I'm kind of tired of talking about simplicity, actually, so I thought I'd make my life more complex, as a serious play. So, I'm going to, like, go through some slides from way back when, and walk through them to give you a sense of how I end up here.
我今天不太想谈论简约主义 那就把我的生活变得复杂些 让它严肃一点 接下来 我会播放一些幻灯片 先回到从前 然后向你们展示我是如何一步一步走到这里
So, basically it all began with this whole idea of a computer. Who has a computer? Yeah. O.K., so, everyone has a computer. Even a mobile phone, it's a computer. And -- anyone remember this workbook, "Instant Activities for Your Apple" -- free poster in each book? This was how computing began. Don't forget: a computer came out; it had no software. You'd buy that thing, you'd bring it home, you'd plug it in, and it would do absolutely nothing at all. So, you had to program it, and there were great programming, like, tutorials, like this. I mean, this was great. It's, like, you know, Herbie the Apple II. It's such a great way to -- I mean, they should make Java books like this, and we've have no problem learning a program. But this was a great, grand time of the computer, when it was just a raw, raw, what is it? kind of an era. And, you see, this era coincided with my own childhood.
其实一切都源于 这一个概念 - 计算机. 那谁有计算机呢? 嗯. 好吧, 每个人都有自己的计算机 甚至一部手机也算是台计算机 那.. 谁还记得这本操作手册 "充分利用你的苹果电脑" -- 每本书都附一张免费海报? 然后计算就开始了 别忘了:计算机刚诞生时,里面并没有软件. 你买来它, 带它回家, 给它插上电源, 结果它什么事情也做不了. 因此, 你还得为它写点程序, 要编程的话是有一些很棒的 教程 比如这个 我想说它真的很棒 这好象是 你知道的 ‘’Herbie教你学苹果二代‘’ 这种书真的很棒— 我说 他们真应该把Java书也写成这样 那学编程简直就易如反掌了 当时对计算机来说可真是个好时候 很原始 很初级 就像是 黄金时代 然后 大家看 这一时代恰好和我的童年互相重合
I grew up in a tofu factory in Seattle. Who of you grew up in a family business, suffered the torture? Yes, yes. The torture was good. Wasn't it good torture? It was just life-changing, you know. And so, in my life, you know, I was in the tofu; it was a family business. And my mother was a kind of a designer, also. She'd make this kind of, like, wall of tofu cooking, and it would confuse the customers, because they all thought it was a restaurant. A bad sort of branding thing, or whatever. But, anyway, that's where I grew up, in this little tofu factory in Seattle, and it was kind of like this: a small room where I kind of grew up. I'm big there in that picture.
我在西雅图的一家豆腐厂里长大 在座的有谁是在家庭作坊中长大的? 吃了不少苦? 是的, 是的. 逆境出人才 受点磨难不好么? 磨难能改变你一生 我这一生 你知道的 我在豆腐厂长大 那是一个家庭作坊 我母亲从某种意义上来说也是设计师 她做了这种 豆腐料理墙 然后顾客们都很疑惑, 因为他们都觉得这是一家餐馆 品牌形象没弄对 是吧 但是, 不管怎样, 我就在这儿长大 这家西雅图的小豆腐作坊 当时大概就这样: 小房间 我在这儿长大 照片里显得我很大
That's my dad. My dad was kind of like MacGyver, really: he would invent, like, ways to make things heavy. Like back here, there's like, concrete block technology here, and he would need the concrete blocks to press the tofu, because tofu is actually kind of a liquidy type of thing, and so you have to have heavy stuff to push out the liquid and make it hard. Tofu comes out in these big batches, and my father would sort of cut them by hand. I can't tell you -- family business story: you'd understand this -- my father was the most sincere man possible. He walked into a Safeway once on a rainy day, slipped, broke his arm, rushed out: he didn't want to inconvenience Safeway. So, instead, you know, my father's, like, arm's broken for two weeks in the store, and that week -- now, those two weeks were when my older brother and I had to do everything. And that was torture, real torture. Because, you see, we'd seen my father taking the big block of tofu and cutting it, like, knife in, zap, zap, zap. We thought, wow. So, the first time I did that, I went, like, whoa! Like this. Bad blocks. But anyways, the tofu to me was kind of my origin, basically. And because working in a store was so hard, I liked going to school; it was like heaven. And I was really good at school.
