I have to say that I'm very glad to be here. I understand we have over 80 countries here, so that's a whole new paradigm for me to speak to all of these countries.
非常高兴能来到这里。 我知道大家来自于80多个国家, 在来自于这么多国家的人面前发言, 对我来说是一种全新的体验。
In each country, I'm sure you have this thing called the parent-teacher conference. Do you know about the parent-teacher conference? Not the ones for your kids, but the one you had as a child, where your parents come to school and your teacher talks to your parents, and it's a little bit awkward. Well, I remember in third grade, I had this moment where my father, who never takes off from work, he's a classical blue collar, a working-class immigrant person, going to school to see his son, how he's doing, and the teacher said to him, he said, "You know, John is good at math and art." And he kind of nodded, you know? The next day I saw him talking to a customer at our tofu store, and he said, "You know, John's good at math." (Laughter)
我相信,在每个国家, 都有一种叫家长会的东西。 你们知道什么是家长会吗? 不是作为一个家长,而是当你还是个孩子的时候, 你的父母来到学校, 然后,老师会跟他们进行些有点儿奇怪的谈话。 我记得在我小学三年级的时候, 我的父亲,一个从来不请假休息的人, 一个典型的蓝领,移民工薪阶层, 去学校看他儿子表现得怎么样, 我的老师告诉他,“你知道吗, John擅长数学和艺术"。 他稍稍地点了点头。 第二天,我看到他在跟我们家豆腐店的客人聊天, 他说,"你知道吗,John的数学很好。" (笑声)
And that always stuck with me all my life. Why didn't Dad say art? Why wasn't it okay? Why? It became a question my entire life, and that's all right, because being good at math meant he bought me a computer, and some of you remember this computer, this was my first computer. Who had an Apple II? Apple II users, very cool. (Applause) As you remember, the Apple II did nothing at all. (Laughter) You'd plug it in, you'd type in it and green text would come out. It would say you're wrong most of the time. That was the computer we knew. That computer is a computer that I learned about going to MIT, my father's dream. And at MIT, however, I learned about the computer at all levels, and after, I went to art school to get away from computers, and I began to think about the computer as more of a spiritual space of thinking. And I was influenced by performance art -- so this is 20 years ago. I made a computer out of people. It was called the Human Powered Computer Experiment. I have a power manager, mouse driver, memory, etc., and I built this in Kyoto, the old capital of Japan. It's a room broken in two halves. I've turned the computer on, and these assistants are placing a giant floppy disk built out of cardboard, and it's put into the computer. And the floppy disk drive person wears it. (Laughter) She finds the first sector on the disk, and takes data off the disk and passes it off to, of course, the bus. So the bus diligently carries the data into the computer to the memory, to the CPU, the VRAM, etc., and it's an actual working computer. That's a bus, really. (Laughter) And it looks kind of fast. That's a mouse driver, where it's XY. (Laughter) It looks like it's happening kind of quickly, but it's actually a very slow computer, and when I realized how slow this computer was compared to how fast a computer is, it made me wonder about computers and technology in general.
