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.
我就像一個狂熱的福音信徒。 一直確信設計時代正朝我們走來, 對此,我可是欣喜若狂啊。 如果今天天氣晴朗,我就會想, “哇哦,諸神今天可以好好構思一天了。” 再如,我去看展覽,看到了一件漂亮的藝術作品, 特別漂亮,我會想 這藝術家真不錯,毫無疑問他懂得 設計時它需要做些什麼。
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.
所以,我深信 設計是創造性表達的最高級形式。 這也是今天我來給你們講設計時代的原因, 在設計時代 設計仍跟小巧的家具、海報,跑車有關, 正如你們在紐約現代藝術博物館(MoMA)看到的一樣。 但實際上, 我想向公眾和MoMA的觀眾說明的是 那些最有意思的椅子 實際上是由機器人製造的, 比如德克•范德•科藝(荷蘭設計師)設計的這把椅子 機器人把回收的冰箱零部件上的牙膏状的污物 储存起来, 仿佛那是一大塊糖果,它可藉此製造一把椅子。 或說,我們常用的數字字體也是優良的設計作品 它們已成為我們身份特征的一部分。 我想讓人們明白 設計遠不止可愛的椅子, 設計是我們生活周圍 首要的也是最重要的一切。
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.
而且有趣的是,今天晚上我們講的很多內容 不僅僅是設計,更多的是交互設計。 事實上,近幾年來我一直嘗試 讓交互設計作品也成為MoMA的藏品 一開始我就沒有畏怯 只是針對作品,比如 你們看到的馬丁•瓦騰伯格的作品—— 一台計算機和它自己下國際象棋 另外莉薩•斯特勞斯菲爾德和她的合伙人 為“每個孩子一台筆記本”項目設計的“糖果”界面 岩井俊雄設計的Tenori-On(一種觸摸屏樂器) 菲利普•沃辛頓的怪物影子遊戲 約翰•前田的"會聽話的書" 喬納森•哈里斯和塞普•卡姆瓦爾的"我想你約我"(一種網上約會應用) 這批最早的一些藏品 真正把交互設計這個概念呈現給了公眾。
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.
最近,我一直試著 用具有情緒性暗示的 且能詳細闡釋交互設計的例子 去更深入了解交互設計 當然,這些例子的闡釋要無可爭辯 不知道你們是否看過 瓦騰伯格和費爾蘭達•維埃加斯的“風圖” 非常神奇 在“風圖”里,美國領土看起來 就像風在吹過的麥田 這張如畫的圖片能讓你清楚地看到 美國領土上的風是如何流動的
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)
同時,我們也開始收藏視頻遊戲 而且一切都因此亂套了 但是非常有意思 因為現在仍有人認為 藏品應有高低之分 對於人們 對在 MoMA 收藏視頻遊戲的反應 我真得覺得很搞笑 首先,《紐約雜誌》對此非常了解 我愛死它們了 他們把我們排在這個圖的右上部 即“高雅”和“非凡”的集合處 真是大膽、勇敢又美妙,這很棒。 在其他地方 我們曾“羞怯的”處於過更高的排位 但沒關係,這很好,很好,非常好
But here comes the art critic. Oh, that was fantastic.
但是藝術批評家來了,哇哦~再好不過
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.
第一個是《衛報》的喬納森•瓊斯 他說,“不好意思,MoMA 視頻遊戲不是藝術” 我說他們是藝術了嗎? 我講的是交互設計,你先搞清楚 “把《吃豆人》和《俄羅斯方塊》 與畢加索和梵高的作品一起展覽 (它們可隔了兩層樓遠啊!) (笑聲) 將意味著藝術真諦的Game Over” 天啊,我把世界末日召喚來了 我們前面說的「欣喜若狂」時刻 就要到了 喬納森•瓊斯和《衛報》的反駁
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?
做到了這點 “視頻遊戲是藝術嗎:不應有的討論。 上週,《衛報》的藝術批評家提出 視頻遊戲不夠格成為藝術 但他對嗎? 而且,這有關係嗎? ” 謝謝您,這有關係嗎?
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.
知道嗎,這就像又一次 設計被曲解為藝術 或說設計師渴望被別人 稱其為藝術家的觀念 再一次散佈開來了 那不對 設計師渴望成為偉大的設計師 非常感謝 那已經足夠說明問題了
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.
於是,我的白馬王子約翰·前田 突然從黑夜中走來,並鄭重聲明 為什麼視頻遊戲應歸入MoMA 真是太好了,我想,這就對了嘛
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?
