When I was little -- and by the way, I was little once -- my father told me a story about an 18th century watchmaker. And what this guy had done: he used to produce these fabulously beautiful watches. And one day, one of his customers came into his workshop and asked him to clean the watch that he'd bought. And the guy took it apart, and one of the things he pulled out was one of the balance wheels. And as he did so, his customer noticed that on the back side of the balance wheel was an engraving, were words. And he said to the guy, "Why have you put stuff on the back that no one will ever see?" And the watchmaker turned around and said, "God can see it." Now I'm not in the least bit religious, neither was my father, but at that point, I noticed something happening here. I felt something in this plexus of blood vessels and nerves, and there must be some muscles in there as well somewhere, I guess. But I felt something. And it was a physiological response. And from that point on, from my age at the time, I began to think of things in a different way.
Kada sam bio mali-- i da, ja jesam nekada bio malo dete-- otac mi je ispričao priču o časovničaru iz 18. veka. Taj tip je radio sledeće: on je proizvodio neopisivo lepe satove. Jednog dana jedna od njegovih mušterija je došla u radionicu i zamolila ga da očisti sat koji je kupio. Tip je rastavio sat i jedan od delova koji je izvadio bio je deo uređaja za navijanje. I kada je to učinio, mušterija je uočila da je poleđina uređaja za navijanje ugravirana, nešto je bilo ispisano. Potom je upitao časovničara, "Zašto ste postavili to tako da graviru niko nikada ne vidi?" Časovničar se okrenuo i rekao, "Bog može da je vidi." Ja uopšte nisam religiozan, a nije bio ni moj otac, ali sam u tom momentu shvatio da se tu dešava još nešto. Osetio sam nešto u ovom spletu krvnih sudova i nerava, a pretpostavljam da se tu sigurno nalaze i neki mišići. Ali sam osetio nešto. To je bio fiziološki odgovor. Od tog trenutka, od mog tadašnjeg uzrasta, počeo sam da razmišljam o stvarima na drukčiji način.
And as I took on my career as a designer, I began to ask myself the simple question: Do we actually think beauty, or do we feel it? Now you probably know the answer to this already. You probably think, well, I don't know which one you think it is, but I think it's about feeling beauty. And so I then moved on into my design career and began to find some exciting things. One of the most early work was done in automotive design -- some very exciting work was done there. And during a lot of this work, we found something, or I found something, that really fascinated me, and maybe you can remember it. Do you remember when lights used to just go on and off, click click, when you closed the door in a car? And then somebody, I think it was BMW, introduced a light that went out slowly. Remember that? I remember it clearly. Do you remember the first time you were in a car and it did that? I remember sitting there thinking, this is fantastic. In fact, I've never found anybody that doesn't like the light that goes out slowly. I thought, well what the hell's that about?
Kada sam počeo da se bavim dizajnom, počeo sam da postavljam sebi jednostavno pitanje: da li mi mislimo da je nešto lepo, ili mi to osećamo? Vi verovatno već znate odgovor na to. Verovatno mislite, pa, ja ne znam šta ti misliš da je u pitanju, ali mislim da se radi o doživljaju lepote. Tada sam nastavio sa svojom karijerom u dizajnu i počeo da otkrivam uzbudljive činjenice. Jedno od najranijih dela primenjeno je u dizajniranju automobila-- veoma uzbudljive stvari su se dešavale. I tokom velikog perioda rada na tome, mi smo pronašli nešto, ili sam ja spoznao nešto što me je potpuno fasciniralo, a možda se sećate toga. Da li se sećate kada su se svetla prosto palila i gasila, klik-klik, kada zatvorite vrata automobila? Potom je neko, mislim da je to bio BMW, uveo svetla koja se lagano gase. Sećate li se? Ja se jasno sećam toga. Da li se sećate prvog puta kada ste sedeli u takvim kolima? Ja se sećam da sam sedeći u tom trenutku razmišljao koliko je to fantastično. Činjenica je da nikada nisam pronašao osobu kojoj se ne sviđa lagano gašenje svetla. Pomislih, pa o čemu se ovde zaboga radi?
