Paola Antonelli: Why I brought Pac-Man to MoMA

108,755 views ใƒป 2013-05-28

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

00:00
Translator: Joseph Geni Reviewer: Morton Bast
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๋ฒˆ์—ญ: Nathan Chung ๊ฒ€ํ† : K Bang
00:12
I'm almost like a crazy evangelical.
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์ „ ๋””์ž์ธ ์–˜๊ธฐ๋งŒ ๋‚˜์˜ค๋ฉด ๊ฑฐ์˜ ๊ด‘์ ์ธ ์ „๋„์‚ฌ๊ฐ€ ๋ผ์š”.
00:14
I've always known that the age of design is upon us,
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์ €๋Š” ๋””์ž์ธ์˜ ์‹œ๋Œ€๊ฐ€ ์™”๋‹ค๋Š” ๊ฑธ ํ•ญ์ƒ ์•Œ๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
00:17
almost like a rapture.
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๊ผญ ํœด๊ฑฐ๊ฐ€ ์˜จ ๊ฒƒ์ฒ˜๋Ÿผ์š”.
00:19
If the day is sunny, I think,
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์ €๋Š” ๋‚ ์”จ๊ฐ€ ์ข‹์œผ๋ฉด ์ด๋ ‡๊ฒŒ ์ƒ๊ฐํ•˜์ฃ .
00:20
"Oh, the gods have had a good design day."
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"์˜ค~ ์˜ค๋Š˜์€ ์‹ ์ด ๋””์ž์ธ์„ ์ข€ ์ž˜ ํ•˜์…จ๋Š”๋ฐ?"
00:23
Or, I go to a show and I see a beautiful piece by an artist,
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์ „์‹œํšŒ๋ฅผ ๊ฐ€์„œ ํŠนํžˆ ์•„๋ฆ„๋‹ค์šด ์ž‘ํ’ˆ์„ ๋ณด๊ณ ๋Š”
00:27
particularly beautiful, I say
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์ด๋ ‡๊ฒŒ ๋งํ•˜๊ณค ํ•˜์ฃ .
00:29
he's so good because he clearly looked to design
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"์ฐธ ๋Œ€๋‹จํ•ด.
00:32
to understand what he needed to do.
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์ด๊ฑด ๋ถ„๋ช…ํžˆ ๋””์ž์ธ์—์„œ ์˜๊ฐ์„ ์–ป์—ˆ๋„ค."
00:33
So I really do believe that design
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์ €๋Š” ๋””์ž์ธ์ด์•ผ๋ง๋กœ
00:36
is the highest form of creative expression.
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์ตœ์ƒ์œ„์˜ ์ฐฝ์กฐ์  ํ‘œํ˜„์ด๋ผ๊ณ  ๋ฏฟ์–ด์š”.
00:39
That's why I'm talking to you today about the age of design,
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๊ทธ๋ž˜์„œ ์˜ค๋Š˜ ์—ฌ๋Ÿฌ๋ถ„๋“ค๊ป˜ ๋””์ž์ธ์˜ ์‹œ๋Œ€์— ๋Œ€ํ•ด ๋ง์”€๋“œ๋ฆฌ๋ ค๋Š” ๊ฑฐ์ฃ .
00:42
and the age of design is the age in which design
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๋””์ž์ธ ์‹œ๋Œ€์˜ ๋””์ž์ธ์€ ์—ฌ์ „ํžˆ
00:45
is still cute furniture, is still posters,
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๊ท€์—ฌ์šด ๊ฐ€๊ตฌ์ด๋ฉฐ, ํฌ์Šคํ„ฐ์ด๊ณ , ๋น ๋ฅธ ์ž๋™์ฐจ์ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
00:49
is still fast cars, what you see at MoMA today.
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์˜ค๋Š˜ ๋ณด์‹  ๋ชจ๋งˆ ์ „์‹œ๋ฌผ ๋“ฑ์ด์ฃ . (๋ชจ๋งˆ: MoMA, ๋‰ด์š• ํ˜„๋Œ€ ๋ฏธ์ˆ ๊ด€ )
00:51
But in truth, what I really would like to explain
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ํ•˜์ง€๋งŒ ์ œ๊ฐ€ ์ •๋ง๋กœ ๋Œ€์ค‘๋“ค๊ณผ ๋ชจ๋งˆ ๊ด€๋žŒ๊ฐ ๋ถ„๋“ค๊ป˜
00:55
to the public and to the audiences of MoMA is that
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์„ค๋ช…๋“œ๋ฆฌ๊ณ  ์‹ถ์€ ๊ฑด
00:58
the most interesting chairs are the ones
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๊ฐ€์žฅ ํฅ๋ฏธ๋กœ์šด ์˜์ž๋Š”
01:00
that are actually made by a robot,
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๋กœ๋ด‡์ด ๋งŒ๋“  ์˜์ž๋“ค์ด๋ผ๋Š” ๊ฒ๋‹ˆ๋‹ค.
01:03
like this beautiful chair by Dirk Vander Kooij,
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๋”ํฌ ๋ฐ˜๋” ์ฝ”์ด(Dirk Vander Kooij)๊ฐ€ ๋งŒ๋“  ์ด ์•„๋ฆ„๋‹ค์šด ์˜์ž์ฒ˜๋Ÿผ์š”.
01:06
where a robot deposits a toothpaste-like slur
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์ด ์˜์ž๋Š” ๋กœ๋ด‡์ด ์žฌํ™œ์šฉ๋œ ๋ƒ‰์žฅ๊ณ  ๋ถ€ํ’ˆ๋“ค๋กœ ๋œ
01:10
of recycled refrigerator parts,
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์น˜์•ฝ๊ฐ™์ด ๊ฑธ์ฃฝํ•œ ํ˜ผํ•ฉ๋ฌผ์„
01:12
as if he were a big candy, and makes a chair out of it.
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ํฐ ์‚ฌํƒ•์„ ๋งŒ๋“ค๋“ฏ์ด ์Œ“์•„์„œ ๋งŒ๋“  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:17
Or good design is digital fonts that we use all the time
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๋˜ ์ข‹์€ ๋””์ž์ธ์ด๋ž€ ์šฐ๋ฆฌ๊ฐ€ ๋งค์ผ ์‚ฌ์šฉํ•˜๋ฉด์„œ ์šฐ๋ฆฌ์˜ ์ •์ฒด์„ฑ ์ผ๋ถ€๋ฅผ ์ด๋ฃจ๊ฒŒ ๋œ
01:21
and that become part of our identity.
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๋””์ง€ํ„ธ ๊ธ€์ž์ฒด์ด๊ธฐ๋„ ํ•˜์ฃ .
01:23
I want people to understand
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์ €๋Š” ๋””์ž์ธ์ด
01:24
that design is so much more than cute chairs,
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๋‹จ์ˆœํžˆ ๊ท€์—ฌ์šด ์˜์ž๊ฐ€ ์•„๋‹ˆ๋ผ๋Š” ๊ฒƒ์„ ์‚ฌ๋žŒ๋“ค์ด ์ดํ•ดํ•˜๊ธธ ๋ฐ”๋ž˜์š”.
01:28
that it is first and foremost everything that is around us
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๊ฐ€์žฅ ์ค‘์š”ํ•œ ์ ์€ ๋””์ž์ธ์ด ์šฐ๋ฆฌ ์‚ถ ์ฃผ๋ณ€์˜
01:31
in our life.
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๋ชจ๋“  ๊ฒƒ์ด๋ž€ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:33
And it's interesting how so much of what we're talking about
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์žฌ๋ฏธ์žˆ๊ฒŒ๋„ ์˜ค๋Š˜ ๋ฐค ์–˜๊ธฐํ•˜๊ณ  ์žˆ๋Š” ๋งŽ์€ ๋ถ€๋ถ„์ด
01:35
tonight is not simply design but interaction design.
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๋””์ž์ธ๋ฟ๋งŒ์ด ์•„๋‹ˆ๋ผ ์ƒํ˜ธ ์ž‘์šฉ์  ๋””์ž์ธ์— ๋Œ€ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:39
And in fact, interaction design is what I've been trying
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์‚ฌ์‹ค, ์ƒํ˜ธ ์ž‘์šฉ์  ๋””์ž์ธ์ด์•ผ๋ง๋กœ ์ œ๊ฐ€ ์ง€๋‚œ ๋ช‡ ๋…„๊ฐ„
01:43
to insert in the collection of the Museum of Modern Art
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๋ชจ๋งˆ์˜ ์ „์‹œ๋ฌผ์— ๋„ฃ์œผ๋ ค ํ–ˆ๋˜ ๊ฑด๋ฐ์š”.
01:45
for a few years, starting not very timidly
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๋ช‡ ๋…„๋™์•ˆ, ๋„ˆ๋ฌด ์†Œ๊ทน์ ์ด์ง€๋Š” ์•Š์œผ๋ฉด์„œ
01:48
but just pointedly with works, for instance,
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์ง‘์ค‘์ ์œผ๋กœ ๋ช‡ ๊ฐœ์˜ ์ž‘ํ’ˆ๋“ค๋กœ ์‹œ์ž‘ํ–ˆ์ฃ .
01:51
by Martin Wattenberg -- the way a machine
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์˜ˆ๋ฅผ ๋“ค๋ฉด, ๋งˆํ‹ด ์™€ํ…๋ฒ„๊ทธ(Martin Wattenberg)์˜ ์ž‘ํ’ˆ์ธ๋ฐ์š”.
01:53
plays chess with itself, that you see here,
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๋ณด์‹œ๋‹ค์‹œํ”ผ ๊ธฐ๊ณ„๊ฐ€ ์ž๊ธฐ ์ž์‹ ๊ณผ ์ฒด์Šค๋ฅผ ๋‘ก๋‹ˆ๋‹ค.
01:56
or Lisa Strausfeld and her partners, the Sugar interface
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๋˜, ๋ฆฌ์‚ฌ ์ŠคํŠธ๋ผ์šฐ์ŠคํŽ ๋“œ(Lisa Strausfeld)์™€ ๋™๋ฃŒ๋“ค์˜
02:00
for One Laptop Per Child,
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"์•„์ด๋“ค๋งˆ๋‹ค ๋…ธํŠธ๋ถ์„(One Laptop Per Child)" ์œ„ํ•œ Sugar ์ธํ„ฐํŽ˜์ด์Šค.
02:02
Toshio Iwai's Tenori-On musical instruments,
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ํ† ์‹œ์˜ค ์ด์™€์ด์˜ ํ…Œ๋…ธ๋ฆฌ-์˜จ ์•…๊ธฐ๋“ค,
02:06
and Philip Worthington's Shadow Monsters,
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๊ทธ๋ฆฌ๊ณ  ํ•„๋ฆฝ ์›Œ๋”ฉํ„ด(Philip Worthington)์˜ ๊ทธ๋ฆผ์ž ๊ดด๋ฌผ๋“ค,
02:09
and John Maeda's Reactive Books,
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๊ทธ๋ฆฌ๊ณ  ์กด ๋งˆ์—๋‹ค(John Maeda)์˜ ๋ฐ˜์‘ํ•˜๋Š” ์ฑ…๋“ค,
02:11
and also Jonathan Harris and Sep Kamvar's I Want You To Want Me.
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๊ทธ๋ฆฌ๊ณ  ์กฐ๋‚˜๋‹จ ํ•ด๋ฆฌ์Šค(Jonathan Harris)์™€ ์…’ ์บ„๋ฐ”(Sep Kamvar)์˜"๋‚œ ๋„ค๊ฐ€ ๋‚  ์›ํ•˜๊ธฐ๋ฅผ ์›ํ•ด."
02:15
These were some of the first acquisitions that really
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์ด๊ฒƒ๋“ค์ด ์ƒํ˜ธ ์ž‘์šฉ ๋””์ž์ธ์˜ ๊ฐœ๋…์„ ๋Œ€์ค‘๋“ค์—๊ฒŒ ๋„์ž…ํ•œ
02:18
introduced the idea of interaction design to the public.
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์ฒซ๋ฒˆ์งธ ์ „์‹œ๋ฌผ์˜ ์ผ๋ถ€์˜€์Šต๋‹ˆ๋‹ค.
02:21
But more recently, I've been trying really to go even deeper
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๊ทผ๋ฐ ์ตœ๊ทผ์—, ์ €๋Š” ๊ฐ์ •์ ์œผ๋กœ ์ •๋ง ๋„๋ฐœ์ ์ด๊ณ 
02:26
into interaction design with examples
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ํ™•์‹คํ•œ ๊ด€์ ์œผ๋กœ
02:28
that are emotionally really suggestive
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์ƒํ˜ธ ์ž‘์šฉ ๋””์ž์ธ์„ ์„ค๋ช…ํ•˜๋Š” ์˜ˆ๋ฅผ ํ†ตํ•ด
02:30
and that really explain interaction design at a level
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๋”์šฑ ๊นŠ์ˆ™ํžˆ ์ƒํ˜ธ ์ž‘์šฉ ๋””์ž์ธ์œผ๋กœ
02:33
that is almost undeniable.
