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.
其實我已經講膩了簡約主義 所以我認真的想讓生活變得複雜一點 等一下我會秀些投影片 從古至今遊覽一遍 好讓各位了解我是如何一路走來的
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.
基本上一切都源自於 "電腦"這個概念 在座的各位誰有電腦? 好 大家都有 甚至連手機都可以稱為電腦 有誰記得"快速上手你的蘋果電腦"這本工具書 有誰記得"快速上手你的蘋果電腦"這本工具書 每本還隨書附贈海報 這就是運算的起點 可別忘了 電腦剛問世的時候 裡面是沒有軟體的 你可能把他買回家,你把它帶回家,然後插上電源, 結果這傢伙什麼都做不成 所以你還得替他寫點程式 然後當時有像這樣子超棒的計程教材 就像這本 我說 這實在是棒透了 "Herbie帶你學第二代Apple" 無可挑剔 我的意思是說 Java的敎材都應該要跟這本多學學 這樣我們學起寫程式就會輕鬆多了 當時對於電腦來說真是個美好的年代 非常原始 純粹 堪稱黃金時期 你看 我的童年就恰巧跟這黃金時期重疊了
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.
我在西雅圖的一家豆腐廠長大 在座各位有誰也是在自家經營的生意中 吃過不少苦的? 沒錯沒錯 多點磨練總是好的 天將將大任於斯人 必先苦其心志 正如你所知 人生總是充滿挑戰 我在豆腐廠長大,自家經營的小生意 我母親某種程度上也是個設計師 他設計了這個豆腐料理看板 結果顧客們就疑惑了 因為這使他們覺得這是一家餐廳 品牌形象沒弄對 你說是吧 但不管怎樣,這就是我長大的地方 在西雅圖的這間小豆腐廠裡 當時大概是像這樣 我在這樣的小房間裡長大 照片裡我顯得很大
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.
這是我父親 說真的他有點像MacGyver 他會發明些把東西變重的方法 比方說這後面 有一塊水泥磚 他需要用這些水泥磚來擠壓豆腐 因為豆腐是接近液狀的東西 所以必須要用重物 將裡面的水分擠出,使其變硬 豆腐成型時很大一塊 接著我父親就會用手將他們切開 詳情我就不能透露了,家族機密 你懂的 我父親是世界上最老實的人了 有天他走進Safeway超市,外面下著大雨 他跌倒了,摔斷了手臂,便立即衝出超市 他不想為Safeway超市帶來麻煩 所以可想而知,我父親的手臂斷了 整整兩週 我跟我哥就必須在店裡 打點所有事情 那實在是太痛苦了,超級痛苦 因為 你看 看我父親如何 把這麼大一塊豆腐俐落的切開 一刀劃下 切切切 我們都嘖嘖稱奇 結果我第一次作 哇啊!像這樣 切壞了 總之 豆腐就像是我的根 因為在店裡幫忙實在太辛苦了 我喜歡去上學 那兒簡直是天堂 我在學校表現很好
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.
然後我進入了麻省理工學院(MIT) 像在座大部分的創意人士一樣 您們的父母都曾阻絕您的創意之路 對吧? 我也是一樣 你知道的 我美術跟數學都很好 結果我父親說 John的數學極強 我進了MIT,專攻數學 直到我遇上了這絕佳的機會 電腦開始普及 蘋果電腦 麥金塔也正好問世了 我去MIT的時候就擁有台蘋果電腦 當時對於一個 可以跨領域的人來說 是個絕佳的機會
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.
結果 我記得我寫的第一個軟體 就是直接模仿當時的Aldus PageMaker 當時我寫了一個桌面出版系統 然後這是我第一次瞭解 哇 融合這兩者還挺有趣的 但是大家年輕時都會有個通病 尤其實在座各位學生們 聽好了 年輕人非常容易自我膨脹 就像當時我在作icon時 覺得自己真是icon界第一把交椅 於是便宣稱自己在這方便超強 然後很幸運的 我有幸在圖書館裡 發現這本書 我找到了這本叫做 "設計思維"的書 是位叫做 Paul Rand的人寫的 這本書有點薄 我不確定各位有沒有看過 這本很棒的小書講的就是關於Paul Rand的事情 他是一個很有份量的平面設計者 同時也是個優秀的作家 當我拜讀此人的大作時 我發現我在設計上是多麼不足 也許根本稱不上設計 突然間我有了生涯目標 熱烈的想追尋
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.
