I dabble in design. I'm a curator of architecture and design; I happen to be at the Museum of Modern Art. But what we're going to talk about today is really design. Really good designers are like sponges: they really are curious and absorb every kind of information that comes their way, and transform it so that it can be used by people like us. And so that gives me an opportunity, because every design show that I curate kind of looks at a different world. And it's great, because it seems like every time I change jobs.
我涉及設計;我是建築與設計的策展人。 我在現代藝術博物館工作, 但重要的是 - 今天我們要談的 是真正的設計。真正好的設計師就像海棉。 他們充滿好奇心 吸收各種他們遇到的資訊, 將它轉換後讓我們使用。 因此,那給我機會, 因為每個我策畫的設計展 都像看到不同的世界。那很棒, 就像我每次都換了工作。
And what I'm going to do today is I'm going to give you a preview of the next exhibition that I'm working on, which is called "Design and the Elastic Mind." The world that I decided to focus on this particular time is the world of science and the world of technology. Technology always comes into play when design is involved, but science does a little less. But designers are great at taking big revolutions that happen and transforming them so that we can use them. And this is what this exhibition looks at.
今天我要給你們預覽 我正在籌備的下個展覽,叫做: 「設計與彈性思維」。 這次我要聚焦的世界 是科學世界及技術世界。 當涉及設計時,技術總是有關, 而科學則稍少一些。 但設計師總能善用偉大的變革, 轉換後讓我們使用。 這就是這項展覽所追求的。
If you think about your life today, you go every day through many different scales, many different changes of rhythm and pace. You work over different time zones, you talk to very different people, you multitask. We all know it, and we do it kind of automatically. Some of the minds in this audience are super elastic, others are a little slower, others have a few stretch marks, but nonetheless this is a quite exceptional audience from that viewpoint. Other people are not as elastic. I can't get my father in Italy to work on the Internet. He doesn't want to put high-speed Internet at home. And that's because there's some little bit of fear, little bit of resistance or just clogged mechanisms. So designers work on this particular malaise that we have, these kinds of discomforts that we have, and try to make life easier for us. Elasticity of mind is something that we really need, you know, we really need, we really cherish and we really work on. And this exhibition is about the work of designers that help us be more elastic, and also of designers that really work on this elasticity as an opportunity. And one last thing is that it's not only designers, but it's also scientists.
想想你今天的生活, 每天走過許多不同的尺度, 許多不同韻律及步調的改變。 在不同時區工作,與差異很大的人交談, 多工處理。我們都知道它,而且能自動處理。 你們的思維有的是超級彈性, 有的則反應慢一點, 其他人的則有點拉痕,但無論如何 以此觀點,你們是極獨特的群眾。 其他人則不那麼有彈性。 我無法讓在義大利的家父上網。 他不想在家中裝高速網路。 那是因為有一點害怕, 有一點抗拒或阻礙的情形。 因此,設計師為我們特有的不適應、 我們的不自在而去設計, 試著讓我們生活得較容易。 思維的彈性是我們真正需要的, 我們真的需要,真的珍惜,並認真追求。 這個展覽是關於設計師的作品 它讓我們更有彈性, 和追求彈性機會的設計師們。 還有最後一點... 不只是設計師,也有科學家。
And before I launch into the display of some of the slides and into the preview, I would like to point out this beautiful detail about scientists and design. You can say that the relationship between science and design goes back centuries. You can of course talk about Leonardo da Vinci and many other Renaissance men and women -- and there's a gigantic history behind it. But according to a really great science historian you might know, Peter Galison -- he teaches at Harvard -- what nanotechnology in particular and quantum physics have brought to designers is this renewed interest, this real passion for design.