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๋“ค์–ด๊ฐ€๋ ค๊ณ  ์‹œ๋„๋ฅผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
02:35
The Wind Map, by Wattenberg and Fernanda Viรฉgas,
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์™€ํ…๋ฒ„๊ทธ์™€ ํŽ˜๋ฅด๋‚œ๋‹ค ๋น„์—๊ฐ€์Šค(Fernanda Viรฉgas)์˜ "๋ฐ”๋žŒ ์ง€๋„".
02:38
I don't know if you've ever seen it -- it's really fantastic.
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๋ณด์…จ์„์ง€ ๋ชจ๋ฅด๊ฒ ์ง€๋งŒ -- ์ •๋ง ํ™˜์ƒ์ ์ž…๋‹ˆ๋‹ค.
02:41
It looks at the territory of the United States
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๋ฏธ๊ตญ์˜ ์˜ํ† ๋ฅผ
02:43
as if it were a wheat field that is procured by the winds
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๋ฐ”๋žŒ์ด ํœฉ์“ธ๊ณ  ์ง€๋‚˜๊ฐ„ ๋ฐ€๋ฐญ๊ฐ™์ด ๋ฌ˜์‚ฌํ–ˆ์Šต๋‹ˆ๋‹ค.
02:49
and that is really giving you a pictorial image
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๋ฏธ๊ตญ์˜ ๋ฐ”๋žŒ์˜ ํ๋ฆ„์„
02:52
of what's going on with the winds in the United States.
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๊ทธ๋ฆผ์œผ๋กœ ๋ณด์—ฌ์ฃผ๊ณ  ์žˆ์ฃ .
02:55
But also, more recently, we started acquiring video games,
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์ตœ๊ทผ์—๋Š” ๋น„๋””์˜ค ๊ฒŒ์ž„์„ ์ž…์ˆ˜ํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ๋Š”๋ฐ
03:00
and that's where all hell broke loose
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์•„์ฃผ ์žฌ๋ฏธ์žˆ๋Š” ๋ฐฉํ–ฅ์œผ๋กœ
03:03
in a really interesting way. (Laughter)
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๋‚œ์žฅํŒ์ด ๋ฒŒ์—ฌ์กŒ์ฃ . (์›ƒ์Œ)
03:05
There are still people that believe that there's a high and there's a low.
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๊ณ ๊ธ‰๊ณผ ์ €๊ธ‰์ด ๋”ฐ๋กœ ์žˆ๋‹ค๊ณ  ๋ฏฟ๋Š” ์‚ฌ๋žŒ๋“ค์ด ์š”์ฆ˜์—๋„ ์žˆ์ฃ .
03:07
And that's really what I find so intriguing
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๋น„๋””์˜ค ๊ฒŒ์ž„์„ ๋ชจ๋งˆ ์ „์‹œ๋ฌผ์—
03:10
about the reactions that we've had to the anointment
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์ถ”๊ฐ€ํ•œ ๊ฒƒ์— ๋Œ€ํ•œ ์‚ฌ๋žŒ๋“ค์˜ ๋ฐ˜์‘์—์„œ
03:15
of video games in the MoMA collection.
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๊ทธ๋Ÿฐ ์ ์„ ๋ณธ ๊ฒƒ์ด ์ฐธ ํฅ๋ฏธ๋กœ์› ์Šต๋‹ˆ๋‹ค.
03:17
We've -- No, first of all, New York Magazine always gets it.
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๋‰ด์š• ๋งค๊ฑฐ์ง„(New York Magazine)์€ ์–ธ์ œ๋‚˜ ์ฒ™ ์ดํ•ด๋ฅผ ํ•˜์ฃ .
03:20
I love them. So we are in the right quadrant.
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์ €๋Š” ์ด ์žก์ง€๋ฅผ ๋„ˆ๋ฌด๋‚˜ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค. ์ €ํฌ๋Š” ์˜ค๋ฅธ์ชฝ ์‚ฌ๋ถ„๋ฉด์— ์žˆ์Šต๋‹ˆ๋‹ค.
03:23
We are in the Highbrow -- that's daring, that's courageous --
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์ง€์‹์ธต ๋ถ„๋ฉด์— ์žˆ์Šต๋‹ˆ๋‹ค -- ๋Œ€๋‹ดํ•˜๊ณ  ์šฉ๊ฐํ•˜๊ณ 
03:27
and Brilliant, which is great.
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๋›ฐ์–ด๋‚˜๋‹ค๋Š” ํ‰์ด์ฃ . ๊ทธ๊ฑด ์ฐธ ๋Œ€๋‹จํ•˜์ฃ .
03:28
Timidly, we've been higher on the diagonal in other situations,
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์กฐ์‹ฌ์Šค๋ ˆ ๋ง์”€๋“œ๋ฆฌ๋Š”๋ฐ, ๋‹ค๋ฅธ ๋•Œ์—๋Š” ์ ์ˆ˜๊ฐ€ ์ข€ ๋” ๋†’์•˜์ง€๋งŒ
03:32
but it's okay. It's good. It's good. It's good. (Laughter)
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๋ญ ๊ดœ์ฐฎ์Šต๋‹ˆ๋‹ค. ์ข‹์•„์š”. ์ข‹์•„์š”. ์ข‹์•„์š”. (์›ƒ์Œ)
03:35
But here comes the art critic. Oh, that was fantastic.
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๊ทผ๋ฐ ์˜ˆ์ˆ  ๋น„ํ‰๊ฐ€๋“ค์ด ๋Œ๊ฒฉ์„ ํ•˜๋„ค์š”. ์˜ค, ๊ทธ๊ฒƒ๋„ ๊ฝค ์ข‹์•˜์–ด์š”.
03:38
So the first was Jonathan Jones from The Guardian.
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์ฒซ๋ฒˆ์งธ๋Š” ์˜๊ตญ ๊ฐ€๋””์–ธ์ง€์˜ ์กฐ๋‚˜๋‹จ ์กด์Šค(Jonathan Jones)์ž…๋‹ˆ๋‹ค.
03:40
"Sorry, MoMA, video games are not art."
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"๋ฏธ์•ˆํ•˜์ง€๋งŒ, ๋ชจ๋งˆ, ๋น„๋””์˜ค ๊ฒŒ์ž„์€ ์˜ˆ์ˆ ์ด ์•„๋‹ˆ๋‹ค."
03:43
Did I ever say they were art? I was talking about interaction design. Excuse me.
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์ œ๊ฐ€ ๊ทธ๊ฒƒ๋“ค์ด ์˜ˆ์ˆ ์ด๋ผ๊ณ  ๋งํ•œ ์ ์ด ์žˆ๋‚˜์š”? ์ €๋Š” ์ƒํ˜ธ ์ž‘์šฉ ๋””์ž์ธ์— ๋Œ€ํ•ด ์–˜๊ธฐํ•œ ๊ฒ๋‹ˆ๋‹ค. ์‹ค๋ก€!
03:47
"Exhibiting Pac-Man and Tetris alongside Picasso and Van Gogh" --
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"ํ”ผ์นด์†Œ์™€ ๋ฐ˜ ๊ณ ํ ์˜†์— ํŒฉ๋งจ๊ณผ ํ…ŒํŠธ๋ฆฌ์Šค๋ฅผ ์ „์‹œํ•œ๋‹ค๋Š” ๊ฒƒ์€" --
์‚ฌ์‹ค ๋‘ ์ธต ๋–จ์–ด์ ธ ์žˆ์Šต๋‹ˆ๋‹ค. (์›ƒ์Œ) --
03:51
They're two floors away. (Laughter) โ€”
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"์˜ˆ์ˆ ์˜ ์ง„์ •ํ•œ ์ดํ•ด์˜ ์ข…๋ง์„ ์˜๋ฏธํ•œ๋‹ค."
03:54
"will mean game over for any real understanding of art."
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์ œ๊ฐ€ ์„ธ์ƒ์˜ ๋์„ ๊ฐ€์ ธ์˜ค๋Š” ๊ฒ๋‹ˆ๋‹ค. ๊ทธ์ตธ?
03:59
I'm bringing in the end of the world. You know?
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์ €ํฌ๊ฐ€ ์•„๊นŒ ํœด๊ฑฐ์— ๋Œ€ํ•ด ์–˜๊ธฐํ–ˆ์ฃ ? ๊ณง ์˜ต๋‹ˆ๋‹ค.
04:03
We were talking about the rapture? It's coming.
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์กฐ๋‚˜๋‹จ ์กด์Šค๊ฐ€ ์ผ์œผํ‚ค๊ณ  ์žˆ์ฃ .
04:05
And Jonathan Jones is making it happen.
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๊ทธ๋ž˜์„œ ๊ฐ™์€ ๊ฐ€๋””์–ธ์ง€๊ฐ€ ๋ฐ˜๋ฐ•ํ•ฉ๋‹ˆ๋‹ค,
04:07
So the same Guardian rebuts,
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"๋น„๋””์˜ค ๊ฒŒ์ž„์€ ์˜ˆ์ˆ ์ธ๊ฐ€: ํ•ด์„œ๋Š” ์•ˆ ๋˜๋Š” ๋…ผ์Ÿ์ด๋‹ค.
04:10
"Are video games art: the debate that shouldn't be.
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์ง€๋‚œ ์ฃผ, ๋ฏธ์ˆ  ๋น„ํ‰๊ฐ€ ๋ˆ„๊ตฌ ๋ˆ„๊ตฌ๊ฐ€ ๊ฒŒ์ž„์€
04:13
Last week, Guardian art critic blah blah suggested
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์˜ˆ์ˆ ๋กœ์„œ์˜ ์ž๊ฒฉ์ด ์—†๋‹ค๊ณ  ์ฃผ์žฅํ–ˆ๋‹ค. ๊ทธ๋Ÿฐ๋ฐ ๊ทธ๊ฒŒ ๋งž๋Š” ๊ฒƒ์ผ๊นŒ?
04:16
that games cannot qualify as art. But is he right?
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ์ด ์ค‘์š”ํ•œ๊ฐ€?" ๊ทธ๋ž˜์š”. ๊ทธ๊ฒƒ์ด ์ค‘์š”ํ•ฉ๋‹ˆ๊นŒ?
04:19
And does it matter?" Thank you. Does it matter?
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๋˜ ๋‹ค์‹œ ๋””์ž์ธ์„ ์˜ˆ์ˆ ๋กœ ์˜คํ•ดํ•˜๋Š”
04:21
You know, it's like once again there's this whole problem
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๋ฌธ์ œ๊ฐ€ ๋ฐœ์ƒํ–ˆ๋„ค์š”.
04:24
of design being often misunderstood for art,
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๋””์ž์ด๋„ˆ๊ฐ€ ์˜ˆ์ˆ ๊ฐ€๋กœ ๋ถˆ๋ฆฌ๊ธฐ๋ฅผ ๊ฐˆ๋งํ•œ๋‹ค๋Š”
04:27
or the idea that is so diffuse that designers want to
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์ƒ๊ฐ์ด ๋งŽ์ด ํผ์ ธ ์žˆ์Šต๋‹ˆ๋‹ค.
04:31
aspire to, would like to be called, artists.
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์•„๋‹™๋‹ˆ๋‹ค. ๋””์ž์ด๋„ˆ๋“ค์€ ์ •๋ง ํ›Œ๋ฅญํ•œ ๋””์ž์ด๋„ˆ๊ฐ€ ๋˜๊ธฐ๋ฅผ ๊ฐˆ๋งํ•ฉ๋‹ˆ๋‹ค.
04:34
No. Designers aspire to be really great designers.
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์ •๋ง ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. ๊ทธ ์–˜๊ธฐ๋Š” ์—ฌ๊ธฐ์„œ ๊ทธ๋งŒ.
04:38
Thank you very much. And that's more than enough.
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๊ทธ๋ž˜์„œ ์ €์˜ ์€๋น› ๊ธฐ์‚ฌ์ธ ์กด ๋งˆ์—๋‹ค ์”จ๊ฐ€
04:39
So my knight in shining armor, John Maeda,
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์•„๋ฌด ์™ธ๋ถ€ ๋™๊ธฐ์—†์ด ๋น„๋””์˜ค ๊ฒŒ์ž„์ด
04:43
without any prompt, came out with this big declaration
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์™œ ๋ชจ๋งˆ์˜ ์ผ๋ถ€๊ฐ€ ๋  ์ž๊ฒฉ์ด ์žˆ๋Š”์ง€์— ๋Œ€ํ•œ ํฐ ์„ ์–ธ์„ ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:46
on why video games belong in the MoMA.
