TED2019
Es Devlin: Mind-blowing stage sculptures that fuse music and technology
埃斯 · 德夫林: 結合音樂與科技，令人目眩神迷的舞台設計
Filmed:
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這一切從草圖開始，然後開始轉變為不可思議的視覺巨作，與人們同慶感動的時刻。跟著舉世聞名的藝術家 ／ 設計師埃斯 · 德夫林，帶領我們瀏覽她那代表性的作品，包括為知名藝人：碧昂絲、愛黛兒、肯伊·威斯特、U2 ...... 等等設計的舞台，並搶先一窺她為 2020 年杜拜世界博覽會英國館所提出的設計。
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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這是舞台劇
The Lehman Trilogy 的場景，
The Lehman Trilogy 的場景，
00:21
which traces the origins
of Western capitalism
of Western capitalism
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此劇用 3 小時追溯了
西方資本主義的起源，
00:26
in three hours,
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00:27
with three actors and a piano.
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透過三位演員與一架鋼琴。
00:31
And my role was to create a stage design
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我的任務是設計舞台，
00:35
to write a visual language for this work.
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為這個作品建構出一種視覺語言。
00:39
The play describes Atlantic crossings,
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這齣戲描繪了：橫越大西洋、
00:43
Alabama cotton fields,
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阿拉巴馬州的棉花田、
00:44
New York skylines,
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跟紐約的天際線，
00:47
and we framed the whole thing
within this single revolving cube,
within this single revolving cube,
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而我們所有的場景都在這
單一個旋轉的立方體中呈現，
單一個旋轉的立方體中呈現，
00:53
a kind of kinetic cinema
through the centuries.
through the centuries.
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就像是穿越世紀的動感鏡頭。
00:57
It's like a musical instrument
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就像是由三位表演者
01:00
played by three performers.
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演奏的一種樂器。
01:03
And as they step their way
around and through
around and through
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當他們踏上了
雷曼兄弟的生命旅程，
01:06
the lives of the Lehman brothers,
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01:08
we, the audience,
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我們作為觀眾，
01:11
begin to connect
with the simple, human origins
with the simple, human origins
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開始對這場至今仍影響我們的 ——
01:15
at the root of the complex
global financial systems
global financial systems
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國際複雜金融體系風暴
根源之下的簡單人性，
根源之下的簡單人性，
01:19
that we're all still in thrall to today.
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產生共鳴。
01:23
I used to play musical instruments
myself when I was younger.
myself when I was younger.
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年輕時我會玩樂器。
01:27
My favorite was the violin.
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我最喜歡的樂器是小提琴。
這是種親密的能量傳遞形式。
01:31
It was this intimate transfer of energy.
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01:34
You held this organic sculpture
up to your heart,
up to your heart,
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你握持著這個有機雕塑靠近你的心，
01:37
and you poured the energy
of your whole body
of your whole body
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你傾注全身的精力到這個小木箱內，
01:40
into this little piece of wood,
and heard it translated into music.
and heard it translated into music.
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聽見它被轉化為音樂。
01:46
And I was never particularly
good at the violin,
good at the violin,
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我的琴藝並不是特別的精湛，
01:49
but I used to sit at the back
of the second violin section
of the second violin section
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但我曾經是第二小提琴的成員，
01:54
in the Hastings Youth Orchestra,
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在 Hastings 青年交響樂團。
01:57
scratching away.
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拉來拉去。
01:59
We were all scratching
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我們都在拉奏，
02:01
and marveling at this symphonic sound
that we were making
that we were making
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並驚嘆我們一同創造的和聲
02:06
that was so much
more beautiful and powerful
more beautiful and powerful
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是多麼地美妙、具渲染力，
02:08
than anything we would ever
have managed on our own.
have managed on our own.
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遠超過一人獨奏所能達到的境界。
02:11
And now, as I create
large-scale performances,
large-scale performances,
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現在當我設計大型表演，
02:16
I am always working with teams
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我合作的團隊人數規模
02:17
that are at least the size
of a symphony orchestra.
of a symphony orchestra.