这是我爸爸. 我爸有点像MacGyver, 说真的 他会发明些把东西变重的方法 比如这后面 有一个水泥块 他需要用这些水泥块来挤压豆腐 因为豆腐其实是有点像液体的东西, 所以你得用沉的东西 把水分挤出来 把它弄结实 豆腐出来时很大一块 然后我爸就会用手把它们切开. 这个不能说 家族机密了 大家都理解的 我的父亲是世上最实在的人了 一次下雨天他走进一家喜互惠超市 滑倒 手骨折了 马上跑出来 他不想给喜互惠添麻烦 结果 我把的手就断了 两个星期 整整两星期 我和我哥哥就不得不在店里 帮忙做所有事 这可真是苦 真苦啊 再来说 我爸 把那么一大块豆腐切开 像刀切一样 嚓 嚓 嚓 “哇哦~” 而我第一次切的时候就像这样 “唔哦..” 报废了 不过不管咋说 豆腐就像我的根 基本上 在店里工作实在太苦 我就很喜欢上学 学校简直就是天堂 在学校我表现也很好
So, when I got to MIT, you know, as most of you who are creatives, your parents all told you not to be creative, right? So, same way, you know, I was good at art and good at math, and my father says, he's -- John's good at math. I went to MIT, did my math, but I had this wonderful opportunity, because computers had just become visual. The Apple -- Macintosh just came out; I had a Mac in hand when I went to MIT. And it was a time when a guy who, kind of, could cross the two sides -- it was a good time.
然后 我考上了麻省理工 大家知道的 和在座大部分创意人士一样 你们的父母都阻断过您的创意之路 是吧? 所以 都一样的 我美术很好 数学也好 我爸就说 约翰的数学最好了 那我去了麻省理工 学数学 直到我遇到这个绝佳机会 计算机开始变得视觉化 苹果电脑正好问世了 我去MIT时就拥有一台苹果电脑 那当时对于一个可以 横跨两个领域的人来说 是很好的机遇
And so, I remember that my first major piece of software was on a direct copy of then-Aldus PageMaker. I made a desktop publishing system way back when, and that was, kind of, my first step into figuring out how to -- oh, these two sides are kind of fun to mix. And the problem when you're younger -- for all you students out there -- is, your head gets kind of big really easy. And when I was making icons, I was, like, the icon master, and I was, like, yeah, I'm really good at this, you know. And then luckily, you know, I had the fortune of going to something called a library, and in the library I came upon this very book. I found this book. It's called, "Thoughts on Design," by a man named Paul Rand. It's a little slim volume; I'm not sure if you've seen this. It's a very nice little book. It's about this guy, Paul Rand, who was one of the greatest graphic designers, and also a great writer as well. And when I saw this man's work, I realized how bad I was at design, or whatever I called it back then, and I suddenly had a kind of career goal, kind of in hot pursuit.
结果 我记得我第一个重要的软件 是直接模仿当时的 Aldus PageMaker 我做了一个在桌面出版系统 由此我在第一次了解到 嗯 融合这两方面挺有趣的 而对于年轻人来说有个问题 在做的各位学生记好了 -- 就是 你非常容易自我膨胀 当我设计图标的时候 我就像是 图标之王 然后我就说 是啊 我真的很在行 然后很幸运地 我有幸去了某个地方——图书馆 在图书馆里我遇到了这本书 我找到了这本书 它叫做 "设计的思考" 是一个叫做保罗·兰德的人写的 它的出版量有点小; 不知你们见过没有 很好的一本小书 关于这个人的 保罗·兰德 当时最杰出的平面设计师之一 书也写得及很不错 当我看到此人作品时 我才意识到我自己在设计上多么糟糕 不管当时我怎么说的吧 突然我就有了某种职业目标 追求的欲望还很强烈
So I kind of switched. I went to MIT, finished. I got my masters, and then went to art school after that. And just began to design stuff, like chopstick wrappers, napkins, menus -- whatever I could get a handle on: sort of wheel-and-deal, move up in the design world, whatever. And isn't it that strange moment when you publish your design? Remember that moment -- publishing your designs? Remember that moment? It felt so good, didn't it? So, I was published, you know, so, wow, my design's in a book, you know? After that, things kind of got strange, and I got thinking about the computer, because the computer to me always, kind of, bothered me. I didn't quite get it. And Paul Rand was a kind of crusty designer, you know, a crusty designer, like a good -- kind of like a good French bread? You know, he wrote in one of his books: "A Yale student once said, 'I came here to learn how to design, not how to use a computer.' Design schools take heed." This is in the '80s, in the great clash of computer/non-computer people. A very difficult time, actually. And this to me was an important message from Rand.