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์ •๋ง ์ž˜ ํ–ˆ์–ด์š”. ๊ทธ๊ฒŒ ๋์ธ ์ค„ ์•Œ์•˜์ฃ .
04:49
And that was fantastic. And I thought that was it.
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๊ทผ๋ฐ ๋‰ด ๋ฆฌํผ๋ธ”๋ฆญ(The New Republic) ์žก์ง€์—๋‹ค ๋ฆฌ์—˜ ๋ฆฌ๋ณด๋น„์ธ (Liel Leibovitz)๊ฐ€
04:51
But then there was another wonderfully pretentious article
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๋ฉ‹์ง€๊ฒŒ ํ—ˆ์„ธ์Šค๋Ÿฌ์šด ๊ธฐ์‚ฌ๋ฅผ ์˜ฌ๋ ธ๋Š”๋ฐ ๋ญ๋ผ๊ณ  ์ผ๋ƒํ•˜๋ฉด
04:55
that came out in The New Republic, so pretentious,
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"๋ชจ๋งˆ๊ฐ€ ๋น„๋””์˜ค ๊ฒŒ์ž„์„ ์˜ˆ์ˆ ๋กœ ์ฐฉ๊ฐํ–ˆ๋‹ค." ๋˜ ๊ทธ๋ž˜์š”.
04:58
by Liel Leibovitz, and it said, "MoMA has mistaken video games for art." Again.
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"๋ฐ•๋ฌผ๊ด€์ด ํŒฉ๋งจ์„ ํ”ผ์นด์†Œ ์˜†์— ์ „์‹œํ–ˆ๋‹ค." ๋˜ ๊ทธ๋ž˜์š”.
05:02
"The museum is putting Pac-Man alongside Picasso." Again.
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"์š”์ ์„ ๋†“์ณค๋‹ค."
05:05
"That misses the point."
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์‹ค๋ก€์ง€๋งŒ ์š”์ ์„ ๋†“์นœ ์‚ฌ๋žŒ์€ ๊ทธ๋“ค์ž…๋‹ˆ๋‹ค.
05:06
Excuse me. You're missing the point.
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๊ทธ๋ฆฌ๊ณ  ์—ฌ๊ธฐ ๋ณด๋ฉด, ์œ„์˜ ์งˆ๋ฌธ์„ ์ง์„ค์ ์œผ๋กœ ์ผ์Šต๋‹ˆ๋‹ค:
05:08
And here, look, the above question is put bluntly:
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"๋น„๋””์˜ค ๊ฒŒ์ž„์€ ์˜ˆ์ˆ ์ธ๊ฐ€? ์•„๋‹ˆ๋‹ค. ๋น„๋””์˜ค ๊ฒŒ์ž„์€ ์˜ˆ์ˆ ์ด ์•„๋‹ˆ๋‹ค.
05:12
"Are video games art? No. Video games aren't art
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์™œ๋ƒํ•˜๋ฉด ์™„์ „ํžˆ ๋‹ค๋ฅธ ๊ฒƒ์ด๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋ฐ”๋กœ ์ฝ”๋“œ์ด๋‹ค."
05:15
because they are quite thoroughly something else: code."
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๊ทธ๋Ÿผ ํ”ผ์นด์†Œ์˜ ์ž‘ํ’ˆ์€ ์œ ํ™” ๋ฌผ๊ฐ์ด๋‹ˆ๊นŒ ์˜ˆ์ˆ ์ด ์•„๋‹ˆ๋„ค์š”. ๋งž์ฃ ?
05:20
Oh, so Picasso is not art because it's oil paint. Right?
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์‚ฌ๋žŒ๋“ค์˜ ์‹ ๊ฒฝ์„ ๊ฑฐ์Šฌ๋ฆฌ๊ฒŒ ํ•˜๊ณ 
05:24
So it's so fantastic to see
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์ด๋Ÿฐ ๊ฒฉ๋ ฌํ•œ ๋ฐ˜์‘์„ ๋ถˆ๋Ÿฌ ์ผ์œผํ‚จ๊ฒŒ
05:26
how these feathers that were ruffled,
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๋„ˆ๋ฌด ๊ตฌ๊ฒฝํ•˜๊ธฐ ์ข‹์•˜์–ด์š”.
05:29
and these reactions, were so vehement.
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์ด๊ฑฐ ์•„์„ธ์š”?
05:31
And you know what?
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๊ตญ์ œ ๊ณ ์–‘์ด ๋น„๋””์˜ค ์˜ํ™”์ œ๋Š”
05:32
The International Cat Video Film Festival
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์ด๋Ÿฐ ์ •๋„์˜ ๋ฐ˜์‘์„ ๋ถˆ๋Ÿฌ ์ผ์œผํ‚ค์ง€ ์•Š์•˜์–ด์š”. (์›ƒ์Œ)
05:35
didn't have that much of a reaction. (Laughter)
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์ œ ์ƒ๊ฐ์—๋Š” ์ง„์งœ ์ข‹์•˜์–ด์š”.
05:37
I think this was truly fantastic.
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์›๋ž˜ ์ €ํฌ๋Š” ์ถค์ถ”๋Š” ์กฐ๋ž‘๋ง ์ „์‹œ๋ฅผ ๊ณ ๋ คํ–ˆ๋Š”๋ฐ
05:39
We were talking about dancing ponies, but I was really jealous
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์ด ์ถ•์ œ๋ฅผ ์—ฐ ์›Œ์ปค ์˜ˆ์ˆ  ์„ผํ„ฐ(Walker Art Center)๊ฐ€ ๋„ˆ๋ฌด ๋ถ€๋Ÿฌ์› ์–ด์š”.
05:42
of the Walker Arts Center for putting up this festival,
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๋„ˆ๋ฌด ๋„ˆ๋ฌด ๋ฉ‹์กŒ๊ฑฐ๋“ ์š”.
05:45
because it's very, very wonderful.
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์ œ๊ฐ€ ๋„ˆ๋ฌด ์ข‹์•„ํ•˜๋Š” ํ”Œ๋กœ๋ฒ ๋ฅด(Flaubert)์˜ ๋ง์ž…๋‹ˆ๋‹ค:
05:47
And there's this Flaubert quote that I love:
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"๋‚˜๋Š” ์–ธ์ œ๋‚˜ ์ƒ์•„ํƒ‘์— ์‚ด๋ ค๊ณ  ๋…ธ๋ ฅํ–ˆ์ง€๋งŒ
05:50
"I have always tried to live in an ivory tower,
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๋˜ฅ์˜ ํŒŒ๋„๊ฐ€ ๋ฒฝ์„ ๋‘๋“ค๊ฒจ
05:52
but a tide of shit is beating at its walls,
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๊ทธ๊ฑธ ๋ฌด๋„ˆ๋œจ๋ฆฌ๋ ค๊ณ  ํ•˜๊ณ  ์žˆ๋‹ค."
05:55
threatening to undermine it."
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์ €๋Š” ์ œ ์ž์‹ ์ด ๋˜ฅ์˜ ํŒŒ๋„๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
05:57
I consider myself the tide of shit.
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(์›ƒ์Œ) (๋ฐ•์ˆ˜)
05:59
(Laughter) (Applause)
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์ด๋Ÿฐ ์ผ์€ ์ €ํฌ๊ฐ€ ๊ฐ๋‹นํ•ด์•ผ์ฃ .
06:04
You know, we have to go through that.
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์‹ฌ์ง€์–ด 1930 ๋…„๋Œ€์—๋„ ์ถ”์ƒ ์˜ˆ์ˆ  ์‡ผ๋ฅผ ์ค€๋น„ ์ค‘์ด๋˜
06:06
Even in the 1930s, my colleagues
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์ €ํฌ ๋ถ„์•ผ ๋™๋ฃŒ๋“ค๋„
06:09
that were trying to put together an abstract art show
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์ด๊ฑด ์˜ˆ์ˆ ์ด ์•„๋‹ˆ๋ผ๊ณ  ๋‹จ์ •์ง€์€
06:11
had all of these works stopped by the customs officers
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์„ธ๊ด€ ์š”์›๋“ค์˜ ์ €์ง€๋ฅผ ๋ฐ›์•˜์ฃ .
06:14
that decided they were not art.
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์ด๋Ÿฐ ์ผ์€ ์˜ˆ์ „์—๋„ ์žˆ์—ˆ๊ณ  ๋ฏธ๋ž˜์—๋„ ์žˆ์„ ๊ฒ๋‹ˆ๋‹ค.
06:16
So it's happened before, and it will happen in the future,
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ํ•˜์ง€๋งŒ ์ œ๊ฐ€ ์ง€๊ธˆ ํ•  ์ˆ˜ ์žˆ๋Š” ๋ง์€
06:19
but right now I can tell you that I am so, so proud
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ํŒฉ๋งจ์ด ๋ชจ๋งˆ ์ „์‹œ๋ฌผ์˜ ์ผ๋ถ€๋ผ๋Š” ๊ฒƒ์ด ๋„ˆ๋ฌด ๋„ˆ๋ฌด ์ž๋ž‘์Šค๋Ÿฝ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
06:23
to be able to call Pac-Man part of the MoMA collection.
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ํ…ŒํŠธ๋ฆฌ์Šค์˜ ์›์กฐ ๋ฒ„์ „์— - ์†Œ๋ จ์‚ฐ์ด์ฃ  - ๋Œ€ํ•œ ์ƒ๊ฐ๋„ ๊ฐ™์Šต๋‹ˆ๋‹ค.
06:27
And the same with, for instance, Tetris, original version, the Soviet one.
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์ด๊ฑธ ๊ตฌํ•˜๋Š”๋ฐ ๋“  ๋…ธ๋ ฅ -
06:33
And you know, the amount of work --
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์˜ˆ, ์•Œ๋ ‰์„ธ์ด ํŒŒ์ง€ํŠธ๋…ธํ”„(Alexey Pajitnov) ์”จ๋Š” ์†Œ๋ จ ์ •๋ถ€์—์„œ ์ผํ•˜๊ณ  ์žˆ์„ ๋‹น์‹œ
06:35
yeah, Alexey Pajitnov was working for the Soviet government
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ํ…ŒํŠธ๋ฆฌ์Šค๋ฅผ ๊ฐœ๋ฐœํ–ˆ์Šต๋‹ˆ๋‹ค.
06:39
and that's how he developed Tetris,
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์•Œ๋ ‰์„ธ์ด์”จ ๋ณธ์ธ๊ป˜์„œ ๊ฒŒ์ž„ ์ „์ฒด๋ฅผ ์žฌ๊ฑดํ•˜์…จ์Šต๋‹ˆ๋‹ค.
06:41
and Alexey himself reconstructed the whole game
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์‹ฌ์ง€์–ด ๊ฒŒ์ž„์ด ์•ฝ๊ฐ„ ๊ณ ์žฅ๋‚œ ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ด๊ฒŒ ํ•˜๋Š”
06:45
and even gave us a simulation of the cathode ray tube
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๋ธŒ๋ผ์šด๊ด€์˜ ๋ชจ์‚ฌ๋„ ํ•ด์ฃผ์…จ์–ด์š”.
06:48
that makes it look slightly bombed.
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์ •๋ง ๋Œ€๋‹จํ•˜์ฃ .
06:52
And it's fantastic.
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์ด๊ฑธ ์ž…์ˆ˜ํ•˜๊ธฐ ์œ„ํ•ด์„œ๋Š” ์—„์ฒญ๋‚œ ์–‘์˜ ๋…ธ๋ ฅ์ด ๋“ญ๋‹ˆ๋‹ค.
06:53
So behind these acquisitions is an enormous amount of work,
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์ €ํฌ๋Š” ์—ฌ์ „ํžˆ ๊ทผ๋Œ€ ๋ฏธ์ˆ  ๋ฐ•๋ฌผ๊ด€์ด๋‹ˆ๊นŒ
06:57
because we're still the Museum of Modern Art,
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๋Œ€์ค‘ ๋ฌธํ™”๋ฅผ ๋‹ค๋ฃฐ ๋•Œ๋„
06:58
so even when we tackle popular culture,
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์ƒํ˜ธ ์ž‘์šฉ ๋””์ž์ธ์˜ ํ•œ ํ˜•ํƒœ๋กœ ๋‹ค๋ฃจ์ฃ .