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也總是不小於一個交響樂團。
02:21
And whether we are creating
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不論我們在創造的是：
02:24
these revolving giant
chess piece time tunnels
chess piece time tunnels
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理察 · 華格納歌劇中的
巨型旋轉的棋子時間通道。
02:28
for an opera by Richard Wagner
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02:30
or shark tanks and mountains
for Kanye West,
for Kanye West,
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或是肯伊 · 威斯特演唱會中的
投影鯊魚缸、山景。
投影鯊魚缸、山景。
02:34
we're always seeking to create
the most articulate sculpture,
the most articulate sculpture,
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我們總是試圖創造：
能夠清楚傳達意象的雕塑，
能夠清楚傳達意象的雕塑，
02:40
the most poetic instrument
of communication to an audience.
of communication to an audience.
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最詩意的工具和觀眾溝通。
02:44
When I say poetic,
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我所指的詩意，
02:47
I just mean language
at its most condensed,
at its most condensed,
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我指的是最精煉的語言，
02:50
like a song lyric,
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就像歌詞，
02:53
a poetic puzzle
to be unlocked and unpacked.
to be unlocked and unpacked.
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一個待解鎖跟拆封的詩意謎題。
02:57
And when we were preparing
to design Beyoncé's "Formation" tour,
to design Beyoncé's "Formation" tour,
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當我們著手設計碧昂絲的
《Formation》巡迴演唱會，
《Formation》巡迴演唱會，
03:01
we looked at all the lyrics,
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我們看遍了所有的歌詞，
03:04
and we came across this poem
that Beyoncé wrote.
that Beyoncé wrote.
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然後發現了她寫的這首詩。
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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當我約 4、5 歲因惡夢感到害怕時，
看見電視上的一位傳教士，
看見電視上的一位傳教士，
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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他保證如果我把手放到電視上，
他便會為我禱告。
他便會為我禱告。
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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那是我第一次有印象
禱告宛如一股電流穿過我。
禱告宛如一股電流穿過我。
03:23
And this TV that transmitted prayer
to Beyoncé as a child
to Beyoncé as a child
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而那台傳送禱告給小碧昂絲的電視，
03:28
became this monolithic revolving sculpture
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轉化為這個巨型旋轉裝置，
03:31
that broadcast Beyoncé
to the back of the stadium.
to the back of the stadium.
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將碧昂絲轉播到體育場的每一個角落。
03:36
And the stadium is a mass congregation.
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而體育館就像是大群信眾的集會。
03:40
It's a temporary population
of a hundred thousand people
of a hundred thousand people
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這是成千上萬人的暫時居所，
03:43
who have all come there to sing along
with every word together,
with every word together,
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他們來此一字不漏地跟著唱和，
03:47
but they've also come there
each seeking one-to-one intimacy
each seeking one-to-one intimacy
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但他們也來此，
追求與表演者一對一的親密感。
03:52
with the performer.
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03:54
And we, as we conceive the show,
we have to provide intimacy
we have to provide intimacy
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當我們在構思表演，
我們必須提供一種大規模的親密感。
03:58
on a grand scale.
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04:00
It usually starts with sketches.
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這通常由草圖開始，
04:02
I was drawing
this 60-foot-high, revolving,
this 60-foot-high, revolving,
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我畫了幅 60 英尺高、旋轉的、
04:07
broadcast-quality portrait of the artist,
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廣播級的藝人肖像，
04:11
and then I tore
the piece of paper in half.
the piece of paper in half.
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然後我把這張紙從中撕開。
04:13
I split the mask
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我撕開了面具，
04:15
to try to access the human
underneath it all.
underneath it all.
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試著去接觸下方的所有人。
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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畫草圖是一回事，
要把草圖轉換成一個——
要把草圖轉換成一個——
04:23
into a tourable revolving
six-story building
six-story building
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可巡迴的、旋轉的、六層樓高的建物，
04:27
took some exceptional engineers
working around the clock for three months,
working around the clock for three months,
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則需要傑出的工程師
不間斷地工作三個月。
不間斷地工作三個月。
04:31
until finally we arrived in Miami
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直到我們終於抵達邁阿密，
04:34
and opened the show in April 2016.
