Paola Antonelli: Why I brought Pac-Man to MoMA

108,755 views ・ 2013-05-28

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Translator: Joseph Geni Reviewer: Morton Bast
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I'm almost like a crazy evangelical.
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I've always known that the age of design is upon us,
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almost like a rapture.
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If the day is sunny, I think,
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"Oh, the gods have had a good design day."
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Or, I go to a show and I see a beautiful piece by an artist,
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particularly beautiful, I say
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he's so good because he clearly looked to design
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to understand what he needed to do.
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So I really do believe that design
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is the highest form of creative expression.
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That's why I'm talking to you today about the age of design,
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and the age of design is the age in which design
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is still cute furniture, is still posters,
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is still fast cars, what you see at MoMA today.
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But in truth, what I really would like to explain
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to the public and to the audiences of MoMA is that
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the most interesting chairs are the ones
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that are actually made by a robot,
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like this beautiful chair by Dirk Vander Kooij,
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where a robot deposits a toothpaste-like slur
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of recycled refrigerator parts,
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as if he were a big candy, and makes a chair out of it.
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Or good design is digital fonts that we use all the time
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and that become part of our identity.
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I want people to understand
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that design is so much more than cute chairs,
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that it is first and foremost everything that is around us
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in our life.
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And it's interesting how so much of what we're talking about
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tonight is not simply design but interaction design.
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And in fact, interaction design is what I've been trying
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to insert in the collection of the Museum of Modern Art
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for a few years, starting not very timidly
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but just pointedly with works, for instance,
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by Martin Wattenberg -- the way a machine
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plays chess with itself, that you see here,
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or Lisa Strausfeld and her partners, the Sugar interface
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for One Laptop Per Child,
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Toshio Iwai's Tenori-On musical instruments,
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and Philip Worthington's Shadow Monsters,
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and John Maeda's Reactive Books,
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and also Jonathan Harris and Sep Kamvar's I Want You To Want Me.
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These were some of the first acquisitions that really
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introduced the idea of interaction design to the public.
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But more recently, I've been trying really to go even deeper
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into interaction design with examples
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that are emotionally really suggestive
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and that really explain interaction design at a level
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that is almost undeniable.
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The Wind Map, by Wattenberg and Fernanda Viégas,
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I don't know if you've ever seen it -- it's really fantastic.
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It looks at the territory of the United States
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as if it were a wheat field that is procured by the winds
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and that is really giving you a pictorial image
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of what's going on with the winds in the United States.
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But also, more recently, we started acquiring video games,
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and that's where all hell broke loose
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in a really interesting way. (Laughter)
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There are still people that believe that there's a high and there's a low.
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And that's really what I find so intriguing
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about the reactions that we've had to the anointment
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of video games in the MoMA collection.
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We've -- No, first of all, New York Magazine always gets it.
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I love them. So we are in the right quadrant.
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We are in the Highbrow -- that's daring, that's courageous --
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and Brilliant, which is great.
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Timidly, we've been higher on the diagonal in other situations,
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but it's okay. It's good. It's good. It's good. (Laughter)
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But here comes the art critic. Oh, that was fantastic.
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So the first was Jonathan Jones from The Guardian.
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"Sorry, MoMA, video games are not art."
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Did I ever say they were art? I was talking about interaction design. Excuse me.
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"Exhibiting Pac-Man and Tetris alongside Picasso and Van Gogh" --
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They're two floors away. (Laughter) —
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"will mean game over for any real understanding of art."
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I'm bringing in the end of the world. You know?
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We were talking about the rapture? It's coming.
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And Jonathan Jones is making it happen.
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So the same Guardian rebuts,
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"Are video games art: the debate that shouldn't be.
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Last week, Guardian art critic blah blah suggested
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that games cannot qualify as art. But is he right?
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And does it matter?" Thank you. Does it matter?
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You know, it's like once again there's this whole problem
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of design being often misunderstood for art,
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or the idea that is so diffuse that designers want to
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aspire to, would like to be called, artists.
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No. Designers aspire to be really great designers.
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Thank you very much. And that's more than enough.
