I'm almost like a crazy evangelical. I've always known that the age of design is upon us, almost like a rapture. If the day is sunny, I think, "Oh, the gods have had a good design day." Or, I go to a show and I see a beautiful piece by an artist, particularly beautiful, I say he's so good because he clearly looked to design to understand what he needed to do.
Ja sam poput ludog evanđeliste. Oduvek sam znala da je vreme dizajna pred nama, skoro kao povratak Hrista. Ako je dan sunčan, pomislim: "Oh, bogovi su imali dobar dizajnerski dan". Ili, ako odem na izložbu i vidim prelepo delo jednog umetnika, i to izuzetno lepo, reći ću da je dobar jer je očigledno izučavao dizajn kako bi razumeo šta treba da radi.
So I really do believe that design is the highest form of creative expression. That's why I'm talking to you today about the age of design, and the age of design is the age in which design is still cute furniture, is still posters, is still fast cars, what you see at MoMA today. But in truth, what I really would like to explain to the public and to the audiences of MoMA is that the most interesting chairs are the ones that are actually made by a robot, like this beautiful chair by Dirk Vander Kooij, where a robot deposits a toothpaste-like slur of recycled refrigerator parts, as if he were a big candy, and makes a chair out of it. Or good design is digital fonts that we use all the time and that become part of our identity. I want people to understand that design is so much more than cute chairs, that it is first and foremost everything that is around us in our life.
Stoga zaista verujem da je dizajn najviša forma kreativnog izraza. Zato vam danas govorim o dobu dizajna, a doba dizajna je period u kojem je dizajn i dalje slatki nameštaj, posteri, i dalje su brzi automobili, sve ono što je danas u Muzeju modernih umetnosti. No, istinu govoreći, ono što volela bih da objasnim publici i posetiocima Muzeja modernih umetnosti je da su najinteresantnije stolice one koje je zapravo napravio robot. Poput ove predivne stolice Dirka Vander Koija, nastale tako što je robot naneo smesu poput paste za zube od recikliranih delova za frižider, kao da je to jedna velika bombona, i napravio stolicu od toga. Dobar dizajn predstavljaju i digitalni fontovi koje stalno koristimo i koji su postali deo našeg identiteta. Želim da ljudi razumeju da je dizajn više od slatkih stolica. Da je to, pre svega, sve što nas okružuje u životu.
And it's interesting how so much of what we're talking about tonight is not simply design but interaction design. And in fact, interaction design is what I've been trying to insert in the collection of the Museum of Modern Art for a few years, starting not very timidly but just pointedly with works, for instance, by Martin Wattenberg -- the way a machine plays chess with itself, that you see here, or Lisa Strausfeld and her partners, the Sugar interface for One Laptop Per Child, Toshio Iwai's Tenori-On musical instruments, and Philip Worthington's Shadow Monsters, and John Maeda's Reactive Books, and also Jonathan Harris and Sep Kamvar's I Want You To Want Me. These were some of the first acquisitions that really introduced the idea of interaction design to the public.
I interesantno je koliko ćemo večeras pričati ne samo o dizajnu, već i o interaktivnom dizajnu. Zapravo, interaktivni dizajn je nešto što pokušavam da uvedem u kolekciju Muzeja moderne umetnosti već nekoliko godina, i to ne previše stidljivo, već vrlo direktno, pomoću radova, na primer, Martina Vatenberga, čija mašina igra šah sama sa sobom, kao što vidite ovde, ili radovima Lise Strausfeld i njenih partnera, "Šećerni interfejs" za "Laptop po detetu", muzičkim instrumentima "Tenori-On" Tošija Ivaija, i "Monstrumima iz senke" Filipa Vortingtona i "Reaktivnim knjigama" Džona Mede, kao i radom "Želim da me želiš" Džonatana Harisa i Sepa Kamvara. To su bile neke od prvih postavki koje su javnosti predstavile ideju interaktivnog dizajna.
But more recently, I've been trying really to go even deeper into interaction design with examples that are emotionally really suggestive and that really explain interaction design at a level that is almost undeniable. The Wind Map, by Wattenberg and Fernanda Viégas, I don't know if you've ever seen it -- it's really fantastic. It looks at the territory of the United States as if it were a wheat field that is procured by the winds and that is really giving you a pictorial image of what's going on with the winds in the United States.