但之後《新共和報》登出了 一篇極其做作的文章 作者是里爾•萊博維茨 上面又一次說到 “MoMA誤把視頻遊戲當藝術” “該博物館把《吃豆人》 和畢加索的作品放在一起展覽” 還說“那樣的做法沒有抓住重點” 我沒重點?你才沒抓住重點吧 看這裡,上面的問題很明顯的擺在這兒 “視頻遊戲是藝術嗎? 不,電子遊戲不是藝術 因為它們完全是另外一種東西:代碼。 ” 嚯~ 所以說畢加索的作品 是油畫顏料而不是藝術?
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.
看到這些整潔的羽毛 被弄皺的過程簡直太好了 而且批評家們的反應是如此激烈 我告訴你們 國際貓視頻電影節 都沒有過如此大的反響 我覺得那種感覺好得不能再好 我們說的可是跳舞的小馬呀 而且我是真嫉妒 沃克藝術中心能承辦這次電影節 因為這個電影節真的太精彩了 我很喜歡福樓拜的這句話 “我總盡力生活在象牙塔中 但屎潮不停拍打著圍牆 威脅著要壞掉這座塔” 我認為自己就是那屎潮
(Laughter) (Applause)
(笑聲)(掌聲)
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.
我們必須經歷這個過程 即使在 30 年代,我的同行們 曾試著把這些作品放在一起 舉行一個抽象藝術展 但被海關官員攔了下來 因為他們覺得這些作品不是藝術 看吧,這樣的事情以前發生過 今後還會繼續發生 但現在,我很自豪 我可以把《吃豆人》稱為 MoMA 的藏品 同樣還有原版《俄羅斯方塊》 (前蘇聯版) 而且這個過程中的工作量…… 沒錯,阿列克謝•帕基特諾夫 當時為前蘇聯政府工作 並在那里製作了《俄羅斯方塊》 而且他自己還改造了這個遊戲 給了我們一個陰極射線管的仿真設計品 讓遊戲有遭受過輕微轟炸的感覺 太不可思議了
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.
為收藏這些作品,需要驚人的工作量 因為本質上 我們還是紐約現代藝術博物館 所以,面對流行文化時 我們要把它當作交互設計來處理 把它當做必須要收藏在 MoMA 的東西 因此必須要仔細研究 當從很多視頻遊戲中 選擇埃里克•恰西的《異世界》時 我們聚集了一組專家 一起為這次收購工作 主要是凱特•卡莫迪、保羅•加洛韋和我 我們花了一年半的時間在這上面 很多人給予了我們幫助,比如遊戲設計師們 也許你們知道雅明•沃倫 和他在 KillScreen 雜誌社的合作者們 還有凱文•斯拉文,多不勝舉 我們向每一個人求教 因為我們缺乏這方面的知識 甚至算不上真正的玩家 所以我們必須認真和他們交談 當然,我們決定收藏《模擬城市2000》 不包括其他系列,只收藏那一款 在此過程中我們建立的選擇標準 非常嚴格,而且不止是選擇標準 還包括展覽標準和收藏標準 所以這次收藏不只是遊戲 不是玩笑,是考慮如何保存 和展示那些在將來 會成為我們生活一部分的工藝品的方法 你們很清楚 我們現在不是單純生活在數位世界 或物質世界中,而是生活在 由我們智慧創造的 這兩種世界相結合的世界裡
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.
那才是“交互”存在的地方 和“交互”的重要性所在 為了把“交互”解釋清楚 我們必須把人們帶到這個領域來 讓他們意識到 為什麼“交互”是他們生活的一部分 當我談論“交互”時 談的不只是視頻遊戲 視頻遊戲一定程度上 是最純粹的“交互”形式 沒有摻雜其它功能或權威性 我同樣會談及 紐約地鐵自動售票機 我覺得那是“交互”作用的傑作 因為售票機的介面非常美觀 看起來像從管道裡鑽出來 一位結實的紐約交管局的傢伙 事實上,即使帶著手套 你也可以把地鐵卡抓出來 我還會談及 自動取款機經常是多麼糟糕 所以,我讓人們明白 怎樣判斷“交互”由他們自己決定 因此才知道何時是好、何時是壞 所以當我展出《模擬人生》時 我設法讓人們感受 與《模擬人生》“交互”意味着什么 他們感受到的不僅是樂趣 還有伴隨電子寵物而來的責任感
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.