這是個重大的轉變 我進了MIT 完成學業 我拿到了碩士學位 之後進了藝術學校 開始從事設計 像是筷子包裝、餐巾、菜單 或是任何我可以參與的機會 有點橫衝直撞 在設計的殿堂裡前進 發表自己的設計時你們有沒有種奇妙的感覺? 還記得那一刻嗎?發表自己作品的那一刻 記得嗎?感覺很棒,對吧? 結果我的設計被出版了 哇!我的作品被收錄在書裡耶!你知道嗎? 在那之後,事情開始有點悉翹 我開始思考關於電腦的問題 因為電腦總是讓我覺得很難用 我不知道是為什麼。然後Paul Rand 是個有點火爆的設計師 你知道的 "有個性"的設計師就像是塊不錯的法國麵包 他曾在書裡寫到 有次一個耶魯的學生說 我是來這裡學設計的,不是來學習使用電腦的 設計學院醒醒吧" 當時是80年代 支持和反對電腦的人吵得正激烈 當時實在很難熬 而這對我來說是Rand給我的重要訊息
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.
於是說開始一頭栽入電腦 是我第一次嚴肅的看待自己在做的事情 我寫了一個類似Adobe Illustrator的軟體 看起來就像是Illustrator,可以在上面畫畫 實際上做起來很難的 做這部份花了我一個月的時間 然後我想,加入這功能會發生什麼呢? 比方說這個點 可以像鳥一樣自由飛行 就像是改變穩定性 利用一個小小的控制按鈕 就可以把他翻來翻去 當時是1993年 當我教授看到這個,他們對我失望透頂 他們問"為什麼這個東西在動?" 還說"快讓他立刻停下來" 然後我說 嗯 奧妙之處就在於:他會動 接著他說了 嗯 那他什麼時候會停下? 我回答 永無止境 他說 這更糟 立刻停下它 於是我開始鑽研這個點子 像是 電腦到底是什麼東西? 是個奇妙的素材 不像印刷品 也不像影像 (由電腦做出的東西)它可以永久存在 是個非常奇妙的媒材 所以我從這裡開始 尋找更多媒材
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.
接著在日本,我開始進行"人體實驗" 這聽起來實在不妥"人體實驗"(此為講者的幽默) 我的作法是讓學生成為"筆" 有藍筆、紅筆、綠筆跟黑筆 其中一個人坐下 畫一幅畫 大家都笑了 因為那人說 "從中右畫到中央" 結果"那支筆"畫得一蹋糊塗 你看 人類無法一個命令一個動作 而電腦卻很在行 這位同學很清楚如何讓電腦同時用兩支筆畫圖 像這樣 你這支筆 做這個 然後你這支筆 做這個 接著紙上開始有很多支筆 同樣的 很難由我們自己來做 接著有人突然恍然大悟 要使用座標系統 我們想 啊 問題迎刃而解啦 最後她畫出了一棟房子 這實在無聊至極 因為太電腦化了 我們開始像電腦般思考 X, Y 座標系統 -- 有點革命性
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.?