这是个比较重要的转变 我去了MIT 念完了 拿到硕士学位 又去了艺术学校 开始设计些东西 比如筷子包装 餐巾 菜单 -- 任何我可以得到的机会 有点横冲直撞 呆头呆脑地在设计路上前进 随便了 发表设计作品的时候你们有没有觉得奇怪过? 还记得那个时刻吗 -- 发表自己的设计? 记得那一刻吗? 感觉特好, 是不是? 是的 我的设计出版了 哇哦 我的设计被发表在一本书中了耶 之后 事情就有点怪怪的了 我开始思考计算机这个东西 因为计算机总是会让我犯糊涂 我并不十分理解它 而Paul Rand 是个有些暴躁的设计师 懂么 暴躁的设计师 就像是一块.. 好的法国面包? 他的一本书中写道: "一名耶鲁的学生曾说 '我来到这儿是学设计的 不是学怎么使用计算机的' 设计学校当心了。" 当时是80年代 支持和反对计算机的人讨论得正激烈 那段时间其实很难熬 对我来说这是Rand给我的重要信息
And so I began to sort of mess with the computer at the time. This is the first sort of play thing I did, my own serious play. I built a working version of an Adobe Illustrator-ish thing. It looks like Illustrator; it can, like, draw. It was very hard to make this, actually. It took a month to make this part. And then I thought, what if I added this feature, where I can say, this point, you can fly like a bird. You're free, kind of thing. So I could, sort of, change the kind of stability with a little control there on the dial, and I can sort of watch it flip around. And this is in 1993. And when my professors saw this, they were very upset at me. They were saying, Why's it moving? They were saying, Make it stop now. Now, I was saying, Well, that's the whole point: it's moving. And he says, Well, when's it going to stop? And I said, Never. And he said, Even worse. Stop it now. I started studying this whole idea, of like, what is this computer? It's a strange medium. It's not like print. It's not like video. It lasts forever. It's a very strange medium. So, I went off with this, and began to look for things even more.
于是我开始捣鼓计算机 这是我的第一次玩儿的东西, 我自己的严肃玩意儿 我做了一个类似Adobe Illustrator的实用程序 它看起来很像Illustrator 它可以 比如 画图 做这个其实挺难的 做这部分花了一个月时间 然后我想, 要是加这样一个功能会怎样呢 比如我可以说 这个点 你可以像鸟一样飞 你自由了 那意思 所以我可以 好像 改变稳定性 利用一个控制盘上的小控件 我就可以看它翻来翻去. 当是是1993年 我的教授们看到这个时 都生气极了 他们说 为什么它要动? 他们说 马上让它停下来 我就说 嗯 这才是一切的重点:让它动。 然后他说 那么 它什么时候停下来? 我说 永远不 然后他说 这更糟 现在就停下来 我开始研究这整个概念 这个叫计算机的东西是什么? 它是一个很奇怪的媒介 它不像印刷 也不像视频 它持续永久 一种很奇怪的媒介 所以 我从这个开始 并且开始开始寻找更多的东西
And so in Japan, I began to experiment with people. This is actually bad: human experiments. I would do these things where I'd have students become pens: there's blue pen, red pen, green pen, black pen. And someone sits down and draws a picture. They're laughing because he said, draw from the middle-right to the middle, and he kind of messed up. See, humans don't know how to take orders; the computer's so good at it. This guy figured out how to get the computer to draw with two pens at once: you know, you, pen, do this, and you, pen, do this. And so began to have multiple pens on the page -- again, hard to do with our hands. And then someone discovered this "a-ha moment" where you could use coordinate systems. We thought, ah, this is when it's going to happen. In the end, he drew a house. It was the most boring thing. It became computerish; we began to think computerish -- the X, Y system -- and so that was kind of a revelation.