07:00
we tackle it as a form of interaction design
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๊ทธ๋ž˜์„œ ๋ชจ๋งˆ์˜ ์ „์‹œ๋ฌผ์— ํฌํ•จ๋˜๊ธฐ ์œ„ํ•ด์„œ๋Š”
07:03
and as something that has to go into the collection at MoMA,
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์ €ํฌ๊ฐ€ ์—ฐ๊ตฌ๋ฅผ ํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
07:05
therefore, has to be researched.
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์—๋ฆญ ์ƒคํžˆ(Eric Chahi)์˜ ํ›Œ๋ฅญํ•œ ์ž‘ํ’ˆ,
07:07
So to get to choosing Eric Chahi's
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"์–ด๋‚˜๋” ์›”๋“œ(Another World) "์™€ ๋‹ค๋ฅธ ์ž‘ํ’ˆ๋“ค์„ ์„ ๋ฐœํ•˜๋ ค๊ณ 
07:10
wonderful Another World, amongst others,
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์ „๋ฌธ๊ฐ€ ์œ„์›ํšŒ๋ฅผ ๊ตฌ์„ฑํ–ˆ์ฃ .
07:13
we put together a panel of experts,
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์ €ํฌ๊ฐ€ ์ด ์ž…์ˆ˜ ์ž‘์—…์— ์ฐธ๊ฐ€ํ–ˆ๋Š”๋ฐ์š”.
07:14
and we worked on this acquisition,
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์ €, ์ผ€์ดํŠธ ์นด๋ชจ๋””(Kate Carmody), ํด ๊ฐค๋Ÿฌ์›จ์ด(Paul Galloway) ์”จ๊ฐ€ ์ฃผ๋กœ ํ–ˆ์ฃ .
07:16
and it's mostly myself and Kate Carmody and Paul Galloway.
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1๋…„ ๋ฐ˜ ์ผํ–ˆ์–ด์š”.
07:19
We worked on it for a year and a half.
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์ฐธ ๋งŽ์€ ๋ถ„๋“ค์ด ๋„์›€์„ ์ฃผ์…จ์ฃ  - ๊ฒŒ์ž„ ๋””์ž์ด๋„ˆ๋“ค,
07:22
So many people helped us โ€” designers of games,
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์ œ์ด๋ฏผ ์›Œ๋Ÿฐ(Jamin Warren) ์”จ - ์•„์‹ค์ง€๋„ ๋ชจ๋ฅด๊ฒ ์Šต๋‹ˆ๋‹ค -
07:25
you might know Jamin Warren
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ํ‚ฌ ์Šคํฌ๋ฆฐ(Kill Screen) ์žก์ง€์—์„œ ์ผํ•˜์‹œ๋Š” ๊ทธ ๋ถ„์˜ ํ—™๋ ฅ์ž๋“ค
07:27
and his collaborators at Kill Screen magazine,
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๋˜ ์ผ€๋นˆ ์Šฌ๋ผ๋นˆ(Kevin Slavin) ์”จ. ๋งŽ์ฃ .
07:29
and you know, Kevin Slavin. You name it.
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์ €ํฌ๊ฐ€ ๋ฌด์ง€ํ•˜๋‹ค๋Š” ๊ฑธ ์•Œ์•˜๊ธฐ ๋•Œ๋ฌธ์— ๋ณด๋Š” ๋ถ„๋งˆ๋‹ค ๊ท€์ฐฎ๊ฒŒ ํ–ˆ์ฃ .
07:31
We bugged everybody, because we knew that we were ignorant.
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์ €ํฌ๋Š” ์ง„์ •ํ•œ ๊ฒŒ์ด๋จธ๊ฐ€ ์•„๋‹ˆ์—ฌ์„œ
07:34
We were not real gamers enough,
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๊ทธ ๋ถ„๋“คํ•˜๊ณ  ์–˜๊ธฐ๋ฅผ ๋งŽ์ด ํ–ˆ์–ด์•ผ ๋์–ด์š”.
07:36
so we had to really talk to them.
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๋‹น์—ฐํžˆ ์‹ฌ์‹œํ‹ฐ 2000์„ ์ž…์ˆ˜ํ•˜๊ธฐ๋กœ ๊ฒฐ์ •ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:38
And so we decided, of course, to have Sim City 2000,
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๋‹ค๋ฅธ ์‹ฌ์‹œํ‹ฐ ๋ง๊ณ  ๋ฐ”๋กœ 2000 ๋ง์ด์ฃ .
07:42
not the other Sim City, that one in particular,
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์ €ํฌ๊ฐ€ ์ž‘์—…์„ ์ง„ํ–‰ํ•˜๋ฉด์„œ ์ •ํ•œ ๊ธฐ์ค€์€
07:45
so the criteria that we developed along the way
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์•„์ฃผ ์—„๊ฒฉํ–ˆ์–ด์š”. ์„ ํƒ ๊ธฐ์ค€๋งŒ ์ •ํ–ˆ๋˜ ๊ฒƒ์ด ์•„๋‹ˆ๋ผ
07:48
were really strong, and were not only criteria of selection.
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์ „์‹œ ๊ธฐ์ค€ ๋ฐ ๋ณด์กด ๊ธฐ์ค€๋„ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
07:51
They were also criteria of exhibition and of preservation.
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๊ทธ๋ ‡๊ธฐ ๋–„๋ฌธ์— ์ž…์ˆ˜๋ฌผ์„ ๋ณ„๊ฑฐ ์•„๋‹Œ ๊ฒŒ์ž„์ด๋‚˜
07:55
That's what makes this acquisition more than a little game
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์žฅ๋‚œ์ฒ˜๋Ÿผ ์ทจ๊ธ‰ํ•  ์ˆ˜๊ฐ€ ์—†์Šต๋‹ˆ๋‹ค. ๊ฐˆ์ˆ˜๋ก ๋”๋”์šฑ ์šฐ๋ฆฌ ์‚ถ์˜ ์ผ๋ถ€๊ฐ€ ๋ 
07:59
or a little joke. It's truly a way to think of how to preserve
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์œ ๋ฌผ๋“ค์„ ์–ด๋–ป๊ฒŒ ๋ณด์กดํ•˜๊ณ  ์ „์‹œํ• ์ง€
08:03
and show artifacts that will more and more
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๊นŠ์ด ์ƒ๊ฐํ•˜๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
08:05
become part of our lives in the future.
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์šฐ๋ฆฌ๋Š” ํ˜„์žฌ ์ž˜ ์•„์‹œ๋‹ค์‹œํ”ผ ๋””์ง€ํ„ธ๋„ ์•„๋‹ˆ๊ณ 
08:07
We live today, as you know very well, not in the digital,
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๋ฌผ๋ฆฌ์ ์ด์ง€๋„ ์•Š์€, ์šฐ๋ฆฌ์˜ ๋งˆ์Œ์œผ๋กœ ์ด ๋‘ ๊ฐœ๋ฅผ ์„ž์€
08:10
not in the physical, but in the kind of minestrone
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์ผ์ข…์˜ ์Šคํ”„ ์•ˆ์—์„œ ์‚ฝ๋‹ˆ๋‹ค.
08:14
that our mind makes of the two.
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๊ฑฐ๊ธฐ๊ฐ€ ์ƒํ˜ธ ์ž‘์šฉ์˜ ๋ณธ๊ฑฐ์ง€์ด๊ณ 
08:16
And that's really where interaction lies,
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๊ฑฐ๊ธฐ์—์„œ ์ƒํ˜ธ ์ž‘์šฉ์ด ์•„์ฃผ ์ค‘์š”ํ•˜์ฃ .
08:19
and that's the importance of interaction.
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์ƒํ˜ธ ์ž‘์šฉ์„ ์„ค๋ช…ํ•˜๊ธฐ ์œ„ํ•ด์„œ๋Š” ์‚ฌ๋žŒ๋“ค์˜
08:21
And in order to explain interaction, we need to really
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์ฐธ์—ฌ๋ฅผ ๊ถŒ์žฅํ•ด์„œ ์ƒํ˜ธ ์ž‘์šฉ์ด ์–ด๋–ป๊ฒŒ
08:24
bring people in and make them realize
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์šฐ๋ฆฌ ์‚ถ์˜ ์ผ๋ถ€๊ฐ€ ๋˜๋Š”์ง€ ๊นจ๋‹ซ๊ฒŒ ํ•ด์ค˜์•ผ ํ•ฉ๋‹ˆ๋‹ค.
08:27
how interaction is part of their lives.
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๊ทธ๋ž˜์„œ ์ œ๊ฐ€ ์ƒํ˜ธ ์ž‘์šฉ์šธ ์–˜๊ธฐํ•  ๋•Œ๋Š” ๋น„๋””์˜ค ๊ฒŒ์ž„ ์–˜๊ธฐ๋งŒ ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
08:29
So when I talk about it, I don't talk only about video games,
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์–ด๋–ป๊ฒŒ ๋ณด๋ฉด ๋น„๋””์˜ค ๊ฒŒ์ž„์€ ์–ด๋– ํ•œ ๊ธฐ๋Šฅ์ด๋‚˜ ์ตœ์ข…์  ๊ฒฐ๊ณผ์—๋„
08:31
which are in a way the purest form of interaction,
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์˜ค์—ผ๋˜์ง€ ์•Š์€ ๊ฐ€์žฅ ์ˆœ์ˆ˜ํ•œ ์ƒํ˜ธ ์ž‘์šฉ์˜ ํ˜•ํƒœ์ฃ .
08:34
unadulterated by any kind of function or finality.
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์ €๋Š” ๋‰ด์š• ๊ตํ†ต ์นด๋“œ(MetroCard) ์žํŒ๊ธฐ ์–˜๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
08:37
I also talk about the MetroCard vending machine,
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์ด ์นด๋“œ๋Š” ์ œ ์ƒ๊ฐ์— ์ƒํ˜ธ ์ž‘์šฉ์˜ ๋ช…์ž‘์ž…๋‹ˆ๋‹ค.
08:40
which I consider a masterpiece of interaction.
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์ธํ„ฐํŽ˜์ด์Šค๊ฐ€ ์ฐธ ์•„๋ฆ„๋‹ต์Šต๋‹ˆ๋‹ค.
08:43
I mean, that interface is beautiful.
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๊ฑด์žฅํ•œ ๋‰ด์š• ๊ตํ†ต๋ถ€ ์ง์›์ด ํ„ฐ๋„ ๋ฐ–์œผ๋กœ ๋‚˜์˜ค๋Š” ๋Š๋‚Œ์ž…๋‹ˆ๋‹ค.
08:45
It looks like a burly MTA guy coming out of the tunnel.
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๋ฒ™์–ด๋ฆฌ ์žฅ๊ฐ‘์„ ๋‚€ ์ฑ„๋กœ๋„
08:49
You know, with your mitt you can actually paw
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๊ตํ†ต ์นด๋“œ๋ฅผ ์ง‘์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
08:52
the MetroCard, and I talk about how bad
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๋ณดํ†ต ์ €๋Š” ์žํŒ๊ธฐ๊ฐ€ ์–ผ๋งˆ๋‚˜ ์—‰ํ„ฐ๋ฆฌ์ธ์ง€ ๋ถˆํ‰ํ•ฉ๋‹ˆ๋‹ค.
08:55
ATM machines usually are.
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์ œ๊ฐ€ ์‚ฌ๋žŒ๋“คํ•œํ…Œ ๊ฐ€๋ฅด์ณ ์ฃผ๋Š” ๊ฒƒ์€ ์ƒํ˜ธ ์ž‘์šฉ์ด
08:58
So I let people understand that it's up to them
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์ข‹์€์ง€ ๋‚˜์œ์ง€ ํ‰๊ฐ€๋ฅผ ํ•˜๋Š” ๋ฐฉ๋ฒ•์„
09:01
to know how to judge interaction
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๋ณธ์ธ๋“ค์ด ์•Œ์•„์•ผ ํ•œ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
09:03
so as to know when it's good or when it's bad.
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์ œ๊ฐ€ ์‹ฌ์ฆˆ๋ฅผ ์‚ฌ๋žŒ๋“คํ•œํ…Œ ๋ณด์—ฌ ์ค„ ๋•Œ๋Š”
09:05
So when I show The Sims,
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์‹ฌ์ฆˆ์™€ ๊ต๋ฅ˜ํ•œ๋‹ค๋Š” ๊ฒƒ์˜ ์˜๋ฏธ๊ฐ€ ๋ฌด์—‡์ธ์ง€
09:07
I try to make people really feel what it meant
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๊ฐ•ํ•˜๊ฒŒ ๋Š๋ผ๊ฒŒ ํ•ด์ฃผ๋ ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
09:11
to have an interaction with The Sims,
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๊ทธ ํƒ€๋งˆ๊ณ ์น˜์— ์˜ํ•œ ์žฌ๋ฏธ๋ฟ๋งŒ (*ํƒ€๋งˆ๊ณ ์น˜: ์ผ๋ณธ์˜ ์ „์ž ์• ์™„ ๋™๋ฌผ)
09:13
not only the fun but also the responsibility
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์•„๋‹ˆ๋ผ ์ฑ…์ž„์„ ๋ง์ด์ฃ .