So I started to ask myself questions about it. And the first was, I'd ask other people: "Do you like it?" "Yes." "Why?" And they'd say, "Oh, it feels so natural," or, "It's nice." I thought, well that's not good enough. Can we cut down a little bit further, because, as a designer, I need the vocabulary, I need the keyboard, of how this actually works. And so I did some experiments. And I suddenly realized that there was something that did exactly that -- light to dark in six seconds -- exactly that. Do you know what it is? Anyone?
Pa sam počeo da postavljam sebi pitanja oko toga. Ne početku sam ispitvao ljude: "Da li Vam se sviđa to?" " Da." "Zašto?" Oni bi rekli, "Pa, deluje prirodno," ili pak, "Lepo je." Pomislio sam da to nije dovoljno dobar odgovor. Mogli bismo da analiziramo to malo dublje, jer je meni kao dizajneru neophodan rečnik, ključ o tome kako stvari suštinski funkcionišu. Uradio sam neke eksperimente. Iznenada sam shvatio da postoji još nešto što čini upravo istu stvar-- od svetlosti do tame za 6 sekundi-- baš to. Da li znate šta je u pitanju? Bilo ko?
You see, using this bit, the thinky bit, the slow bit of the brain -- using that. And this isn't a think, it's a feel. And would you do me a favor? For the next 14 minutes or whatever it is, will you feel stuff?
Vidite, koristeći taj mali deo, deo koji razmišlja, usporeni deo mozga--koristeći njega. To nije misao, to je osećaj. Da li biste mi učinili uslugu? Tokom sledećih 14 minuta ili već koliko, da li biste osećali stvari?
I don't need you to think so much as I want you to feel it. I felt a sense of relaxation tempered with anticipation. And that thing that I found was the cinema or the theater. It's actually just happened here -- light to dark in six seconds. And when that happens, are you sitting there going, "No, the movie's about to start," or are you going, "That's fantastic. I'm looking forward to it. I get a sense of anticipation"? Now I'm not a neuroscientist. I don't know even if there is something called a conditioned reflex. But it might be. Because the people I speak to in the northern hemisphere that used to go in the cinema get this. And some of the people I speak to that have never seen a movie or been to the theater don't get it in the same way. Everybody likes it, but some like it more than others.
Ja ne bih da vi previše razmišljate, pre bih da osećate. Ja se osećam opušteno i pun sam iščekivanja. Ono što sam pronašao jeste bioskop ili pozorište. U principu se to baš desilo ovde-- od svetosti do tame u 6 sekundi. Kada se to desi, da li sedite i mislite: "Oh ne, počeće film uskoro." ili možda kažete: "Fantastično. Baš se radujem tome. Iščekujem nesto?" Ja nisam neuro-naučnik. Ja čak i ne znam da li tu postoji uslovni refleks. Ali može biti. Obzirom da ljudi sa kojima razgovaram na severnoj hemisferi koji imaju naviku da odlaze u bioskope doživljavaju to. A neki od ljudi sa kojima sam razgovarao koji nikada nisu bili u bioskopu ili pozorištu ne dožive to na isti način. Svima se to sviđa, ali se nekima sviđa više.
So this leads me to think of this in a different way. We're not feeling it. We're thinking beauty is in the limbic system -- if that's not an outmoded idea. These are the bits, the pleasure centers, and maybe what I'm seeing and sensing and feeling is bypassing my thinking. The wiring from your sensory apparatus to those bits is shorter than the bits that have to pass through the thinky bit, the cortex. They arrive first. So how do we make that actually work? And how much of that reactive side of it is due to what we already know, or what we're going to learn, about something?
Usled toga sam počeo o tom fenomenu da razmišljam drugačije. Mi ne osećamo to. Mi mislimo da je lepota u limbičkom sistemu-- ukoliko ovo nije zastarela ideja. To su ti delići, centri uživanja, i možda sve ono što ja gledam, osećam i doživljavam preduhitri moja razmišljanja. Prenos informacija od vašeg čulnog sistem do tih delova je kraći od puta koji treba da prođu do dela za razmišljanje, korteksa. Oni stižu prvi. Pa kako onda sve to funkcioniše? Koliko je naša reakcija na informaciju uslovljenja onim što već znamo, ili onime što ćemo naučiti o nečemu?