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So my knight in shining armor, John Maeda,
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without any prompt, came out with this big declaration
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on why video games belong in the MoMA.
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And that was fantastic. And I thought that was it.
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But then there was another wonderfully pretentious article
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that came out in The New Republic, so pretentious,
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by Liel Leibovitz, and it said, "MoMA has mistaken video games for art." Again.
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"The museum is putting Pac-Man alongside Picasso." Again.
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"That misses the point."
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Excuse me. You're missing the point.
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And here, look, the above question is put bluntly:
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"Are video games art? No. Video games aren't art
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because they are quite thoroughly something else: code."
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Oh, so Picasso is not art because it's oil paint. Right?
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So it's so fantastic to see
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how these feathers that were ruffled,
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and these reactions, were so vehement.
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And you know what?
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The International Cat Video Film Festival
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didn't have that much of a reaction. (Laughter)
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I think this was truly fantastic.
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We were talking about dancing ponies, but I was really jealous
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of the Walker Arts Center for putting up this festival,
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because it's very, very wonderful.
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And there's this Flaubert quote that I love:
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"I have always tried to live in an ivory tower,
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but a tide of shit is beating at its walls,
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threatening to undermine it."
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I consider myself the tide of shit.
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(Laughter) (Applause)
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You know, we have to go through that.
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Even in the 1930s, my colleagues
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that were trying to put together an abstract art show
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had all of these works stopped by the customs officers
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that decided they were not art.
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So it's happened before, and it will happen in the future,
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but right now I can tell you that I am so, so proud
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to be able to call Pac-Man part of the MoMA collection.
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And the same with, for instance, Tetris, original version, the Soviet one.
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And you know, the amount of work --
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yeah, Alexey Pajitnov was working for the Soviet government
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and that's how he developed Tetris,
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and Alexey himself reconstructed the whole game
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and even gave us a simulation of the cathode ray tube
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that makes it look slightly bombed.
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And it's fantastic.
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So behind these acquisitions is an enormous amount of work,
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because we're still the Museum of Modern Art,
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so even when we tackle popular culture,
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we tackle it as a form of interaction design
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and as something that has to go into the collection at MoMA,
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therefore, has to be researched.
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So to get to choosing Eric Chahi's
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wonderful Another World, amongst others,
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we put together a panel of experts,
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and we worked on this acquisition,
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and it's mostly myself and Kate Carmody and Paul Galloway.
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We worked on it for a year and a half.
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So many people helped us — designers of games,
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you might know Jamin Warren
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and his collaborators at Kill Screen magazine,
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and you know, Kevin Slavin. You name it.
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We bugged everybody, because we knew that we were ignorant.
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We were not real gamers enough,
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so we had to really talk to them.
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And so we decided, of course, to have Sim City 2000,
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not the other Sim City, that one in particular,
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so the criteria that we developed along the way
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were really strong, and were not only criteria of selection.
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They were also criteria of exhibition and of preservation.
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That's what makes this acquisition more than a little game
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or a little joke. It's truly a way to think of how to preserve
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and show artifacts that will more and more
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become part of our lives in the future.
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We live today, as you know very well, not in the digital,
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not in the physical, but in the kind of minestrone
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that our mind makes of the two.
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And that's really where interaction lies,
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and that's the importance of interaction.
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And in order to explain interaction, we need to really
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bring people in and make them realize
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how interaction is part of their lives.
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So when I talk about it, I don't talk only about video games,
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which are in a way the purest form of interaction,
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unadulterated by any kind of function or finality.
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I also talk about the MetroCard vending machine,
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which I consider a masterpiece of interaction.
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I mean, that interface is beautiful.
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It looks like a burly MTA guy coming out of the tunnel.
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You know, with your mitt you can actually paw
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the MetroCard, and I talk about how bad
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ATM machines usually are.
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So I let people understand that it's up to them
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to know how to judge interaction
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so as to know when it's good or when it's bad.
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So when I show The Sims,
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I try to make people really feel what it meant
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to have an interaction with The Sims,
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not only the fun but also the responsibility
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that came with the Tamagotchi.