這之後我又想用"人"建造一台計算機 稱作"人力計算機" 這發生在1993年 請小聲點 拜託 這是一台用人類組成的電腦 這牆壁後面有個硬碟 一個CPU 一張顯示卡 還有記憶體 他們正拿著一個用厚紙板做的巨大軟碟機 然後插入電腦中 在這個紙板(磁片)上有一個小程式 她穿著這磁片 然後分段讀取磁片上的資料 接著電腦開始運作 有點像是開機 這就像是台運作中的電腦。然而當我做出這台電腦時 突然間---該怎麼說-- 頓悟了 我意識到電腦實在是太迅速了 這台(人力)電腦看起來很快 她運作的相當努力 大夥跑來跑去 然後我們覺得 哇 它運作得很快 而這台電腦只被指示去做一件事 那就是 如果你移動滑鼠 這移動會反映在螢幕上 在電腦上 當你移動滑鼠 游標會跟著動 在這台(人力)電腦上 當你移動滑鼠 會花上半小時 才能讓螢幕上的游標移動 這讓你對速度改變的量級更有概念 電腦實在是太快了 對吧
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.
接著我開始替不同的公司作實驗 這是我在1996年替新力(Sony)做的 這是新力的H系列裝置 會對聲音有反應 所以當你對麥克風說話 你會從耳機裡聽到音樂 如果對電話說話 會有影像出現 我開始替業界做了許多不同性質的研究 使用這些跨領域的技巧 我做了這廣告。我不相信這酒的功效 但有時候會喝些 還有香奈兒 接了很多不同的案子
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.
還有我意識到一點 我喜歡創造 我們都喜歡創造 創造東西很有趣 所以我培養出不請幫手的能力 我沒有助手 所有東西都是出自我手 這雙歷經風霜的手 而這雙手被啟蒙了 被這位名叫 Inami Neomi 的先生 這是算是我的導師 他是東京第一個數位媒體創作者 他發覺了我 然後帶領我進入數位媒體的世界 他給了我相當多的啟發 我記得 某次在他的工作室 凌晨兩點 他剛結束顧客會議 然後走進來對大家說 只要我在這裡 一切就會順利 然後你便覺得很安心 你知道嗎? 然後發生一件永生難忘的事情 他突然得了重病 動脈硬化 於是便昏迷不醒 接下來再他過世的前三年 他只能眨眼 於是我意識到 我想 哇 我們的軀殼是多麼脆弱 這個承載我們身體跟心靈的軀殼 於是我想 該如何運用它? 如何好好的運用剩餘的時間? Naomi讓我想到了這一點
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?
所以我開始對電腦更深入的思考 這時我想著 你有個電腦程式 會響應動作 -- X和Y 然後我意識到每個電腦程式 裡面都有些圖像 如果你有看到這裡 你就知道 你正看著這個程式的一個區塊 如果將他展開 全部的東西一次同時展現 這是真正的同步 和我們之前接觸過的都不同 我們習慣於在一個維度裡作業 而這全部是同時發生 所以電腦存在於多個維度中 在那時我非常沮喪 因為我要到各地的藝術和設計學校去 然後那邊有所謂的"電腦研究室" 你知道的 這發生在1990年代 這在巴塞爾(瑞士城市名) 很不錯的平面設計學校 然後這是骯髒陰暗的 電腦教室 我開始想 這就是目標嗎? 這就是我們要的嗎?
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.
這之後我開始為機器所著迷 你知道 像是影印機 實際上這是在巴爾賽(瑞士一城市) 我發現我們花了許多時間才讓它得以互動 這是觸控式螢幕 我注意到使用者只能按五個地方 為什麼我們浪費了這麼多互動的可能性呢 這是一個問一 另一個是 聲音 我發現我可以讓我的ThinkPad電腦(IBM的筆記型電腦)假裝成電話 你懂了嗎?不懂噢 好吧 還有 我在Logan機場(Boston一國際機場)發現 這像是在對著我叫一樣 有聽到嗎?聽起來像是牛叫 這是凌晨四點 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.
所以我想 在我眼前的這東西到底是啥 這台電腦 實在讓人難以理解 所以我又開始創作 這是另一系列的玩意兒 用我家地下室的舊電腦做的 我用了幾台舊的麥金塔 在東京做了許多不同的東西 我開始變得對電腦非常不感興趣 於是我開始用PalmPilots(使用Palm OS的PDA)作畫 做了一系列的創作 這些是我的畫作 中間還放了個PalmPilot 可謂是種展現、是種思考 我是抽象的藝術 而我是什麼? 我是抽象的 而它不斷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.
