骸,
00:22
and someone有人 invites邀請 you to come pull
a series系列 of heavy ropes繩索 at its base基礎,
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有人邀請你去拉在它
基部的一串粗重繩子,
00:26
so you walk步行 to one side,
where a team球隊 is waiting等候,
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所以你走到一邊,
有一個團隊在那裡等著,
00:29
and you all throw your backs into it,
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你們所有人都使出吃奶的力氣,
00:31
and you pull in turn,
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你們輪流拉,
00:34
and eventually終於, the wheel roars怒吼 to life,
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最終,輪子發出轟鳴,動了起來,
00:36
lights燈火 begin開始 to flicker閃爍,
and the audience聽眾 cheers乾杯,
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光開始閃爍,觀眾在歡呼,
00:40
and you've just activated活性
Peter彼得 Hudson's哈德遜 "Charon卡戎,"
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你們剛剛啟動了彼得哈德森的
「卡戎(冥河渡神)」,
00:43
one of the world's世界 largest最大 zoetropeszoetropes.
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它是世界上最大的
西洋鏡(幻影箱)之一。
00:47
This is the farthest最遠 thing
from marketable銷售 art藝術.
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這是距離可行銷藝術最遙遠的東西。
00:51
(Laughter笑聲)
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(笑聲)
00:54
It's huge巨大, it's dangerous危險,
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它很巨大,它很危險,
00:56
it takes a dozen people to run,
and it doesn't go with the sofa沙發.
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要花十多個人才能運作,
且還沒有附沙發。
01:00
(Laughter笑聲)
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(笑聲)
01:01
It's beautifully精美 crafted精雕細琢
and completely全然 useless無用,
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它的工藝非常美麗,
且它完全沒有用途,
01:05
and it's wonderful精彩.
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它很美好。
01:08
You're unlikely不會 to see works作品 like "Charon卡戎"
in the art-world藝術-世界 headlines新聞頭條.
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你不太可能在藝術世界的標題
看到像「卡戎」這樣的作品。
01:12
These days, the buying購買
and selling銷售 of artwork藝術品
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藝術作品現今的買與賣
01:15
often經常 gets得到 more attention注意
than the works作品 themselves他們自己.
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通常比作品本身更受到矚目。
01:18
In the last year, a Jean-Michel讓 - 米歇爾· Basquiat巴斯奎特
sold出售 for 110 million百萬 dollars美元,
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去年,一件尚米榭巴斯奇亞的作品
就賣到一億一千萬美元,
01:23
the highest最高 price價錢 ever achieved實現
for the work of an American美國 artist藝術家,
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這是美國藝術家的作品
所達到的最高售價,
01:27
and a painting繪畫 by Leonardo萊昂納多 daDA Vinci達芬奇
sold出售 for 450 million百萬,
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還有一幅達文西的畫,
賣了四億五千萬美元,
01:31
setting設置 a new auction拍賣 record記錄.
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打破了拍賣的記錄。
01:35
Still, these are big, important重要 artists藝術家,
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然而,這些都是重要的大藝術家,
01:39
but still, when you look at these works作品
and you look at the headlines新聞頭條,
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儘管如此,當你看這些作品
和新聞頭條時,
01:42
you have to ask yourself你自己,
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你得要問問自己:
01:45
"Do I care關心 about these
because they move移動 me,
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「我在乎這些作品
是因為它們感動了我?
01:48
or do I care關心 about them
because they're expensive昂貴
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或是我在乎它們是因為它們很貴,
01:51
and I think they're supposed應該 to?"
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且我認為它們應該要很貴?」
01:53
In our contemporary現代的 world世界, it can be hard
to separate分離 those two things.
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在我們現代的世界,
很難區分這兩件事。
01:59
But what if we tried試著?
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但如果我們嘗試呢?
02:02
What if we redefined重新定義 art's藝術的 value --
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如果我們重新定義藝術的價值,
02:05
not by its price價錢 tag標籤,
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不是用標價,
02:06
but by the emotional情緒化 connection連接 it creates創建
between之間 the artist藝術家 and the audience聽眾,
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而是用它在藝術家和觀眾之間
創造出的情緒連結,
02:11
or the benefits好處 it gives our society社會,
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或是它給予我們社會的益處,
02:14
or the fulfillment履行 it gives
the artists藝術家 themselves他們自己?
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或是它給予藝術家自己的滿足感?