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You know, video games can be truly deep
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even when they're completely mindless.
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I'm sure that all of you know Katamari Damacy.
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It's about rolling a ball and picking up as many objects as you can
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in a finite amount of time
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and hopefully you'll be able to make it into a planet.
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I've never made it into a planet, but that's it.
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Or, you know, Vib-Ribbon was not distributed here in the United States.
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It was a PlayStation game, but mostly for Japan.
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And it was one of the first video games
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in which you could choose your own music.
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So you would put into the PlayStation,
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you would put your own CD,
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and then the game would change alongside your music. So really fantastic.
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Not to mention Eve Online.
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Eve Online is an artificial universe, if you wish,
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but one of the diplomats that was killed in Benghazi,
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not Ambassador Stevens, but one of his collaborators,
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was a really big shot in Eve Online,
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so here you have a diplomat in the real world
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that spends his time in Eve Online
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to kind of test, maybe, all of his ideas about diplomacy
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and about universe-building, and to the point that
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the first announcement of the bombing
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was actually given on Eve Online,
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and after his death, several parts of the universe
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were named after him.
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And I was just recently at the Eve Online fan festival
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in Reykjavík that was quite amazing.
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I mean, we're talking about an experience
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that of course can seem weird to many,
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but that is very educational.
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Of course, there are games that are even more educational.
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Dwarf Fortress is like the holy grail
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of this kind of massive multiplayer online game,
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and in fact the two Adams brothers were in Reykjavík,
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and they were greeted
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by a standing ovation by all the Eve Online fans.
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It was amazing to see. And it's a beautiful game.
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So you start seeing here that
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the aesthetics that are so important
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to a museum collection like MoMA's
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are kept alive also by the selection of these games.
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And you know, Valve -- you know, Portal --
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is an example of a video game in which
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you have a certain type of violence
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which also leads me to talk about
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one of the biggest issues that we had to discuss
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when we acquired the video games, what to do with violence.
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Right? We had to make decisions.
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At MoMA, interestingly, there's a lot of violence
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depicted in the art part of the collection,
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but when I came to MoMA 19 years ago, and as an Italian,
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I said, "You know what, we need a Beretta."
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And I was told, "No. No guns in the design collection."
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And I was like, "Why?"
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Interestingly, I learned that it's considered
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that in design and in the design collection,
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what you see is what you get.
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So when you see a gun, it's an instrument for killing in the design collection.
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If it's in the art collection,
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it might be a critique of the killing instrument.
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So it's very interesting.
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But we are acquiring our critical dimension also in design,
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so maybe one day we'll be able to acquire also the guns.
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But here, in this particular case, we decided,
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you know, with Kate and Paul,
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that we would have no gratuitous violence.
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So we have Portal because you shoot walls
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in order to create new spaces.
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We have Street Fighter II, because martial arts are good.
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(Laughter)
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But we don't have GTA because,
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maybe it's my own reflection,
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I've never been able to do anything but crashing cars
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and shooting prostitutes and pimps.
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So it was not very constructive. (Laughter)
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So, I'm making fun of it, but we discussed this
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for so many days. You have no idea.
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And to this day, I am ambivalent,
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but when you have instead games like Flow, there's no doubt.
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It's like, it's about serenity and it's about sublime.
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It's about experiencing what it means to be a sea creature.
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Then we have a few also side-scrollers -- classical ones.
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So it's quite a hefty collection.
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And right now, we started with the first 14,
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but we have several that are coming up,
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and the reason why we haven't acquired them yet
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is because you don't acquire just the game.
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You acquire the relationship with the company.
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What we want, what we aspire to, is the code.
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It's very hard to get, of course.
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But that's what would enable us to preserve
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the video games for a really long time,
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and that's what museums do.
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They also preserve artifacts for posterity.
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In absence of the code, because, you know,
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video game companies are not very forthcoming in some cases,
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in absence of that, we acquire the relationship with the company.
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We're going to stay with them forever.
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They're not going to get rid of us.
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And one day, we'll get that code. (Laughter)
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But I want to explain to you the criteria that we chose
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for interaction design. Aesthetics are really important.