在開始播放幻燈片、 開始預覽之前,我要指出 科學家和設計的美麗細節。 你可以說,科學和設計的關係 已有好幾世紀。你當然也可以談 李奧那多達文西,許多其他文藝復興時期的男女, 背後有個巨大的歷史。 但依據一位偉大科學史學者的說法, Peter Galison - 他在哈佛大學教書 - 特別是奈米科技和量子物理學 帶給設計師的是一股新的興趣, 對設計的真正熱情。
So basically, the idea of being able to build things bottom up, atom by atom, has made them all into tinkerers. And all of a sudden scientists are seeking designers, just like designers are seeking scientists. It's a brand-new love affair that we're trying to cultivate at MOMA. Together with Adam Bly, who is the founder of Seed magazine -- that's now a multimedia company, you might know it -- we founded about a year ago a monthly salon for designers and scientists, and it's quite beautiful. And Keith has come, and also Jonathan has come and many others. And it was great, because at the beginning was this apology fest -- you know, scientists would tell designers, you know, I don't know what style is, I'm not really elegant. And designers would like, oh, I don't know how to do an equation, I don't understand what you're saying. And then all of a sudden they really started talking each others' language, and now we're already at the point that they collaborate.
因此基本上,由下而上建造物品的想法, 用原子一個個建,使他們成為修補匠。 突然間科學家們都在找設計師, 就如設計師們在找科學家一樣。 這是一個新的愛情故事,我們試圖由 MOMA 和 Adam Bly 合作,他創辦了 Seed 雜誌 - 現在是個多媒體公司,也許你知道它 - 約一年前,我們創立讓科學家和設計師 每月一次的沙龍,極為美妙。 Keith 來了,Jonathan 也來了,還有許多其他人。 結果很棒,因為一開始是道歉連連, 科學家告訴設計師: 我不知道何謂風格,我真的不夠優雅。 而設計師則說:我不會做數學式子, 我不懂你說的。而突然間 他們真的開始說起彼此的語言, 而現在我們已到了彼此合作的地步。
Paul Steinhardt, a physicist from New York, and Aranda/Lasch, architects, collaborated in an installation in London at the Serpentine. And it's really interesting to see how this happens. The exhibition will talk about the work of both designers and scientists, and show how they're presenting the possibilities of the future to us. I'm showing to you different sections of the show right now, just to give you a taste of it. Nanophysics and nanotechnology, for instance, have really opened the designer's mind. In this case I'm showing more the designers' work, because they're the ones that have really been stimulated. A lot of the objects in the show are concepts, not objects that exist already. But what you're looking at here is the work of some scientists from UCLA. This kind of alphabet soup is a new way to mark proteins -- not only by color but literally by alphabet letters. So they construct it, and they can construct all kinds of forms
你知道 Paul Steinhardt,來自紐約的物理學者, 和 Aranda/Lasch 建築師合作在倫敦的 Serpentine 做裝置設計。 看著它的進展真是有趣。 這個展覽將要談 設計師與科學家的作品, 展示他們如何為我們展現未來。 現在我正要為你展示 這個展覽的不同部分, 讓你先睹為快, 例如,奈米物理學與奈米科技, 已真正開啟了設計師的思維。 這個例子我將展示較多設計師的作品, 因為真正受到刺激的就是他們。 展覽中的許多物品只是概念, 不是已經存在的物品。但你看到的 是 UCLA 科學家的作品。 這種字母湯是標示蛋白質的新方法, 不但用顏色,也用字母。 他們製作它,可用奈米尺度
at the nanoscale. This is the work of design students from the Royal College of Arts in London that have been working together with their tutor, Tony Dunne, and with a bunch of scientists around Great Britain on the possibilities of nanotechnology for design in the future. New sensing elements on the body -- you can grow hairs on your nails, and therefore grab some of the particles from another person. They seem very, very obsessed with finding out more about the ideal mate. So they're working on enhancing everything: touch, smell -- everything they can, in order to find the perfect mate.