This is one of the most beautiful things I know. It's a plastic bag. And when I looked at it first, I thought, no, there's no beauty in that. Then I found out, post exposure, that this plastic bag if I put it into a filthy puddle or a stream filled with coliforms and all sorts of disgusting stuff, that that filthy water will migrate through the wall of the bag by osmosis and end up inside it as pure, potable drinking water. And all of a sudden, this plastic bag was extremely beautiful to me.
Ovo je jedan od najlepših stvari za koju znam. Plastična kesa. A kada sam je prvi put pogledao pomislio sam da nema nikave lepote u njoj. Potom sam otkrio, nakon što sam je ugledao, da ukoliko ovu plastičnu vreću napunite prljavom baruštinom ili mlazom hloroforma i različitim odvratnim stvarima, ta prljava voda će procesom osmoze ući u kesu i dobijete veoma čistu, pijuću vodu. Iznenada je meni ova plastična kesa postala neverovatno lepa.
Now I'm going to ask you again to switch on the emotional bit. Would you mind taking the brain out, and I just want you to feel something. Look at that. What are you feeling about it? Is it beautiful? Is it exciting? I'm watching your faces very carefully. There's some rather bored-looking gentlemen and some slightly engaged-looking ladies who are picking up something off that. Maybe there's an innocence to it. Now I'm going to tell you what it is. Are you ready? This is the last act on this Earth of a little girl called Heidi, five years old, before she died of cancer to the spine. It's the last thing she did, the last physical act. Look at that picture. Look at the innocence. Look at the beauty in it. Is it beautiful now?
Sada ću vas ponovo zamoliti da se prešaltate na emotivni modul. Da li biste isključili mozak, jer bih ja da vi samo osetite nešto. Pogledajte ovo. Kakve emocije vam pokreće? Da li je lepo? Da li je uzbudljivo? Ja pažljivo analiziram vaše grimase. Vidim gospodu kojoj je poprilično dosadno i malo više zainteresovane dame koje poprimaju nešto od toga. Ima tu neke nevinosti možda. A sada ću vam reći šta gledate. Jeste li spremni? Ovo je poslednje delo na Zemlji male devojčice Hajdi, koja je imala 5 godina, pre nego što je umrla od raka kičme. To je poslednja stvar koju je uradila, poslednji fizički čin. Pogledajte tu sliku. Pogledajte tu nevinost. Pogledajte lepotu u tome. Da li vam je sada to lepo?
Stop. Stop. How do you feel? Where are you feeling this? I'm feeling it here. I feel it here. And I'm watching your faces, because your faces are telling me something. The lady over there is actually crying, by the way. But what are you doing? I watch what people do. I watch faces. I watch reactions. Because I have to know how people react to things. And one of the most common faces on something faced with beauty, something stupefyingly delicious, is what I call the OMG. And by the way, there's no pleasure in that face. It's not a "this is wonderful!" The eyebrows are doing this, the eyes are defocused, and the mouth is hanging open. That's not the expression of joy. There's something else in that. There's something weird happening. So pleasure seems to be tempered by a whole series of different things coming in.
Prestanite. Prestanite. Kako se osećate? Gde su ta vaša osećanja? Ja ih osećam ovde. Ja ih osećam baš ovde. Posmatram vaša lica, jer mi ona govore nešto. Vidim i damu koja plače. Ali šta vi radite? Ja posmatram šta ljudi rade. Ja posmatram lica. Ja posmatram reakcije. Jer ja moram da znam kako ljudi reaguju na stvari. Najrasprostranjenija facijalna ekspresija kada ugledamo nešto lepo, nešto ošamućujuće ukusno, je ono što ja zovem: "Oh, Bože moj." Uzgred budi rečeno, ne očitava se zadovoljstvo na tom licu. Nije to "baš je prelepo!" izraz. Obrve čine ovo, oči nisu fokusirane, a usta su širom otvorena. To nije izraz uživanja. Postoji tu nešto drugo. Nešto čudno se dešava. Čini se da je zadovoljstvo promereno čitavim nizom različitih stvari koje su u to uključene.