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And I'm showing you Core War here,
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which is an early game that takes advantage aesthetically
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of the limitations of the processor.
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So the kind of interferences that you see here
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that look like beautiful barriers in the game
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are actually a consequence of the processor's limitedness,
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which is fantastic. So aesthetics is always important.
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And so is space, the spatial aspect of games.
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You know, I feel that the best video games
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are the ones that have really savvy architects
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that are behind them, and if they're not architects,
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bona fide trained in architecture, they have that feeling.
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But the spatial evolution in video games is extremely important.
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Time. The way we experience time in video games,
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as in other forms of interaction design,
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is really quite amazing.
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It can be real time or it can be the time within the game,
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as is in Animal Crossing, where seasons
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follow each other at their own pace.
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So time, space, aesthetics,
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and then, most important, behavior.
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The real core issue of interaction design is behavior.
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Designers that deal with interaction design behaviors
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that go to influence the rest of our lives.
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They're not just limited to our interaction with the screen.
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In this case, I'm showing you Marble Madness,
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which is a beautiful game
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in which the controller is a big sphere that vibrates with you,
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so you have a sphere that's moving in this landscape,
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and the sphere, the controller itself, gives you a sense of the movement.
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In a way, you can see how video games
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are the purest aspect of interaction design
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and are very useful to explain what interaction is.
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We don't want to show the video games
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with the paraphernalia. No arcade nostalgia.
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If anything, we want to show the code,
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and here you see Ben Fry's distellamap of Pac-Man,
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of the Pac-Man code.
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So the way we acquired the games is very interesting
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and very unorthodox. You see them here
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displayed alongside other examples of design,
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furniture and other parts,
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but there's no paraphernalia, no nostalagia,
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only the screen and a little shelf with the controllers.
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The controllers are, of course, part of the experience,
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so you cannot do away with it.
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But interestingly, this choice was not condemned
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too vehemently by gamers.
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I was afraid that they would kill us,
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and instead they understood, especially
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when I told them that I was trying to apply the same stratagem
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that Philip Johnson applied in 1934
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when he wanted to make people understand
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the importance of design, and he took propeller blades
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and pieces of machinery and
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in the MoMA galleries he put them on white pedestals
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against white walls, as if they were Brancusi sculptures.
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He created this strange distance, this shock,
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that made people realize how gorgeous formally,
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and also important functionally, design pieces were.
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I would like to do the same with video games.
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By getting rid of the sticky carpets and the cigarette butts
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and everything else that we might remember from our childhood,
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I want people to understand
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that those are important forms of design.
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And in a way, the video games, the fonts and everything else
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lead us to make people understand
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a wider meaning for design.
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One of my dream acquisitions,
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which has been on hold for a few years
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but now will come back on the front burner,
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is a 747.
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I would like to acquire it, but without owning it.
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I don't want it to be at MoMA and possessed by MoMA.
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I want it to keep flying.
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So it's an acquisition where MoMA makes an arrangement
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with an airline and keeps the Boeing 747 flying.
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And the same with the "@" sign that we acquired a few years ago.
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It was the first example of an acquisition of something
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that is in the public domain.
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And what I say to people, it's almost as if
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a butterfly were flying by
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and we captured the shadow on the wall,
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and just we're showing the shadow.
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So in a way, we're showing a manifestation
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of something that is truly important
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and that is part of our identity but that nobody can have.
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And it's too long to explain the acquisition,
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but if you want to go on the MoMA blog,
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there's a long post where I explain why
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it's such a great example of design.
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Along the way, I've had to burn a few chairs. You know?
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I've had to do away with a few concepts of design past.
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17:54
But I see that people are coming along,
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that the audiences, paradoxically,
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are much more responsive and much more understanding
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of this expansion of design than some of my colleagues are.
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Design is truly everywhere,
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and design is as important as anything,
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and I'm so glad that, because of its diversity
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and because of its centrality to our lives,
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many more people are coming to it
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as a profession, as a passion,
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and as, very simply, part of their own culture.
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Thank you very much.
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(Applause)
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About this website

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