Paola Antonelli: Why I brought Pac-Man to MoMA

Translator: Joseph Geni Reviewer: Morton Bast

Prevodilac: Branka Malenica Lektor: Ivana Krivokuća

I'm almost like a crazy evangelical.

Ja sam poput ludog evanđeliste.

I've always known that the age of design is upon us,

Oduvek sam znala da je vreme dizajna pred nama,

almost like a rapture.

skoro kao povratak Hrista.

If the day is sunny, I think,

Ako je dan sunčan, pomislim:

"Oh, the gods have had a good design day."

"Oh, bogovi su imali dobar dizajnerski dan".

Or, I go to a show and I see a beautiful piece by an artist,

Ili, ako odem na izložbu i vidim prelepo delo jednog umetnika,

particularly beautiful, I say

i to izuzetno lepo, reći ću

he's so good because he clearly looked to design

da je dobar jer je očigledno izučavao dizajn

to understand what he needed to do.

kako bi razumeo šta treba da radi.

So I really do believe that design

Stoga zaista verujem da je dizajn

is the highest form of creative expression.

najviša forma kreativnog izraza.

That's why I'm talking to you today about the age of design,

Zato vam danas govorim o dobu dizajna,

and the age of design is the age in which design

a doba dizajna je period u kojem je dizajn

is still cute furniture, is still posters,

i dalje slatki nameštaj, posteri,

i dalje su brzi automobili, sve ono što je danas u Muzeju modernih umetnosti.

is still fast cars, what you see at MoMA today.

But in truth, what I really would like to explain

No, istinu govoreći, ono što volela bih da objasnim

to the public and to the audiences of MoMA is that

publici i posetiocima Muzeja modernih umetnosti

the most interesting chairs are the ones

je da su najinteresantnije stolice

that are actually made by a robot,

one koje je zapravo napravio robot.

like this beautiful chair by Dirk Vander Kooij,

Poput ove predivne stolice Dirka Vander Koija,

where a robot deposits a toothpaste-like slur

nastale tako što je robot naneo smesu poput paste za zube

of recycled refrigerator parts,

od recikliranih delova za frižider,

as if he were a big candy, and makes a chair out of it.

kao da je to jedna velika bombona, i napravio stolicu od toga.

Or good design is digital fonts that we use all the time

Dobar dizajn predstavljaju i digitalni fontovi koje stalno koristimo

and that become part of our identity.

i koji su postali deo našeg identiteta.

I want people to understand

Želim da ljudi razumeju

that design is so much more than cute chairs,

da je dizajn više od slatkih stolica.

that it is first and foremost everything that is around us

Da je to, pre svega,

sve što nas okružuje u životu.

in our life.

And it's interesting how so much of what we're talking about

I interesantno je koliko ćemo večeras pričati

tonight is not simply design but interaction design.

ne samo o dizajnu, već i o interaktivnom dizajnu.

And in fact, interaction design is what I've been trying

Zapravo, interaktivni dizajn je nešto što pokušavam da uvedem

to insert in the collection of the Museum of Modern Art

u kolekciju Muzeja moderne umetnosti

for a few years, starting not very timidly

već nekoliko godina, i to ne previše stidljivo,

but just pointedly with works, for instance,

već vrlo direktno, pomoću radova,

na primer, Martina Vatenberga,

by Martin Wattenberg -- the way a machine

čija mašina igra šah sama sa sobom, kao što vidite ovde,

plays chess with itself, that you see here,

or Lisa Strausfeld and her partners, the Sugar interface

ili radovima Lise Strausfeld i njenih partnera,

"Šećerni interfejs" za "Laptop po detetu",

for One Laptop Per Child,

Toshio Iwai's Tenori-On musical instruments,

muzičkim instrumentima "Tenori-On" Tošija Ivaija,

and Philip Worthington's Shadow Monsters,

i "Monstrumima iz senke" Filipa Vortingtona

and John Maeda's Reactive Books,

i "Reaktivnim knjigama" Džona Mede,

and also Jonathan Harris and Sep Kamvar's I Want You To Want Me.

kao i radom "Želim da me želiš" Džonatana Harisa i Sepa Kamvara.

These were some of the first acquisitions that really

To su bile neke od prvih postavki

introduced the idea of interaction design to the public.

koje su javnosti predstavile ideju interaktivnog dizajna.

But more recently, I've been trying really to go even deeper

No, u poslednje vreme, pokušavam da uđem još dublje

into interaction design with examples

u interaktivni dizajn sa primerima

that are emotionally really suggestive

koji su izuzetno emotivno sugestivni

and that really explain interaction design at a level

i koji interaktivni dizajn zaista objašnjavaju

that is almost undeniable.

na nivou koji je gotovo nepobitan.

The Wind Map, by Wattenberg and Fernanda Viégas,

"Mapa vetrova" koju su napravili Vatenberg i Fernanda Viegas,

I don't know if you've ever seen it -- it's really fantastic.

ne znam jeste li je ikad videli, zaista je fantastična.