Poignancy is a word I love as a designer. It means something triggering a big emotional response, often quite a sad emotional response, but it's part of what we do. It isn't just about nice. And this is the dilemma, this is the paradox, of beauty. Sensorily, we're taking in all sorts of things -- mixtures of things that are good, bad, exciting, frightening -- to come up with that sensorial exposure, that sensation of what's going on. Pathos appears obviously as part of what you just saw in that little girl's drawing. And also triumph, this sense of transcendence, this "I never knew that. Ah, this is something new." And that's packed in there as well. And as we assemble these tools, from a design point of view, I get terribly excited about it, because these are things, as we've already said, they're arriving at the brain, it would seem, before cognition, before we can manipulate them -- electrochemical party tricks.
Nostalgija je reč koju ja kao dizajner jako volim. To znači da nešto pokreće snažni emotivni odgovor, često veoma tužan emotivan odgovor, ali to je deo onoga što mi činimo. Nije sve u tome da je nešto fino. Upravo u tome je dilema, to je paradoks lepote. Preko svojih čula mi smo bombardovani različitim informacijama-- mešavinom dobrih, loših, uzbudljivih, zastrašujućij stvari-- kako bismo došli do doživljaja pravog utiska, senzacije o tome šta se dešava. Sažaljenje se definitivno javlja kao deo utiska kada ste videli crtež male devojčice. A takođe i trijumf, osećaj prevazilaženja, ono, "Ali nisam to mogao ni da pretpostavim. Ah, ovo je nešto novo." I to je upakovano u tome takođe. Dok mi uklapamo ova oruđa, sa dizajnerske tačke gledišta, ja postajem neverovatno uzbuđen oko toga, jer to su stvari, kao što smo već rekli, koje, čini se, stižu do mozga pre spoznaje, pre mogućnosti da njima manipulišemo-- to su trikovi elektrohemijskog kola.
Now what I'm also interested in is: Is it possible to separate intrinsic and extrinsic beauty? By that, I mean intrinsically beautiful things, just something that's exquisitely beautiful, that's universally beautiful. Very hard to find. Maybe you've got some examples of it. Very hard to find something that, to everybody, is a very beautiful thing, without a certain amount of information packed in there before. So a lot of it tends to be extrinsic. It's mediated by information before the comprehension. Or the information's added on at the back, like that little girl's drawing that I showed you.
E pa sada, ono za šta sam ja takođe zainteresovan je da li je moguće odvojiti urođenu od nametnute lepote? Pri tome mislim na stvari lepe same po sebi, nešto što je samo po sebi isključivo lepo, nešto što je univerzalno lepo. To je veoma teško pronaći. Možda vi imate neke dobre primere. Teško je otkriti nešto što se čini lepim svima, bez određenih informacija koje su vam servirane o tome pre doživljaja stvari. Tako da je mnogo toga u principu nametnuto. Posredovano je informacijama pre našeg sagledavanja stvari. Ili informacijama koje naknadno dobijemo, kao u slučaju crteža male devojčice koji sam vam pokazao.
Now when talking about beauty you can't get away from the fact that a lot experiments have been done in this way with faces and what have you. And one of the most tedious ones, I think, was saying that beauty was about symmetry. Well it obviously isn't. This is a more interesting one where half faces were shown to some people, and then to add them into a list of most beautiful to least beautiful and then exposing a full face. And they found that it was almost exact coincidence. So it wasn't about symmetry. In fact, this lady has a particularly asymmetrical face, of which both sides are beautiful. But they're both different.
Kada razgovaramo o lepoti ne možemo zaobići činjenicu da je na ovaj način urađeno mnogo eksperimenata sa licima osoba ili čime god. A jedno od najdosadnijih, čini mi se, je mišljenje da je lepota oslikana u simetriji. Ali očigledno nije. Ovo je jedan od interesantnijih primera: polovina lica je pokazana ljudima i potom je trebalo da rangiraju objekte od najlepših do manje lepih, a potom su im pokazivani ceo profili. Rezultati su se potpuno podudarali. Tako da se tu ne radi o simetriji. U principu, ova dama ima baš asimetrično lice, a obe polovine su lepe. Ali su različite.