做成各種形態。而這個作品來自倫敦的 皇家藝術學院的設計系學生和 指導老師 Tony Dunne, 以及一些英國科學家做的 - 探討奈米科技用在未來設計的可能性。 身體的新感應單元。 讓指甲長毛, 因此可以抓取他人身上的分子。 他們似乎執意要找出 更多關於理想伴侶的事。 因此他們強化每件事 - 觸覺、嗅覺, 任何能做的事,以找到完美的伴侶。
Very interesting. This is a typeface designer from Israel who has designed -- he calls them "typosperma." He's thinking -- of course it's all a concept -- of injecting typefaces into spermatozoa, I don't know how to say it in English -- spermatazoi -- in order to make them become -- to almost have a song or a whole poem written with every ejaculation. (Laughter) I tell you, designers are quite fantastic, you know.
很有趣。而這是一位字體設計師 來自以色列,他設計了 - 所謂的「精蟲體」 他想 - 當然只是個概念 - 把字體注入精蟲、注入精子 - 英文該怎麼念 - spermatazoi, 使它們變成 - 幾乎每次射精都會 唱一首歌或吟一首詩。(笑聲) 我認為,設計師真是神奇,
So, tissue design. In this case too, you have a mixture of scientists and designers. This here is part of the same lab at the Royal College of Arts. The RCA is really quite an amazing school from that viewpoint. One of the assignments for a year was to work with in-vitro meat. You know that already you can grow meat in vitro. In Australia they did it -- this research company, called SymbioticA. But the problem is that it's a really ugly patty. And so, the assignment to the students was, how should the steak of tomorrow be? When you don't have to kill cows and it can have any shape, what should it be like? So this particular student, James King, went around the beautiful English countryside, picked the best, best cow that he could see, and then put her in the MRI machine. Then, he took the scans of the best organs and made the meat -- of course, this is done with a Japanese resins food maker, but you know, in the future it could be made better -- which reproduces the best MRI scan of the best cow he could find.
接著,肌肉組織設計。 這例子也是科學家和設計師的結合。 這也是出自皇家藝術學院的同一個實驗室。 就這方面,RCA 真是個奇妙的學校。 有一年的作業是用培養皿種肉。 你知道,已經可以用培養皿種肉。 澳洲有人種它 - 一家研究公司叫做 SymbioticA, 但問題是種出來的很難看。 因此,給學生的作業是: 未來的牛排該長得怎樣? 如果你不必殺牛,則它可以是任何形狀, 它該長得怎樣? 這名學生叫 James King 到漂亮的英國鄉下四處去, 挑了他看到的最美、最美的牛, 然後將它放在磁共振成像機上。 取最佳部位的掃描影像用來做肉。 當然,這是由日本樹脂食品模型師做的, 而未來可以做得更好。 而那再現了他能找到的最美的牛的最佳 MRI 影像。
Instead, this element here is much more banal. Something that you know can be done already is to grow bone tissue, so that you can make a wedding ring out of the bone tissue of your loved one -- literally. So, this is indeed made of human bone tissue.
而這個單元則較為俗氣一點。 你已經知道可以做到的 是增長骨頭組織來做一枚婚戒 來自你心愛的人的骨頭組織。 這是真人骨組織做成的。
This is SymbioticA, and they've been working -- they were the first ones to do this in-vitro meat -- and now they've also done an in-vitro coat, a leather coat. It's miniscule, but it's a real coat. It's shaped like one. So, we'll be able to really not have any excuse to be wearing everything leather in the future.
這家 SymbioticA 公司,他們正在做, 他們是第一家做培養皿肉, 現在他們也做培養皿外套,一種皮外套, 是袖珍型的,卻是真的外套。形狀也像。 因此,我們將沒有任何藉口 在未來還穿真皮的。
One of the most important topics of the show -- you know, as anything in our life today, we can look at it from many, many different viewpoints, and at different levels. One of the most interesting and most important concepts is the idea of scale. We change scale very often: we change resolution of screens, and we're not really fazed by it, we do it very comfortably. So you go, even in the exhibition, from the idea of nanotechnology and the nanoscale to the manipulation of really great amounts of data -- the mapping and tagging of the universe and of the world. In this particular case a section will be devoted to information design. You see here the work of Ben Fry. This is "Human vs. Chimps" -- the few chromosomes that distinguish us from chimps. It was a beautiful visualization that he did for Seed magazine. And here's the whole code of Pac-Man, visualized with all the go-to, go-back-to, also made into a beautiful choreography.