It looks at the territory of the United States

Liči na teritoriju Sjedinjenih Država

as if it were a wheat field that is procured by the winds

kao da je ona pšenično polje obuzeto vetrovima

and that is really giving you a pictorial image

i zaista vam daje živopisnu sliku

of what's going on with the winds in the United States.

onoga što se dešava sa vetrovima u SAD.

But also, more recently, we started acquiring video games,

Pored toga, u skorije vreme, počeli smo da sakupljamo video igre

and that's where all hell broke loose

i tad je nastao pravi pakao

in a really interesting way. (Laughter)

i to na vrlo zanimljivi način. (Smeh)

There are still people that believe that there's a high and there's a low.

Još uvek ima ljudi koji veruju da postoji uzvišeno i prizemno.

And that's really what I find so intriguing

I to je meni bilo intrigantno

about the reactions that we've had to the anointment

kod reakcija na kolekciju video igara

of video games in the MoMA collection.

koju smo odabrali za muzej MoMa.

We've -- No, first of all, New York Magazine always gets it.

Mi smo...

- Ne, pre svega, Njujorški Magazin uvek sve shvata.

I love them. So we are in the right quadrant.

Volim ih. Dakle, u pravom smo kvadratu.

We are in the Highbrow -- that's daring, that's courageous --

Mi smo sa intelektualnom elitom - to je izazovno, to je hrabro

and Brilliant, which is great.

i genijalno, što je sjajno.

Timidly, we've been higher on the diagonal in other situations,

U ostalim slučajevima nalazili smo se na drugoj strani dijagonale,

but it's okay. It's good. It's good. It's good. (Laughter)

ali nema veze. Dobro je. Dobro je. (Smeh)

But here comes the art critic. Oh, that was fantastic.

A onda onda su došli umetnički kritičari. To je bilo fantastično!

So the first was Jonathan Jones from The Guardian.

Prvi je bio Džonatan Džons iz Gardijana.

"Sorry, MoMA, video games are not art."

"Žao nam je, MoMA, ali video igrice nisu umetnost"

Did I ever say they were art? I was talking about interaction design. Excuse me.

Jesam li ikad rekla da jesu umetnost?

Ja sam pričala o interaktivnom dizajnu. Oprostite.

"Exhibiting Pac-Man and Tetris alongside Picasso and Van Gogh" --

"Postaviti Pekmena i Tetris pored Pikasa i Van Goga..."

They're two floors away. (Laughter) —

- Koji su dva sprata iznad! (Smeh)

"will mean game over for any real understanding of art."

"...značilo bi kraj pravom shvatanju umetnosti."

I'm bringing in the end of the world. You know?

Donosim kraj sveta. Znate?

We were talking about the rapture? It's coming.

Pričali smo o povratku Hrista? Evo ga!

And Jonathan Jones is making it happen.

I Džonatan Džons je glavni krivac.

So the same Guardian rebuts,

No, isti taj Gardijan odgovara:

"Are video games art: the debate that shouldn't be.

"Jesu li video igre umetnost: debata koja se ne treba odvijati.

Last week, Guardian art critic blah blah suggested

Prošle nedelje, Gardijanov kritičar Bla Bla

rekao je da se video igre ne mogu smatrati umetnošću.

that games cannot qualify as art. But is he right?

No, je li u pravu? Je li to bitno?"

And does it matter?" Thank you. Does it matter?

Hvala. Da li je to bitno?

You know, it's like once again there's this whole problem

Čini se da opet imamo taj problem da se dizajn

of design being often misunderstood for art,

često meša sa umetnošću

or the idea that is so diffuse that designers want to

ili tu opšte raširenu ideju da svi dizajneri teže tome da postanu

aspire to, would like to be called, artists.

ili žele da ih smatraju umetnicima.

No. Designers aspire to be really great designers.

Ne. Dizajneri teže tome da postanu veliki dizajneri.

Thank you very much. And that's more than enough.

Hvala puno. To je više nego dovoljno.

So my knight in shining armor, John Maeda,

I tako je moj princ na belom konju, Džon Meda,

without any prompt, came out with this big declaration

bez ikakve najave, izneo važno objašnjenje

on why video games belong in the MoMA.

zašto video igrice treba da budu u muzeju MoMA.

And that was fantastic. And I thought that was it.

To je bilo sjajno. Mislila sam da je to to.

But then there was another wonderfully pretentious article

Ali onda se pojavio još jedan predivno pretenciozni članak

that came out in The New Republic, so pretentious,

u časopisu Nova Republika, vrlo pretenciozan članak

by Liel Leibovitz, and it said, "MoMA has mistaken video games for art." Again.

Lila Lebovica koji kaže:

"MoMA pobrkala video igrice i umetnost". Opet.

"The museum is putting Pac-Man alongside Picasso." Again.

"Muzej stavlja Pekmena pored Pikasa". Opet.

"That misses the point."

"To je omašilo poentu".

Excuse me. You're missing the point.

Izvinite, ali vi ste omašili poentu.