02:19
This is Nevada's內華達州的 Black黑色 Rock Desert沙漠,
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這是內華達的黑石沙漠,
02:22
about as far as you can get
from the galleries畫廊 of New York紐約
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從紐約、倫敦,以及香港的畫廊,
02:25
and London倫敦 and Hong香港 Kong.
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你所能到的最遠的地方就是這裡。
02:27
And here, for just about
30 years年份, at Burning燃燒 Man,
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在燃燒人節慶這裡,
大約有三十年的時間,
02:31
a movement運動 has been forming成型
that does exactly究竟 that.
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有一個運動,就是
為了這個目的而形成。
02:35
Since以來 its early anarchist無政府主義者 years年份,
Burning燃燒 Man has grown長大的 up.
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一開始像無政府般混亂的
燃燒人節慶已經成長了。
02:38
Today今天, it's more of an experiment實驗
in collective集體 dreaming做夢.
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現今,它更像是
一個集體作夢的體驗。
02:42
It's a year-round常年 community社區,
and every一切 August八月, for a single week,
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它是個全年無休的社區,
每年八月,有一週的時間,
02:46
70,000 people power功率 down their technology技術
and pilgrimage朝聖 out into the desert沙漠
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七萬人會離開他們的科技,
進入沙漠朝聖,
02:52
to build建立 an anti-consumerist反消費主義 society社會
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來打造一個反消費主義的社會,
02:54
outside the bounds界限
of their everyday每天 lives生活.
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超越他們日常生活的範圍。
02:57
The conditions條件 are brutal野蠻.
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條件很嚴酷。
02:59
Strangers陌生人 will hug擁抱 you,
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陌生人會擁抱你,
03:01
and every一切 year, you will swear發誓
it was better the last,
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每年,你都會發誓,
最好這是最後一次,
03:05
but it's still ridiculous荒謬
and freeing自由化 and alive,
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但它仍然很荒唐、很解放,
也很有生命力,
03:09
and the art藝術 is one thing
that thrives蓬勃發展 here.
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而在這裡,藝術能夠有一片天。
03:14
So this is me
on the desert沙漠 playa普拉亞 last year
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這是我,去年在沙漠乾鹽湖拍的,
03:18
with my brother哥哥, obviously明顯 hard at work.
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旁邊是我兄弟,
很顯然他努力地在工作。
03:20
(Laughter笑聲)
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(笑聲)
03:22
I'd been studying研究 the art藝術
of Burning燃燒 Man for several一些 years年份,
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我研究燃燒人節慶的藝術
已經有很多年了,
03:24
for an exhibition展覽 I curated策劃
at the Smithsonian's史密森的 Renwick倫威克 Gallery畫廊,
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為的是我幫史密森尼學會的
倫威克美術館所策畫的一項展覽,
03:29
and what fascinates著迷 me the most
isn't the quality質量 of the work here,
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讓我覺得最炫的,
並不是這裡的作品品質,
03:33
which哪一個 is actually其實 rather high,
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不過品質是真的很高,
03:35
it's why people come out here
into the desert沙漠 again and again
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最炫的是為什麼大家會
一而再再而三地來到這個沙漠,
03:39
to get their hands dirty and make
in our increasingly日益 digital數字 age年齡.
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在這個越來越數位的時代,
親自動手製作東西。
03:45
Because it seems似乎 like this gets得到
to something that's essentially實質上 human人的.
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因為似乎這樣做就能夠
找到一些人類的本質。
03:50
Really, the entire整個
encampment紮營 of Burning燃燒 Man
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說真的,整個燃燒人節慶的營地
03:52
could be thought of as one giant巨人
interactive互動 art藝術 installation安裝
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可以被視為是一個巨大的
互動式藝術裝置,
03:56
driven驅動 by the participation參與
of everyone大家 in it.
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由參與節慶的每一個人所驅動。
03:59
One thing that sets this work aside在旁邊
from the commercial廣告 art藝術 world世界
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讓這個節慶與商業藝術世界
有所區別的其中一點,
04:03
is that anyone任何人 who makes品牌 work can show顯示 it.
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就是任何創作人
都可以呈現自己的作品。
04:06
These days, around 300 art藝術 installations安裝
and countless無數 artistic藝術的 gestures手勢
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現今大約有三百件
藝術裝置和無數的藝術象徵
04:10
go to the playa普拉亞.
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被送到乾鹽湖。
04:12
None沒有 of them are sold出售 there.
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全是非賣品。
04:14
At the end結束 of the week,
if the works作品 aren't burned,
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在一週的尾聲,
如果作品沒有被燒掉,
04:17
artists藝術家 have to cart大車 them
back out and store商店 them.