这个事情一直都让我困惑不解。 我爸爸为什么不提艺术?为什么擅长艺术就不好? 为什么呢?它成为了一个我一辈子都在寻找答案的问题, 这也没什么的,因为擅长数学, 他给我买了一台计算机,有些人可能记得这台计算机, 这是我的第一台计算机。 你们谁有过Apple II?用Apple II 的人很酷。(掌声) 就跟你记得的一样,Apple II 什么也做不了。(笑声) 你插上电,开始打字,然后绿色文本就会出来。 大多数情况下它都会说命令错误。 这就是我们以前所接触的计算机。 正是因为这台计算机,我进入了麻省理工学习, 这是父亲的梦想。 在麻省理工,我学习了各个层次的计算机知识, 但在那之后,我却去了艺术学校,以此来逃离计算机, 我开始更多地将计算机看做是 思考的精神空间。 我深受表演艺术的影响, 于是20 年前,我做了一台由人模拟的计算机。 我将其命名为人类动力计算机实验。 我有电源管理人、 鼠标驱动人员、 内存等, 我是在日本的旧首都京都做的这个实验。 那是一个被分成两半的房间。 我开启计算机后, 助理们把一个用纸板做的巨型软盘 放入计算机。 然后那个充当软盘驱动器的人就戴着这个软盘。(笑声) 她访问磁盘上的第一个扇区, 提取数据,然后传递给电脑的主线。 主线会敬业地把数据输入到计算机, 到内存,到CPU,再到VRAM等。 这是一个能运行的计算机,一个传输数据的线路集合,真的。(笑声) 它看起来很快。那是鼠标驱动人员 写着XY。(笑声) 它看起来似乎运行很快,但实际上, 这是一个运行非常慢的计算机, 当我意识到跟正常的计算机相比,它有多慢时, 我对计算机和科技从总体上有了新的思考。
And so I'm going to talk today about four things, really. The first three things are about how I've been curious about technology, design and art, and how they intersect, how they overlap, and also a topic that I've taken on since four years ago I became the President of Rhode Island School of Design: leadership. And I'll talk about how I've looked to combine these four areas into a kind of a synthesis, a kind of experiment.
所以,我今天真正要谈论的有四件事。 前三件事是关于我是如何一直以来 对科技、设计和艺术都充满了好奇的, 以及这三者是如何重叠、相互影响的。另一个主题 是我成为罗德岛设计学校校长这四年以来 一直在思考的问题:领导力。 我会讲一下我是如何尝试着 把这四个领域结合到一起实现同步并进行试验的。
So starting from technology, technology is a wonderful thing. When that Apple II came out, it really could do nothing. It could show text and after we waited a bit, we had these things called images. Remember when images were first possible with a computer, those gorgeous, full-color images? And then after a few years, we got CD-quality sound. It was incredible. You could listen to sound on the computer. And then movies, via CD-ROM. It was amazing. Remember that excitement? And then the browser appeared. The browser was great, but the browser was very primitive, very narrow bandwidth. Text first, then images, we waited, CD-quality sound over the Net, then movies over the Internet. Kind of incredible. And then the mobile phone occurred, text, images, audio, video. And now we have iPhone, iPad, Android, with text, video, audio, etc. You see this little pattern here? We're kind of stuck in a loop, perhaps, and this sense of possibility from computing is something I've been questioning for the last 10 or so years, and have looked to design, as we understand most things, and to understand design with our technology has been a passion of mine. And I have a small experiment to give you a quick design lesson.
从科技开始说, 科技是很美好的事物。 当那个Apple II 问世时,它真的什么都做不了。 它可以显示文本, 一段时间后,它开始显示图像。 还记得当计算机第一次显示图像, 显示那些华丽、 全彩图像的时候吗? 几年后,CD 音质问世了。 你可以在计算机上听到声音了,这令人难以置信。 然后是 CD-ROM的电影,多么了不起! 还记得当时那种兴奋的感觉吗? 然后浏览器出现了,最初的浏览器不错, 但是非常初级,只能执行很简单的任务。 首先是文本,然后有了图像, 一段时间的等待之后,又有了通过网络播放的 CD音质, 然后是出现在互联网上的电影,有点儿难以置信。 然后,手机诞生了, 文本、 图像、 音频、 视频。 现在我们有了能播放文本、 视频、 音频等内容的 iPhone,iPad,Android。 你发现这其中微妙的规律了吗? 我们看起来像是被困在了这个循环之中, 这种由计算机带来的种种可能性 是我过去10多年以来一直在质疑的。 因为我通过设计来理解大多数事情,所以我们也研究了设计, 通过科技来领会设计也成为了我的一个爱好。 我这里有一个小实验来让你快速了解设计。
Designers talk about the relationship between form and content, content and form. Now what does that mean? Well, content is the word up there: fear. It's a four-letter word. It's a kind of a bad feeling word, fear. Fear is set in Light Helvetica, so it's not too stressful, and if you set it in Ultra Light Helvetica, it's like, "Oh, fear, who cares?" Right? (Laughter) You take the same Ultra Light Helvetica and make it big, and like, whoa, that hurts. Fear. So you can see how you change the scale, you change the form. Content is the same, but you feel differently. You change the typeface to, like, this typeface, and it's kind of funny. It's like pirate typeface, like Captain Jack Sparrow typeface. Arr! Fear! Like, aww, that's not fearful. That's actually funny. Or fear like this, kind of a nightclub typeface. (Laughter) Like, we gotta go to Fear. (Laughter) It's, like, amazing, right? (Laughter) (Applause) It just changes the same content. Or you make it -- The letters are separated apart, they're huddled together like on the deck of the Titanic, and you feel sorry for the letters, like, I feel the fear. You feel for them. Or you change the typeface to something like this. It's very classy. It's like that expensive restaurant, Fear. I can never get in there. (Laughter) It's just amazing, Fear. But that's form, content.
