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.
当我还小的时候- 我也曾有年幼的时候- 我父亲告诉过我一个 关于18世纪的一个制表匠的故事 这位制表匠 做了很多精美的手表 一天,他的一位客人来到他的作坊 要制表匠清洗他在此购买的手表 制表匠拆开表 取出的零件中有一个平衡轮 客人注意到 在平衡轮的背后刻着 一些字 客人问 “你为什么在谁也看不见的地方 刻上字?” 制表匠转过身说 “上帝看得见” 我不是在拿宗教说事 我父亲也不是 但是那一刻,我感受到了什么 我感受到 在我的血脉和神经里的什么 当然我觉得肯定也有肌肉 我能感受到 这是一种真实的反应 从那一刻,那个年纪 我开始用不同的方式思考
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?
随着我走上设计师的职业道路 我开始问自己一个简单的问题: 我们思考“美”吗? 还是感受它? 也许你现在已经知道了答案 你可能会想,“不知道你是怎么认为 但我觉得美是感受而来的” 而随着我的设计师生涯的继续 我开始发现一些令人惊讶的东西 最早期的工作之一是机动车设计- 有些很棒的设计 在其中 我们,或者说我发现了一些 令我着迷的东西,也许你记得 你记得车灯的开关吗 关门的时候会响两声? 然后我记得是某个BMW的设计师 开发了一种慢慢灭掉的灯 记得吗? 我记得非常清楚 你记得第一次坐在车里,发现灯会这样慢慢灭掉吗? 我记得我坐在那儿想,心想这太棒了 说实话,我还没发现谁 不喜欢灯这样缓缓灭掉 我想,这到底是为什么呢?
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?
于是我开始问自己这样的问题 首先我问别人“你喜欢这吗?”“喜欢啊” “为什么?”他们说“感觉挺自然的” 或者“很棒” 但我想这还不够 得再深入一点 因为作为一个设计师我需要知道 这种感受究竟如何得来? 怎样描绘? 于是我做了一些实验 突然我意识到 确实有深层的原因- 6秒钟亮到暗- 就是这个 你知道这是什么吗?有人知道吗?
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?
想一想,想一下 用大脑的思维功能 但这不是思考,而是感受 现在能不能请各位 接下来的14分钟左右里 关注你们的感受
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.
我不希望你想太多,请感受吧。 我感受到一种 带着关注的放松感 我发现的就是 电影院或者剧院 也正在如此- 6秒钟灯由亮变暗 这个过程中,你坐在那儿心想的是 “不好,电影要开始了” 还是“太棒了,真期待啊 电影就要开始啦”? 我不是神经科学家 我甚至不知道这是不是叫做条件反射 也许是吧 因为跟我聊过的一些住在北半球的人 对电影院里这些习以为常 但我交谈过的另一些人 还没看过电影或者没去过电影院 他们的感受不完全一样 每个人都喜欢 但有些人更喜欢一些
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?
这让我从另外一个角度思考这个问题 我们不是在感受,而是用边缘系统在思考美- 如果这不是个过时的想法的话 愉悦感的中心是(体味美的)部件 也许我的观察,感受 跟思考无关 从感官到这些部件 比从思维也就是大脑皮层要快 它们首先到达 这其中原理是如何呢? 这种反应有多大程度上 产生于我们已知的 或者我们将要学习的东西?
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.
这是我所知道的最美妙的事情之一 这是个塑料袋子 当我第一眼看到它的时候,我想这一点都不美 后来一看 我发现 如果我把它放到一个脏水坑里 或者含有氯仿的水里 或者各种各种样的脏东西 接着脏水 会通过反渗透进入袋子里 变成纯净的可饮用的水 突然这个袋子 变的如此美妙
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?
我想再次要求你们 用感情体味 暂时抛开思考 我希望你们去感受 看这它 你感觉如何? 它美吗? 令人振奋吗? 我正仔细观察你们的面部表情 有位先生看上去很无聊 几位稍感兴趣的女士 正在感受到什么 也许这个画看上去很童真 让我告诉你 准备好了吗? 这是一个叫海蒂的五岁女孩 在因脊椎癌去世之前 的辞世之作 这是她做的最后一件事 最后一件具体活动 看看这幅画 看看其中的童真 看看它的美 现在它美吗?
