You will understand nothing with my type of English. It's good for you because you can have a break after all these fantastic people. I must tell you I am like that, not very comfortable, because usually, in life, I think my job is absolutely useless. I mean, I feel useless. Now after Carolyn, and all the other guys, I feel like shit. And definitively, I don't know why I am here, but -- you know the nightmare you can have, like you are an impostor, you arrive at the opera, and they push you, "You must sing!" I don't know. (Laughter)
你們將很難聽懂我的英文。 也好,聽過這些奇妙的人演講,你們可以休息一下。 我必須承認,我覺得也不是很自在, 因為生活中,通常我覺得我的工作毫無用處。 就是說,我覺得很沒有用。 現在,在 Carolyn 和其他人演講之後,我覺得很「遜」。 說實在的,我搞不懂為什麼我來了, 但是,你知道就像一場噩夢,像個冒名頂替者, 被推上歌劇舞台,「你就唱吧!」 我不知如何是好。
So, so, because I have nothing to show, nothing to say, we shall try to speak about something else. We can start, if you want, by understanding -- it's just to start, it's not interesting, but -- how I work. When somebody comes to me and ask for what I am known, I mean, yes, lemon squeezer, toilet brush, toothpick, beautiful toilet seats, and why not -- a toothbrush? I don't try to design the toothbrush. I don't try to say, "Oh, that will be a beautiful object," or something like that. That doesn't interest me.
所以,所以,因為我沒有什麼好秀,也沒有什麼好說, 我們就來談談其他事。 如果你願意,我們可以來了解一下—— 只是開頭,不很有趣,就是——我如何工作。 當有人來找我,請我做我知名的設計, 像檸檬搾汁器、馬桶刷、牙籤、漂亮馬桶墊, 何不也設計一把牙刷。 我並不試著去設計牙刷。 也不會試著說,「喔,那將是個美好的物品」,或這類的話。 那引不起我的興趣。
Because there is different types of design. The one, we can call it the cynical design, that means the design invented by Raymond Loewy in the '50s, who said, what is ugly is a bad sale, la laideur se vend mal, which is terrible. It means the design must be just the weapon for marketing, for producer to make product more sexy, like that, they sell more: it's shit, it's obsolete, it's ridiculous. I call that the cynical design.
因為有不同類型的設計。 有一種我們可叫做「媚俗設計」, 由 Raymond Loewy 在 '50 年代創始的, 他說:醜物賣不好 (la laideur se vend mal),很可怕。 就是說,設計只是行銷的武器, 讓製造者把產品做得更性感, 可以賣更多,那是狗屎,過時了,荒謬極了。 我叫它「媚俗設計」。
After, there is the narcissistic design: it's a fantastic designer who designs only for other fantastic designers. (Laughter) After, there is people like me, who try to deserve to exist, and who are so ashamed to make this useless job, who try to do it in another way, and they try, I try, to not make the object for the object but for the result, for the profit for the human being, the person who will use it. If we take the toothbrush -- I don't think about the toothbrush. I think, "What will be the effect of the brush in the mouth?" And to understand what will be the effect of the toothbrush in the mouth, I must imagine: Who owns this mouth? What is the life of the owner of this mouth? In what society [does] this guy live? What civilization creates this society? What animal species creates this civilization? When I arrive -- and I take one minute, I am not so intelligent -- when I arrive at the level of animal species, that becomes real interesting.
後來,出現了「自戀設計」: 奇妙設計師設計給其他奇妙設計師。 後來有像我這樣的人,想找到存在的價值, 並羞於做這種無用的工作,試著找另個方式, 他們試,我也試,設計物品不是為了物品,而是為了結果, 為了人類的利益,為了要用它的人。 如果我們設計牙刷——我並不去想牙刷。 我想,「牙刷在嘴裡的作用將是什麼?」 為了明白牙刷在嘴裡的作用是什麼, 我必須想像:誰擁有這張嘴? 嘴的主人的生活如何?這傢伙生活的社會怎樣? 怎樣的文明創造了這個社會? 哪種動物創造了這個文明? 當我到達時——我花一分鐘, 我不夠聰明—— 當我到達動物種類的層級時,那變得真是有趣。
Me, I have strictly no power to change anything. But when I come back, I can understand why I shall not do it, because today to not do it, it's more positive than do it, or how I shall do it. But to come back, where I am at the animal species, there is things to see. There is things to see, there is the big challenge. The big challenge in front of us. Because there is not a human production which exists outside of what I call "the big image." The big image is our story, our poetry, our romanticism. Our poetry is our mutation, our life. We must remember, and we can see that in any book of my son of 10 years old, that life appears four billion years ago, around -- four billion point two?