设计师注重于形式与内容, 内容与形式之间的关系。这是什么意思呢? 内容是屏幕上的字: 恐惧。 一个由四个字母组成的词,是一个描述一种不好的感觉的词。 这个词用浅色Helvetica字体显示, 所以我们并没感到很有压力, 如果设置成非常浅的Helvetica字体, 感觉就像,"哦,恐惧,有什么大不了的呢? “ 对吧?(笑声) 我们还是用同样浅色的Helvetica字体,但把它放大, 就像,天哪,真吓人!恐惧! 刚才,我们通过改变字体大小,改变了形式。 尽管内容是相同的,但你的感觉却不一样。 你把字体改成这样的, 这个比较搞笑,有点儿像海盗字体, 像杰克船长(加勒比海盗)字体:啊!恐惧 ! 这一点也不吓人,实际上还很好笑。 而这种字体,感觉像夜店。(笑声) 让你觉得我们必须得去“”恐惧“喝一杯。(笑声) 很神奇,对吗?(笑声)(掌声) 相同的内容,感觉却不一样。 或者像这样,字母本来是分开的, 但把他们挤在一起, 像是在泰坦尼克号的甲板上, 你就会为这些字母感到难过,似乎是”我感到惧怕“。 你可以感受到他们。 或者,你还可以把字体改为这样。 它非常优雅,就像一家昂贵的叫做”恐惧“餐馆。 我永远都进不去。(笑声) 恐惧,真是了不起。但这就是形式与内容。
If you just change one letter in that content, you get a much better word, much better content: free. "Free" is a great word. You can serve it almost any way. Free bold feels like Mandela free. It's like, yes, I can be free. Free even light feels kind of like, ah, I can breathe in free. It feels great. Or even free spread out, it's like, ah, I can breathe in free, so easily. And I can add in a blue gradient and a dove, and I have, like, Don Draper free. (Laughter) So you see that -- form, content, design, it works that way. It's a powerful thing. It's like magic, almost, like the magicians we've seen at TED. It's magic. Design does that.
如果你只改变其中的一个字母, 你会得到一个好得多的词:自由。 "自由"是一个很好的词,你可以用任何的方式感受它。 加粗之后,感觉像曼德拉被释放而自由了。 就像”耶,我自由了“。 变浅之后,感觉就像,啊!我可以自由呼吸了。 那感觉真棒。或者把这些字母分开, 这就像,我可以轻松自由地呼吸。 我可以添加蓝色渐变和一只鸽子, 感觉就像Don Draper(广告狂人男主角)那样的自由。(笑声) 所以形式、 内容和设计就是这样运作的。 这很强大,跟魔术差不多, 就像我们在 TED看到的魔术师一样。 设计跟魔法一样,
And I've been curious about how design and technology intersect, and I'm going to show you some old work I never really show anymore, to give you a sense of what I used to do. So -- yeah. So I made a lot of work in the '90s. This was a square that responds to sound. People ask me why I made that. It's not clear. (Laughter) But I thought it'd be neat for the square to respond to me, and my kids were small then, and my kids would play with these things, like, "Aaah," you know, they would say, "Daddy, aaah, aaah." You know, like that. We'd go to a computer store, and they'd do the same thing. And they'd say, "Daddy, why doesn't the computer respond to sound?" And it was really at the time I was wondering why doesn't the computer respond to sound? So I made this as a kind of an experiment at the time.