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.
打住 你感受如何? 你在用什么感受? 我在用这里感受,这里 我观察你们的脸 因为你们的脸能告诉我 那边一位女士正在哭泣 但是你正在做什么呢? 我观察人们的活动 我观察面部 我观察反应 因为我必须知道人们对事物如何反应 面对美的 最常见的表情之一 那种面对难以置信的美味时的表情 就是“我的神啊” 另外,脸上并不是一种愉悦 不是“这太棒了” 眉毛是这样,眼神散乱 嘴唇微张 这不是享受的表情 有别的什么 某种奇特的东西 愉悦混合着 一系列不同的情感
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.
作为一个设计师我喜欢Poignancy这个词 它指的是某种能引起强烈情感反应的东西 常常是指一种悲伤的反应 但这只是我们反应的一部分 这不仅是美好的 也是矛盾的似是而非的美 感官上我们感受一切- 所有好的,坏的,兴奋的,惊悚的混合体- 就是在触及感觉的那一刻 我们体味一切 情感就是 你刚刚看到小女孩画的一部分 当然胜利感,这种超越的感觉 这种“原来如此,这个很新颖”的感觉 这种感觉也混合其中 当我们把这些不同的情感结合起来 从设计的角度来看我对此十分兴奋 因为这些东西,正如我们已经提及 它们到达大脑 不受成见影响 不受控制 电化学的小把戏
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.
我同时还感兴趣的 是有没有可能分离 内在美和外在美? 在此内在美是 事物精致的美 毫无置疑的美 这非常少见 也许有一些例子 很少有一个事物 对所有人来说 在没有信息背景情况下都认为美的东西 所以很多事物都是外在的美 这种美受人们对其所含信息的理解而影响 或者信息增强了美的意义 比如我给你们看的小女孩的画
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.
当谈论美的时候 你不能否认 很多这样的实验 你们都如此反应 我想最无趣的说法之一就是 说对称的就是美的 显然不是 这个实验更有趣 给一些人看这半张脸 然后把这个完整的脸 放到从最美到最丑的一系列脸中 给他们看 结果发现几乎是非常巧合的 这跟对称没关系 实际上这位女士的脸并不对称 但两边都很美 但不一样的美
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.
作为一个设计师我忍不住一探究竟 我把图片像这样分割 然后尝试理解各个部分 当我去感受时 看着眼睛的话 我能感受到愉快和美 看眉毛则不然 耳洞也不是 我不知道这到底能给我帮上什么忙 但这能帮助我理解 (美的)信号来自哪里 如我所说我不是个神经科学家 但通过拆组各个部位 我很快排除了 是思考在作用 而是种享受性的先验的要素在作用
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.
阿娜依斯∙宁和塔木德已经无数次告诉我们 我们看到不是事物的样子而是我们的样子 我将贸然地给你们看点 对我来说很美的东西 这是F1 MV Agusta摩托 啊- 它是如此美 我无法向你解释它是多么的精巧 但我知道它为什么对我来说是美的 因为它是各种事物的缩影 非常多的层次 它不仅触及我们生活 不仅如此 每一层都是故事,运动,相互共鸣的细节 如果让我来说明它的话- 我知道层流对快速运动物体的重要性 很显然它极好地处理了这个问题,你可以看出来 这让我非常兴奋 我用这里感受
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.
至于机动车设计的大秘密- 光反射设计 外型不是最重要的 而是外形如何反射光线 当你移动的时候能看到摩托车上光线流转 这样这就变成一个动力学的物件 尽管它一动不动 但很聪明得它通过光线反射做到了 这个供驾驶者使用的踏脚的敞开式设计 指示其背后的秘密- 这里,它的链条在引擎支持下 大概每小时跑上300公里 当我看到它想到这些 我就变的极度兴奋
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.
它覆盖着钛金属漆 我无法形容这部分有多美妙 因为这能防止车轮上的螺丝在高速运转中掉下来 我对此非常入迷 当然比赛用摩托没有支架 但是这是个日用摩托 它的支架可以折进这个小缝里 这样支架消失了 而这个弯曲的散热器,你不知道有多难制造 为什么要这么做呢? 因为我们想让车轮的空气动力学性能更好 虽然这样造价高但性能更棒 一言以蔽之 品牌忠诚度- Agusta 它伟大历史来自于这一切
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.