09:15
that came with the Tamagotchi.
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์•„๋ฌด ์ƒ๊ฐ์ด ํ•„์š”์—†๋Š” ๋น„๋””์˜ค ๊ฒŒ์ž„๋„
09:17
You know, video games can be truly deep
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์•„์ฃผ ์‹ฌ์˜คํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
09:19
even when they're completely mindless.
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์นดํƒ€๋งˆ๋ฆฌ ๋‹ค๋งˆ์‹œ๊ฐ€ ๋ฌด์—‡์ธ์ง€ ๋ชจ๋‘ ์•„์‹ค๊ฑด๋ฐ์š”.
09:20
I'm sure that all of you know Katamari Damacy.
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๊ณต์„ ๊ตด๋ ค์„œ ๊ฐ€์žฅ ๋งŽ์€ ์ˆ˜์˜ ๋ฌผ๊ฑด์„
09:23
It's about rolling a ball and picking up as many objects as you can
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์ œํ•œ๋œ ์‹œ๊ฐ„์ด๋‚ด์— ๋ชจ์œผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
09:27
in a finite amount of time
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์ž˜ ๋˜๋ฉด ๊ณต์„ ํ–‰์„ฑ์œผ๋กœ๋„ ํ‚ค์šธ ์ˆ˜ ์žˆ์–ด์š”.
09:28
and hopefully you'll be able to make it into a planet.
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์ €๋Š” ํ–‰์„ฑ์œผ๋กœ ํ‚ค์šด ์ ์€ ์—†์–ด์š”. ๊ฒŒ์ž„ ๋‚ด์šฉ์€ ๊ทธ๊ฒŒ ๋‹ค์˜ˆ์š”.
09:31
I've never made it into a planet, but that's it.
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๋˜ ๋ฏธ๊ตญ์—๋Š” ๋ฐฐํฌ๊ฐ€ ์•ˆ ๋œ ๋น„๋ธŒ๋ฆฌ๋ณธ์ด ์žˆ๋Š”๋ฐ์š”.
09:33
Or, you know, Vib-Ribbon was not distributed here in the United States.
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์ฃผ๋กœ ์ผ๋ณธ ์‹œ์žฅ์„ ๊ฒจ๋ƒฅํ•œ ํ”Œ๋ ˆ์ด์Šคํ…Œ์ด์…˜ ๊ฒŒ์ž„์ด์—ˆ์Šต๋‹ˆ๋‹ค.
09:36
It was a PlayStation game, but mostly for Japan.
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์‚ฌ์šฉ์ž๊ฐ€ ์›ํ•˜๋Š” ์Œ์•…์„ ๊ณ ๋ฅผ ์ˆ˜ ์žˆ๋Š”
09:38
And it was one of the first video games
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๊ฒŒ์ž„์˜ ์‹œ์ดˆ์˜€์Šต๋‹ˆ๋‹ค.
09:40
in which you could choose your own music.
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ํ”Œ๋ ˆ์ด์Šคํ…Œ์ด์…˜์—๋‹ค๊ฐ€
09:42
So you would put into the PlayStation,
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์ž๊ธฐ๊ฐ€ ๊ฐ€์ง„ ์”จ๋””๋ฅผ ๋„ฃ์œผ๋ฉด
09:44
you would put your own CD,
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๊ฒŒ์ž„์ด ์Œ์•…์— ๋งž์ถฐ์„œ ๋ณ€ํ•ฉ๋‹ˆ๋‹ค. ์ •๋ง ํ›Œ๋ฅญํ–ˆ์ฃ .
09:46
and then the game would change alongside your music. So really fantastic.
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์ด๋ธŒ ์˜จ๋ผ์ธ(EVE Online)์„ ๋นผ๋จน์œผ๋ฉด ์•ˆ ๋˜์ฃ .
09:51
Not to mention Eve Online.
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์ด๋ธŒ ์˜จ๋ผ์ธ์€ ์ผ์ข…์˜ ์ธ๊ณต ์„ธ๊ณ„์ธ๋ฐ์š”.
09:52
Eve Online is an artificial universe, if you wish,
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๋ฒต๊ฐ€์ง€์—์„œ ์‚ดํ•ด๋‹นํ•œ ์™ธ๊ต๊ด€ ์ค‘์˜ ํ•œ ๋ช…,
09:55
but one of the diplomats that was killed in Benghazi,
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์Šคํ‹ฐ๋ธ์Šค(Stevens) ์™ธ๊ต๊ด€ ๋ง๊ณ  ๊ทธ ๋ถ„์˜ ํ˜‘๋ ฅ์ž ์ค‘์˜ ํ•œ ๋ถ„์ด
09:58
not Ambassador Stevens, but one of his collaborators,
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์ด๋ธŒ ์˜จ๋ผ์ธ์—์„œ ๊ฑฐ๋ฌผ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
10:00
was a really big shot in Eve Online,
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ํ˜„์‹ค์—์„œ ์™ธ๊ต๊ด€์ธ ์‚ฌ๋žŒ์ด
10:02
so here you have a diplomat in the real world
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์•„๋งˆ ์ž๊ธฐ๊ฐ€ ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ์™ธ๊ต์ˆ ๊ณผ
10:05
that spends his time in Eve Online
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์„ธ๊ณ„ ๊ตฌ์ถ•์— ๋Œ€ํ•œ ์ƒ๊ฐ์„ ์‹œํ—˜ํ•˜๊ธฐ ์œ„ํ•ด
10:07
to kind of test, maybe, all of his ideas about diplomacy
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์ด๋ธŒ ์˜จ๋ผ์ธ์—์„œ ์‹œ๊ฐ„์„ ๋ณด๋ƒ…๋‹ˆ๋‹ค.
10:11
and about universe-building, and to the point that
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์–ด๋Š ์ •๋„์˜€๋ƒํ•˜๋ฉด ํญ๊ฒฉ์— ๋Œ€ํ•œ ๋ฐœํ‘œ๋Š”
10:14
the first announcement of the bombing
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์ด๋ธŒ ์˜จ๋ผ์ธ์—์„œ ๊ฐ€์žฅ ๋จผ์ € ๋‚˜์™”์Šต๋‹ˆ๋‹ค.
10:16
was actually given on Eve Online,
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๊ทธ ๋ถ„์ด ์ฃฝ์€ ํ›„, ๊ทธ ์„ธ๊ณ„์˜ ๋ช‡ ๋ถ€๋ถ„์ด
10:19
and after his death, several parts of the universe
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๊ทธ ๋ถ„์˜ ์ด๋ฆ„์„ ๋”ฐ์„œ ์ด๋ฆ„์ด ์ง€์–ด์กŒ์Šต๋‹ˆ๋‹ค.
10:21
were named after him.
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์ €๋Š” ์ตœ๊ทผ์— ๋ ˆ์ดํฌ์•ผ๋น…์—์„œ ์—ด๋ฆฌ๋Š” ์ด๋ธŒ ์˜จ๋ผ์ธ ํŒฌ ํŽ˜์Šคํ‹ฐ๋ฒŒ์— ๊ฐ”๋Š”๋ฐ
10:23
And I was just recently at the Eve Online fan festival
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์ƒ๋‹นํžˆ ๋†€๋ผ์› ์Šต๋‹ˆ๋‹ค.
10:27
in Reykjavรญk that was quite amazing.
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๋งŽ์€ ์‚ฌ๋žŒ์ด ๋ณด๊ธฐ์— ์ด์ƒํ•œ ๊ฒฝํ—˜์— ๋Œ€ํ•ด
10:29
I mean, we're talking about an experience
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์–˜๊ธฐํ•˜๊ณ  ์žˆ๊ธด ํ•˜์ง€๋งŒ
10:31
that of course can seem weird to many,
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์•„์ฃผ ์œ ์ตํ–ˆ์Šต๋‹ˆ๋‹ค.
10:34
but that is very educational.
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๋ฌผ๋ก , ๋” ์œ ์ตํ•œ ๊ฒŒ์ž„๋„ ์žˆ์ฃ .
10:36
Of course, there are games that are even more educational.
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๋“œ์›Œํ”„ ํฌํŠธ๋ฆฌ์Šค(Dwarf Fortress)๋Š” ์ด๋Ÿฐ MMO๋“ค์˜
10:39
Dwarf Fortress is like the holy grail
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์„ฑ์ง€๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋Š”๋ฐ์š”.
10:41
of this kind of massive multiplayer online game,
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์•„๋‹ด์Šค(Adams) ๋‘ ํ˜•์ œ๊ฐ€ ๋ ˆ์ดํฌ์•ผ๋น…์— ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
10:44
and in fact the two Adams brothers were in Reykjavรญk,
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๊ทธ ๋‘˜์€ ๋ชจ๋“  ์ด๋ธŒ ์˜จ๋ผ์ธ ํŒฌ๋“ค์˜
10:46
and they were greeted
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๊ธฐ๋ฆฝ ๋ฐ•์ˆ˜ ํ™˜์˜์„ ๋ฐ›์•˜์Šต๋‹ˆ๋‹ค.
10:49
by a standing ovation by all the Eve Online fans.
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๋ณด๊ธฐ์— ๋Œ€๋‹จํ–ˆ์Šต๋‹ˆ๋‹ค. ์•„๋ฆ„๋‹ค์šด ๊ฒŒ์ž„์ด๊ธฐ๋„ ํ•˜๊ณ ์š”.
10:52
It was amazing to see. And it's a beautiful game.
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๊ทธ๋ž˜์„œ ์ ์  ๋ˆˆ์— ๋„๋Š” ๊ฒƒ์€
10:55
So you start seeing here that
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๋ชจ๋งˆ๊ฐ™์€ ๋ฐ•๋ฌผ๊ด€ ์ „์‹œ๋ฌผ์—
10:57
the aesthetics that are so important
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์•„์ฃผ ์ค‘์š”ํ•œ ๋ฏธํ•™์ด
10:59
to a museum collection like MoMA's
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์ด ๊ฒŒ์ž„๋“ค์„ ์„ ํƒํ•จ์œผ๋กœ์จ ์œ ์ง€๋œ๋‹ค๋Š” ์ ์ž…๋‹ˆ๋‹ค.
11:01
are kept alive also by the selection of these games.
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๋ฐธ๋ธŒ์‚ฌ์˜ ํฌํ„ธ์€
11:05
And you know, Valve -- you know, Portal --
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ํŠน์ • ํญ๋ ฅ์„ ๋‚ด์žฌํ•œ
11:07
is an example of a video game in which
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๋น„๋””์˜ค ๊ฒŒ์ž„์˜ ๋ณธ๋ณด๊ธฐ์ž…๋‹ˆ๋‹ค.
11:09
you have a certain type of violence
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์ž์—ฐ์Šค๋Ÿฝ๊ฒŒ ๋ฐฉํ–ฅ์„ ๋ฐ”๊ฟ”์„œ ์ €ํฌ๊ฐ€
11:11
which also leads me to talk about
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๊ฒŒ์ž„๋“ค์„ ์ž…์ˆ˜ํ•  ๋•Œ ๊ณ ๋ฏผํ•ด์•ผ ํ–ˆ๋˜ ๊ฐ€์žฅ ํฐ ๋ฌธ์ œ ์ค‘ ํ•˜๋‚˜์ธ
11:13
one of the biggest issues that we had to discuss
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ํญ๋ ฅ์„ ์–ด๋–ป๊ฒŒ ๋‹ค๋ฃจ๋Š”๊ฐ€์— ๋Œ€ํ•ด์„œ ์–˜๊ธฐํ•˜์ฃ 
11:16
when we acquired the video games, what to do with violence.
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๊ทธ๋ ‡์ฃ ? ๊ฒฐ์ •์„ ๋‚ด๋ ค์•ผ ๋์ฃ .
11:18
Right? We had to make decisions.
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์žฌ๋ฏธ์žˆ๊ฒŒ๋„ ๋ชจ๋งˆ ์˜ˆ์ˆ  ์ „์‹œ๋ฌผ์—๋Š”
11:20
At MoMA, interestingly, there's a lot of violence
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ํญ๋ ฅ ๋ฌ˜์‚ฌ๊ฐ€ ์•„์ฃผ ๋งŽ์Šต๋‹ˆ๋‹ค.