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藝術家就得要把它們
運送回去儲存起來。
04:20
It's a tremendous巨大 labor勞動 of love.
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那是非常大的工程,
出於愛的工程。
04:24
Though雖然 there is certainly當然
a Burning燃燒 Man aesthetic審美,
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雖然肯定有著燃燒人節慶的美感,
04:27
pioneered首創 by artists藝術家 like
Kate凱特 Raudenbush蘭登布希 and Michael邁克爾 Christian基督教,
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由像凱特勞登布許
和麥可克里斯汀這些藝術家領頭,
04:30
much of the distinctive獨特
character字符 of the work here
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但這裡的作品的獨特特色大部分
04:33
comes from the desert沙漠 itself本身.
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來自沙漠本身。
04:35
For a work to succeed成功,
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一件作品若要能成功,
04:36
it has to be portable手提 enough足夠
to make the journey旅程,
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它必須要可攜帶,
至少要能走這段旅途,
04:39
rugged崎嶇 enough足夠 to withstand經受
the wind and weather天氣 and participants參與者,
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它必須要夠粗壯,能承受風、
天氣,和參與者的影響。
04:44
stimulating刺激 in daylight陽光 and darkness黑暗,
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在光線下和黑暗中
都要有刺激的效果,
04:46
and engaging without interpretation解釋.
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且不用詮釋就能和人連結。
04:50
Encounters邂逅 with monumental紀念
and intimate親密 works作品 here feel surreal超現實主義.
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在這裡,與紀念性和親密的
作品接觸,感覺很超現實。
04:54
Scale規模 has a tendency趨勢 to fool傻子 the eyes眼睛.
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比例可以愚弄眼睛。
04:57
What looked看著 enormous巨大 in an artist's藝術家 studio工作室
could get lost丟失 on the playa普拉亞,
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在藝術家的工作室中看來很巨大的
作品,在乾鹽湖中卻難以看見,
05:01
but there are virtually實質上 no spatial空間的 limits範圍,
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但那裡真的沒有空間的限制,
05:04
so artists藝術家 can dream夢想
as big as they can build建立.
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所以,藝術家可以夢想
任何能做得出來的尺寸。
05:08
Some pieces bowl you over by their grace恩典
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有些作品會讓你感到驚奇
是因為它們的優雅,
05:11
and others其他 by the sheer絕對 audacity大膽
it took to bring帶來 them here.
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有些則是因為將它們帶到這裡
所需要的十足膽量。
05:18
Burning燃燒 Man's人的 irreverent不敬 humor幽默
comes out in pieces
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燃燒人節慶中一些作品
會有著無關緊要的幽默,
05:21
like Rebekah利百加 Waites'瑪塔等待 "Church教會 Trap陷阱,"
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像是蕾貝卡魏特茲的
「教堂陷阱」,
05:23
a tiny country國家 chapel教堂 set precariously搖搖欲墜
on a wooden beam光束, like a mousetrap捕鼠器,
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一個小型鄉下禮拜堂,很不穩固地
放在木樑上,就像是捕鼠陷阱,
05:28
that lured引誘 participants參與者 in
to find religion宗教 --
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引誘參與者進入尋找宗教——
05:31
it was built內置 and burned in 2013 ...
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它是在 2013 年建造並被燒毀的,
05:37
while other works作品,
like Christopher克里斯托弗 Schardt'sSchardt 的 "Firmament蒼穹,"
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而其他作品,像是
克里斯多夫夏茲的「蒼天」,
05:40
aim目標 for the sublime昇華.
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把目標放在呈現壯觀。
05:41
Here, under a canopy華蓋 of dancing跳舞 lights燈火
set to classical古典 music音樂,
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在這裡,上頭是有著
舞廳燈光的頂篷,搭配古典音樂,
05:45
participants參與者 could escape逃逸
the thumping rave狂歡 beats節拍
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讓參與者能夠逃離周圍的
05:48
and chaos混沌 all around.
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吵鬧重擊節拍和混亂。
05:53
At night, the city swarms成群
with mutant突變體 vehicles汽車,
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晚上,城市裡滿是變種的車輛,
05:56
the only cars汽車 allowed允許 to roam漫遊 the playa普拉亞.
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乾鹽湖只容許這種車遊盪。
05:59
And if necessity必要性
is the mother母親 of invention發明,
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如果需求是發明之母,
06:02
here, absurdity荒謬 is its father父親.