這展覽的一個最重要主題就是 就如我們今日的生活一般, 我們可以有許多不同觀點看它, 不同的層次看它。 其中一個最有趣最重要的概念 就是尺度的觀念。我們很常改變尺度, 我們改變顯示器的解析度,但我們不 - 並不以為意,我們習以為常。 因此,甚至在展覽裡, 從奈米科技及奈米尺度的概念 到處理極大量的資料; 去映射及標示宇宙及世界。 這個特例中,將有一個部分是 資訊設計。 這裡可看到 Ben Fry 的作品。這是人類對猩猩。 少數幾個染色體區分我們和猩猩。 這是他為 Seed 雜誌做的漂亮視覺圖。 這是視覺化的小精靈遊戲全套程式碼 包含所有的 go-to、go-back-to, 都變成漂亮的舞譜。
And then also graphs by scientists, this beautiful diagraph of protein homology. Scientists are starting to also consider aesthetics. We were discussing with Keith Shrubb* this morning the fact that many scientists tend not to use anything beautiful in their presentations, otherwise they're afraid of being considered dumb blondes. So they pick the worst background from any kind of PowerPoint presentation, the worst typeface. It's only recently that this kind of marriage between design and science is producing some of the first "pretty" -- if we can say so -- scientific presentations. Another aspect of contemporary design that I think is mind-opening, promising and will really be the future of design, is the idea of collective design. You know, the whole XO laptop, from One Laptop per Child, is based on the idea of collaboration and mash and networking. So, the more the merrier. The more computers, the stronger the signal, and children work on the interface so that it's all based on doing things together, tasks together. So the idea of collective design is something that will become even bigger in the future, and this is chosen as an example.
也有科學家的圖: 這張漂亮的蛋白質同源分度圖。 科學家已注意到美學。 我們今天早上和 Keith Shrubb 討論 事實上許多科學家 在發表時傾向不用漂亮的東西, 怕被認為虛有漂亮的外表。 因此挑選最糟糕的背景 去做各種 PowerPoint 發表,最差的字體。 直到最近設計師和科學家 的結合,才產生了第一次的- 我們所謂的 - 「漂亮的」科學發表。 當代設計的另一面向 我認為讓人心智大開、充滿期許、 也會成為未來的設計, 就是集體設計的概念。 你知道,整個 XO 手提電腦,即:學童都有電腦, 就是基於合作、結合、及網絡的概念。 因此,越多越愉快。 電腦越多,信號越強, 兒童們使用介面,全部基於 一起做事,分工做事。 因此,合作設計的概念 是未來會更盛行的事, 這也被選為一個例子。
Related to the idea of collective design and to the new balance between the individual and the collectiveness, collectivity is the idea of existence maximum. That's a term that I coined a few years ago while I was thinking of how pressed we are together, and at the same time how these small objects, like the Walkman first and then the iPod, create bubbles of space around us that enable us to have a metaphysical space that is much bigger than our physical space. You can be in the subway and you can be completely isolated and have your own room in your iPod.