所以 在日本 我开始做与人相关的试验 其实这不太好: 人类试验 我会做这样的事情, 让学生当笔: 这是蓝笔, 红笔, 绿笔, 黑笔. 然后一个人坐下来 画一副画 他们在笑 因为他说 从中间靠右画到中间 然后他搞错了 看 人类不知道如何接收命令 计算机却很在行 这个人解决出了怎么让这个计算机用两支笔同时画: 你知道 你, 笔, 做这个; 然后 你, 笔, 做这个. 所以开始在纸上有了多支笔 -- 仍然, 用我们的手很难做. 然后一个人发现这个"啊哈时刻" 就是你可以利用坐标系统. 我们想, 哈, 这样问题就迎刃而解了. 到最后, 他画了一座房子. 这事最无聊了 太计算机化了 我们开始像计算机一样思考 -- X, Y系统 -- 有点革命性
And after this I wanted to build a computer out of people, called a human-powered computer. So, this happened in 1993. Sound down, please. It's a computer where the people are the parts. I have behind this wall a disk drive, a CPU, a graphics card, a memory system. They're picking up a giant floppy disk made of cardboard. It's put inside the computer. And that little program's on that cardboard disk. So, she wears the disk, and reads the data off the sectors of the disk, and the computer starts up; it sort of boots up, really. And it's a sort of a working computer. And when I built this computer, I had a moment of -- what is it called? -- the epiphany where I realized that the computer's just so fast. This computer appears to be fast - she's working pretty hard, and people are running around, and we think, wow, this is happening at a fast rate. And this computer's programmed to do only one thing, which is, if you move your mouse, the mouse changes on the screen. On the computer, when you move your mouse, that arrow moves around. On this computer, if you move the mouse, it takes half an hour for the mouse cursor to change. To give you a sense of the speed, the scale: the computer is just so amazingly fast, O.K.?
在这之后我又想用人建造一台计算机, 叫做人力计算机. 这是在1993年. 请调低声音. 这是一台计算机, 人就是计算机部件. 在这面墙后面是一个存储器 一个CPU 一个图形卡 一个存储系统 他们正在搬起一张巨大的用纸板做的软盘 它被放到计算机中 那个小程序被输入到那张纸板盘中 然后 她穿着盘 从盘上的分段中读出数据 然后计算机开始运行 启动起来 这有点像一台工作着的计算机 我建造这个计算机时 在某一个刻突然 -- 怎么说? -- 顿悟了 我意识到计算机真是太快了 这台计算机看起来挺快 - 她干得很卖力 大家都跑来跑去 我们想 哇 它正在很快地运行 这台计算机只被编程做一件事 就是 当你移动鼠标的时候 屏幕上的鼠标就发生改变 在计算机上 你挪动鼠标时 那小箭头跟着动 在这台计算机上 如果你挪动鼠标 它会花半小时的时间 来让鼠标箭头改变位置 让你体会一下速度的量级 计算机真是惊人的快 对吧?
And so, after this I began to do experiments for different companies. This is something I did for Sony in 1996. It was three Sony "H" devices that responded to sound. So, if you talk into the mike, you'll hear some music in your headphones; if you talk in the phone, then video would happen. So, I began to experiment with industry in different ways with this kind of mixture of skills. I did this ad. I don't believe in this kind of alcohol, but I do drink sometimes. And Chanel. So, getting to do different projects.