即使視頻遊戲有時是完全盲目的 但也能變得很深奧 我肯定你們知道《魂塊》 其規則是滾動一個球 並在有限的時間內 拾起盡可能多的物體 並藉此創造一個星球 我從沒成功過,但僅此而已了 另外,《線條兔》並沒有在美國擴散 那是 PlayStation 遊戲公司的一款遊戲 其市場主要在日本 而且那是最初幾款 你可以自主選擇音樂的 視頻遊戲中的一款 所以你可以把它放進遊戲機裡 或放進 CD 播放機裡 然後遊戲會隨音樂改變而改變 非常非常了不得
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.
更不必說《星戰前夜》了 你可以稱其為一個人造宇宙 但是,一位在班加西被殺的外交官 (並非大使史蒂文斯,而是他的合作者) 在《星戰前夜》裡可是個大人物 一名現實中的外交官 花時間在《星戰前夜》上 其目的可能是某種測試 測試他關於宇宙運作的理念 事實上,最先的炸彈襲擊通告 是在《星戰前夜》裡宣布的 他死後 《星戰前夜》中宇宙的有幾個部分 就以他的名字命名了 最近在雷克雅維克(冰島首都) 舉行了 EVE 全球玩家盛會 我也參加了那場非常不可思議的盛會 我是說我們談論的是一種 可能對很多人來說比較奇怪的經歷 但那很有教育意義 當然 還有其他遊戲更具教育意義
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.
比如《矮人要塞》就是這種 大規模聯網對戰的遊戲 其實 當時亞當兄弟倆也在雷克雅維克 所有的 EVE 玩家 就站著對他們表示了熱烈的歡迎 EVE 是很出色的遊戲 這個盛會也很讓人震驚 所以現在你會發現 畫面美感對 MoMA 這樣的博物館來說 非常重要 在挑選這些遊戲的過程中 讓遊戲也保持了其活力
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.
而且,Valve 軟件公司開發的《傳送門》 是一個有特定類型暴力方式的 視頻遊戲的例子 同時 在我們收藏了這些電子遊戲之後 它也引導了我,讓我去談論 我們必須討論的一個最大的問題 ——如何看待暴力 你們說對吧?我們必須做出決定 有趣的是,在 MoMA 所有藏品中的藝術品裡 很多都描繪有暴力元素 作為一個義大利人 19 年前我來到 MoMA 時 我說,“知道嗎,我們需要收藏一把槍” (意大利P. Beretta SpA是最古老的槍械生產組織之一) 他們卻告訴我 “不行,設計類藏品裡不能有槍” 我就想,“為什麼呀?” 有趣的是,後來才我知道 人們認為在設計和設計類藏品裡 眼睛看到的就是作品要傳達的 當設計類藏品裡有一把槍 你看到就是一把殺人工具 如果在藝術類藏品裡 可能表達的就是對殺人工具的批判 所以這非常有趣 但是我們在收集臨界作品 到設計類藏品裡 可能有一天我們同樣可以收藏槍 在現在這種特殊情況下 凱特、保羅和我,我們決定 必須有理有據的收藏與暴力相關的作品 我們收藏《傳送門》是因為 射擊牆壁是為了創造空間 收藏《街頭霸王2》 是因為高質量的武術 (笑聲) 但是我們沒收藏《俠盜獵車手》 可能是出於我個人的原因 因为,我不會做任何事情, 除了撞車,槍殺妓女和皮條客 所以其可取性不大 我剛在開玩笑 但是我們確實討論過很長時間 當然你們不會知道 至今我都比較矛盾 但有了 Flow 這樣的替代遊戲後 疑慮就消散了 因為它跟寧靜和賞心悅目相關 並帶你體驗作為海洋生物的意義 此外 我們還採集了一些經典的小遊戲 那些是相當重要的採集品
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)
而且現在我們開始了 對前面 14 個的研究 後面還會有一些其他的遊戲 之所以現在還沒決定收藏它們 是因為我們收藏的不僅是遊戲本身 還有要獲得與該公司的關係 我們渴望得到的是遊戲的代碼 毫無疑問那很難得到 所以那才使我們能將電子遊戲 保存相當長的時間 博物館都這樣幹 博物館也為子孫們保存古器物 沒有代碼……你們知道 某些情況下 視頻遊戲公司就不太可能出現 因為我們沒有代碼 故必須獲得與視頻遊戲公司的關係 我們要永遠和它們在一起 想都別想甩掉我們 總有一天,我們會得到代碼(笑聲)
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.