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並在 2016 年 4 月開始演出巡迴。
04:37
(Video: Cheers)
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（影像聲響：歡呼聲）
04:43
(Music: "Formation," Beyoncé)
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（背景音樂：碧昂絲的歌
〈 Formation 〉）
〈 Formation 〉）
04:45
Beyoncé: Y'all haters corny
with that Illuminati mess
with that Illuminati mess
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碧昂絲：你們這些酸民
滿口光明會的胡說八道
滿口光明會的胡說八道
04:50
Paparazzi, catch my fly,
and my cocky fresh
and my cocky fresh
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狗仔隊等著捕捉我
超閃亮的女王姿態
超閃亮的女王姿態
04:54
I'm so reckless when I rock
my Givenchy dress
my Givenchy dress
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穿著我的紀凡希洋裝
我傲視一切
我傲視一切
04:58
I'm so possessive so I rock
his Roc necklaces
his Roc necklaces
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我佔有慾超強
所以我戴著他的項鍊
所以我戴著他的項鍊
05:01
My daddy Alabama
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我的爹地來自阿拉巴馬
05:03
Momma Louisiana
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媽媽來自路易斯安那
05:05
You mix that negro with that Creole
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多元種族背景生出我這個
05:07
make a Texas bama
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德州混血黑妞
05:10
(Music ends)
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（音樂結束）
05:12
I call my work --
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我稱我的工作——
05:13
(Cheers, applause)
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（歡呼聲與掌聲）
05:14
Thank you.
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謝謝。
05:16
(Cheers, applause)
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（歡呼聲與掌聲）
05:17
I call my work stage sculpture,
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我稱我的工作是舞台雕塑，
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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但真正被雕塑的當然是觀眾的體驗。
05:26
and as directors and designers,
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作為導演與設計師，
05:28
we have to take responsibility
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我們必須對觀眾花在
05:29
for every minute
that the audience spend with us.
that the audience spend with us.
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我們身上的每一分鐘負責。
05:33
We're a bit like pilots
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我們有點像飛行員，
05:35
navigating a flight path
for a hundred thousand passengers.
for a hundred thousand passengers.
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為成千上萬名旅客導航。
05:40
And in the case of the Canadian
artist The Weeknd,
artist The Weeknd,
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在加拿大藝人威肯的案子，
05:44
we translated this flight path literally
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我們實現了這個比喻，
05:46
into an origami paper folding airplane
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將其轉化為一架紙飛機
05:51
that took off over the heads
of the audience,
of the audience,
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從觀眾的頭頂上飛過，
05:53
broke apart in mid-flight, complications,
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在飛行途中散開，
05:56
and then rose out of the ashes restored
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然後在表演尾聲時，
05:59
at the end of the show.
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從餘燼之中重生。
06:01
And like any flight,
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就像任何的飛行，
06:04
the most delicate part
is the liftoff, the beginning,
is the liftoff, the beginning,
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最需要小心處理的
就是開頭——起飛的瞬間，
就是開頭——起飛的瞬間，
06:07
because when you design a pop concert,
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因為當你設計流行音樂的演唱會時，
06:09
the prime material
that you're working with
that you're working with
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你最主要處理的素材
06:12
is something that doesn't take trucks
or crew to transport it.
or crew to transport it.
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不是那些可以被卡車
或人員運送的東西。
或人員運送的東西。
06:16
It doesn't cost anything,
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它不花任何成本，
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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但它瀰漫在整個體育館中，
就在表演開始前。
就在表演開始前。
06:23
It's the audience's anticipation.
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這個素材就是觀眾的期待。
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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每個人都帶著自己
如何來到這兒的故事，
如何來到這兒的故事，
06:30
the distances they traveled,
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他們跋山涉水了多遠、
06:32
the months they had to work
to pay for the tickets.
to pay for the tickets.