在这之后我开始为不同公司做试验 这是我在1996年为索尼做的 这是三个索尼的H系列的设备 响应声音 如果你对着话筒讲话 你会从耳机中听到一些音乐 如果你对着电话讲话 会显示视频 我开始以不同的方式与工业界进行试验 用这种混合的技能 我做了这广告 我不相信这种酒 但有时会喝 还有香奈尔 是的 我开始做不同的项目
And also, one thing I realized is that I like to make things. We like to make things. It's fun to make things. And so I never developed the ability to have a staff. I have no staff; it's all kind of made by hand -- these sort of broken hands. And these hands were influenced by this man, Mr. Inami Naomi. This guy was my kind of like mentor. He was the first digital media producer in Tokyo. He's the guy that kind of discovered me, and kind of got me going in digital media. He was such an inspirational guy. I remember, like, we'd be in his studio, like, at 2 a.m., and then he'd show up from some client meeting. He'd come in and say, you know, If I am here, everything is okay. And you'd feel so much better, you know. And I'll never forget how, like, but -- I'll never forget how, like, he had a sudden situation with his -- he had an aneurysm. He went into a coma. And so, for three years he was out, and he could only blink, and so I realized at this moment, I thought, wow -- how fragile is this thing we're wearing, this body and mind we're wearing, and so I thought, How do you go for it more? How do you take that time you have left and go after it? So, Naomi was pivotal in that.
而且 我意识到一件事 我喜欢创造 我们都喜欢创造东西 做东西的过程很有趣. 因此我从不尝试去招募员工 我没有员工 所有东西都是我亲手所做 -- 这些有点受伤的手 而影响这双手的 是这个叫Inami Neomi的先生. 这个人算是我的指导老师 他是东京第一位数字媒体制作人 可以说是他发现了我 把我带入数字媒体领域 他是个特别鼓舞人心的人 我记得 我们在他的工作室里 大概早上2点 然后他出现了 刚忙完某个客户会议 他会进来说 有我在这 一切都没问题. 然后你就会感觉好很多 我永远不会忘记.. 不会忘记... 他惨遭横祸 -- 会上了动脉瘤. 后来就不省人事 在他去世前的三年里 他就只能眨眼睛 这一刻我突然意识到 哇啊 我们的躯壳多么的脆弱 我们外在的躯壳与思想多脆弱 我就在想 我要怎么更多地利用它? 你应该如何好好利用剩余的时间? Naomi让我想到了这一点
And so, I began to think more carefully about the computer. This was a moment where I was thinking about, so, you have a computer program, it responds to motion -- X and Y -- and I realized that each computer program has all these images inside the program. So, if you can see here, you know, that program you're seeing in the corner, if you spread it out, it's all these things all at once. It's real simultaneity. It's nothing we're used to working with. We're so used to working in one vector. This is all at the same time. The computer lives in so many dimensions. And also, at the same time I was frustrated, because I would go to all these art and design schools everywhere, and there were these, like, "the computer lab," you know, and this is, like, in the late 1990s, and this is in Basel, a great graphic design school. And here's this, like, dirty, kind of, shoddy, kind of, dark computer room. And I began to wonder, Is this the goal? Is this what we want, you know?
后来 我开始更认真地思考计算机 这时候我就在想 好, 你有一个计算机程序, 它响应动作 -- X 和 Y -- 我意识到每一个计算机程序 在程序内部都有这些图像 如果你能看见这里 在这角落你正在看的程序 如果你把它展开 所有东西同一时间呈现 真正同时发生的 和我们以前接触的东西都不一样 我们习惯于在一个维度上工作 而这全部同一时间发生 计算机处于多元维度中 而且 在那时我还很失望 因为我要到各地的这些艺术和设计学校中去 那儿有那些 "计算机实验室" 这大概是90年代后期的事 这是在巴塞尔 一家很好的平面设计学校 这个 脏脏的 有点破旧的 阴暗的计算机房里 我开始琢磨 这就是目标吗? 这就是我们要的吗?
And also, I began to be fascinated by machines -- you know, like copy machines -- and so this is actually in Basel. I noticed how we spent so much time on making it interactive -- this is, like, a touch screen -- and I noticed how you can only touch five places, and so, "why are we wasting so much interactivity everywhere?" became a question. And also, the sound: I discovered I can make my ThinkPad pretend it's a telephone. You get it? No? O.K. And also, I discovered in Logan airport, this was, like, calling out to me. Do you hear that? It's like cows. This is at 4 a.m. at Logan.