但我想向你們講清楚 選擇交互設計作品的條件 首先,“美感”非常重要 現在你們看到的是《磁芯大戰》 它是一個早期的遊戲 利用介面的美感彌補了處理程序的不足 所以你們在遊戲中看到的 漂亮的像障礙物的干擾因素 實際上是處理器不足的結果 那仍然很棒啊 所以說界面美感總是很重要的
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.
同樣還有“空間” 即遊戲的空間方面 我感覺最好的視頻遊戲 背後總有一群理解力超強的建築師 如果他們不是建築師 但受過良好的建築方面的訓練 他們也會有那種感覺 但視頻遊戲中的空間演化極其重要
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.
還有“時間” 我們在遊戲裡體驗時間的感覺 作為交互設計的其他形式 這是非常不可思議的 它能作為真實的時間 也能作為遊戲中的時間 比如在《動物森林》裡 四季就照著固有的順序循環
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.
所以 時間、空間、美感都非常重要 然後是最重要的“行為” 交互設計的根本核心就是“行為” 處理交互設計行為的設計者 將會影響到我們今後的生活 他們不僅把我們的 “交互行為”限制在屏幕上 既然如此 我給你們看看《瘋狂的石頭》 很漂亮的一個遊戲 遊戲裡,控制器是一個與你一起搖擺的球體 有一個在畫面中運動的球體 而且球體會帶給你一種移動的感覺 某種程度上,你們能夠理解 為什麼視頻遊戲是交互設計裡最純粹的方面 視頻遊戲對闡釋交互作用也很有用
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.
我們不想展示視頻遊戲設備 不展示跟街機有關的甜蜜回憶 如果非要展示的話,我們想展示代碼 在這裡,你們看到的 是本•弗萊用《吃豆人》的代碼 製作的《吃豆人》代碼軌跡圖
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.
所以我們收藏遊戲的方式 很有趣,很另類 你們可以看到這些遊戲 與其他設計作品擺在一起 比如家具和其他東西 沒有相關遊戲設備,沒有回憶 只有屏幕和放遊戲手柄的小架子 因為手柄是體驗的一部分 所以不能沒有它 但奇怪的是,這樣的做法 並沒有為遊戲玩家所責難 之前我還擔心他們會殺了我們呢 但相反,當我給他們說 我在嘗試飛利浦•約翰遜 在 1934 年用過的花招時 他們特別理解我們的做法 飛利浦想讓人們了解設計的重要性 所以他把螺旋槳葉片 和機械零部件 放在 MoMA 畫廊裡靠牆的雕像基座上 看起來像布蘭庫西的雕刻作品 他營造出這種距離感和衝擊感 就是為了讓人們意識到 設計成品在外形上多麼美觀 還有功能上多麼重要 我想對視頻遊戲採取同樣的策略 通過去除掉我們童年記憶中 粘人的地毯、燃盡的煙頭等 而且我想讓人們明白 這些都是重要的設計形式 而且在一定程度上 視頻遊戲、数字字體等 會讓人們對設計的含義 有一個更寬泛的理解
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.
我夢想過 收藏一架波音747 這個想法已擱置了好幾年 現在又成當務之急了 我想收藏它,但不是擁有它 我不想它放在 MoMA 成為 MoMA 的財產 我想它繼續飛行 所以這次收購需要 MoMA 和航空公司簽署一個協定 好讓波音 747 繼續飛行
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.
同樣還有我們幾年前收藏的“@”符號 它是我們做的第一個 屬於公共領域中的事物的收購 我向公眾說 那就像一隻蝴蝶飛過 我們抓住了牆上的影子 而且 我們只把蝴蝶的影子展示給你們 這有點兒像我們展示了 一個極重要的事物的外在形式 而且那是我們的部分身份象徵 但沒人能將其據為己有 要說清楚這個收購要花很多時間 但如果你們想去 MoMA 的博客主頁 我在主頁上寫了一篇長博文 講述為什麼那是一個重大的設計
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.
你們知道嗎,一路走來 我迫不得已燒掉了一些椅子 我必須消除一些過時的設計理念 但我發現,人們在進步 反常的是,觀眾們對設計理念的擴大 比我的一些同行們 更积极响应,也更能理解 設計無處不在 設計與其他事情一樣重要 我很欣慰,由於設計的多樣性 和它在我們生活中的向心性 越來越多的人在了解它 並將其作為職業,作為激情 說直接點 作為他們自身文化的一部分
Thank you very much.
非常感謝
(Applause)
(掌聲)