我一直以来都对设计和科技 是如何相互融合的十分感兴趣, 我将展示一些我以前从来没有展示过的作品, 让你们了解我所做的事情。 -- 我在90 年代有很多作品。 这是一个对声音有反应的方块。 人们问我,为什么做这个东西,我也不知道。(笑声) 但是我认为,这个方块能对我做出反应, 感觉很不错,那时候我的孩子们还很小, 他们会玩这些东西, 他们会对着方块喊,"啊!爸爸,啊,啊。” 我们去买电脑的地方时,他们也会这样。 然后他们会问,"爸爸,为什么这些电脑没有回应呢?" 正是从那时候起,我便开始想, 为什么计算机对声音没有反应呢? 所以我当时就做了一些这种类型的实验。
And then I spent a lot of time in the space of interactive graphics and things like this, and I stopped doing it because my students at MIT got so much better than myself, so I had to hang up my mouse. But in '96, I made my last piece. It was in black and white, monochrome, fully monochrome, all in integer mathematics. It's called "Tap, Type, Write." It's paying a tribute to the wonderful typewriter that my mother used to type on all the time as a legal secretary. It has 10 variations. (Typing noise) (Typing noise) There's a shift. Ten variations. This is, like, spin the letter around. (Typing noises) This is, like, a ring of letters. (Typing noises) This is 20 years old, so it's kind of a -- Let's see, this is — I love the French film "The Red Balloon." Great movie, right? I love that movie. So, this is sort of like a play on that. (Typing noises) (Typewriter bell) It's peaceful, like that. (Laughter) I'll show this last one. This is about balance, you know. It's kind of stressful typing out, so if you type on this keyboard, you can, like, balance it out. (Laughter) If you hit G, life's okay, so I always say, "Hit G, and it's going to be all right. Thank you. (Applause) Thank you.
我也花了很多时间 研究交互式图形以及相关的东西,但后来我停下来了, 因为我在麻省的学生比我强多了, 所以我不得不“金盆洗手”。 但在 96年,我制作了我最后一件作品:它是黑白的, 单色,完全单色,完全基于整数数学。 我将其命名为"点,打,写。" 我以此来向老式打字机致敬, 我母亲是位法律秘书,她曾经就在那样的打字机上打字。 它有 10 种变化。(打字声) (打字声) 这是shift。 十种变化,这种是左右转动字母。 (打字声) 这像是一个由字母组成的戒指。(打字声) 这台打字机有20多年的历史了,所以它有点儿 — — 看,这是 — — 我喜欢法国电影《红气球》。 很棒的电影,对吧?我非常喜欢那部电影。 所以,这就像那部电影的延伸。(打字声)(打字机铃声) 很平静,就像这样。(笑声) 最后一种作品,是有关平衡的。 这种打字方法让人有点抓狂,所以如果你 在这个键盘上打字,你可以让它平衡起来。 (笑声) 如果你按G,什么事儿也没有,所以我总是说, "按G, 一切都会好的。“ 谢谢。(掌声) 谢谢。
So that was 20 years ago, and I was always on the periphery of art. By being President of RISD I've gone deep into art, and art is a wonderful thing, fine art, pure art. You know, when people say, "I don't get art. I don't get it at all." That means art is working, you know? It's like, art is supposed to be enigmatic, so when you say, like, "I don't get it," like, oh, that's great. (Laughter) Art does that, because art is about asking questions, questions that may not be answerable.