我根本毫無權力改變任何東西。 但當我回來時,我能理解為何我不該做它, 因為今天不去做它,比做它或如何做還正面。 但是回到剛才我在動物種類那裡,有些事要看看。 有些事要看看,有一個大挑戰。 我們面臨的巨大挑戰。 因為沒有人道的生產 存在於我所謂的「大圖像」之外。 「大圖像」就是我們的故事,我們的詩,我們的浪漫。 我們的詩是我們的突變,我們的生命。 我們要記住,我十歲兒子的書本中就看得到, 生命出現在四十億年前——大約…四十二億?
Voice offstage: Four point five.
(台後:四十五億)
Yes, point five, OK, OK, OK! (Laughter) I'm a designer, that's all, of Christmas gifts. And before, there was this soup, called "soupe primordiale," this first soup -- bloop bloop bloop -- sort of dirty mud, no life, nothing. So then -- pshoo-shoo -- lightning -- pshoo -- arrive -- pshoo-shoo -- makes life -- bloop bloop -- and that dies. Some million years after -- pshoo-shoo, bloop-bloop -- ah, wake up! At the end, finally, that succeeds, and life appears. We was so, so stupid. The most stupid bacteria. Even, I think, we copy our way to reproduce, you know what I mean, and something of -- oh no, forget it.
對,四十五億,好,好,好!我是設計師, 耶誕禮品設計師。 太初,有一種湯,叫做「原湯」, 這個原湯——噗魯、噗魯、噗魯—— 類似爛泥,沒有生命,毫無一物。 然後——噗咻、咻——閃電——噗咻——到達—— 噗咻、咻——創造生命——噗魯、噗魯——歸於沉寂。 幾百萬年後——噗咻、咻,噗魯、噗魯——啊,醒過來! 最後,終於成功了,生命出現了。 我們仍是非常、非常笨。最笨的細菌。 我認為,我們甚至抄襲自己的生殖方式,你知道我的意思, 還有其他的——喔,不,算了。
After, we become a fish; after, we become a frog; after, we become a monkey; after, we become what we are today: a super-monkey, and the fun is, the super-monkey we are today, is at half of the story. Can you imagine? From that stupid bacteria to us, with a microphone, with a computer, with an iPod: four billion years. And we know, and especially Carolyn knows, that when the sun will implode, the earth will burn, explode, I don't know what, and this is scheduled for four, four billion years? Yes, she said, something like that. OK, that means we are at half of the story. Fantastic! It's a beauty! Can you imagine? It's very symbolic. Because the bacteria we was had no idea of what we are today. And today, we have no idea of what we shall be in four billion years. And this territory is fantastic.
後來,我們變成魚;後來,變成青蛙; 後來,變成猴子;後來,變成今天的樣子:超級猴子, 好玩的是,今天我們是超級猴子,只是故事的一半。 你能想像嗎?從笨細菌到我們現在, 有麥克風、電腦、iPod——四十億年。 而我們知道,尤其是 Carolyn,當太陽內爆, 地球會焚燒、爆炸,我也不知道, 而這將發生在四十億年後? 對,她說大約如此。好,那代表我們在故事一半的位置。 奇妙呀!那真是美妙! 你能想像嗎?那很有象徵意義。 因為我們當初的細菌並不知道會有今天的我們。 而今天,我們也不知道四十億年後會如何。 這個領域很奇妙。
That is our poetry. That is our beautiful story. It's our romanticism. Mu-ta-tion. We are mutants. And if we don't deeply understand, if we don't integrate that we are mutants, we completely miss the story. Because every generation thinks we are the final one. We have a way to look at Earth like that, you know, "I am the man. The final man. You know, we mutate during four billion years before, but now, because it's me, we stop. Fin. (Laughter) For the end, for the eternity, it is one with a red jacket." Something like that. I am not sure of that. (Laughter) Because that is our intelligence of mutation and things like that. There is so many things to do; it's so fresh.
這是我們的詩。這是我們美妙的故事。 它是我們的浪漫。突變。我們是突變種。 如果我們不深深理解,如果我們不整合身為突變種, 我們就完全錯失了這個故事。 因為每個世代認為自己是最後一代。 我們以這種方式看地球: 「我是人類。終極人類。 之前我們突變了四十億年,現在因為是我,我們停止、結束。 到了終點,到了永恆,就是身穿紅色夾克。」 類似這樣。我也不確定。 因為那是我們突變的智慧及類似的事。 有許多事要做,都很新鮮。
And here is something: nobody is obliged to be a genius, but everybody is obliged to participate. And to participate, for a mutant, there is a minimum of exercise, a minimum of sport. We can say that. The first, if you want -- there is so many -- but one which is very easy to do, is the duty of vision. I can explain you. I shall try. If you walk like that, it's OK, it's OK, you can walk, but perhaps, because you walk with the eyes like that, you will not see, oh, there is a hole. And you will fall, and you will die. Dangerous.