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在這裡,荒謬就是發明之父。
06:04
(Laughter笑聲)
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(笑聲)
06:05
They zigzag蜿蜒 from artwork藝術品 to artwork藝術品
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從一件藝術作品到另一件
之間的曲折變化,
06:07
like some bizarre奇異的, random隨機
public上市 transportation運輸 system系統,
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就像怪誕、隨機的大眾運輸系統,
06:10
pulsing脈動 with light and sound聲音.
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帶著光線與聲音在脈動著。
06:13
When artists藝術家 stop worrying令人擔憂
about critics批評者 and collectors收藏家
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當藝術家不再擔心評論家和收藏家,
06:16
and start開始 making製造 work for themselves他們自己,
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開始為自己創造作品時,
06:19
these are the kinds
of marvelous奇妙 toys玩具 they create創建.
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這些就是他們
創造出來的絕妙玩具。
06:23
And what's amazing驚人 is that, by and large,
when people first come to Burning燃燒 Man,
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很棒的是,一般來說,
當大家初次來到燃燒人節慶時,
06:27
they don't know how to make this stuff東東.
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他們不知道要如何做這些東西。
06:30
It's the active活性 collaborative共同
maker製作者 community社區 there
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是這裡的個積極合作式自造者社區
06:32
that makes品牌 this possible可能.
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讓這一切成為可能。
06:35
Collectives集體 like Five Ton Crane起重機
come together一起 to share分享 skills技能
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像「 Five Ton Crane」這樣的
集體企業會團結起來分享技能,
06:39
and take on complex複雜 projects項目
a single artist藝術家 would never even attempt嘗試,
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挑戰單一位藝術家永遠
不可能嘗試的複雜計畫,
06:43
from a Gothic哥特 rocket火箭 ship that appears出現
ready準備 to take off at any moment時刻
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從看起來隨時準備好
要起飛的哥德式火箭,
06:47
to a fairytale童話 home inside a giant巨人 boot
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到如童話般位在巨大靴子中的家,
06:50
complete完成 with shelves貨架
full充分 of artist-made演出者製作 books圖書,
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附帶有放滿藝術家
製作之書籍的書架、
一個放在爐中的黑鳥派餅,
06:53
a black黑色 burnt pie餡餅 in the oven烤箱
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06:55
and a climbable攀爬 beanstalk青苗.
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以及可以攀爬的豆莖。
06:59
Skilled熟練 or unskilled不熟練, all are welcome歡迎.
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不論是否要用到技能,通通都歡迎。
07:02
In fact事實, part部分 of the charm魅力
and the innovation革新 of the work here
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事實上,這裡的作品之所以
有魅力和創新,部分原因
07:06
is that so many許多 makers製造商
aren't artists藝術家 at all,
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是因為許多自造者根本不是藝術家,
07:09
but scientists科學家們 or engineers工程師
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而是科學家或工程師,
07:11
or welders焊工 or garbage垃圾 collectors收藏家,
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或是焊工或垃圾收集者,
07:14
and their works作品 cross交叉
disciplinary紀律 boundaries邊界,
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他們的作品跨越了學科領域的界線,
07:17
from a grove樹林 of origami摺紙 mushrooms蘑菇
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從根據蒙古包設計
07:19
that developed發達
out of the design設計 for a yurt蒙古包
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發展出來的褶紙香菇叢,
07:22
to a tree that responds響應
to the voices聲音 and biorhythms生物節律
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到會回應所有周圍聲音
和生物節律的樹木,
07:25
of all those around it
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07:27
through通過 175,000 LEDs發光二極管
embedded嵌入式 in its leaves樹葉.
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靠其樹葉中內建的 17 萬
5 千個 LED 燈來回應。
07:32
In museums博物館, a typical典型 visitor遊客 spends
less than 30 seconds with a work of art藝術,
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在博物館,典型的訪客會花在一件
藝術作品上的時間不到 30 秒,
07:38
and I often經常 watch people wander漫步
from label標籤 to label標籤,
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我常常看著大家
在各標籤之間徘徊,
07:41
searching搜索 for information信息,
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尋找資訊,
07:42
as though雖然 the entire整個 story故事
of a work of art藝術
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好像藝術作品的整個故事
07:45
could be contained
in that one 80-word-字 text文本.
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都能夠被包含在
80 個字的文字說明中。
07:49
But in the desert沙漠,
there are no gatekeepers守門
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但在沙漠中,沒有守門人,
07:52
and no placards舉牌 explaining說明 the art藝術,
just natural自然 curiosity好奇心.