No, u poslednje vreme, pokušavam da uđem još dublje u interaktivni dizajn sa primerima koji su izuzetno emotivno sugestivni i koji interaktivni dizajn zaista objašnjavaju na nivou koji je gotovo nepobitan. "Mapa vetrova" koju su napravili Vatenberg i Fernanda Viegas, ne znam jeste li je ikad videli, zaista je fantastična. Liči na teritoriju Sjedinjenih Država kao da je ona pšenično polje obuzeto vetrovima i zaista vam daje živopisnu sliku onoga što se dešava sa vetrovima u SAD.
But also, more recently, we started acquiring video games, and that's where all hell broke loose in a really interesting way. (Laughter) There are still people that believe that there's a high and there's a low. And that's really what I find so intriguing about the reactions that we've had to the anointment of video games in the MoMA collection. We've -- No, first of all, New York Magazine always gets it. I love them. So we are in the right quadrant. We are in the Highbrow -- that's daring, that's courageous -- and Brilliant, which is great. Timidly, we've been higher on the diagonal in other situations, but it's okay. It's good. It's good. It's good. (Laughter)
Pored toga, u skorije vreme, počeli smo da sakupljamo video igre i tad je nastao pravi pakao i to na vrlo zanimljivi način. (Smeh) Još uvek ima ljudi koji veruju da postoji uzvišeno i prizemno. I to je meni bilo intrigantno kod reakcija na kolekciju video igara koju smo odabrali za muzej MoMa. Mi smo... - Ne, pre svega, Njujorški Magazin uvek sve shvata. Volim ih. Dakle, u pravom smo kvadratu. Mi smo sa intelektualnom elitom - to je izazovno, to je hrabro i genijalno, što je sjajno. U ostalim slučajevima nalazili smo se na drugoj strani dijagonale,
But here comes the art critic. Oh, that was fantastic.
ali nema veze. Dobro je. Dobro je. (Smeh)
So the first was Jonathan Jones from The Guardian. "Sorry, MoMA, video games are not art." Did I ever say they were art? I was talking about interaction design. Excuse me. "Exhibiting Pac-Man and Tetris alongside Picasso and Van Gogh" -- They're two floors away. (Laughter) — "will mean game over for any real understanding of art." I'm bringing in the end of the world. You know? We were talking about the rapture? It's coming. And Jonathan Jones is making it happen.
A onda onda su došli umetnički kritičari. To je bilo fantastično! Prvi je bio Džonatan Džons iz Gardijana. "Žao nam je, MoMA, ali video igrice nisu umetnost" Jesam li ikad rekla da jesu umetnost? Ja sam pričala o interaktivnom dizajnu. Oprostite. "Postaviti Pekmena i Tetris pored Pikasa i Van Goga..." - Koji su dva sprata iznad! (Smeh) "...značilo bi kraj pravom shvatanju umetnosti." Donosim kraj sveta. Znate? Pričali smo o povratku Hrista? Evo ga! I Džonatan Džons je glavni krivac.
So the same Guardian rebuts, "Are video games art: the debate that shouldn't be. Last week, Guardian art critic blah blah suggested that games cannot qualify as art. But is he right? And does it matter?" Thank you. Does it matter?
No, isti taj Gardijan odgovara: "Jesu li video igre umetnost: debata koja se ne treba odvijati. Prošle nedelje, Gardijanov kritičar Bla Bla rekao je da se video igre ne mogu smatrati umetnošću. No, je li u pravu? Je li to bitno?"
You know, it's like once again there's this whole problem of design being often misunderstood for art, or the idea that is so diffuse that designers want to aspire to, would like to be called, artists. No. Designers aspire to be really great designers. Thank you very much. And that's more than enough.
Hvala. Da li je to bitno? Čini se da opet imamo taj problem da se dizajn često meša sa umetnošću ili tu opšte raširenu ideju da svi dizajneri teže tome da postanu ili žele da ih smatraju umetnicima. Ne. Dizajneri teže tome da postanu veliki dizajneri.
So my knight in shining armor, John Maeda, without any prompt, came out with this big declaration on why video games belong in the MoMA. And that was fantastic. And I thought that was it.