像這樣的事:沒有人注定是天才, 但每個人注定要參與。 突變種要參與,有一項至少的活動,至少的運動。 我們可以這樣說。 首先,如果你願意——太多了—— 但有一項很簡單的,就是視覺任務。 我可以解釋,我來試試。 如果你這樣走路,沒問題,你可以走。 但是,如果你走路時眼睛像這樣,你將看不到,喔,有個坑。 你就會跌倒,會死掉。很危險。
That's why, perhaps, you will try to have this angle of vision. OK, I can see, if I found something, up, up, and they continue, up up up. I raise the angle of vision, but it's still very -- selfish, selfish, egoiste -- yes, selfish. You, you survive. It's OK. If you raise the level of your eyes a little more you go, "I see you, oh my God you are here, how are you, I can help you, I can design for you a new toothbrush, new toilet brush," something like that. I live in society; I live in community. It's OK. You start to be in the territory of intelligence, we can say. From this level, the more you can raise this angle of view, the more you will be important for the society. The more you will rise, the more you will be important for the civilization. The more you will rise, to see far and high, like that, the more you will be important for the story of our mutation. That means intelligent people are in this angle. That is intelligence. From this to here, that, it's genius. Ptolemy, Eratosthenes, Einstein, things like that. Nobody's obliged to be a genius. It's better, but nobody.
也就是為什麼,或許你將試著採取這個視角。 好。如果看到有東西,閃、閃,然後繼續,閃、閃、閃。 我提高視角,但那仍很——自私、自我——是的,自私。 你可以生存,沒問題。 如果你把視線水平提高些再走, 「我看到你,天哪你在這裡,你好嗎,我能幫你, 我可以為你設計一把新牙刷,新馬桶刷」,像這樣。 我住在社會,我住在社區。 沒問題。我們可以說,你開始進入智慧的領域。 從這個水平,你的視角提得愈高, 你對社會就愈重要。 你提得愈高,你對文明就愈重要。 你提得愈高,看得高而遠,像這樣, 你對我們突變的故事就愈重要。 這意味著有智慧的人們在這個角度。這是智慧。 從這裡到這裡,這是天才。 托勒密、埃拉托斯特尼、愛因斯坦、等等。 沒有人注定是天才。 那樣比較好,但是沒有人。
Take care, in this training, to be a good mutant. There is some danger, there is some trap. One trap: the vertical. Because at the vertical of us, if you look like that, "Ah! my God, there is God. Ah! God!" God is a trap. God is the answer when we don't know the answer. That means, when your brain is not enough big, when you don't understand, you go, "Ah, it's God, it's God." That's ridiculous. That's why -- jump, like that? No, don't jump. Come back. Because, after, there is another trap. If you look like that, you look to the past, or you look inside if you are very flexible, inside yourself. It's called schizophrenia, and you are dead also.
在這項訓練中,要小心做個好的突變種. 有一些危險,有一些陷阱。一個陷阱:垂直的。 因為垂直於我們,如果你這樣看, 「啊!天哪,那是神。啊!神!」 神是個陷阱。當我們不知答案時,神是答案。 就是說,當你的頭腦不夠大,當你不了解。 你會說,「啊!是神,是神」。那很荒謬。 就是為什麼——跳,像這樣?不,不要跳。 回來。因為後來,還有另一個陷阱。 如果你那樣看,你看的是過去。 或你向內看,如果你很柔軟,看自己的內部。 那叫「精神分裂症」,你也就死定了。
That's why every morning, now, because you are a good mutant, you will raise your angle of view. Out, more of the horizontal. You are an intelligence. Never forget -- like that, like that. It's very, very, very important. What, what else we can say about that? Why do that? It's because we -- if we look from far, we see our line of evolution. This line of evolution is clearly positive. From far, this line looks very smooth, like that. But if you take a lens, like that, this line is ack, ack, ack, ack, ack. Like that. It's made of light and shadow. We can say light is civilization, shadow is barbaria. And it's very important to know where we are. Because some cycle, there is a spot in the cycle, and you have not the same duty in the different parts of the cycle.
因此每天早上,因為你是個好的突變種, 你將提高你的視角。 向外,更向地平線。你是個智者。 不要忘了——像這樣,像這樣。 這非常、非常、非常重要。 還有什麼我們能說的。為什麼要那樣做? 因為我們——如果我們從遠處看,我們看到演化的路線。 這條演化的路線清楚地是正向的。 從遠方看,這條線是平順的,像這樣。 但如果你用放大鏡,像這樣,這條線就曲、折、曲、折。像這樣。 它是由光亮和陰影構成的。 我們可說:光亮是開化,陰影是野蠻。 重要的是要知道我們是在哪裡。 因為某個循環,循環中有個點。 而在循環的不同部分,你的職責不同。
That means, we can imagine -- I don't say it was fantastic, but in the '80s, there was not too much war, like that, it was -- we can imagine that the civilization can become civilized. In this case, people like me are acceptable. We can say, "It's luxurious time." We have time to think, we have time to I don't know what, speak about art and things like that. It's OK. We are in the light. But sometimes, like today, we fall, we fall so fast, so fast to shadow, we fall so fast to barbaria. With many, many, many, many face of barbaria. Because it's not, the barbaria we have today, it's perhaps not the barbaria we think. There is different type of barbaria. That's why we must adapt. That means, when barbaria is back, forget the beautiful chairs, forget the beautiful hotel, forget design, even -- I'm sorry to say -- forget art. Forget all that. There is priority; there is urgency. You must go back to politics, you must go back to radicalization, I'm sorry if that's not very English. You must go back to fight, to battle.