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累積了幾個月薪水才買到的門票。
06:34
Sometimes they sleep overnight
outside the arena,
outside the arena,
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有時候他們甚至在體育館外過夜，
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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我們的首要任務就是
為熱切的觀眾精心設計
為熱切的觀眾精心設計
06:42
to deliver their first sight
of the performer.
of the performer.
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那見到表演者的第一眼。
06:48
When I work with men,
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當我與男藝人合作時，
06:51
they're quite happy to have their music
transformed into metaphor --
transformed into metaphor --
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他們很高興能將他們的
音樂轉化為隱喻，
音樂轉化為隱喻，
06:55
spaceflights, mountains.
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像是：太空梭、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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但和女藝人我們則做了
許多像是面具或是立體的肖像。
許多像是面具或是立體的肖像。
07:03
because the fans of the female artist
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因為女藝人的粉絲
07:06
crave her face.
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渴慕著她的面容。
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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當聽眾進場觀賞愛黛兒
睽違五年的演唱會，
睽違五年的演唱會，
07:14
they were met with this image
of her eyes asleep.
of her eyes asleep.
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他們看見的畫面是她沉睡著的雙眼。
07:18
If they listened carefully,
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如果他們仔細聽，
07:20
they would hear her sleeping breath
echoing around the arena,
echoing around the arena,
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他們會聽見她沉睡的呼吸聲
在體育館裡迴盪著，
在體育館裡迴盪著，
07:24
waiting to wake up.
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等待甦醒。
07:26
Here's how the show began.
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表演是這樣開始的。
07:28
(Video: Cheers, applause)
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（歡呼聲和掌聲）
07:34
(Music)
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（音樂）
07:35
Adele: Hello.
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愛黛兒：哈囉。
（歡呼聲和掌聲）
07:36
(Cheers, applause)
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07:48
Es Devlin: With U2,
we're navigating the audience
we're navigating the audience
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埃斯 · 德夫林：和 U2 樂團，
我們帶領著觀眾跨越
我們帶領著觀眾跨越
07:50
over a terrain that spans three decades
of politics, poetry and music.
of politics, poetry and music.
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超過三十年政治、詩跟音樂的幅員。
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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經過數個月不停地與樂團
和他們的創意團隊開會討論，
和他們的創意團隊開會討論，
08:00
this is the sketch that kept recurring,
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這個草圖反覆地出現，
08:02
this line, this street,
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這個線條、這個街道，
08:06
the street that connects
the band's past with their present,
the band's past with their present,
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整個街道連結了樂團的過去跟現在，
08:09
the tightrope that they walk
as activists and artists,
as activists and artists,
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一路以來作為藝人及社會運動
參與者，如走鋼索般拿捏平衡，
參與者，如走鋼索般拿捏平衡，
08:13
a walk through cinema
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一個帶領觀眾穿越時間的劇場，
08:14
that allows the band
to become protagonists
to become protagonists
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讓樂團化身為
他們的詩中的主角。
08:17
in their own poetry.
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08:19
(Music: U2's "Where the Streets
Have No Name")
Have No Name")
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（音樂：U2〈Where the Streets
Have No Name〉）
Have No Name〉）
08:22
Bono: I wanna run
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波諾：我想逃出去
08:26
I want to hide
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或是躲起來
08:29
I wanna tear down the walls
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我想拆除這座高牆
08:33
That hold me inside
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這高牆鎖住了我
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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埃斯 · 德夫林：表演的尾聲
宛如飛行的尾聲。
宛如飛行的尾聲。
08:41
It's an arrival.
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就像抵達一般。
08:42
It's a transfer from the stage
out to the audience.
out to the audience.
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焦點從舞台轉到觀眾身上。
在英國偶像團體
Take That 的案子，
Take That 的案子，
08:47
For the British band Take That,
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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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我們在表演尾聲時，
從觀眾中央升起高達
80 英呎高的機械人。
80 英呎高的機械人。
08:54
out to the center of the crowd.
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08:57
(Music)
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（音樂）
09:05
Like many translations
from music to mechanics,
from music to mechanics,
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一如許多從音樂轉譯為機械的作品，
09:08
this one was initially deemed
entirely technically impossible.
entirely technically impossible.