Hvala puno. To je više nego dovoljno. I tako je moj princ na belom konju, Džon Meda, bez ikakve najave, izneo važno objašnjenje zašto video igrice treba da budu u muzeju MoMA.
But then there was another wonderfully pretentious article that came out in The New Republic, so pretentious, by Liel Leibovitz, and it said, "MoMA has mistaken video games for art." Again. "The museum is putting Pac-Man alongside Picasso." Again. "That misses the point." Excuse me. You're missing the point. And here, look, the above question is put bluntly: "Are video games art? No. Video games aren't art because they are quite thoroughly something else: code." Oh, so Picasso is not art because it's oil paint. Right?
To je bilo sjajno. Mislila sam da je to to. Ali onda se pojavio još jedan predivno pretenciozni članak u časopisu Nova Republika, vrlo pretenciozan članak Lila Lebovica koji kaže: "MoMA pobrkala video igrice i umetnost". Opet. "Muzej stavlja Pekmena pored Pikasa". Opet. "To je omašilo poentu". Izvinite, ali vi ste omašili poentu. A evo ovde, vidite, nabusito je postavljeno pitanje: "Da li su video igrice umetnost? Ne. Video igrice nisu umetnost jer one su nešto sasvim drugo: kod." Oh, znači ni Pikaso nije umetnik jer slika uljem na platnu. Zar ne?
So it's so fantastic to see how these feathers that were ruffled, and these reactions, were so vehement. And you know what? The International Cat Video Film Festival didn't have that much of a reaction. (Laughter) I think this was truly fantastic. We were talking about dancing ponies, but I was really jealous of the Walker Arts Center for putting up this festival, because it's very, very wonderful. And there's this Flaubert quote that I love: "I have always tried to live in an ivory tower, but a tide of shit is beating at its walls, threatening to undermine it." I consider myself the tide of shit.
Bilo je fantastično videti kako je perje poletelo, i te reakcije, tako su bile žestoke. I znate šta? Internacionalni festival smešnih mačjih snimaka nije dobio tako jake reakcije. (Smeh) Mislim da je to bilo fantastično. Pričali smo o ponijima koji plešu, ali ja sam bila ljubomorna na Umetnički centar Voker što su organizovali taj festival jer je zaista, zaista divan. Ima jedan Floberov citat koji puno volim: „Oduvek sam pokušavao da živim u kuli od slonovače, ali plima govana udara o njene zidove ne bi li je potkopala.“ Ja sebe smatram plimom govana.
(Laughter) (Applause)
(Smeh) (Aplauz)
You know, we have to go through that. Even in the 1930s, my colleagues that were trying to put together an abstract art show had all of these works stopped by the customs officers that decided they were not art. So it's happened before, and it will happen in the future, but right now I can tell you that I am so, so proud to be able to call Pac-Man part of the MoMA collection. And the same with, for instance, Tetris, original version, the Soviet one. And you know, the amount of work -- yeah, Alexey Pajitnov was working for the Soviet government and that's how he developed Tetris, and Alexey himself reconstructed the whole game and even gave us a simulation of the cathode ray tube that makes it look slightly bombed. And it's fantastic.
Znate, morali smo kroz to proći. Čak i tokom 1930-ih, moje kolege koje su pokušavale da organizuju izložbu apstraktne umetnosti u tome su sprečavali carinici koji su odlučivali da to nije umetnost. To se, dakle, dešavalo ranije, a dešavaće se i ubuduće, ali trenutno vam mogu reći da sam izuzetno ponosna na to što je Pekmen sada deo kolekcije muzeja MoMa. Isto važi i za originalnu verziju Tetrisa, onu sovjetsku. Znate, količina posla - da, Aleksej Pažitnov je radio za sovjetsku vladu i tako je napravio Tetris, i Aleksej je lično rekonstruisao celu igru i čak nam dao simulaciju katodne cevi zbog čega ona deluje pomalo napumpana. I to je fantastično.