就是說,我們可以想像——我可沒說這很神奇, 但在 '80 年代,沒有太多像那樣的戰爭,因此—— 我們能想像:文明可以變得有教養。 這樣情形下,像我這樣的人可被接受。 我們可說,「那是奢華時代」。 我們有時間去思考,我們有時間去… 談談藝術及諸如此類的事物。 那很好。我們在光亮處。 但有時,像今天,我們落下,快速落下,落入影中,快速落入野蠻。 呈現許許多多、許許多多的野蠻面貌。 因為那不是我們今天的野蠻,那或許不是我們想像的野蠻。 有不同種類的野蠻。 因此我們必須調適。 就是說,當回到野蠻時,忘掉漂亮椅子,忘掉漂亮旅館, 忘掉設計,甚至也要忘掉藝術。 全都忘掉吧。有更優先的、更急迫的。 你必須回到政治,你必得回到激進, 對不起,這不很像英文。 你必得回去打鬥、爭戰。
That's why today I'm so ashamed to make this job. That's why I am here, to try to do it the best possible. But I know that even I do it the best possible -- that's why I'm the best -- it's nothing. Because it's not the right time. That's why I say that. I say that, because, I repeat, nothing exist if it's not in the good rhythym, the rhythym of our beautiful dream, of this civilization. And because we must all work to finish this story. Because the scenario of this civilization -- about love, progress, and things like that -- it's OK, but there is so many different, other scenarios of other civilizations. This scenario, of this civilization, was about becoming powerful, intelligent, like this idea we have invented, this concept of God. We are God now. We are. It's almost done. We have just to finish the story. That is very, very important. And when you don't understand really what's happened, you cannot go and fight and work and build and things like that. You go to the future back, back, back, back, like that. And you can fall, and it's very dangerous. No, you must really understand that.
因為這樣,如今我羞於做這件事。 因此我來這裡,盡我所能做它。 但我心知,即使我盡我所能做它 ——因此我是最好的——那也沒什麼。 因為時機不對。 因此我才這樣說。東西不應存在,如果沒有好的理由, ——我們的美麗夢想,此一文明的理由。 因為我們全須去完成這個故事。 因為此一文明的劇情 ——關於愛情、進步、等等——這沒問題, 但仍有許多其他不同的,其他文明的其他劇情。 這個文明的劇情是關於變強、變得有智慧, 就如同這個想法,我們創造了神的概念。 現在我們是神。我們是。將要完成了。 我們就要完成故事。 這非常、非常重要。 當你不真正明白出了什麼事, 你無法前進,去打鬥、工作、建設、等等。 你走向的未來是:退、退、退、退,像這樣。 你可能跌倒,那很危險。 不,你必須真正明白那個。
Because we have almost finished, I'll repeat this story. And the beauty of this, in perhaps 50 years, 60 years, we can finish completely this civilization, and offer to our children the possibility to invent a new story, a new poetry, a new romanticism. With billions of people who have been born, worked, lived and died before us, these people who have worked so much, we have now bring beautiful things, beautiful gifts, we know so many things. We can say to our children, OK, done, that was our story. That passed. Now you have a duty: invent a new story. Invent a new poetry. The only rule is, we have not to have any idea about the next story. We give you white pages. Invent. We give you the best tools, the best tools, and now, do it. That's why I continue to work, even if it's for toilet brush.
因為我們幾乎要完成了,我將重複這個故事。 其美在於,或許再 50、60 年,我們能全部完成這個文明。 交給我們的孩子,讓他們能夠再創新的故事、 新的詩篇、新的浪漫。 我們之前,有幾十億人出生、工作、生活、死亡, 這些人工作勤奮, 現在我們有漂亮事物、漂亮禮品,我們懂那麼多事。 我們可以告訴我們的小孩,好,完成了,這是我們的故事。過去了。 現在你有個職責:發明新的故事。發明新的詩。 唯一規則是,我們不必有關於下個故事的任何想法。 我們給你白紙。發明吧。 我們給你最好的工具,最好的工具,現在就用它。 因此我繼續工作,就算只是設計馬桶刷。