11:24
depicted in the art part of the collection,
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๊ทผ๋ฐ ์ œ๊ฐ€ 19 ๋…„ ์ „์— ๋ชจ๋งˆ์— ์™”์„๋•Œ ์ „ ์ดํƒˆ๋ฆฌ์•ˆ์ด๋‹ˆ๊นŒ
11:27
but when I came to MoMA 19 years ago, and as an Italian,
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"๋ฒ ๋ ˆํƒ€ ํ•œ ์ž๋ฃจ ํ•„์š”ํ•œ๋ฐ์š”." ๋ผ๊ณ  ํ–ˆ์ฃ .
11:30
I said, "You know what, we need a Beretta."
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๋‹ต์€ "์•ˆ ๋ฉ๋‹ˆ๋‹ค. ๋””์ž์ธ ์ „์‹œ๋ฌผ์— ์ด์€ ์•ˆ ๋ฉ๋‹ˆ๋‹ค."
11:31
And I was told, "No. No guns in the design collection."
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"์™œ์š”?" ํ•˜๊ณ  ๋ฌผ์—ˆ์ฃ .
11:35
And I was like, "Why?"
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11:35
Interestingly, I learned that it's considered
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์žฌ๋ฏธ์žˆ๊ฒŒ๋„, ๋””์ž์ธ ๋ถ„์•ผ์™€ ๋””์ž์ธ ์ „์‹œ๋ฌผ์—์„œ๋Š”
๊ฒ‰๋ณด๊ธฐ์™€ ์˜๋ฏธ๊ฐ€ ๊ฐ™๋‹ค๋Š” ๊ฒƒ์„
11:39
that in design and in the design collection,
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๋ฐฐ์› ์Šต๋‹ˆ๋‹ค.
11:41
what you see is what you get.
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๊ทธ๋ž˜์„œ ๋””์ž์ธ ์ „์‹œ๋ฌผ์— ์žˆ๋Š” ์ด์€ ์‚ด์ธ ๋„๊ตฌ์ž…๋‹ˆ๋‹ค.
11:42
So when you see a gun, it's an instrument for killing in the design collection.
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๋งŒ์•ฝ ๊ทธ๊ฒŒ ์˜ˆ์ˆ  ์ „์‹œ๋ฌผ ์‚ฌ์ด์— ์žˆ์œผ๋ฉด
11:46
If it's in the art collection,
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์‚ด์ธ ๋„๊ตฌ์— ๋Œ€ํ•œ ๋น„ํ‰์ด ๋  ์ˆ˜๋„ ์žˆ์ฃ .
11:47
it might be a critique of the killing instrument.
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์ฐธ ํฅ๋ฏธ๋กญ์ฃ .
11:51
So it's very interesting.
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๋””์ž์ธ ๋ถ„์•ผ๋„ ๋น„ํ‰์ ์ธ ๋ฉด์„ ์ ์  ๋ ๊ฒŒ ๋˜์—ˆ๋Š”๋ฐ์š”.
11:53
But we are acquiring our critical dimension also in design,
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์–ธ์  ๊ฐ€๋Š” ์ €ํฌ๋„ ์ด์„ ์ž…์ˆ˜ํ•  ์ˆ˜๋„ ์žˆ์„ ๊ฒ๋‹ˆ๋‹ค.
11:56
so maybe one day we'll be able to acquire also the guns.
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์ด ๊ตฌ์ฒด์ ์ธ ๊ฒฝ์šฐ์—์„œ
11:58
But here, in this particular case, we decided,
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์šฐ๋ฆฌ๋Š” ์บ์ดํŠธ์™€ ํด๊ณผ ํ•จ๊ป˜
12:01
you know, with Kate and Paul,
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๋ฌด์˜๋ฏธํ•œ ํญ๋ ฅ์€ ์ œ์™ธํ•˜๊ธฐ๋กœ ๊ฒฐ์ •ํ–ˆ์Šต๋‹ˆ๋‹ค.
12:03
that we would have no gratuitous violence.
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๊ทธ๋ž˜์„œ ํฌํ„ธ์„ ์ž…์ˆ˜ํ•œ ์ด์œ ๋Š” ์ƒˆ๋กœ์šด ๊ณต๊ฐ„ ์ƒ์„ฑ์„ ์œ„ํ•ด
12:05
So we have Portal because you shoot walls
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๋ฒฝ์„ ์˜๋Š” ๊ฒƒ์ด๊ณ 
12:08
in order to create new spaces.
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์ŠคํŠธ๋ฆฌํŠธ ํŒŒ์ดํ„ฐ 2๋ฅผ ์ž…์ˆ˜ํ•œ ์ด์œ ๋Š” ๋ฌด์ˆ ์ด ์œ ์ตํ•˜๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
12:09
We have Street Fighter II, because martial arts are good.
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(์›ƒ์Œ)
12:12
(Laughter)
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๊ทผ๋ฐ GTA๋ฅผ ์ž…์ˆ˜ํ•˜์ง€ ์•Š์€ ์ด์œ ๋Š”
12:14
But we don't have GTA because,
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์ œ ์ƒ๊ฐ์ผ์ง€๋„ ๋ชจ๋ฅด์ง€๋งŒ
12:18
maybe it's my own reflection,
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์ฐจ ์‚ฌ๊ณ  ๋‚ด๊ณ  ์ฐฝ๋…€์™€ ํฌ์ฃผ๋ฅผ ์ด์œผ๋กœ ์˜๋Š” ๊ฒƒ ๋ง๊ณ ๋Š”
12:19
I've never been able to do anything but crashing cars
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ํ•  ์ˆ˜ ์žˆ๋Š”๊ฒŒ ์—†์–ด์„œ์ด๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
12:22
and shooting prostitutes and pimps.
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๊ทธ๋ฆฌ ๊ฑด์„ค์ ์ด์ง€ ์•Š์•˜์ฃ . (์›ƒ์Œ)
12:24
So it was not very constructive. (Laughter)
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์ œ๊ฐ€ ์ง€๊ธˆ์€ ๋†๋‹ดํ•˜์ง€๋งŒ, ์ด๊ฒƒ์— ๋Œ€ํ•ด
12:27
So, I'm making fun of it, but we discussed this
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๋ช‡ ์ผ์„ ์˜๋…ผํ–ˆ์Šต๋‹ˆ๋‹ค. ์ƒ์ƒ๋„ ๋ชป ํ•˜์‹ค ๊ฑฐ์˜ˆ์š”.
12:31
for so many days. You have no idea.
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์•„์ง๊นŒ์ง€๋„ ์ €๋Š” ์• ๋งค๋ชจํ˜ธํ•ฉ๋‹ˆ๋‹ค.
12:34
And to this day, I am ambivalent,
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ํ•˜์ง€๋งŒ ๊ทธ๋Ÿฐ ๊ฒŒ์ž„ ๋Œ€์‹  ํ”Œ๋กœ์šฐ(Flow)๊ฐ™์€ ๊ฒŒ์ž„์„ ๋ณด๋ฉด ์˜์‹ฌ์˜ ์—ฌ์ง€๊ฐ€ ์—†์ฃ .
12:37
but when you have instead games like Flow, there's no doubt.
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ํ‰์˜จ๊ณผ ์ ˆ๋ฌ˜ํ•จ์— ๋Œ€ํ•œ ๊ฒƒ์ด๊ฑฐ๋“ ์š”.
12:40
It's like, it's about serenity and it's about sublime.
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๋ฐ”๋‹ค ์ƒ๋ช…์ฒด๋กœ ์กด์žฌํ•˜๋Š” ์˜๋ฏธ๋ฅผ ๊ฒฝํ—˜ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
12:43
It's about experiencing what it means to be a sea creature.
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๊ณ ์ „์ด ๋œ ์‚ฌ์ด๋“œ ์Šคํฌ๋กค๋Ÿฌ ๊ฒŒ์ž„์ด ๋ช‡ ๊ฐœ ์žˆ์ฃ .
12:48
Then we have a few also side-scrollers -- classical ones.
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๊ทธ๊ฒƒ์€ ๊ฝค๋‚˜ ํฐ ์ „์‹œ๋ฌผ์ž…๋‹ˆ๋‹ค.
12:52
So it's quite a hefty collection.
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ํ˜„์žฌ๋กœ์„œ๋Š” 14 ๊ฐœ๊ฐ€ ์žˆ๋Š”๋ฐ์š”.
12:53
And right now, we started with the first 14,
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์ค€๋น„ ์ค‘์ธ๊ฒŒ ์—ฌ๋Ÿฌ ๊ฐœ ์žˆ์Šต๋‹ˆ๋‹ค.
12:56
but we have several that are coming up,
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์ €ํฌ๊ฐ€ ์ด ๊ฒŒ์ž„๋“ค์„ ์•„์ง ์ž…์ˆ˜ํ•˜์ง€ ์•Š์€ ์ด์œ ๋Š”
12:57
and the reason why we haven't acquired them yet
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์ €ํฌ๊ฐ€ ๊ทธ๋ƒฅ ๊ฒŒ์ž„๋งŒ ์ž…์ˆ˜ํ•˜๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
12:59
is because you don't acquire just the game.
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ํšŒ์‚ฌ์™€์˜ ๊ด€๊ณ„๋„ ์ž…์ˆ˜ํ•˜๋Š” ๊ฒƒ์ด์ฃ .
13:02
You acquire the relationship with the company.
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์ €ํฌ๊ฐ€ ์›ํ•˜๋Š” ๊ฒƒ, ์ €ํฌ๊ฐ€ ๊ฐˆ๋งํ•˜๋Š” ๊ฒƒ์€ ๊ฒŒ์ž„ ์ฝ”๋“œ์ž…๋‹ˆ๋‹ค.
13:04
What we want, what we aspire to, is the code.
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๋ฌผ๋ก  ์–ป๊ธฐ๊ฐ€ ์•„์ฃผ ํž˜๋“ค์ฃ .
13:07
It's very hard to get, of course.
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ํ•˜์ง€๋งŒ ์ฝ”๋“œ๊ฐ€ ์žˆ์œผ๋ฉด ๋น„๋””์˜ค ๊ฒŒ์ž„๋“ค์„
13:08
But that's what would enable us to preserve
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์•„์ฃผ ์˜ค๋žซ๋™์•ˆ ๋ณด์กดํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
13:10
the video games for a really long time,
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๊ทธ๊ฒŒ ๋ฐ•๋ฌผ๊ด€์ด ํ•˜๋Š” ์ผ์ด์ž–์•„์š”.
13:12
and that's what museums do.
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ํ›„์„ธ๋ฅผ ์œ„ํ•ด์„œ๋„ ์œ ๋ฌผ์„ ๋ณด์กดํ•˜์ฃ .
13:14
They also preserve artifacts for posterity.
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๋งŒ์•ฝ ์ฝ”๋“œ๋ฅผ ๊ตฌํ•  ์ˆ˜ ์—†์œผ๋ฉด
13:16
In absence of the code, because, you know,
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- ๋น„๋””์˜ค ๊ฒŒ์ž„ ํšŒ์‚ฌ๊ฐ€ ์–ธ์ œ๋‚˜ ํ˜‘์กฐ์ ์ด์ง€๋Š” ์•Š์ฃ  -
13:19
video game companies are not very forthcoming in some cases,
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ํšŒ์‚ฌ์™€์˜ ๊ด€๊ณ„๋ฅผ ์ž…์ˆ˜ํ•˜์ฃ .
13:23
in absence of that, we acquire the relationship with the company.
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๊ทธ๋“ค๊ณผ ์˜์›ํžˆ ํ•จ๊ป˜ ์žˆ์„ ๊ฒ๋‹ˆ๋‹ค.
13:26
We're going to stay with them forever.
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์šฐ๋ฆฌ๋ฅผ ์ ˆ๋Œ€ ๋ชป ๋ฒ„๋ ค์š”.
13:27
They're not going to get rid of us.
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๊ทธ๋ฆฌ๊ณ  ์–ด๋Š๋‚ , ์ฝ”๋“œ๋ฅผ ์–ป์„ ๊ฒ๋‹ˆ๋‹ค. (์›ƒ์Œ)
13:29
And one day, we'll get that code. (Laughter)
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์ƒํ˜ธ ์ž‘์šฉ ๋””์ž์ธ์˜ ๊ธฐ์ค€์— ๋Œ€ํ•ด
13:32
But I want to explain to you the criteria that we chose
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์„ค๋ช…ํ•ด ๋“œ๋ฆฌ๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค. ๋ฏธํ•™์ด ์•„์ฃผ ์ค‘์š”ํ•˜์ฃ .