同时 我开始对机器着迷 -- 比如说,复印机 -- 这是在巴塞尔 我注意到我们花了很多时间才令其交互可用 -- 这个 触摸屏 -- 我发现怎么只能触摸五个地方 "为什么我们浪费了那么多交互的可能呢?" 这是一个问题 还有 声音 我发现我可以把我的ThinkPad当电话来用 明白吗? 没有? 好吧 另外, 我在Logan机场发现, 这个好像冲我叫喊 你听到了么? 像奶牛似的. 这是早上4点在Logan
So, I was wondering, like, what is this thing in front of me, this computer thing? It didn't make any sense. So, I began to make things again. This is another series of objects made of old computers from my basement. I made -- I took my old Macintoshes and made different objects out of them from Tokyo. I began to be very disinterested in computers themselves, so I began to make paintings out of PalmPilots. I made this series of works. They're paintings I made and put a PalmPilot in the middle as a kind of display that's sort of thinking, I'm abstract art. What am I? I'm abstract. And so it keeps thinking out loud of its own abstraction.
我当时想 在我面前的到底是什么东西 这个叫计算机的东西? 它让人难以理解 所以我又开始做东西了 这是另一个系列的物体 用我地下室的旧电脑做的 我做了 -- 用我的几台旧苹果电脑 做了不同的物体 我开始对计算机本身非常不感兴趣 于是我开始用PalmPilots做成画 我做了这一系列东西 这是我画的画 中间放了个PalmPilot 算是某种展示 某种思考 我是抽象的艺术. 我是什么? 我是抽象的. 它一直努力思考自身的抽象性
I began to be fascinated by plastic, so I spent four months making eight plastic blocks perfectly optically transparent, as a kind of release of stress. Because of that, I became interested in blue tape, so in San Francisco, at C.C., I had a whole exhibition on blue tape. I made a whole installation out of blue tape -- blue painters' tape. And at this point my wife kind of got worried about me, so I stopped doing blue tape and began to think, Well, what else is there in life? And so computers, as you know, these big computers, there are now tiny computers. They're littler computers, so the one-chip computers, I began to program one-chip computers and make objects out of P.C. boards, LEDs. I began to make LED sculptures that would live inside little boxes out of MDF. This is a series of light boxes I made for a show in Italy. Very simple boxes: you just press one button and some LED interaction occurs. This is a series of lamps I made. This is a Bento box lamp: it's sort of a plastic rice lamp; it's very friendly. I did a show in London last year made out of iPods -- I used iPods as a material. So I took 16 iPod Nanos and made a kind of a Nano fish, basically. Recently, this is for Reebok. I've done shoes for Reebok as well, as a kind of a hobby for apparel.
我开始对塑料着迷 花四个月做了八个塑料立方体 完全透明的 作为一种压力的释放 因为它 我对蓝色胶带产生了兴趣 所以在旧金山, 在CC, 我举办了一个关于蓝色胶带的展览 我用蓝色胶带做了一整个装置 -- 蓝色刷子的胶带 到这个时候我妻子有点担心我了 于是我停下蓝色胶带 开始思考 那么 生活中还有什么其他东西? 也思考计算机 大家知道的 这些巨大的计算机 现在有了微型的计算机 它们是更小的计算机 单芯片计算机 我开始给单芯片的计算机编写程序 而且用PC板和LED做些东西 我开始做LED雕塑 放在中纤板做的小盒子中 这是我为意大利一个展览做的一系列的发光盒子 很简单的盒子: 你只按一个按钮然后一些发生一些LED交互 这是我做的一系列台灯 这是一个便当台灯 这是一个塑料的大米台灯 它很友好 去年我用iPod做了一个展览在伦敦展出 -- 我用iPods当作一个材料. 我拿了16个iPod Nano 然后做了一种叫Nano鱼的东西 最近 这是为锐步做的 我也给锐步设计过鞋, 出于对时装的爱好
So anyways, there are all these things you can do, but the thing I love the most is to experience, taste the world. The world is just so tasty. We think we'll go to a museum; that's where all the tastes are. No, they're all out there. So, this is, like, in front of the Eiffel Tower, really, actually, around the Louvre area. This I found, where nature had made a picture for me. This is a perfect 90-degree angle by nature. In this strange moment where, like, these things kind of appeared. We all are creative people. We have this gene defect in our mind. We can't help but stop, right? This feeling's a wonderful thing. It's the forever-always-on museum. This is from the Cape last year. I discovered that I had to find the equation of art and design, which we know as circle-triangle-square. It's everywhere on the beach, I discovered. I began to collect every instance of circle-triangle-square. I put these all back, by the way. And I also discovered how . some rocks are twins separated at birth. This is also out there, you know. I'm, like, how did this happen, kind of thing? I brought you guys together again.