So behind these acquisitions is an enormous amount of work, because we're still the Museum of Modern Art, so even when we tackle popular culture, we tackle it as a form of interaction design and as something that has to go into the collection at MoMA, therefore, has to be researched. So to get to choosing Eric Chahi's wonderful Another World, amongst others, we put together a panel of experts, and we worked on this acquisition, and it's mostly myself and Kate Carmody and Paul Galloway. We worked on it for a year and a half. So many people helped us — designers of games, you might know Jamin Warren and his collaborators at Kill Screen magazine, and you know, Kevin Slavin. You name it. We bugged everybody, because we knew that we were ignorant. We were not real gamers enough, so we had to really talk to them. And so we decided, of course, to have Sim City 2000, not the other Sim City, that one in particular, so the criteria that we developed along the way were really strong, and were not only criteria of selection. They were also criteria of exhibition and of preservation. That's what makes this acquisition more than a little game or a little joke. It's truly a way to think of how to preserve and show artifacts that will more and more become part of our lives in the future. We live today, as you know very well, not in the digital, not in the physical, but in the kind of minestrone that our mind makes of the two.
Iza svih ovih akvizicija je ogromna količina posla, jer u Muzeju moderne umetnosti, kada se bavimo popularnom kulturom, mi to radimo u formi interaktivnog dizajna, a sve što treba da uđe u kolekciju muzeja MoMA treba istražiti. I tako, da bismo odabrali predivni "Drugi svet" Erika Čahija među drugim radovima, prvo oformimo odbor stručnjaka koji rade na toj akviziciji a to smo obično Kejt Karmodi, Pol Galovej i ja. Radili smo na tome više od godinu i po dana. Toliko nam je puno ljudi pomoglo, dizajnera video igara, možda znate Džejmina Vorena i njegove saradnike iz magazina "Kil Skrin", te Kevina Slejvina. I mnoge druge. Sve smo gnjavili jer smo znali da mi nemamo pojma. Nismo bili pravi gejmeri i morali smo zaista da pričamo sa njima. Onda smo odlučili, naravno, da dobijemo Sim Siti 2000, ni jedan drugi Sim Siti, nego baš taj određeni, kako bi kriterijumi koje smo vremenom razvili ostali jaki, ne samo kao kriterijumi selekcije, već kao kriterijumi koji utiču na izlaganje i prezervaciju. Zato je ova akvizicija više od obične igre ili bezvezarije. To je način na koji treba da se misli o očuvanju i izlaganju artefakata koji u sve većoj meri postaju deo naše budućnosti. Kao što znate, mi danas ne živimo u digitalnom, niti u fizičkom svetu, nego u nekakvoj mešavini koju naš um pravi od ta dva. I upravo tu leži interakcija
And that's really where interaction lies, and that's the importance of interaction. And in order to explain interaction, we need to really bring people in and make them realize how interaction is part of their lives. So when I talk about it, I don't talk only about video games, which are in a way the purest form of interaction, unadulterated by any kind of function or finality. I also talk about the MetroCard vending machine, which I consider a masterpiece of interaction. I mean, that interface is beautiful. It looks like a burly MTA guy coming out of the tunnel. You know, with your mitt you can actually paw the MetroCard, and I talk about how bad ATM machines usually are. So I let people understand that it's up to them to know how to judge interaction so as to know when it's good or when it's bad. So when I show The Sims, I try to make people really feel what it meant to have an interaction with The Sims, not only the fun but also the responsibility that came with the Tamagotchi.
i tu je značaj interakcije. Kako bismo objasnili interakciju, moramo da dovedemo ljude i da ih nateramo da shvate da je interakcija deo njihovih života. Kada ja pričam o tome, ne pričam samo o video igrama, koje su u nekom smislu čista forma interakcije, oslobođena bilo kakve funkcije ili konačnosti. Takođe govorim o Metrokard bankomatima koje ja smatram remek-delima interakcije. Taj interfejs je predivan. Izgleda kao da kršni poštar izlazi iz tunela. Svojom šakom možete zgrabiti Metro karticu a to samo govori koliko su bankomati obično loši. Zato mislim da ljudi treba da shvate kako se tumači interakcija, da bi moglu da razlikuju dobru od loše. Zato kada im polažem Sims, pokušavam da učinim da zaista osete kako je to imati interakciju sa Simsima, i to ne samo zabavnu stranu, već i odgovornost koju je doneo Tamagoči. Video igre mogu biti zaista duboke
You know, video games can be truly deep even when they're completely mindless. I'm sure that all of you know Katamari Damacy. It's about rolling a ball and picking up as many objects as you can in a finite amount of time and hopefully you'll be able to make it into a planet. I've never made it into a planet, but that's it. Or, you know, Vib-Ribbon was not distributed here in the United States. It was a PlayStation game, but mostly for Japan. And it was one of the first video games in which you could choose your own music. So you would put into the PlayStation, you would put your own CD, and then the game would change alongside your music. So really fantastic.