關於合作設計的概念和 個人與集體活動之間的新平衡 就是「存在最大化」的概念。 這個詞是幾年前由我創用的 那時我想我們都擠在一起, 而同時那些小小的物品, 如隨身聽和 iPod,卻又能 為我們創造了空間範圍,讓我們 擁有無形的空間, 那比我們物理空間大很多。 你可以在地鐡卻完全孤立 獨享你自己的 iPod 空間。
And this is the work of several designers that really enhance the idea of solitude and expansion by means of various techniques. This is a spa telephone. The idea is that it's become so difficult to have a private conversation anywhere that you go to the spa, you have a massage, you have a facial, maybe a rub, and then you have this beautiful pool with this perfect temperature, and you can have this isolation tank phone conversation with whomever you've been wanting to talk with for a long time. And same thing here, Social Tele-presence. It's actually already used by the military a little bit, but it's the idea of being able to be somewhere else with your senses while you're removed from it physically. And this is called Blind Date. It's a [unclear], so if you're too shy to be really at the date, you can stay at a distance with your flowers and somebody else reenacts the date for you.
這是幾個設計師的作品 以各種技法,它真正強化了 孤獨及擴張的概念。 這是個水療電話。概念是現在很難 隨處有私人談話了 - 你去水療、去按摩、去做臉、 去推拿,水池多麼漂亮, 溫度恰到好處,讓你 在這個「孤立泡」中講電話 和任何你想好好長談的人聊聊。 而這是相同的事:社會遠距在場。 軍中已多少用到它, 但它的想法是讓你的感官 在身體不在場時能感覺得到。 這叫做盲目約會。 如果你太害羞不敢去約會, 你就帶著花離遠一點 別人會替你扮演約會。
Rapid manufacturing is another big area in which technology and design are, I think, bound to change the world. You've heard about it before many times. Rapid manufacturing is a computer file sent directly from the computer to the manufacturing machine. It used to be called rapid prototyping, rapid modeling. It started out in the '80s, but at the beginning it was machines carving out of a foam block a model that was very, very fragile, and could not have any real use. Slowly but surely, the materials became better -- better resins. Techniques became better -- not only carving but also stereolithography and laser -- solidifying all kinds of resins, whether in powder or in liquid form. And the vats became bigger, to the point that now we can have actual chairs made by rapid manufacturing. It takes seven days today to manufacture a chair, but you know what? One day it will take seven hours. And then the dream is that you'll be able to, from home, customize your chair. You know, companies and designers will be designing the matrix or the margins that respect both solidity and brand, and design identity. And then you can send it to the Kinko's store at the corner
快速製造是另一個重要領域 讓技術與設計,我認為... 一起來改變世界。以前你聽過很多次了 快速製造是用電腦檔案 直接由電腦送到製造設備上。 它曾叫做快速原型、快速模型法。 它開始於 '80 年代,開始時 是用機器雕刻泡棉塊 這種模型很脆弱, 很難有實際用途。 漸漸地,材料變好了 - 用較好的樹脂。 技巧也變好了 - 不只是雕刻 也用立體印製及雷射,固化各種樹脂, 不論是粉末或液狀。而桶子也變大了, 直到現在我們能有實際的椅子 由快速製造做成。 如今做一張椅子要七天, 但你知道嗎?有一天將只需七小時。 夢想將是:你將能在家裡 訂製你的椅子。公司和設計師 將設計本體或周邊 並兼顧堅實性、及品牌和設計識別。 然後你將送它到街角的 Kinko 商店
and go get your chair. Now, the implications of this are enormous, not only regarding the participation of the final buyer in the design process, but also no tracking, no warehousing, no wasted materials. Also, I can imagine many design manufacturers will have to retool their own business plans and maybe invest in this Kinko's store. But it really is a big change. And here I'm showing a picture that was in Wired Magazine -- you know, the Artifacts of the Future section that I love so much -- that shows you can have your desktop 3D printer and print your own basketball. But here instead are examples, you can already 3D-print textiles, which is very interesting. This is just a really nice touch -- it's called slow prototyping. It's a designer that put 10,000 bees at work and they built this vase. They had a particular shape that they had to stay in.