13:35
for interaction design. Aesthetics are really important.
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์ด๊ฑด "์ฝ”์–ด ์›Œ(Core War)"์ธ๋ฐ์š”.
13:38
And I'm showing you Core War here,
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ํ”„๋กœ์„ธ์„œ์˜ ํ•œ๊ณ„๋ฅผ ๋ฏธ์ ์œผ๋กœ ์ด์šฉํ•œ
13:40
which is an early game that takes advantage aesthetically
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์ดˆ์ฐฝ๊ธฐ ๊ฒŒ์ž„์ž…๋‹ˆ๋‹ค.
13:44
of the limitations of the processor.
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์—ฌ๊ธฐ ๋ณด์ด๋Š”
13:45
So the kind of interferences that you see here
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์•„๋ฆ„๋‹ค์šด ์žฅ๋ฒฝ๊ฐ™์€ ์žฅ์• ๋ฌผ์€
13:49
that look like beautiful barriers in the game
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์‚ฌ์‹ค ํ”„๋กœ์„ธ์„œ๊ฐ€ ๊ฐ€์ง„ ํ•œ๊ณ„์˜ ๊ฒฐ๊ณผ์ž…๋‹ˆ๋‹ค.
13:51
are actually a consequence of the processor's limitedness,
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์•„์ฃผ ์ข‹์ฃ . ๋ฏธํ•™์€ ์–ธ์ œ๋‚˜ ์ค‘์š”ํ•ฉ๋‹ˆ๋‹ค.
13:56
which is fantastic. So aesthetics is always important.
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๊ณต๊ฐ„๋„ ์ค‘์š”ํ•ฉ๋‹ˆ๋‹ค. ๊ฒŒ์ž„๋“ค์˜ ๊ณต๊ฐ„์ ์ธ ๋ฉด ๋ง์ž…๋‹ˆ๋‹ค.
13:59
And so is space, the spatial aspect of games.
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์ œ ์ƒ๊ฐ์— ์ตœ๊ณ ์˜ ๋น„๋””์˜ค ๊ฒŒ์ž„๋“ค์€
14:03
You know, I feel that the best video games
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์•„์ฃผ ์†œ์”จ์ข‹์€ ๊ฑด์ถ•๊ฐ€๋“ค์ด ์ž‘์—…ํ•œ ๊ฒƒ๋“ค์ž…๋‹ˆ๋‹ค.
14:05
are the ones that have really savvy architects
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๊ทธ๋ฆฌ๊ณ  ์ •์‹์œผ๋กœ ํ›ˆ๋ จ๋ฐ›์€
14:08
that are behind them, and if they're not architects,
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๊ฑด์ถ•๊ฐ€๊ฐ€ ์•„๋‹ˆ๋ฉด ํ‘œ๊ฐ€ ๋‚ฉ๋‹ˆ๋‹ค.
14:11
bona fide trained in architecture, they have that feeling.
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๋น„๋””์˜ค ๊ฒŒ์ž„์˜ ๊ณต๊ฐ„์  ์ง„ํ™”๋Š” ์•„์ฃผ ์ค‘์š”ํ•ฉ๋‹ˆ๋‹ค.
14:14
But the spatial evolution in video games is extremely important.
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์‹œ๊ฐ„. ๋น„๋””์˜ค ๊ฒŒ์ž„ ๋“ฑ์˜ ์ƒํ˜ธ ์ž‘์šฉ ๋””์ž์ธ์˜ ํ˜•ํƒœ์—์„œ
14:18
Time. The way we experience time in video games,
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์šฐ๋ฆฌ๊ฐ€ ์‹œ๊ฐ„์„ ๊ฒฝํ—˜ํ•˜๋Š” ๋ฐฉ์‹์€
14:21
as in other forms of interaction design,
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์ •๋ง ์‹ ๊ธฐํ•ฉ๋‹ˆ๋‹ค.
14:23
is really quite amazing.
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์‹ค์‹œ๊ฐ„์ผ์ˆ˜๋„ ์žˆ๊ณ  "๋™๋ฌผ์˜ ์ˆฒ(Animal Crossing)" ๊ฐ™์ด
14:25
It can be real time or it can be the time within the game,
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๊ณ„์ ˆ๋“ค์ด ์ž๊ธฐ ๊ณ ์œ ์˜ ์†๋„์— ๋งž์ถฐ ๋ณ€ํ•˜๋Š”
14:28
as is in Animal Crossing, where seasons
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๊ฒŒ์ž„ ๋‚ด์˜ ์‹œ๊ฐ„์ผ ์ˆ˜๋„ ์žˆ์–ด์š”.
14:30
follow each other at their own pace.
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์‹œ๊ฐ„, ๊ณต๊ฐ„, ๋ฏธํ•™,
14:33
So time, space, aesthetics,
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๊ทธ๋ฆฌ๊ณ  ๊ฐ€์žฅ ์ค‘์š”ํ•œ ๊ฑด ํ–‰๋™์ด์ฃ .
14:36
and then, most important, behavior.
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์ƒํ˜ธ ์ž‘์šฉ ๋””์ž์ธ์˜ ์ง„์งœ ๋ณธ์งˆ์˜ ๋ฌธ์ œ๋Š” ํ–‰๋™์ž…๋‹ˆ๋‹ค.
14:38
The real core issue of interaction design is behavior.
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์ƒํ˜ธ ์ž‘์šฉ์„ ๋‹ค๋ฃจ๋Š” ๋””์ž์ด๋„ˆ๋“ค์€ ์šฐ๋ฆฌ ์‚ถ ์ „์ฒด์—
14:42
Designers that deal with interaction design behaviors
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์˜ํ–ฅ์„ ๋ฏธ์น˜๋Š” ํ–‰๋™์„ ๋””์ž์ธํ•ฉ๋‹ˆ๋‹ค.
14:46
that go to influence the rest of our lives.
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์˜ํ–ฅ์ด ์šฐ๋ฆฌ์™€ ์Šคํฌ๋ฆฐ์˜ ๊ต๋ฅ˜์—์„œ ๋๋‚˜๋Š”๊ฒŒ ์•„๋‹ˆ์ฃ .
14:48
They're not just limited to our interaction with the screen.
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์ง€๊ธˆ ๋ณด์—ฌ๋“œ๋ฆฌ๋Š” ๊ฒƒ์€ "๋งˆ๋ธ” ๋งค๋“œ๋‹ˆ์Šค(Marble Madness)"์ธ๋ฐ์š”
14:51
In this case, I'm showing you Marble Madness,
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์•„์ฃผ ์•„๋ฆ„๋‹ค์šด ๊ฒŒ์ž„์ž…๋‹ˆ๋‹ค.
14:53
which is a beautiful game
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์กฐ์ข…๊ธฐ๋Š” ์‚ฌ์šฉ์ž์™€ ๋™์‹œ์— ์ง„๋™ํ•˜๋Š” ํฐ ๊ตฌ์ž…๋‹ˆ๋‹ค.
14:54
in which the controller is a big sphere that vibrates with you,
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์ด ์ง€ํ˜•์—์„œ ์›€์ง์ด๋Š” ๊ตฌ๊ฐ€ ์žˆ๊ณ 
14:57
so you have a sphere that's moving in this landscape,
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์กฐ์ข…๊ธฐ์ธ ๊ตฌ๊ฐ€ ์›€์ง์ž„์˜ ๋Š๋‚Œ์„ ์ „ํ•ด ์ค๋‹ˆ๋‹ค.
15:00
and the sphere, the controller itself, gives you a sense of the movement.
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์–ด๋–ป๊ฒŒ ๋ณด๋ฉด, ๋น„๋””์˜ค ๊ฒŒ์ž„๋“ค์€
15:04
In a way, you can see how video games
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์ƒํ˜ธ ์ž‘์šฉ ๋””์ž์ธ์˜ ๊ฐ€์žฅ ์ˆœ์ˆ˜ํ•œ ํ•œ ๋‹จ๋ฉด์ด๊ณ 
15:06
are the purest aspect of interaction design
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์ƒํ˜ธ ์ž‘์šฉ์ด ๋ฌด์—‡์ธ์ง€ ์„ค๋ช…ํ•˜๋Š”๋ฐ ์•„์ฃผ ์œ ์šฉํ•ฉ๋‹ˆ๋‹ค.
15:09
and are very useful to explain what interaction is.
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๋น„๋””์˜ค ๊ฒŒ์ž„ ๊ด€๋ จ ์šฉํ’ˆ์„
15:14
We don't want to show the video games
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๊ฐ™์ด ๋ณด์—ฌ๋“œ๋ฆฌ๊ธฐ๋Š” ์‹ซ์Šต๋‹ˆ๋‹ค. ์˜ค๋ฝ์‹ค ํ–ฅ์ˆ˜๋Š” ๊ฑฐ๋ถ€ํ•ฉ๋‹ˆ๋‹ค.
15:16
with the paraphernalia. No arcade nostalgia.
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๋ฌด์—‡๋ณด๋‹ค๋„ ์ฝ”๋“œ๋ฅผ ๋ณด์—ฌ๋“œ๋ฆฌ๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
15:19
If anything, we want to show the code,
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์—ฌ๊ธฐ์— ๋ณด์‹œ๋ฉด ๋ฒค ํ›„๋ผ์ด(Ben Fry) ์”จ์˜
15:21
and here you see Ben Fry's distellamap of Pac-Man,
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ํŒฉ๋งจ ์ฝ”๋“œ ํ๋ฆ„ ์ง€๋„(Distellamap) ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
15:24
of the Pac-Man code.
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15:25
So the way we acquired the games is very interesting
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์ €ํฌ๊ฐ€ ๊ฒŒ์ž„์„ ์ž…์ˆ˜ํ•œ ๋ฐฉ์‹์ด ์•„์ฃผ ํฅ๋ฏธ๋กœ์šฐ๋ฉด์„œ
15:29
and very unorthodox. You see them here
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๋น„์ •ํ†ต์ ์ž…๋‹ˆ๋‹ค. ์—ฌ๊ธฐ ๋ณด์‹œ๋ฉด
15:32
displayed alongside other examples of design,
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๊ฒŒ์ž„๋“ค์ด ๊ฐ€๊ตฌ ๋“ฑ์˜ ๋‹ค๋ฅธ ๋””์ž์ธ ์˜ˆ์™€
15:36
furniture and other parts,
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ํ•จ๊ป˜ ์ „์‹œ๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค.
15:37
but there's no paraphernalia, no nostalagia,
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ํ•˜์ง€๋งŒ ๊ด€๋ จ ์šฉํ’ˆ๋„ ์—†๊ณ  ํ–ฅ์ˆ˜๋„ ์—†์Šต๋‹ˆ๋‹ค.
15:40
only the screen and a little shelf with the controllers.
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ํ™”๋ฉด๊ณผ ์กฐ์ข…๊ธฐ๊ฐ€ ์žˆ๋Š” ์กฐ๊ทธ๋งŒ ์„ ๋ฐ˜ ๋ฐ–์— ์—†์Šต๋‹ˆ๋‹ค.
15:43
The controllers are, of course, part of the experience,
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์กฐ์ข…๊ธฐ๋Š” ๋ฌผ๋ก  ๊ฒฝํ—˜์˜ ์ผ๋ถ€์ด๊ธฐ ๋•Œ๋ฌธ์—
15:45
so you cannot do away with it.
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์ œ๊ฑฐํ•  ์ˆ˜ ์—†์Šต๋‹ˆ๋‹ค.
15:48
But interestingly, this choice was not condemned
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๊ทธ๋Ÿฐ๋ฐ ํฅ๋ฏธ๋กญ๊ฒŒ๋„, ๊ฒŒ์ด๋จธ๋“ค์ด ๋„ˆ๋ฌด ๊ฒฉํ•˜๊ฒŒ
์ด ๊ฒฐ์ •์„ ๋น„๋‚œํ•˜์ง€๋Š” ์•Š์•˜์Šต๋‹ˆ๋‹ค.
15:52
too vehemently by gamers.
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15:54
I was afraid that they would kill us,
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์ €ํฌ๋ฅผ ์ฃฝ์ผ๊นŒ๋ด ๊ฒ์ด ๋‚ฌ๋Š”๋ฐ์š”.
15:55
and instead they understood, especially
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๋Œ€์‹  ๊ทธ๋“ค์€ ์ €ํฌ๋ฅผ ์ดํ•ดํ–ˆ์Šต๋‹ˆ๋‹ค.