čak i kada su potpuno bez korišćenja uma. Sigurna sam da svi znate za igru Katamari Damaši. Igra se tako što zakotrljate loptu i prikupljate što više stvari moguće u ograničenom vremenskom roku u nadi da ćete na kraju napraviti planetu. Nikada nisam napravila planetu, ali to je to. Tu je i igra Vib-Ribon koja nikada nije distribuirana u SAD. To je bila igra za Plejstejšn, uglavnom za Japan. Bila je to jedna od prvih igara u kojoj ste mogli da odaberete muziku po želji. Pa biste u Plejstejšn stavili svoj CD i igra bi se menjala zajedno sa muzikom. Zbilja fantastično. A da ni ne pominjem Iv Onlajn.
Not to mention Eve Online. Eve Online is an artificial universe, if you wish, but one of the diplomats that was killed in Benghazi, not Ambassador Stevens, but one of his collaborators, was a really big shot in Eve Online, so here you have a diplomat in the real world that spends his time in Eve Online to kind of test, maybe, all of his ideas about diplomacy and about universe-building, and to the point that the first announcement of the bombing was actually given on Eve Online, and after his death, several parts of the universe were named after him. And I was just recently at the Eve Online fan festival in Reykjavík that was quite amazing. I mean, we're talking about an experience that of course can seem weird to many, but that is very educational. Of course, there are games that are even more educational.
Iv Onlajn je, može se reći, veštački univerzum, ali jedan od diplomata ubijenih u Bengaziju, ne ambasador Stivens, već jedan od njegovih saradnika, bio je velika faca u Iv Onlajn. Eto tako imate čoveka koji je u realnosti diplomata, a svoje vreme provodi u Iv Onlajn univerzumu. ne bi li, recimo, testirao svoje viđenje diplomatije i kreiranju univerzuma. I tako je prva vest o bombardovanju objavljena na Iv Onlajn stranici, a nakon njegove smrti, nekoliko delova univerzuma dobilo je ime po njemu. Nedavno sam bila na okupljanju fanova Iv Onlajn u Rejkjaviku koje je bilo prosto neverovatno. Govorim vam o iskustvu koje mnogima nesumnjivo može delovati čudno, ali koje je vrlo edukativno. Naravno, postoje igre koje su još više edukativne. Tvrđava patuljaka je kao Sveti gral
Dwarf Fortress is like the holy grail of this kind of massive multiplayer online game, and in fact the two Adams brothers were in Reykjavík, and they were greeted by a standing ovation by all the Eve Online fans. It was amazing to see. And it's a beautiful game. So you start seeing here that the aesthetics that are so important to a museum collection like MoMA's are kept alive also by the selection of these games.
među ovakvim onlajn igrama za veliki broj igrača, i braća Adams su bila u Rejkjaviku i dobili su gromki aplauz od svih Iv Onlajn fanova. To je bio neverovatan prizor. A to je predivna igra. Sada sigurno uviđate koliko se estetika, koja je izuzetno važna za kolekcije poput onih iz muzeja MoMA, oživljava i izborom ovih igara.
And you know, Valve -- you know, Portal -- is an example of a video game in which you have a certain type of violence which also leads me to talk about one of the biggest issues that we had to discuss when we acquired the video games, what to do with violence. Right? We had to make decisions. At MoMA, interestingly, there's a lot of violence depicted in the art part of the collection, but when I came to MoMA 19 years ago, and as an Italian, I said, "You know what, we need a Beretta." And I was told, "No. No guns in the design collection." And I was like, "Why?" Interestingly, I learned that it's considered that in design and in the design collection, what you see is what you get. So when you see a gun, it's an instrument for killing in the design collection. If it's in the art collection, it might be a critique of the killing instrument. So it's very interesting. But we are acquiring our critical dimension also in design, so maybe one day we'll be able to acquire also the guns. But here, in this particular case, we decided, you know, with Kate and Paul, that we would have no gratuitous violence. So we have Portal because you shoot walls in order to create new spaces. We have Street Fighter II, because martial arts are good. (Laughter) But we don't have GTA because, maybe it's my own reflection, I've never been able to do anything but crashing cars and shooting prostitutes and pimps. So it was not very constructive. (Laughter) So, I'm making fun of it, but we discussed this for so many days. You have no idea. And to this day, I am ambivalent, but when you have instead games like Flow, there's no doubt. It's like, it's about serenity and it's about sublime. It's about experiencing what it means to be a sea creature. Then we have a few also side-scrollers -- classical ones. So it's quite a hefty collection.