不管怎样, 这些都是你能做的东西, 但是我做喜欢的是 体验 品味世界 世界太美味了 我们会想说去博物馆吧 那是所有味道所在的地方 不 美味无处不在 这好像是在艾菲尔铁塔跟前 实际是 在罗浮宫附近 我发现这自然创造的美好画面 这是自然形成的完美直角 在某个奇怪的时刻 这些东西就那么出现了 我们都是有创意的人 在我们的头脑中我们有这个基因瑕疵 你我都只能停下来 对吧? 这种感觉十分美好 它就是永不打烊的博物馆 这是去年在好望角找到的 我发觉我必须找出艺术和设计之间的等式 看得出是圆形三角形正方形 沙滩上到处都是 我开始找寻每一个圆形三角形正方式的实例 顺便说一下 我可把它们都放回去了的 而且我也发现 某些石头还是一出生即被分隔的双胞胎 这也自然发生了 我就想 这是怎么发生的 这类东西? 我让你们又团聚了
So, three years ago I discovered, the letters M-I-T occurring in simplicity and complexity. My alma mater, MIT, and I had this moment -- a kind of M. Night Shayamalan moment -- where I thought, Whoa! I have to do this. And I went after it with passion. However, recently this RISD opportunity kind of arose -- going to RISD -- and I couldn't reconcile this real easy, because the letters had told me, MIT forever. But I discovered in the French word raison d'être. I was, like, aha, wait a second. And there RISD appeared. And so I realized it was O.K. to go.
三年前我发现 字母M-I-T 在单词“简单”和“复杂”中都有出现 我的母校 MIT 在这一刻 我突然感觉峰回路转 我就想 哇! 我必须行动了 当时可是十分激动 话说回来 最近罗德岛设计学院(RISD)的机会来了 去RISD -- 我可无法轻易接受 因为那几个字母已经告诉我 永远的MIT 直到我发现在法语词语raison d'être(存在的理由)里. 当时我 啊哈 等等 RISD出现了... 然后我就这样觉得可以去
So, I'm going to RISD, actually. Who's a RISD alum out there? RISD alums? Yeah, RISD. There we go, RISD. Woo, RISD. I'm sorry, I'm sorry, Art Center -- Art Center is good, too. RISD is kind of my new kind of passion, and I'll tell you a little bit about that. So, RISD is -- I was outside RISD, and some student wrote this on some block, and I thought, Wow, RISD wants to know what itself is. And I have no idea what RISD should be, actually, or what it wants to be, but one thing I have to tell you is that although I'm a technologist, I don't like technology very much. It's a, kind of, the qi thing, or whatever. People say, Are you going to bring RISD into the future? And I say, well, I'm going to bring the future back to RISD.
那么 我要去RISD了 这里谁是RISD的校友? RISD校友? 没错, RISD. 我说了吧, RISD. 喔, RISD. 对不起, 对不起 -- Art Center也很好. RISD是我新的激情. 我要告诉你关于它的一点故事. 所以, RISD是 -- 我当时在RISD外面, 某个学生在一块砖上写下这个 我就想 哇 RISD想知道它自己是什么 实际上我不知道RISD应该是什么 或者它想成为什么 但是我必须告诉大家 尽管我是名技术专家 但是我不太喜欢科技 这好像有点玄乎 不管了 人们问我 你会把RISD带到未来吗? 我回到道 这个么, 我会把未来带回到RISD
There's my perspective. Because in reality, the problem isn't how to make the world more technological. It's about how to make it more humane again. And if anything, I think RISD has a strange DNA. It's a strange exuberance about materials, about the world: a fascination that I think the world needs quite very much right now. So, thank you everyone.
这是我的愿望 因为在现实中 问题不是如何把世界变得更高科技 而是如何把它重新变得更人性化 更可能的是 我觉得RISD有一个特别的DNA 它异常繁茂 关于材料 关于这个世界 这正是这个世界所需要的一种魔力 现在尤为需要 谢谢大家.