我開始對塑膠著魔 於是我花了四個月製作八個塑膠塊 完全的透明 像是壓力被釋放 因為如此 我開始對藍色膠帶產生興趣 接著在舊金山CC中心 我有個以藍色膠帶為主題的個展 我用膠捲做了整個裝置--藍色筆刷的膠帶 這時我妻子開始擔心我了 所以我停止關於膠捲的創作開始思考 嗯...生活中還有啥其他東西? 於是想到了電腦 你知道的 之前電腦相當巨大 現在出現了小型的電腦 他們是更小的電腦 -- 單晶片 我開始寫單晶片程式 然後用PC板、LED做些東西 我開始做LED裝置 他們在MDF的小盒子裏運作著 這是我替義大利某展覽做的一系列光盒子 非常簡單的盒子:按個按鈕,LED燈便會發光產生互動 這是我做的檯燈系列 這是個便當盒燈 算是個塑膠米檯燈 非常的好用 去年我在倫敦佈了個用ipod為主題的個展 我使用ipod作為素材 所以我拿了16個ipod nano 然後做了個Nano魚 最近,這個是替Reebok做的 我也替Reebox做鞋子 展現我對於時裝的興趣
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.
總之 這些都是我們可以做的事情 但我最愛的 還是去體驗、品嚐這世界 這世界實在是美味極了 我們會想說 那去博物館吧! 那裡擁有一且美味的東西 不 美味的東西無處不在 這好像是在艾菲爾鐵塔前面 事實上是在羅浮宮附近 我發現 大自然創造了幅美好的畫面給我 這是出自自然之手的絕妙九十度角 在某個神奇的瞬間 這東西就這麼出現了 我們都富有創意 我們的心靈中都有個基因缺陷 我們無法自拔 對吧? 這感覺實在太美好了 這是永不打烊的博物館 這是去年在好望角找到的 我覺得我必須尋找藝術與設計的橋樑 看的出來這是個圓形 三角形 跟方形 我發現在海灘上到處都是 於是我開始蒐集每個圓形 三角形 跟方形 順道一提 我後來都把它們放回去了 然後我也發現了 有些時投是一出生便分隔兩地的雙包胎 而這也無所不在 你知道的 於是我便想 這到底是怎麼發生的? 我讓你們又團聚了
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.
三年前我發現 M I T 這三個字母 同時在極簡與複雜這兩個字中出現了 在我的母校 MIT 此刻 我突然覺醒了 我想 哇喔!! 我必須有所行動 於是我跟著感覺走 接著最近羅德島設計學院(RSID)的機會來了 去RSID 我沒有辦法輕易答應 因為這些字母已告訴我 永遠MIT 但我在法文字 raison d'être (存在的理由之意)中 我發現 哇 慢著 裡面出現了RSID耶 我以我想 好吧我去
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.
於是我就進入了RSID 這裡有誰是RSID校友的? RSID校友嗎?是的 RSID 我們來了RSID 噢~RSID 抱歉抱歉 Art Center也很棒 RSID是我的新寵 讓我來稍微替各位說明一下 所以 RSID 是 我站在RSID外 我想這是某學生在這磚頭上寫下的 哇! RSID 想知道他自己的定位 然而我對於RSID一點頭緒都沒有 連他想走向何方都不知道 但我可以告訴你 雖然我是個科技人才 但我實在不怎麼喜歡科技 實在是有點小家子氣 不管啦 大家都問 你要帶領RSID走向時代尖端嗎 而我回答 嗯 我要把尖端帶回RSID
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.
這是我的遠景 因為現實中 問題並非在於將世界弄得更高科技 而是如何讓它更加人性化 再者 我覺得RSID有個奇異的DNA 它異常的繁盛 對於媒材、對於世界 正是我認為這個世界所需要的魔力 尤其是現在 感謝大家