这是在 20 年前。 我一直是在艺术的边缘。 在担任了罗德岛艺术学院的校长之后, 我更加深入地了解了艺术, 艺术是非常美妙的,精美艺术,纯艺术。 当有人说"我不懂艺术,我一点儿也不明白"时, 那就意味着艺术影响到你了,知道吗? 艺术就应该是神秘的,所以当你说"我不明白" 的时候, 其实是在说“哦,太棒了。”(笑声) 这就是艺术的力量,艺术是在提问题, 提那些可能无法解答的问题。
At RISD, we have this amazing facility called the Edna Lawrence Nature Lab. It has 80,000 samples of animal, bone, mineral, plants. You know, in Rhode Island, if an animal gets hit on the road, they call us up and we pick it up and stuff it.
在罗德岛设计学院,我们有一个十分出色的实验室 叫埃德娜 · 劳伦斯自然实验室,在那里我们有 80,000 种动物、 骨头、 矿物质和植物的样本。 在罗德岛,如果一个动物被撞死了, 就会有人打电话过来,我们会把尸体运过来,填充成标本。
And why do we have this facility? Because at RISD, you have to look at the actual animal, the object, to understand its volume, to perceive it. At RISD, you're not allowed to draw from an image. And many people ask me, John, couldn't you just digitize all this? Make it all digital? Wouldn't it be better? And I often say, well, there's something good to how things used to be done. There's something very different about it, something we should figure out what is good about how we did it, even in this new era. And I have a good friend, he's a new media artist named Tota Hasegawa. He's based in London, no, actually it's in Tokyo, but when he was based in London, he had a game with his wife. He would go to antique shops, and the game was as such: When we look at an antique we want, we'll ask the shopkeeper for the story behind the antique, and if it's a good story, we'll buy it. So they'd go to an antique shop, and they'd look at this cup, and they'd say, "Tell us about this cup." And the shopkeeper would say, "It's old." (Laughter) "Tell us more." "Oh, it's really old." (Laughter) And he saw, over and over, the antique's value was all about it being old. And as a new media artist, he reflected, and said, you know, I've spent my whole career making new media art. People say, "Wow, your art, what is it?" It's new media. And he realized, it isn't about old or new. It's about something in between. It isn't about "old," the dirt, "new," the cloud. It's about what is good. A combination of the cloud and the dirt is where the action is at. You see it in all interesting art today, in all interesting businesses today. How we combine those two together to make good is very interesting.
我们为什么要有这样的实验室? 因为在罗德岛设计学院,你需要看到真实的动物, 来感知他的大小,并了解它们。 在罗德岛设计学院,我们是不允许根据图像来画图的。 很多人问我,John,你就不能把这些实物数字化? 把所有东西都变成电子版,这不是更好吗? 我常说,我们以前做事的方法是有可取之处的。 而且与众不同, 即使是在新时代, 我们仍然要弄清楚它们好在哪里。 我有一个好朋友,是一位新媒体艺术家 叫做长谷川值,他住在伦敦,不,实际上是在东京, 但是当他住在伦敦时,他和他的妻子经常 玩一个游戏,他们会去古董店, 这个游戏是这样的: 当他们看见一件想要的古董的时候, 会问问老板这件古董背后的故事, 如果是一个很好的故事,他们才会买这件古董。 所以当他们去古董店时,他们会看着这个杯子, 然后问:"跟我们讲讲这个杯子。" 老板会说:"它是旧的。"(笑声) "还有呢。" "哦,它非常旧。"(笑声) 他反反复复地了解到, 古董的价值便在于它是旧的。 作为一名新媒体艺术家,他感叹道, 我用整个职业生涯来创造新媒体艺术。 人们却会说,"哇,这是什么艺术?“ "这是新媒体。” 他意识到,新媒体无关乎旧或新。 它介于这两者之间。 它不是关于"旧“的泥土,或是"新"的云。 它要寻找什么是好的。 云和泥土的组合才是新媒体。 你会在所有有趣的艺术中, 以及所有令人感兴趣的商业中,看到这种组合。 如何将这两者结合产生好的东西,是非常有意思的。
So art makes questions, and leadership is something that is asking a lot of questions. We aren't functioning so easily anymore. We aren't a simple authoritarian regime anymore. As an example of authoritarianism, I was in Russia one time traveling in St. Petersburg, at a national monument, and I saw this sign that says, "Do Not Walk On The Grass," and I thought, oh, I mean, I speak English, and you're trying to single me out. That's not fair. But I found a sign for Russian-speaking people, and it was the best sign ever to say no. It was like, "No swimming, no hiking, no anything." My favorite ones are "no plants." Why would you bring a plant to a national monument? I'm not sure. And also "no love." (Laughter) So that is authoritarianism. And what is that, structurally? It's a hierarchy. We all know that a hierarchy is how we run many systems today, but as we know, it's been disrupted. It is now a network instead of a perfect tree. It's a heterarchy instead of a hierarchy. And that's kind of awkward.