去拿取你的椅子。這個意涵很大, 不只關於最終購買者的參與 設計過程,也不必追蹤、 不必倉儲、不浪費材料。 因此,我能想像許多設計製造公司 將要重新改造它的商業計畫。 並投資到 Kinko 商店。那真是一個大變化。 接著我秀一張 WIRED 雜誌的照片, 這是我很喜歡的「未來用品」部分, 看到你可以有自己的桌上型立體印製機 印製自己的籃球。 這裡只是舉例,已經有真的立體印紡機, 那是很有趣的。 這是一個很細膩的東西 - 叫做慢速原型法。 有個設計師放一萬隻蜜蜂做了這個蜂巢花瓶。 它們依預給的形狀建巢。
Mapping and tagging. As the capacity of computers becomes really, really big, and the capacity of our mind not that much bigger, we find that we need to tag as much as we can what we do in order to then retrace our path. Also, we do it in order to share with other people. Again, this communal sense of experience that seems to be so important today. So, various ways to map and tag are also the work of many designers nowadays. Also, the senses -- designers and scientists all work on trying to expand our senses capabilities so that we can achieve more. And also animal senses in a way.
映射與標示。 電腦的能力越來越大,真的很大, 而我們的心智能力並沒變大, 我們發現我們必須標示做過的事 以便能跟蹤走過的路。 同時,這樣也能和他人分享。 再一次,這種經驗的共享 今日看來極為重要。 因此,各種映射與標示方法 也是當今許多設計師的工作。 感覺。設計師與科學家都試圖擴大 我們的感覺能力以求達成更多。 某方面則是動物的感覺。
This particular object that many people love so much is actually based on kind of a scientific experiment -- the fact that bees have a very strong olfactory sense, and so -- much like dogs that can smell certain kinds of skin cancer -- bees can be trained by Pavlovian reflex to detect one type of cancer, and also pregnancy. And so this student at the RCA designed this beautiful blown-glass object where the bees move from one chamber to the other if they detect that particular smell that signifies, in this case, pregnancy. Another shape is made for cancer.
這項特別的物品許多人都很喜歡 實際上是基於一種科學實驗 - 事實上蜂有很強的嗅覺, 因此 - 就像狗可以嗅出某種皮膚癌 - 蜂也能訓練以巴甫洛夫反射 來偵測一種癌症,以及驗孕。 同樣這個 RCA 學生 設計了這個漂亮的吹玻璃 讓蜂由一個隔間飛到另一隔間 一旦它們偵測到特殊的氣味 那意味著,本例是驗孕。 另一種形狀則可以驗癌。
Design for Debate is a very interesting new endeavor that designers have really shaped for themselves. Some designers don't design objects, products, things that we're going to actually use, but rather, they design scenarios that are object-based. They're still very useful. They help companies and other designers think better about the future. And usually they are accompanied by videos. This is quite beautiful. It's Dunne and Raby, "All the Robots." Those are a series of robots that are meant to be taken care of. We always think that robots will take care of us, and instead they designed these robots that are very, very needy. You need to take one in your arms and look at it in the eyes for about five minutes before it does something. Another one gets really, really nervous if you get in to the room, and starts shaking, so you have to calm it down. So it's really a way to make us think more about what robots mean to us. Noam Toran and "Accessories for Lonely Men": the idea is that when you lose your loved one or you go through a bad breakup, what you miss the most are those annoying things that you used to hate when you were with the other person. So he designed all these series of accessories. This one is something that takes away the sheets from you at night. Then there's another one that breathes on your neck. There's another one that throws plates and breaks them. So it's just this idea of what we really miss in life.