15:57
when I told them that I was trying to apply the same stratagem
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์ œ๊ฐ€ ํ•„๋ฆฝ ์กด์Šจ(Phillip Johnson)์ด 1934๋…„์— ์ ์šฉํ•œ ์ „๋žต์„ ์ ์šฉํ•œ๋‹ค๊ณ 
16:00
that Philip Johnson applied in 1934
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์„ค๋ช…ํ•˜๋‹ˆ๊นŒ ํŠนํžˆ ์ž˜ ์ดํ•ดํ–ˆ์Šต๋‹ˆ๋‹ค.
16:03
when he wanted to make people understand
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ํ•„๋ฆฝ์€ ์‚ฌ๋žŒ๋“ค์ด ๋””์ž์ธ์˜ ์ค‘์š”์„ฑ์„
16:05
the importance of design, and he took propeller blades
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๊นจ๋‹ซ๊ธฐ๋ฅผ ์›ํ–ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ ๋ชจ๋งˆ ๊ฐค๋Ÿฌ๋ฆฌ์—
16:07
and pieces of machinery and
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ํ”„๋กœํŽ ๋Ÿฌ์™€ ๊ธฐ๊ณ„ ๋ถ€ํ’ˆ๋“ค์„ ๊ฐ€์ ธ์™€์„œ
16:10
in the MoMA galleries he put them on white pedestals
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ํ•˜์–€ ๋ฒฝ ์•ž์— ์žˆ๋Š”
ํ•˜์–€ ๋ฐ›์นจ๋Œ€์— ์˜ฌ๋ ค ๋†“์•˜์Šต๋‹ˆ๋‹ค. ๊ผญ ๋ธŒ๋ž‘์ฟ ์‹œ์˜ ์กฐ๊ฐ์ฒ˜๋Ÿผ์š”.
16:13
against white walls, as if they were Brancusi sculptures.
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16:16
He created this strange distance, this shock,
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๊ทธ๋Š” ์ด ์ด์ƒํ•œ ๊ฑฐ๋ฆฌ๊ฐ๊ณผ ์ถฉ๊ฒฉ์„ ํ†ตํ•ด์„œ
๋””์ž์ธ๋œ ๋ถ€ํ’ˆ๋“ค์ด ํ˜•์‹์ ์œผ๋กœ ์–ผ๋งˆ๋‚˜ ์•„๋ฆ„๋‹ค์šด์ง€
16:20
that made people realize how gorgeous formally,
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16:23
and also important functionally, design pieces were.
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๋˜ ๊ธฐ๋Šฅ์ ์œผ๋กœ ์–ผ๋งˆ๋‚˜ ์ค‘์š”ํ•œ์ง€ ๊นจ๋‹ซ๊ฒŒ ํ•ด์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค.
16:27
I would like to do the same with video games.
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์ €๋„ ๋น„๋””์˜ค ๊ฒŒ์ž„์„ ์ด์šฉํ•ด ๊ฐ™์€ ์ผ์„ ํ•˜๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
16:29
By getting rid of the sticky carpets and the cigarette butts
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๋ˆ์ ํ•œ ์นดํŽซ, ๋‹ด๋ฐฐ ๊ฝ์ดˆ,
16:32
and everything else that we might remember from our childhood,
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๊ทธ๋ฆฌ๊ณ  ๊ทธ ์™ธ์˜ ์–ด๋ฆฐ ์‹œ์ ˆ์˜ ๊ธฐ์–ต์„ ๋ชจ๋‘ ์ œ๊ฑฐํ•จ์œผ๋กœ์„œ
16:35
I want people to understand
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๊ฒŒ์ž„๋“ค์ด ๋””์ž์ธ์˜ ์ค‘์š”ํ•œ ํ˜•ํƒœ๋ผ๋Š” ์ ์„
16:40
that those are important forms of design.
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์‚ฌ๋žŒ๋“ค์ด ๊นจ๋‹ซ๊ธฐ๋ฅผ ์›ํ•ฉ๋‹ˆ๋‹ค.
16:42
And in a way, the video games, the fonts and everything else
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์–ด๋–ป๊ฒŒ ๋ณด๋ฉด, ๋น„๋””์˜ค ๊ฒŒ์ž„, ํฐํŠธ, ๊ทธ ์™ธ ๋ชจ๋“  ๊ฒƒ๋“ค์€
16:45
lead us to make people understand
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๋””์ž์ธ์˜ ๋” ํฐ ์˜๋ฏธ๋ฅผ
16:47
a wider meaning for design.
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๊นจ๋‹ซ๊ฒŒ ํ•ด์ค๋‹ˆ๋‹ค.
16:50
One of my dream acquisitions,
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์ œ ๊ฟˆ์˜ ์ž…์ˆ˜๋ฌผ์€
16:52
which has been on hold for a few years
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๋ช‡ ๋…„ ๋™์•ˆ ๋ณด๋ฅ˜๋˜์—ˆ๋‹ค๊ฐ€
16:54
but now will come back on the front burner,
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์ด์ œ ๋‹ค์‹œ ์ž‘์—…์— ๋“ค์–ด๊ฐˆ ๊ฑด๋ฐ์š”.
16:57
is a 747.
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๋ฐ”๋กœ 747์ž…๋‹ˆ๋‹ค.
16:58
I would like to acquire it, but without owning it.
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์ž…์ˆ˜๋Š” ํ•˜๋˜ ์†Œ์œ ๋Š” ํ•˜๊ธฐ ์‹ซ์Šต๋‹ˆ๋‹ค.
17:01
I don't want it to be at MoMA and possessed by MoMA.
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๋ชจ๋งˆ์— ์žˆ์œผ๋ฉด์„œ ๋ชจ๋งˆ๊ฐ€ ์†Œ์œ ํ•˜๋Š” ๊ฒƒ์€ ์‹ซ์Šต๋‹ˆ๋‹ค.
17:04
I want it to keep flying.
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๊ณ„์† ๋น„ํ–‰ํ•˜๊ธฐ๋ฅผ ์›ํ•ฉ๋‹ˆ๋‹ค.
17:06
So it's an acquisition where MoMA makes an arrangement
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ๋ชจ๋งˆ์™€ ๋น„ํ–‰์‚ฌ์™€์˜ ์ฃผ์„ ์œผ๋กœ
17:09
with an airline and keeps the Boeing 747 flying.
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๋ณด์ž‰ 747 ์„ ๊ณ„์† ๋น„ํ–‰์‹œํ‚ค๋Š” ์ž…์ˆ˜๋ฌผ์ž…๋‹ˆ๋‹ค.
17:14
And the same with the "@" sign that we acquired a few years ago.
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์ €ํฌ๊ฐ€ ๋ช‡ ๋…„ ์ „์— ์ž…์ˆ˜ํ•œ "@" ๋ถ€ํ˜ธ๋„ ๊ฐ™์€ ์˜ˆ์ž…๋‹ˆ๋‹ค.
17:17
It was the first example of an acquisition of something
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๊ณต๊ณต ์†Œ์œ ๋ฌผ์„ ์ž…์ˆ˜ํ•œ
17:19
that is in the public domain.
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์ฒซ๋ฒˆ์งธ ์˜ˆ์ž…๋‹ˆ๋‹ค.
17:21
And what I say to people, it's almost as if
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์ œ๊ฐ€ ์‚ฌ๋žŒ๋“คํ•œํ…Œ ํ•˜๋Š” ๋ง์ด ์žˆ์Šต๋‹ˆ๋‹ค.
17:23
a butterfly were flying by
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๊ผญ ๋‚˜๋น„๊ฐ€ ๋‚ ์•„๊ฐ€๊ณ  ์žˆ๋Š”๋ฐ
17:25
and we captured the shadow on the wall,
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์ €ํฌ๊ฐ€ ๋ฒฝ์— ์žˆ๋Š” ๊ทธ๋ฆผ์ž๋ฅผ ์žก์•„์„œ
17:28
and just we're showing the shadow.
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๊ทธ๋ƒฅ ๊ทธ๋ฆผ์ž๋ฅผ ๋ณด์—ฌ์ฃผ๋Š” ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
17:29
So in a way, we're showing a manifestation
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์–ด๋–ป๊ฒŒ ๋ณด๋ฉด, ์ •๋ง ์ค‘์š”ํ•˜๋ฉด์„œ
17:31
of something that is truly important
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์šฐ๋ฆฌ์˜ ์ •์ฒด์„ฑ์˜ ์ผ๋ถ€์ง€๋งŒ,
17:34
and that is part of our identity but that nobody can have.
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์•„๋ฌด๋„ ๊ฐ€์งˆ ์ˆ˜ ์—†๋Š” ๊ฒƒ์„ ๋ณด์—ฌ์ฃผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
17:37
And it's too long to explain the acquisition,
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์ž…์ˆ˜ ๊ณผ์ •์„ ์„ค๋ช…ํ•˜๊ธฐ์—๋Š” ๋„ˆ๋ฌด ๊ธธ์ง€๋งŒ
17:39
but if you want to go on the MoMA blog,
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๋งŒ์•ฝ ์›ํ•˜์‹œ๋ฉด ๋ชจ๋งˆ ๋ธ”๋กœ๊ทธ์— ๊ฐ€์‹œ๋ฉด
17:42
there's a long post where I explain why
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์ œ๊ฐ€ ์™œ ์ด๊ฒŒ ๋””์ž์ธ์˜ ํ›Œ๋ฅญํ•œ ์˜ˆ์ธ์ง€๋ฅผ
17:44
it's such a great example of design.
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์„ค๋ช…ํ•˜๋Š” ๊ธด ๊ธ€์ด ์žˆ์Šต๋‹ˆ๋‹ค.
17:46
Along the way, I've had to burn a few chairs. You know?
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์ด ๊ธธ์„ ๊ฑธ์œผ๋ฉด์„œ ์˜์ž ๋ช‡ ๊ฐœ์™€ ์ด๋ณ„ํ•ด์•ผ ๋์Šต๋‹ˆ๋‹ค.
17:50
I've had to do away with a few concepts of design past.
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๊ณผ๊ฑฐ์˜ ๋””์ž์ธ ์ปจ์…‰ ๋ช‡ ๊ฐœ๋ฅผ ๋ฒ„๋ ค์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
17:54
But I see that people are coming along,
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๊ทผ๋ฐ ์‚ฌ๋žŒ๋“ค์ด ๊ฐ™์ด ๋”ฐ๋ผ์˜ค๋Š”๊ฒŒ ๋ณด์ž…๋‹ˆ๋‹ค.
17:57
that the audiences, paradoxically,
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๊ด€์ค‘๋“ค์ด ์—ญ์„ค์ ์œผ๋กœ
17:59
are much more responsive and much more understanding
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์ œ ๋™๋ฃŒ ๋ช‡ ๋ช…๋ณด๋‹ค ์ด ๋””์ž์ธ์˜ ํ™•์žฅ์— ๋Œ€ํ•ด
18:01
of this expansion of design than some of my colleagues are.
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ํ›จ์”ฌ ๋” ๋ฐ˜์‘์ด ์ข‹๊ณ  ์ดํ•ด์‹ฌ์ด ๊นŠ์Šต๋‹ˆ๋‹ค.
18:05
Design is truly everywhere,
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์ •๋ง ๋””์ž์ธ์€ ์–ด๋””์—๋‚˜ ๋‹ค ์žˆ์ฃ .
18:07
and design is as important as anything,
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๊ทธ๋ฆฌ๊ณ  ๋””์ž์ธ์€ ๋‹ค๋ฅธ ๋ถ„์•ผ๋งŒํผ ์ค‘์š”ํ•ฉ๋‹ˆ๋‹ค.
18:10
and I'm so glad that, because of its diversity
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์ €๋Š” ๋””์ž์ธ์˜ ๋‹ค์–‘์„ฑ๊ณผ
18:12
and because of its centrality to our lives,
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์šฐ๋ฆฌ ์‚ถ์— ์ค‘์‹ฌ์ด ๋œ๋‹ค๋Š” ์  ๋•Œ๋ฌธ์—
18:15
many more people are coming to it
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๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ด ๋””์ž์ธ์„
18:16
as a profession, as a passion,
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์ง์—…์œผ๋กœ์„œ, ์—ด์ •์˜ ๋Œ€์ƒ์œผ๋กœ์„œ,
18:19
and as, very simply, part of their own culture.
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๋˜ ๋‹จ์ˆœํžˆ ๋ฌธํ™”์˜ ์ผ๋ถ€๋กœ์„œ ์ ‘ํ•˜๋Š”๊ฒŒ ๋ฌด์ฒ™ ๊ธฐ์ฉ๋‹ˆ๋‹ค.
18:21
Thank you very much.
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์ •๋ง ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
18:23
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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