所以艺术创造问题, 领导力则意味着提出很多问题。 社会不像以前那样单一了。 现在再也不是简单的独裁政权。 举个独裁主义的例子, 我曾经去俄罗斯圣彼得堡的一个国家纪念碑旅游, 我看见一个标志,上面写着,"请勿践踏草坪“ 我想,我是说英语的人, 用英语写标语就像是刻意对我说的,这不公平。 但我发现一个给说俄语的人的标志, 这是有史以来最好的禁止标志。 "禁止游泳,禁止远足,禁止任何事情。" 我最喜欢的一个是"禁止携带植物。 " 为什么会有人带植物到国家纪念碑?我不太明白。 还有"禁止谈情说爱"。(笑声) 这就是独裁主义。 从结构上而言,独裁主义是什么? 它是一个等级制度。大家都知道, 如今我们都在用等级制度运做很多东西, 但它已经被打破了。 现在它是一个网结构,而不是一个完美的树结构。 它是一个分层结构,而不是等级结构,这有一点奇怪。
And so today, leaders are faced with how to lead differently, I believe. This is work I did with my colleague Becky Bermont on creative leadership. What can we learn from artists and designers for how to lead? Because in many senses, a regular leader loves to avoid mistakes. Someone who's creative actually loves to learn from mistakes. A traditional leader is always wanting to be right, whereas a creative leader hopes to be right. And this frame is important today, in this complex, ambiguous space, and artists and designers have a lot to teach us, I believe.
因此,我认为如今的领导者们面临着 如何以不同的方式来带领团队。 我与我的同事Becky Bermont 研究了创意领导学。 我们从艺术家和设计师那里能学到哪些关于领导力的事情? 许多的情况下,一般的领导都希望避免错误, 而有创意的人其实喜欢从错误中学习。 传统的领导者总是想要正确, 而创意领导者则只是希望能正确。 这个框架如今很重要,在现在这个复杂,捉摸不透的世界, 我相信艺术家和设计师们可以教我们很多事情。
And I had a show in London recently where my friends invited me to come to London for four days to sit in a sandbox, and I said great. And so I sat in a sandbox for four days straight, six hours every day, six-minute appointments with anyone in London, and that was really bad. But I would listen to people, hear their issues, draw in the sand, try to figure things out, and it was kind of hard to figure out what I was doing. You know? It's all these one-on-one meetings for like four days. And it felt kind of like being president, actually. I was like, "Oh, this my job. President. I do a lot of meetings, you know?" And by the end of the experience, I realized why I was doing this. It's because leaders, what we do is we connect improbable connections and hope something will happen, and in that room I found so many connections between people across all of London, and so leadership, connecting people, is the great question today. Whether you're in the hierarchy or the heterarchy, it's a wonderful design challenge.