只是你们无法见到这位天才设计者 Massimo Tamburini 在意大利他被称为“水管工” 和“大师” 因为他是工程师 同时也是手艺人和雕塑家 这几种身分相互并不大兼容
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.
但是我们这样的人往往不得不 向美妥协 我们不得不这样 所以我得寻找供应链,得和技术部分合作 不断和其他的东西打交道 这样一来就得不断妥协 看看她 我也得做点小妥协 我把那部分只移动了一毫米 没人注意吧? 看我怎么做的吗? 我把三个部位各移动了一毫米 漂亮吧 美吗?可能不那么美了 当然消费者会说这个无妨 这样没关系,是不是? 再移一毫米呢? 没人会注意这些切线和变化 美是如此容易消逝 因为获得美是很难的 只有几个人能做到 一个集中小组不行 一个团队几乎不能做到 只有一个大脑皮层 能让各种因素同时和谐共鸣
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.
这是美丽的水瓶 有人知道这个- 设计师Ross Lovegrove的作品 这个很接近内在美 只要你知道什么是水 你就能感受它 它美是因为它装着 清爽可口的东西 我可能比你们更喜欢它 因为我知道创造它有多难 想要做出个具有那样折射度的物体 是令人难以置信的难 它需要适当的工具 和精确地操作它的线型 这背后是像天鹅的故事一样 无数的困难 所以说 这是个神奇的例子,一个简单的物体 之前看到的那个摩托是个复杂的物体 因此它们以略微不同的方式 体现了美
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.
我想你们都和我一样 热爱欣赏芭蕾舞 一部分愉悦感是因为深知其不易 可能你也会考虑到其饱含的痛苦 有人曾见过 芭蕾舞者的脚尖吗? 当她做着优雅的舞姿时 你能想像脚上是情形吗 对这痛苦的理解 让我们对真实的情况 有更高更清楚的理解
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.
微秒用在这不太恰当 所以不用管我刚刚说了什么 现在我要做的 是提供足够的刺激 能产生审美过程初期的情感 你通过感觉而不是思维 去感受体会它 现在我们做个小实验 准备好了吗?你们将在极短时间内看到一个物体 准备好了吗? 第一眼看到它你觉得这是个自行车吗? 它不是 那你觉得头一眼看它太快了吗?肯定是的 你觉得它很现代吗?是的 这一瞬间你获得了这个信息 因为你的大脑那一刻开始运转 那么现在我们来细看一下 这个摩托车被特意设计成这种风格 以传达其 绿色科技和有益人类的概念 它很轻 很有未来感
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.
这有错吗? 这个情况下并没错 因为这是个非常生态友好的科技 但是你是第一眼做主 初次印象决定了我们的思考 这就是决定我的作品 市场销售的 成败所在 就在那一瞬间定输赢 一个货架上你也许会看到 五十,一百,两百件物品 但是我得保证 第一眼就抓住你
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?
最后,是我热爱的知识的层次 肯定有人会觉得熟悉 它的神奇之处 也是 叠衣服这样 无聊的事 如果你这样做的话 有人会吗?有人试过? 试过? 很神奇吧? 想在看一遍吗? 没时间了,我还有2分钟 那就去YouTube上看吧 找一下"folding T-shirt" 这是薪资低下的年轻工人给你叠T恤的办法 也许你不知道 但你感觉如何? 做的时候感觉很爽,你也很想一试 要是告诉别人的话-可能你已经这么做过了- 就显得很聪明 知识到处都是 知识不用花钱 因为知识是免费的- 综上所述我们得到什么结论呢?
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.
功能决定形态? 只有有些时候是的 形态就是功能 这给了我们 一个前所未有的答案 作为设计师 我不再使用“形态”和“功能”这样的词 我追求的是 事物的感官功能性 如果能做到这一点 我就能不断创造出美妙的东西 你们知道那样的产品服务 因为你们就有 那些是你家失火的时候会抢出来的东西 事物与你之间 感情联结的形成 是种电气化学效果 它在你意识到之前就发生了
Thank you very much.
谢谢
(Applause)
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