And as a designer, I can't help meddling with this, so I pulled it to bits and sort of did stuff like this, and tried to understand what the individual elements were, but feeling it as I go. Now I can feel a sensation of delight and beauty if I look at that eye. I'm not getting it off the eyebrow. And the earhole isn't doing it to me at all. So I don't know how much this is helping me, but it's helping to guide me to the places where the signals are coming off. And as I say, I'm not a neuroscientist, but to understand how I can start to assemble things that will very quickly bypass this thinking part and get me to the enjoyable precognitive elements.
Kao dizajner, ja ne mogu a da se ne bavim time i onda sam sve to rastavio na delove i napravio nešto što liči na ovo, pokušavajući da razumem koji su to pojedinačni elementi, ali osećajući ih dok sam to radio. Mogu da osetim uživanje i lepotu kada pogledam to oko. Ali ne i kada gledam obrvu. Ni ušna školjka me ne pokreće. Ne znam koliko mi ovo pomaže, ali je dobar usmerivač ka odgovorima o tome odakle se odašilju signali. I kao što rekoh, nisam neuro-naučnik, ali na taj način shvatam kako da sastavim delove koji bi veoma brzo zaobišli taj deo zadužen za razmišljanje i koji bi me doveli do pre-kognitivnih elemanata u kojima uživam.
Anais Nin and the Talmud have told us time and time again that we see things not as they are, but as we are. So I'm going to shamelessly expose something to you, which is beautiful to me. And this is the F1 MV Agusta. Ahhhh. It is really -- I mean, I can't express to you how exquisite this object is. But I also know why it's exquisite to me, because it's a palimpsest of things. It's masses and masses of layers. This is just the bit that protrudes into our physical dimension. It's something much bigger. Layer after layer of legend, sport, details that resonate. I mean, if I just go through some of them now -- I know about laminar flow when it comes to air-piercing objects, and that does it consummately well, you can see it can. So that's getting me excited. And I feel that here.
Anais Nin i Talmud su nam više puta skrenuli pažnju da mi ne vidimo stvari onakvim kakve one jesu, već kakvi smo mi. Tako da ću vam bez srama pokazati nešto što je meni veoma lepo. A to je F1 MV Agusta. Ahhhhh. Stvarno, mislim da ne mogu da vam objasnim koliko je poseban ovaj objekat. Ali ja i znam zašto je on toliko meni poseban, zato što predstavlja složeni skup različitih fenomena. Čine ga čitavi slojevi i slojevi različitih stvari. Ovo je samo deo koji dospeva do naše fizičke dimenzije. Nešto mnogo veće je u pitanju. To su slojevi i slojevi legendi, sporta, detalja koji rezonuju svojim frekvencijama. Ukoliko samo obratim pažnju na neke od njih sada-- svestan sam laminarnog strujanja koje je povezano sa objektima koji se kreću kroz vazduh, i kao što možete uočiti ova sprava to čini savršeno. To mene uzbuđuje. I ja to osećam ovde.
This bit, the big secret of automotive design -- reflection management. It's not about the shapes, it's how the shapes reflect light. Now that thing, light flickers across it as you move, so it becomes a kinetic object, even though it's standing still -- managed by how brilliantly that's done on the reflection. This little relief on the footplate, by the way, to a rider means there's something going on underneath it -- in this case, a drive chain running at 300 miles and hour probably, taking the power from the engine. I'm getting terribly excited as my mind and my eyes flick across these things.
Ovaj delić, ta velika tajna auto-moto dizajna-- način regulacije prelamanja svetlosti. Ne radi se tu o oblicima, već o tome kako oblik odražava svetlost. Taj objekat-svetlost prosto treperi oko njega dok se krećete i postaje kinetički objekat, iako i dalje stoji u mestu-- a to je rešeno na brilijantan način rešenjem problema refleksije. Takođe, ovaj mali oslonac na osnovi za noge govori vozaču da se nešto dešava ispod toga-- u ovom slučaju to je pogonski lanac koji se kreće najverovatnije brzinom 480km/h, a pokreće ga snaga motora. Ja se jako uzbudim dok moj um i moje oči sagledavaju ove fenomene.