Znate, Valv... Tačnije, Portal igre primer je video igara u kojima imate određen tip nasilja i zato moram pomenuti jedan od najvećih problema sa kojima smo se suočili kada smo pribavljali igre - šta ćemo sa nasiljem? Morali smo da donesemo odluke. Zanimljivo je da u muzeju MoMA ima zaista puno nasilja prikazanog u umetničkim delima, ali kada sam pre 19 godina došla tamo i kao prava Italijanka rekla "Znate, treba nam Bereta". I rekli su mi: "Ne. U kolekciji dizajna oružje je zabranjeno." A ja sam se pitala zašto. Zanimljivo mi je bilo otkriće da je u dizajnu i kolekcijama dizajna sve očigledno. Kada vidite pištolj u kolekciji dizajna, on je samo oruđe za ubijanje. Ako je u umetničkoj kolekciji onda se to smatra kritikom oruđa za ubijanje. To je prilično interesantno. Ali kritička dimenzija je sve prisutnija u dizajnu, pa možda jednog dana budemo dobili i pištolje. Ali u ovom specifičnom slučaju, Kejt, Pol i ja smo odlučili da neće biti nikakve vrste nasilja. Imamo Portal jer tu pucate u zidove da biste napravili nova mesta. Uzeli smo i Uličnog borca II jer su boriličke veštine dobre. (Smeh) Ali, GTA igre nemamo. Možda je to ipak samo do mene, jer znam samo da uništavam automobile i pucam u prostitutke i makroe. Što nije baš konstruktivno. (Smeh) Sada se ja o tome šalim, ali nećete verovati koliko dana smo mi o tome ozbiljno razgovarali. I dan danas sam neodlučna, ali kada zauzvrat dobijete igre kao što je Flou, nema tu sumnje. Tu se radi o spokoju i božanstvenosti. Radi se o doživljavanju života kroz prizmu morskih stvorenja. Osim toga, imamo i nekoliko sajd-skrol igara, onih klasičnih. Sve u svemu, to je solidna kolekcija.
And right now, we started with the first 14, but we have several that are coming up, and the reason why we haven't acquired them yet is because you don't acquire just the game. You acquire the relationship with the company. What we want, what we aspire to, is the code. It's very hard to get, of course. But that's what would enable us to preserve the video games for a really long time, and that's what museums do. They also preserve artifacts for posterity. In absence of the code, because, you know, video game companies are not very forthcoming in some cases, in absence of that, we acquire the relationship with the company. We're going to stay with them forever. They're not going to get rid of us. And one day, we'll get that code. (Laughter)
I sada smo počeli sa prvih 14, ali imamo još nekoliko u planu, a razlog zbog kojeg ih još nismo dobili je to što ne dobijate samo igru. Počinjete odnos sa celom kompanijom. Ono što mi želimo, ono čemu težimo je kod. A to je teško dobiti. Ali, to je ono što bi nam omogućilo da zaista dugo čuvamo te igre. A to je zadatak muzeja. Oni čuvaju artefakte od propasti. Ukoliko nam fali kod, jer kompanije koje se bave video igrama nisu bile spremne da nam ga daju, u tom slučaju, mi moramo da stupimo u odnos sa kompanijom. Ostajemo sa njima zauvek. Ne mogu nas se otarasiti. I jednog dana dobićemo taj kod. (Smeh) Ali, želim da vam objasnim kriterijum koji koristimo
But I want to explain to you the criteria that we chose for interaction design. Aesthetics are really important. And I'm showing you Core War here, which is an early game that takes advantage aesthetically of the limitations of the processor. So the kind of interferences that you see here that look like beautiful barriers in the game are actually a consequence of the processor's limitedness, which is fantastic. So aesthetics is always important.
kod interaktivnog dizajna. Estetika je vrlo važna. Sada vam pokazujem igru Kor vor. To je jedna stara igra koja je iz ograničenja procesora izvukla estetsku prednost. Vrsta interfejsova koje vidite ovde u obliku prelepih barijera u igri su zapravo posledica ograničenja tog procesora, što je zaista fantastično, jer estetika je uvek važna. Baš kao i prostor, prostorni aspekt igre.