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這個概念起初被認為
在技術上完全不可行。
在技術上完全不可行。
09:13
The first three engineers
we took it to said no,
we took it to said no,
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我們諮詢的前三位工程師都否決了，
09:16
and eventually,
the way that it was achieved
the way that it was achieved
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最終我們克服的方式是
09:18
was by keeping the entire
control system together
control system together
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在它各處巡迴的同時，
保持整座控制系統的完整性，
09:22
while it toured around the country,
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09:24
so we had to fold it up
onto a flatbed truck
onto a flatbed truck
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我們得把它收上平板卡車。
09:27
so it could tour around
without coming apart.
without coming apart.
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所以它可以到處巡迴，
而不至於散落。
而不至於散落。
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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當然，這也意味著雕塑頭部的尺寸
09:32
was entirely determined
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完全取決於
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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巡迴時會經過的公路上
限高最低的橋。
限高最低的橋。
09:39
And I have to tell you that it turns out
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而我必須要告訴你們，結果 ......
09:42
there is an unavoidable
and annoyingly low bridge
and annoyingly low bridge
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有一條無法繞過、惱人的矮橋，
09:45
low bridge just outside Hamburg.
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就在漢堡的近郊。
09:47
(Laughter)
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（笑聲）
09:50
(Music)
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（音樂）
09:56
Another of the most technically complex
pieces that we've worked on
pieces that we've worked on
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另一件技術含量極高的作品
10:01
is the opera "Carmen"
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是歌劇「卡門」，
10:03
at Bregenz Festival in Austria.
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在奧地利的布雷根茲藝術節。
10:07
We envisaged Carmen's hands rising
out of Lake Constance,
out of Lake Constance,
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我們想像卡門的手
從康士坦茲湖中升起，
從康士坦茲湖中升起，
10:11
and throwing this deck
of cards in the air
of cards in the air
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把牌撒向空中
10:13
and leaving them suspended
between sky and sea.
between sky and sea.
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讓牌懸浮於天空與湖面之間。
10:16
But this transient gesture,
this flick of the wrists
this flick of the wrists
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但這瞬間的姿態、
這手腕一甩的結構，
10:20
had to become a structure
that would be strong enough
that would be strong enough
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得堅固到能撐過兩個奧地利的冬天。
10:23
to withstand two Austrian winters.
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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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還有很多照片裡看不到
10:30
that's working really hard.
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但也非常令人費神的事。
10:32
It's a lot of ballast and structure
and support around the back,
and support around the back,
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有許多的壓艙物、結構、支架在背後，
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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我要跟你們分享
未曾在我網站上公開的照片。
未曾在我網站上公開的照片。
10:40
They're photos of the back of a set,
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這些是舞台背面的照片。
10:42
the part that's not designed
for the audience to see,
for the audience to see,
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這部分是觀眾看不見之處，
10:46
however much work it's doing.
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但也非常花人心思。
10:52
And you know, this is actually the dilemma
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你知道這對作為舞台設計師、
10:55
for an artist who is working
as a stage designer,
as a stage designer,
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藝術家來說，其實是種掙扎，
10:58
because so much of what I make is fake,
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因為許多我的作品都是不真實的，
11:03
it's an illusion.
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是種幻象。
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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但每位藝術家都在追求
傳遞一些真實的東西。
傳遞一些真實的東西。
11:12
But we are always asking ourselves:
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但我們常自問：
11:15
"Can we communicate truth
using things that are false?"
using things that are false?"
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「我們可以透過不真實的
事物來傳遞真理嗎？」
事物來傳遞真理嗎？」
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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如今當我去看我們設計的表演時，
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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常常發現我是唯一
不在注意舞台的人。
不在注意舞台的人。
11:28
I'm looking at something
that I find equally fascinating,
that I find equally fascinating,
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我在看的是同樣迷人的，
那就是——觀眾。
11:33
and it's the audience.