最近我在伦敦有一个展览, 我的朋友邀请我在伦敦呆四天, 就坐在沙坑里,我欣然答应了。 于是那四天我一直坐在沙坑里, 每天六个小时,在伦敦的任何人都可以和我面对面六分钟, 那可真是杯具。 但是,我可以听见人们聊他们的问题, 在沙上画画,试图解决问题, 很难弄清楚我在做什么。 这样一对一的会议,持续了四天。 感觉就像当总统一样,真的。 就像"哦,这是我的工作。我是总统,我有很多会议。" 到最后, 我意识到我做这件事的原因。 这是因为作为领导者, 我们要做的就是建立原本不可能的联系, 并且希望一些事情会发生, 而在那个房间里, 我发现了很多伦敦人之间的联系, 所以用领导力来连接不同的人,是如今的大问题。 无论你是在等级制度下,还是在分层结构中, 这都一个很棒的设计挑战。
And one thing I've been doing is doing some research on systems that can combine technology and leadership with an art and design perspective. Let me show you something I haven't shown anywhere, actually. So what this is, is a kind of a sketch, an application sketch I wrote in Python. You know how there's Photoshop? This is called Powershop, and the way it works is imagine an organization. You know, the CEO isn't ever at the top. The CEO's at the center of the organization. There may be different subdivisions in the organization, and you might want to look into different areas. For instance, green are areas doing well, red are areas doing poorly. You know, how do you, as the leader, scan, connect, make things happen? So for instance, you might open up a distribution here and find the different subdivisions in there, and know that you know someone in Eco, over here, and these people here are in Eco, the people you might engage with as CEO, people going across the hierarchy. And part of the challenge of the CEO is to find connections across areas, and so you might look in R&D, and here you see one person who crosses the two areas of interest, and it's a person important to engage. So you might want to, for instance, get a heads-up display on how you're interacting with them. How many coffees do you have? How often are you calling them, emailing them? What is the tenor of their email? How is it working out? Leaders might be able to use these systems to better regulate how they work inside the heterarchy. You can also imagine using technology like from Luminoso, the guys from Cambridge who were looking at deep text analysis. What is the tenor of your communications?
我一直在研究一种系统, 一种透过艺术与设计的视角, 来结合技术与领导力的系统。 让我向你展示一些我从没展示过的东西。 这是一个草图, 是我在Python 中写的应用,大家知道Photoshop吧? 这个叫Powershop,而它运作的方式是这样的, 你可以想象一个组织, 在这个组织中,CEO任何时候都不是在最高层。 CEO 总是在这个组织的中心。 组织中也许还有更小的分支机构, 你可能想要了解不同的领域。 例如,绿色代表做得好的领域,红色代表表现不佳的领域。 作为领导者,你如何浏览数据,建立联系, 让事情变得可能? 例如,你可以点开这个分支,再找到其中不同的分支, 你认识在生态部门的某个人,在这里, 然后 这些在生态部门的人, 可能是你作为 CEO或者管理者想要加强联系的人, 对于CEO而言, 要找到跨越领域的联系是一件很具有挑战性的事。 你可能关注研发部, 在这里,你看到一个跨越两个领域的人。 那么这个人就是一个非常重要的人。 因此,你可能想要仔细地看看 你是如何与他们互动的。 你跟他们喝了多少杯咖啡? 你多久给他们打一次电话,发一封邮件? 他们邮件的主题是什么?进展得怎么样? 领导者也许能用这些系统来 更好地规范被领导者在分层体系中的工作。 你还可以使用类似于Luminoso的技术, 像那些来自剑桥的人一样做深度文本分析。 你沟通的要旨是什么?
So these kind of systems, I believe, are important. They're targeted social media systems around leaders. And I believe that this kind of perspective will only begin to grow as more leaders enter the space of art and design, because art and design lets you think like this, find different systems like this, and I've just begun thinking like this, so I'm glad to share that with you. So in closing, I want to thank all of you for your attention. Thanks very much. (Applause) (Applause)
我认为,这种类型的系统是很重要的。 它们关注于领导人的社交圈。 我相信这种观点的壮大, 需要更多的领导人介入艺术和设计领域, 因为艺术和设计让你像这样思考, 找到像这样的不同的系统, 而我才刚开始像这样思考, 很高兴能与你们分享。 最后,我想谢谢大家 谢谢你们的关注。非常感谢。(掌声) (掌声)