And so is space, the spatial aspect of games. You know, I feel that the best video games are the ones that have really savvy architects that are behind them, and if they're not architects, bona fide trained in architecture, they have that feeling. But the spatial evolution in video games is extremely important.
Mislim da su najbolje video igre one iza kojih stoje arhitekte sa puno iskustva. Ako nisu arhitekte, ili makar samouke arhitekte, ipak imaju taj osećaj. No, prostorna evolucija u video igrama je izuzetno značajna.
Time. The way we experience time in video games, as in other forms of interaction design, is really quite amazing. It can be real time or it can be the time within the game, as is in Animal Crossing, where seasons follow each other at their own pace.
Vreme. Način na koji doživljavamo vreme u video igrama, kao i u ostalim formama interaktivnog dizajna, je zaista neverovatan. To može biti realno vreme ili vreme u igri, poput vremena u igri Životinje na putu u kojoj se godišnja doba smenjuju po sopstvenom tempu.
So time, space, aesthetics, and then, most important, behavior. The real core issue of interaction design is behavior. Designers that deal with interaction design behaviors that go to influence the rest of our lives. They're not just limited to our interaction with the screen. In this case, I'm showing you Marble Madness, which is a beautiful game in which the controller is a big sphere that vibrates with you, so you have a sphere that's moving in this landscape, and the sphere, the controller itself, gives you a sense of the movement. In a way, you can see how video games are the purest aspect of interaction design and are very useful to explain what interaction is.
Dakle, vreme, prostor, estetika i, što je najbitnije, ponašanje. Najbitnija stvar u interaktivnom dizajnu je ponašanje. Dizajneri koji se bave interaktivnim dizajnom, dizajniraju ponašanja koja mogu uticati na ostatak naših života. Ona nisu ograničena samo na interakciju sa ekranom. U ovom slučaju, pokazujem Mermerno ludilo, predivnu igru koju kontroliše velika sfera koja vibrira zajedno sa vama, ta sfera se pomera po slici predela i kao upravljač vam daje osećaj pokreta. Na neki način, tako možete videti zašto su video igre najčistiji aspekt interaktivnog dizajna i zašto su korisne u objašnjavanju pojma interakcije.
We don't want to show the video games with the paraphernalia. No arcade nostalgia. If anything, we want to show the code, and here you see Ben Fry's distellamap of Pac-Man, of the Pac-Man code.
Ne želimo da pokazujemo igre sa rekvizitima. Nema nostalgije za arkadama. Ako išta, želimo da pokažemo kod. Ovde vidite mapu Pekmenovog koda koju je napravio Ben Fraj.
So the way we acquired the games is very interesting and very unorthodox. You see them here displayed alongside other examples of design, furniture and other parts, but there's no paraphernalia, no nostalagia, only the screen and a little shelf with the controllers. The controllers are, of course, part of the experience, so you cannot do away with it. But interestingly, this choice was not condemned too vehemently by gamers. I was afraid that they would kill us, and instead they understood, especially when I told them that I was trying to apply the same stratagem that Philip Johnson applied in 1934 when he wanted to make people understand the importance of design, and he took propeller blades and pieces of machinery and in the MoMA galleries he put them on white pedestals against white walls, as if they were Brancusi sculptures. He created this strange distance, this shock, that made people realize how gorgeous formally, and also important functionally, design pieces were. I would like to do the same with video games. By getting rid of the sticky carpets and the cigarette butts and everything else that we might remember from our childhood, I want people to understand that those are important forms of design. And in a way, the video games, the fonts and everything else lead us to make people understand a wider meaning for design.