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11:34
(Cheers)
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（影片中的歡呼聲）
11:36
I mean, where else do you witness this:
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你還能在哪看到這樣的場景呢？
11:38
(Cheers)
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（歡呼聲）
11:39
this many humans, connected, focused,
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這麼多人，如此同感齊心、專注一致、
11:43
undistracted and unfragmented?
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心無旁鶩和完整地投入？
11:48
And lately, I've begun to make work
that originates here,
that originates here,
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最近我以此，
11:52
in the collective voice of the audience.
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以觀眾的和聲為靈感
設計了一個作品，
設計了一個作品，
11:56
"Poem Portraits" is a collective poem.
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「肖像詩」是集體創作的詩。
12:00
It began at the Serpentine
Gallery in London,
Gallery in London,
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它從倫敦的蛇形藝廊開始，
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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邀請大家為集體創作的詩貢獻一個字。
12:08
And instead of that large
single LED portrait
single LED portrait
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取代那種在展館後方的
12:12
that was broadcasting
to the back of the stadium,
to the back of the stadium,
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單片巨型 LED 肖像，
12:14
in this case, every member of the audience
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這次，每位觀眾
12:17
gets to take their own portrait
home with them,
home with them,
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都能帶他們各自的肖像回家，
12:19
and it's woven in with the words
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這肖像是由他們集體創作的詩
當中的字句所編織而成的。
當中的字句所編織而成的。
12:21
that they've contributed
to the collective poem.
to the collective poem.
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12:24
So they keep a fragment
of an ever-evolving collective work.
of an ever-evolving collective work.
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他們收藏了持續演化的
共同創作中的一部分。
共同創作中的一部分。
12:29
And next year, the collective poem
will take architectural form.
will take architectural form.
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明年，集體創作的詩
將以建築的形式呈現。
將以建築的形式呈現。
12:35
This is the design for the UK Pavilion
at the World Expo 2020.
at the World Expo 2020.
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這是 2020 年世界博覽會
英國館的設計。
英國館的設計。
12:42
The UK ...
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英國…...
12:45
In my lifetime,
it's never felt this divided.
it's never felt this divided.
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我這輩子從未感到它是如此地分裂，
12:49
It's never felt this noisy
with divergent voices.
with divergent voices.
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從未感到它因分裂的意見
而如此地吵雜，
而如此地吵雜，
12:53
And it's never felt this much
in need of places
in need of places
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從未如此感到需要一個
能讓意見交流並整合的園地。
12:56
where voices might connect and converge.
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12:58
And it's my hope
that this wooden sculpture,
that this wooden sculpture,
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我希望這個木製建築，
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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這個木製的樂器．
就像我以往演奏的小提琴，
就像我以往演奏的小提琴，
13:05
might be a place where people
can play and enter their word
can play and enter their word
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人們可以在這錐型建築的一端
13:10
at one end of the cone,
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播放、輸入他們的話語，
13:12
emerge at the other end of the building,
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接著發現建築的另一端浮現出：
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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以他們的話語
共同交織而成的詩和語言。
共同交織而成的詩和語言。
13:20
(Music)
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（音樂）
13:34
These are simple experiments
in machine learning.
in machine learning.
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這些是機器學習的簡單測試。
13:38
The algorithm that generates
the collective poem is pretty simple.
the collective poem is pretty simple.
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創造出集體創作詩的演算法
其實蠻單純，
13:44
It's like predictive text,
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就像是輸入預測一樣，
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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只是演算法的訓練資料
是大量 19 世紀的詩。
是大量 19 世紀的詩。
13:51
So it's a sort of convergence
of intelligence, past and present,
of intelligence, past and present,
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它有點像是：過去和現在、
有機和無機的智慧集合。
13:56
organic and inorganic.
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13:59
And we were inspired
by the words of Stephen Hawking.
by the words of Stephen Hawking.
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史蒂芬 · 霍金的話啟發了我們。
14:02
Towards the end of his life,
he asked quite a simple question:
he asked quite a simple question:
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晚年時，他問了一個簡單的問題：
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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身為人類這個物種，如果有天
遇見另一種高等智慧生物、
遇見另一種高等智慧生物、
14:12
an advanced civilization,
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另一個先進的文明，
14:15
how would we speak to them?