Titanium lacquer on this. I can't tell you how wonderful this is. That's how you stop the nuts coming off at high speed on the wheel. I'm really getting into this now. And of course, a racing bike doesn't have a prop stand, but this one, because it's a road bike, it all goes away and it folds into this little gap. So it disappears. And then I can't tell you how hard it is to do that radiator, which is curved. Why would you do that? Because I know we need to bring the wheel farther into the aerodynamics. So it's more expensive, but it's wonderful. And to cap it all, brand royalty -- Agusta, Count Agusta, from the great histories of this stuff.
Presvučen je titanijuskim lakom. Ne mogu vam objasniti koliko je to divno. Tako sprečite ispadanje matica sa točka pri velikim brzinama. Stvarno postajem zainteresovan sada. Naravno, trkački motor ne poseduje nožice za stajanje, ali ovaj, obzirom da je u pitanju terenski motocikl, ih ima i one se lepo postave u ovu malu prazninu. Tako da nestanu. Ne mogu vam objasniti koliko je teško napraviti taj auspuh koji je zakrivljen. Zašto biste to radili? Jer, znam koliko je važno usavršiti aerodinamičnost točka. Skuplje je, ali je veličanstveno. Kao šlag na torti, brend kraljeva-- Agusta, Grofica Agusta, iz velelepne istorije ovih stvari.
The bit that you can't see is the genius that created this. Massimo Tamburini. They call him "The Plumber" in Italy, as well as "Maestro," because he actually is engineer and craftsman and sculptor at the same time. There's so little compromise on this, you can't see it.
Ono što ne možete da vidite je genije koji je stvorio ovu napravu. Masimo Tamburini. Zovu ga "Vodoinstalater" u Italili, ali ga zovu i "Maestro", jer je on zapravo inženjer i zanatlija, i vajar istovremeno. Ovde je zaista jako malo kompromisa, vi to ne možete da uvidite.
But unfortunately, the likes of me and people that are like me have to deal with compromise all the time with beauty. We have to deal with it. So I have to work with a supply chain, and I've got to work with the technologies, and I've got to work with everything else all the time, and so compromises start to fit into it. And so look at her. I've had to make a bit of a compromise there. I've had to move that part across, but only a millimeter. No one's noticed, have they yet? Did you see what I did? I moved three things by a millimeter. Pretty? Yes. Beautiful? Maybe lesser. But then, of course, the consumer says that doesn't really matter. So that's okay, isn't it? Another millimeter? No one's going to notice those split lines and changes. It's that easy to lose beauty, because beauty's incredibly difficult to do. And only a few people can do it. And a focus group cannot do it. And a team rarely can do it. It takes a central cortex, if you like, to be able to orchestrate all those elements at the same time.
Na nesreću, ja i ljudi kao što sam ja moraju da se nose sa kompromisima sve vreme dok stvaraju lepotu. Mi moramo da se nosimo sa tim. Ja moram da radim sa dobavljačima, i moram da radim koristeći tehnologije, i moram da radim sa svim drugim stvarima sve vreme, i tu se stvaraju kompromisi. Pogledajte je. Morao sam da napravim mali kompromis ovde. Morao sam da pomerim delove, ali samo za milimetar. Niko to nije primetio, zar ne? Da li ste uočili šta sam uradio? Pomerio sam tri stvari za 1 mm. Simpatično? Da. Lepo? Možda malo manje. Ali potrošač naravno kaže kako to ne utiče ni na šta. Tako da je to u redu, zar ne? Još jedan milimetar? Niko neće primetiti ove razdvojne linije i promene. Toliko jednostavno izgubite lepotu, jer je neverovatno teško učiniti nešto lepim. Samo nekolicina ljudi može to da uradi. Fokus grupa to ne može da napravi. Tim retko kada može to da uradi. Neophodna je kora velikog mozga, ako tako mogu da se izrazim, kako biste mogli da koordinirate sve te elemente istovremeno.