Način na koji mi dolazimo do igara je vrlo interesantan i neobičan. Ovde su one izložene pored drugih primera dizajna, nameštaja i ostalih delova, ali tu nema nikakvih rekvizita, niti nostalgije, samo ekran i mala polica sa kontrolama. Kontrole su, naravno, deo iskustva, pa ni ne možete bez njih. No, interesantno je da ovaj izbor nije bio žestoko osuđivan kod gejmera. Bojala sam se da će nas ubiti ali, umesto, toga razumeli su, naročito kada sam im objasnila da pokušavam da primenim isti trik koji je 1943. godine primenio Filip Džonson kada je ljudima želeo da objasni značaj dizajna, pa je uzeo peraja propelera i mašinske delove i stavio ih na bela postolja tik do belih zidova muzeja MoMA, kao da su Brankusijeve skulpture. Napravio je taj čudnovati razdor, taj šok, koji je naterao ljude da shvate da su dizajnerska dela po formi predivna i funkcionalno važna. Volela bih da učinim isto to sa video igrama. Dok sklanjamo lepljive tepihe i opuške od cigareta i sve ostalo što nas može povezati sa detinjstvom, želim da ljudi shvate da su to najbitnije forme dizajna. I na neki način, video igre, fontovi i sve drugo omogućavaju ljudima da shvate šire značenje dizajna. Jedna od mojih najdražih akvizicija,
One of my dream acquisitions, which has been on hold for a few years but now will come back on the front burner, is a 747. I would like to acquire it, but without owning it. I don't want it to be at MoMA and possessed by MoMA. I want it to keep flying. So it's an acquisition where MoMA makes an arrangement with an airline and keeps the Boeing 747 flying.
koja već nekoliko godina čeka na red, ali koja će sada ponovo dospeti u centar pažnje jeste 747. Volela bih da je dobijem, ali ne i da je posedujem. Ne želim da bude u muzeju MoMa, niti da je muzej poseduje. Želim da nastavi da leti. To je, dakle, tip akvizicije kada muzej napravi dogovor sa avionskom kompanijom kako bi Boing 747 nastavio da leti. Isto je i sa znakom "@" koji smo dobili pre nekoliko godina.
And the same with the "@" sign that we acquired a few years ago. It was the first example of an acquisition of something that is in the public domain. And what I say to people, it's almost as if a butterfly were flying by and we captured the shadow on the wall, and just we're showing the shadow. So in a way, we're showing a manifestation of something that is truly important and that is part of our identity but that nobody can have. And it's too long to explain the acquisition, but if you want to go on the MoMA blog, there's a long post where I explain why it's such a great example of design.
To je bio prvi slučaj akvizicije nečega što upotrebljava šira javnost. Iz mog ugla to izgleda kao da leptir leti oko nas, a mi uhvatimo njegovu senku na zidu, i onda pokažemo samo tu senku. Tako da, na neki način, pokazujemo manifestaciju nečega što je izuzetno važno i što je deo našeg identiteta, ali što niko ne može da poseduje. Objasniti akviziciju je ogroman zadatak, ali ako odete na blog muzeja MoMA videćete veliki post u kom objašnjavam zašto je to tako dobar primer dizajna.
Along the way, I've had to burn a few chairs. You know? I've had to do away with a few concepts of design past. But I see that people are coming along, that the audiences, paradoxically, are much more responsive and much more understanding of this expansion of design than some of my colleagues are. Design is truly everywhere, and design is as important as anything, and I'm so glad that, because of its diversity and because of its centrality to our lives, many more people are coming to it as a profession, as a passion, and as, very simply, part of their own culture.
Usput sam morala da spalim nekoliko stolica. Morala sam da odbacim nekoliko koncepata iz istorije dizajna. Ali vidim da se stav publike menja, da su, paradoksalno, postali sve naklonjeniji dizajnu i da imaju više razumevanja za ovu ekspanziju dizajna od nekih mojih kolega. Dizajn je zaista svuda, i važan je koliko i sve drugo, i drago mi je da mu se zbog toga, zbog te različitosti i centralnog mesta koje zauzima u našim životima sve veći broj ljudi priklanja, bilo da im je to posao ili strast, ili, jednostavno, deo njihove kulture.
Thank you very much.
Mnogo vam hvala.
(Applause)
(Aplauz)