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我們將如何跟他們溝通？
14:17
What collective language
would we speak as a planet?
would we speak as a planet?
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我們會說什麼共同語言
代表我們的星球呢？
代表我們的星球呢？
14:23
The language of light
reaches every audience.
reaches every audience.
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光的語言可以觸及到每一位觀眾。
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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光能碰觸到我們，我們卻抓不住光。
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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在劇院，每個表演
都從黑暗中開始，避開光線。
都從黑暗中開始，避開光線。
14:38
We stay up all night focusing the lights,
programming the lights,
programming the lights,
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我們熬夜討論、設定燈光，
14:42
trying to find new ways
to sculpt and carve light.
to sculpt and carve light.
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試圖找到新的方式去雕塑、刻劃光。
14:47
(Music)
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（音樂）
14:51
This is a portrait of our practice,
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這描繪了我們工作的本質，
14:57
always seeking new ways
to shape and reshape light,
to shape and reshape light,
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總是試圖找到新的方式
來形塑、重塑燈光，
來形塑、重塑燈光，
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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試圖找到言語之外的表達方式。
15:08
And I want to say that this,
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我想說，這個，
15:13
and everything that I've just shown you,
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跟我剛展示給你們看的所有東西，
15:15
no longer exists in physical form.
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都不以實體型態存在了。
15:18
(Music)
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（音樂）
15:20
In fact, most of what I've made
over the last 25 years
over the last 25 years
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事實上，過去 25 年來
我所創造的作品
我所創造的作品
15:23
doesn't exist anymore.
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1717
大多都不存在了。
15:25
But our work endures in memories,
in synaptic sculptures,
in synaptic sculptures,
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4552
但我們的作品存在於
回憶、記憶神經元，
回憶、記憶神經元，
15:29
in the minds of those
who were once present
who were once present
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和曾經在場的觀眾心中。
15:33
in the audience.
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15:34
(Music)
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（音樂）
15:37
I once read that a poem learnt by heart
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我曾經讀過——
若你有首能牢記於心的詩，
15:43
is what you have left,
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那它將會是你僅有
15:45
what can't be lost,
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和永遠不會失去的資產，
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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4132
即便哪天你家被燒毀了
或失去了所有財產。
或失去了所有財產。
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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我想要以很久以前
就牢記於心的詞句做結尾。
就牢記於心的詞句做結尾。
15:56
(Music)
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（音樂）
15:59
They're written by the English
novelist E.M. Forster,
novelist E.M. Forster,
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這是由英國小說家
E · M · 福斯特於 1910 所寫，
E · M · 福斯特於 1910 所寫，
16:02
in 1910, just a few years
before Europe, my continent,
before Europe, my continent,
266
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就在我成長的土地——歐洲——
16:06
(Music)
267
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1631
（音樂）
16:08
began tearing itself apart.
268
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1746
開始自我分裂的幾年前。
16:10
(Music)
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1898
（音樂）
16:12
And his call to convergence
still resonates
still resonates
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2841
當時他疾聲呼籲的團結，
仍與我們現今的處境有所共鳴。
16:14
through most of what
we're trying to make now.
we're trying to make now.
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16:17
(Music)
272
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（音樂）
16:18
"Only connect! That was
the whole of her sermon.
the whole of her sermon.
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4958
「唯有聯結！是她長篇說教的核心。
16:23
Only connect the prose and the passion,
274
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3089
唯有聯結起平淡和激情，
16:26
and both will be exalted,
275
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3001
兩者才能共好，
16:29
And human love will be seen at its height.
276
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才能看見人類愛的潛能。
16:34
Only connect! And live
in fragments no longer."
in fragments no longer."
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唯有聯結！人們才能
不再活在分裂之中。」
不再活在分裂之中。」
16:41
Thank you.
278
989090
1151
謝謝！
16:42
(Applause)
279
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7000
（掌聲）
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