This is a beautiful water bottle -- some of you know of it -- done by Ross Lovegrove, the designer. This is pretty close to intrinsic beauty. This one, as long as you know what water is like then you can experience this. It's lovely because it is an embodiment of something refreshing and delicious. I might like it more than you like it, because I know how bloody hard it is to do it. It's stupefyingly difficult to make something that refracts light like that, that comes out of the tool correctly, that goes down the line without falling over. Underneath this, like the story of the swan, is a million things very difficult to do. So all hail to that. It's a fantastic example, a simple object. And the one I showed you before was, of course, a massively complex one. And they're working in beauty in slightly different ways because of it.
Ovo je prelepa flaša vode-- neki od vas su je videli ranije-- dizajnirao ju je Ros Lavgrov. Veoma je blizu apsolutnoj lepoti. Sve dok znate kakva je voda možete to doživeti. Prekrasna je jer je otelovljenje osvežavajuće i ukusne stvari. Meni se možda sviđa više nego vama, jer ja znam koliko je prokleto teško napraviti to. Parališuće je teško da proizvedete nešto što prelama svetlost na takav način, a bude isklesano baš kako treba, prati liniju bez prevrtanja. Ispod ovoga, kao u priči o labudu, postoji milion stvari koje nije lako učiniti. Pa sva slava tome. Fantastičan primer, jednostavan objekat. Prethodni objekat koji sam vam pokazao je, naravno, izuzetno komplikovan. Oni funkcionišu u cilju lepote na malo različite načine usled toga.
You all, I guess, like me, enjoy watching a ballet dancer dance. And part of the joy of it is, you know the difficulty. You also may be taking into account the fact that it's incredibly painful. Anybody seen a ballet dancer's toes when they come out of the points? While she's doing these graceful arabesques and plies and what have you, something horrible's going on down here. The comprehension of it leads us to a greater and heightened sense of the beauty of what's actually going on.
Pretpostavljam da vi svi kao i ja uživate dok gledate balet. I deo tog zadovoljstva nastaje usled toga što znate koliko je to teško. A isto tako razmatrate i činjenicu da je neverovatno bolno igrati balet. Da li je iko video nožne prste balerina u momentu preloma? Dok ona izvodi graciozne arabeske i piruete i šta god, nešto strašno se dešava prstima nogu. Razumevanje toga dovodi do uzvišenijeg i pouzdanijeg osećaja lepote u onome što uočavamo.
Now I'm using microseconds wrongly here, so please ignore me. But what I have to do now, feeling again, what I've got to do is to be able to supply enough of these enzymes, of these triggers into something early on in the process, that you pick it up, not through your thinking, but through your feeling. So we're going to have a little experiment. Right, are you ready? I'm going to show you something for a very, very brief moment. Are you ready? Okay. Did you think that was a bicycle when I showed it to you at the first flash? It's not. Tell me something, did you think it was quick when you first saw it? Yes you did. Did you think it was modern? Yes you did. That blip, that information, shot into you before that. And because your brain starter motor began there, now it's got to deal with it. And the great thing is, this motorcycle has been styled this way specifically to engender a sense that it's green technology and it's good for you and it's light and it's all part of the future.
Ja koristim sada mikrosekunde pogrešno u ovom momentu, pa me ignorišite. Ali ono što treba da uradim sada, osećajući ponovo, jeste da obezbedim dovoljno tih enzima, tih pokretača stvari u ranoj fazi procesa, koje vi pokupite, ne putem razmišljanja, već osećaja. Sada ćemo uraditi mali eksperiment. U redu, da li ste spremni? Pokazaću vam nešto na sekund. Da li ste spremni? U redu. Da li ste u prvom momentu pomislili da je stvar koju sam vam pokazao bicikl? Nije. Recite mi nešto, da li ste pomislili da je to nešto veoma brzo kada ste ga ugledali? Jeste. Da li ste mislili da je moderna naprava? Jeste. Baš taj delić, informacija vas je usterelila pre toga. Usled toga što vam je vaš pokretački motor mozga pokrenut tada, sada mora da se nosi sa tim. A divna stvar u tome je da je motocikl dizajniran tako da specifično izazove osećaj da se radi o eko-tehnologiji i da je dobar za vas da je lagan i deo budućnosti.