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沒有小牌子來解釋藝術,
只有自然的好奇心。
07:57
You see a work on the horizon地平線,
and you ride towards it.
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你看到地平線上有一件作品,
你就朝它前進。
08:01
When you arrive到達, you walk步行 all around it,
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抵達後,你繞著它的周圍走著,
08:03
you touch觸摸 it, you test測試 it.
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你觸碰它,你測試它。
08:05
Is it sturdy粗壯 enough足夠 to climb on?
Will I be impaled刺穿 by it?
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它夠堅固可以爬上去嗎?
我會不會被它刺穿?
08:09
(Laughter笑聲)
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(笑聲)
08:11
Art藝術 becomes a place地點
for extended擴展 interaction相互作用,
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藝術變成了延伸互動的地方,
08:14
and although雖然 the display顯示
might威力 be short-lived短命,
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雖然展示的時間很短暫,
08:17
the experience經驗 stays入住 with you.
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但這經驗會與你同在。
08:21
Nowhere無處 is that truer更真實 at Burning燃燒 Man
than at the Temple寺廟.
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在燃燒人節慶中,最真實的
地方就是「寺廟」了。
08:25
In 2000, David大衛 Best最好 and Jack插口 Haye海耶
built內置 the first Temple寺廟,
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2000 年,大衛貝斯特和傑克海耶
建造了第一座「寺廟」,
08:29
and after a member會員 of their team球隊
was killed殺害 tragically可悲 in an accident事故
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在活動即將開始之前,
他們的團隊中有一位成員
08:32
shortly不久 before the event事件,
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因為意外而喪命,這之後,
08:34
the building建造 became成為 a makeshift湊合的 memorial紀念館.
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這建物就變成了湊合使用的紀念館。
08:38
By itself本身, it's a magnificent華麗的
piece of architecture建築,
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它本身是很了不起的建築,
08:42
but the structure結構體 is only a shell貝殼
until直到 it disappears消失
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但建築物只是個外殼,
直到它被滿滿的想法訊息給覆蓋。
08:45
under a think blanket of messages消息.
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08:48
"I miss小姐 you."
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「我想你。」
08:50
"Please forgive原諒 me."
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「請原諒我。」
08:52
"Even a broken破碎 crayon蠟筆 still colors顏色."
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「即使是斷掉的蠟筆
也仍然能上色。」
08:55
Intimate親密 testaments遺囑 to the most
universal普遍 of human人的 experiences經驗,
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這親密治療針對最普遍的人類經歷:
08:59
the experience經驗 of loss失利.
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「失去」的經歷。
09:03
The collective集體 emotion情感 in this place地點
is overpowering壓倒性 and indescribable無法形容,
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在這個地方的集體情緒
真的是過強到無法形容,
09:09
before it's set afire著火
on the last night of the event事件.
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直到活動的最後一夜,
它被放火燒盡為止。
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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每年,總有什麼會驅使各行各業的人
09:22
from all over the world世界,
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從世界各個角落
09:24
to go out into the desert沙漠 and make art藝術
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來到沙漠中並創作藝術,
09:27
when there is no money in it.
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而且這還是沒有錢賺的。
09:30
The work's作品 not always refined精製,
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作品不見得一定都很精製,
09:33
it's not always viable可行,
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不見得一定都很可行,
09:34
it's not even always good,
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甚至不見得一定都很好,
09:37
but it's authentic真實 and optimistic樂觀
in a way we rarely很少 see anywhere隨地 else其他.
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但它們都是真實的、樂觀的,
這點在其他地方是很罕見的。
09:43
In these cynical憤世嫉俗的 times,
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在這憤世嫉俗的時代,
09:46
it's comforting欣慰的 to know that we're still
capable of great feats功勳 of imagination想像力,
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很讓人欣慰的是知道我們
仍然有非凡的想像能力,
09:51
and that when we search搜索 for connection連接,
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且當我們在尋找連結時,
09:54
we come together一起 and build建立
cathedrals教堂 in the dust灰塵.
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我們能團結在一起,
從塵土中建起大教堂。
09:58
Forget忘記 the price價錢 tags標籤.
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把價格標籤忘掉。
10:00
Forget忘記 the big names.
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把名人的名字忘掉。
10:02
What is art藝術 for in our contemporary現代的
world世界 if not this?
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在我們現代的世界裡,
若這不是藝術,什麼才是藝術?
10:08
Thank you.
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謝謝。
10:09
(Applause掌聲)
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(掌聲)
Translated by Lilian Chiu
Reviewed by Helen Chang

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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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