「設計為辯論」是很有趣的新嘗試 是設計師為自己而創設的。 有些設計師並不設計物品、產品, 不做供實用的東西, 而是設計基於物品的劇情。 劇情也很有用的。 可以幫助公司或其他設計師更好地思考未來。 通常它們伴隨影片來呈現。 這個很美。是 Dunne 與 Raby 的「所有機器人」。 那些是一系列要人照顧的機器人。 我們都認為機器人將會照顧我們, 反之,他們設計了這些很黏人的機器人。 有一個你要抱在手臂,親眼看著它 要約五分鐘它才會做動作。 另一個在你進入房間時會非常、非常緊張, 開始發抖,因此你要安撫它。 這樣讓我們進一步去想 機器人對我們的意義。 Noam Toram 的「寂人配件」 概念是當你失去心愛的人 或經歷痛苦的分手, 你最懷念的是那些瑣事 你和那人一起時的那些討厭的事。 因此他設計了這系列的附件。 像這個夜裡會把你的被單抽走。 而這個的呼吸會吹在你的脖子上。 還有另一個會丟盤子、甩破它。 整個想法就是生活中我們懷念的事。
Elio Caccavale: he took the idea of those dolls that explain leukemia. He's working on dolls that explain xenotransplantation, and also the spider gene into the goat, from a few years ago. He's working for the exhibition on a whole series of dolls that explain to children where babies come from today. Because it's not anymore Mom, Dad, the flowers and the bees, and then there's the baby. No, it can be two moms, three dads, in-vitro -- there's the whole idea of how babies can be made today that has changed. So it's a series of dolls that he's working on right now.
另外,Elio Caccavale 他採用這想法 用玩偶解釋白血病。 他正在做一個解釋異體移植的玩偶, 及將蜘蛛基因置入山羊,幾年前的。 他為這個展覽做一整系列的玩偶 為兒童解釋今天嬰兒是怎麼來的。 因為已不是媽、爸,花和蜂 然後嬰兒就來了。不,可以是兩個媽,三個爸, 在培養皿裡 - 就是這個概念 今天嬰兒是如何產生的,已經改變了。 因此,這是他正在做的一系列玩偶。
One of the most beautiful things is that designers really work on life, even though they take technology into account. And many designers have been working recently on the idea of death and mourning, and what we can do about it today with new technologies. Or how we should behave about it with new technologies. These three objects over there are hard drives with a Bluetooth connection. But they're in reality very, very beautiful sculpted artifacts that contain the whole desktop and computer memory of somebody who passed away. So instead of having only the pictures, you will be able to put this object next to the computer and all of a sudden have, you know, Gertrude's whole life and all of her files and her address book come alive.
一件最美的事 設計師並不真的製作生命, 即使他們採用了科技。 最近許多設計師在做的 是死亡及哀悼的想法, 運用新科技我們能為它做什麼。 或者,以新科技我們會有什麼做法。 那三件物品上都有硬碟 有藍芽連結。但它們事實上 是非常、非常漂亮的雕塑品 包含了某個過世者的 整個桌面及電腦記憶。 因此,不是只有一些照片, 你將能把物品擺在電腦旁 因而突然間,你知道的, 葛爾楚的一生和她的所有檔案 及她的連絡簿都活了過來。
And this is even better. This is Auger-Loizeau, "AfterLife." It's the idea that some people don't believe in an afterlife. So to give them something tangible that shows that there is something after death, they take the gastric juices of people who passed away and concentrate them, and put them into a battery that can actually be used to power flashlights. They also go -- you know, sex toys, whatever. It's quite amazing how these things can make you smile, can make you laugh, can make you cry sometimes. But I'm hoping that this particular exhibition will be able to trace a new portrait of where design is going -- which is always, hopefully, a portrait a few years in advance of where the world is going. Thank you very much.
這個更好。它是 Auger-Loizeau 的「來世」。 主要構想是有些人不信有來世。 因此提供他們一些有形事物, 顯示死後的事,他們取用死者的胃液 把它濃縮後, 放在電池裡而真的能 點亮手電筒。也可以用在 - 例如,情趣玩具、等等。 令人驚訝的,這些事都令人會心一笑, 甚至大笑,有時讓人哭。 但我希望這個特別的展覽 可以描繪出設計將走的新圖像, 這個圖像總是,但願是,早幾年 說出世界要往哪裡去。 謝謝大家。