So is that wrong? Well in this case it isn't, because it's a very, very ecologically-sound piece of technology. But you're a slave of that first flash. We are slaves to the first few fractions of a second -- and that's where much of my work has to win or lose, on a shelf in a shop. It wins or loses at that point. You may see 50, 100, 200 things on a shelf as you walk down it, but I have to work within that domain, to ensure that it gets you there first.
I da li je to pogrešno? Pa u ovom slučaju nije, obzirom da se radi o veoma ekološki orijentisanoj tehnologiji. Ali vi ste robovi prvog utiska. Mi smo robovi tih prvih delića sekunde-- i upravo tu najveći deo mog posla ili pobedi ili izgubi, na nekoj polici u radnji. Ili pobedi ili izgubi u tom momentu. Vi možete ugledati 50,100,200 stvari na polici dok šetate radnjom, ali ja moram da radim u opsegu tog domena, ne bih li osigurao da stigne do vas prvi.
And finally, the layer that I love, of knowledge. Some of you, I'm sure, will be familiar with this. What's incredible about this, and the way I love to come back to it, is this is taking something that you hate or bores you, folding clothes, and if you can actually do this -- who can actually do this? Anybody try to do this? Yeah? It's fantastic, isn't it? Look at that. Do you want to see it again? No time. It says I have two minutes left, so we can't do this. But just go to the Web, YouTube, pull it down, "folding T-shirt." That's how underpaid younger-aged people have to fold your T-shirt. You didn't maybe know it. But how do you feel about it? It feels fantastic when you do it, you look forward to doing it, and when you tell somebody else about it -- like you probably have -- you look really smart. The knowledge bubble that sits around the outside, the stuff that costs nothing, because that knowledge is free -- bundle that together and where do we come out?
Konačno, sloj znanja koji ja volim. Siguran sam da je nekima od vas poznat ovaj fenomen. Ono što je ovde neverovatno, i čemu ja volim da se vraćam jeste ukoliko razmotrite nešto što ne volite ili vam dosađuje slaganje odeće, a ukoliko možete da uradite ovo-- ko može u stvari da uradi ovo? Da li je iko probao to da uradi? Da? Fantastično je, zar ne? Pogledajte. Da li biste ponovo da vidite? Nemamo vremena. Imam još samo dva minuta, tako da ne možemo ponovo da gledamo. Ali samo na internetu,"You Tube"-u, ukucajte "slaganje majice". Ovo je način na koji loše plaćeni mladi ljudi moraju da slažu majice. Možda to niste znali. Ali kako se osećate usled toga? Fantastičan je osećaj kada vi to uradite, radujete se tome, a kada kažete nekome to -- kao što ste i verovatno rekli -- delujete veoma pametno. Znanje koje obavija te stvari, stvari koje ništa ne koštaju, jer je znanje besplatno-- povežite sve to i šta dobijemo kao rezultat?
Form follows function? Only sometimes. Only sometimes. Form is function. Form is function. It informs, it tells us, it supplies us answers before we've even thought about it. And so I've stopped using words like "form," and I've stopped using words like "function" as a designer. What I try to pursue now is the emotional functionality of things. Because if I can get that right, I can make them wonderful, and I can make them repeatedly wonderful. And you know what those products and services are, because you own some of them. They're the things that you'd snatch if the house was on fire. Forming the emotional bond between this thing and you is an electrochemical party trick that happens before you even think about it.
Forma prati funkciju? Samo po nekad. samo po nekad. Oblik je funkcija. Oblik je funkcija. Informiše nas, priča nam, daje nam odgovore pre nego što mi i pomislimo na to. Tako da sam ja prestao da koristim reči kao što je "oblik" i kao dizajner prestao sam da upotrebljavam reči kao što je "funkcija" Ono što sada pokušavam da sledim je emocionalna funkcionalnost stvari. Jer ukoliko to uradim na pravi način, mogu ih učiniti veličanstvenim, i to mogu činiti iznova i iznova. Vi znate koji su to proizvodi i usluge, jer posedujete neke od njih. To su stvari koje spasete ukoliko izbije požar u kući. Stvaranje emotivne veze između te stvari i Vas je elektro-hemijski trik koji se desi pre nego što Vi počnete da razmišljate o tome.
Thank you very much.
Hvala vam puno.
(Applause)
(Aplauz)