And here, look, the above question is put bluntly:

A evo ovde, vidite, nabusito je postavljeno pitanje:

"Are video games art? No. Video games aren't art

"Da li su video igrice umetnost? Ne. Video igrice nisu umetnost

because they are quite thoroughly something else: code."

jer one su nešto sasvim drugo: kod."

Oh, so Picasso is not art because it's oil paint. Right?

Oh, znači ni Pikaso nije umetnik jer slika uljem na platnu. Zar ne?

So it's so fantastic to see

Bilo je fantastično videti

how these feathers that were ruffled,

kako je perje poletelo,

and these reactions, were so vehement.

i te reakcije, tako su bile žestoke.

And you know what?

I znate šta?

The International Cat Video Film Festival

Internacionalni festival smešnih mačjih snimaka

didn't have that much of a reaction. (Laughter)

nije dobio tako jake reakcije. (Smeh)

I think this was truly fantastic.

Mislim da je to bilo fantastično.

We were talking about dancing ponies, but I was really jealous

Pričali smo o ponijima koji plešu, ali ja sam bila ljubomorna

of the Walker Arts Center for putting up this festival,

na Umetnički centar Voker što su organizovali taj festival

because it's very, very wonderful.

jer je zaista, zaista divan.

And there's this Flaubert quote that I love:

Ima jedan Floberov citat koji puno volim:

"I have always tried to live in an ivory tower,

„Oduvek sam pokušavao da živim u kuli od slonovače,

but a tide of shit is beating at its walls,

ali plima govana udara o njene zidove

threatening to undermine it."

ne bi li je potkopala.“

I consider myself the tide of shit.

Ja sebe smatram plimom govana.

(Laughter) (Applause)

(Smeh) (Aplauz)

You know, we have to go through that.

Znate, morali smo kroz to proći.

Even in the 1930s, my colleagues

Čak i tokom 1930-ih, moje kolege

koje su pokušavale da organizuju izložbu apstraktne umetnosti

that were trying to put together an abstract art show

had all of these works stopped by the customs officers

u tome su sprečavali carinici

that decided they were not art.

koji su odlučivali da to nije umetnost.

So it's happened before, and it will happen in the future,

To se, dakle, dešavalo ranije, a dešavaće se i ubuduće,

but right now I can tell you that I am so, so proud

ali trenutno vam mogu reći da sam izuzetno ponosna

to be able to call Pac-Man part of the MoMA collection.

na to što je Pekmen sada deo kolekcije muzeja MoMa.

And the same with, for instance, Tetris, original version, the Soviet one.

Isto važi i za originalnu verziju Tetrisa, onu sovjetsku.

And you know, the amount of work --

Znate, količina posla -

yeah, Alexey Pajitnov was working for the Soviet government

da, Aleksej Pažitnov je radio za sovjetsku vladu

and that's how he developed Tetris,

i tako je napravio Tetris,

and Alexey himself reconstructed the whole game

i Aleksej je lično rekonstruisao celu igru

and even gave us a simulation of the cathode ray tube

i čak nam dao simulaciju katodne cevi

that makes it look slightly bombed.

zbog čega ona deluje pomalo napumpana.

And it's fantastic.

I to je fantastično.

So behind these acquisitions is an enormous amount of work,

Iza svih ovih akvizicija je ogromna količina posla,

jer u Muzeju moderne umetnosti,

because we're still the Museum of Modern Art,

so even when we tackle popular culture,

kada se bavimo popularnom kulturom,

we tackle it as a form of interaction design

mi to radimo u formi interaktivnog dizajna,

and as something that has to go into the collection at MoMA,

a sve što treba da uđe u kolekciju muzeja MoMA

therefore, has to be researched.

treba istražiti.

So to get to choosing Eric Chahi's

I tako, da bismo odabrali

wonderful Another World, amongst others,

predivni "Drugi svet" Erika Čahija među drugim radovima,

we put together a panel of experts,

prvo oformimo odbor stručnjaka koji rade na toj akviziciji

and we worked on this acquisition,

and it's mostly myself and Kate Carmody and Paul Galloway.

a to smo obično Kejt Karmodi, Pol Galovej i ja.

We worked on it for a year and a half.

Radili smo na tome više od godinu i po dana.

So many people helped us — designers of games,

Toliko nam je puno ljudi pomoglo, dizajnera video igara,

you might know Jamin Warren

možda znate Džejmina Vorena

and his collaborators at Kill Screen magazine,

i njegove saradnike iz magazina "Kil Skrin",

and you know, Kevin Slavin. You name it.

te Kevina Slejvina. I mnoge druge.

We bugged everybody, because we knew that we were ignorant.

Sve smo gnjavili jer smo znali da mi nemamo pojma.

We were not real gamers enough,

Nismo bili pravi gejmeri

so we had to really talk to them.

i morali smo zaista da pričamo sa njima.

And so we decided, of course, to have Sim City 2000,

Onda smo odlučili, naravno, da dobijemo Sim Siti 2000,

not the other Sim City, that one in particular,

ni jedan drugi Sim Siti, nego baš taj određeni,

so the criteria that we developed along the way

kako bi kriterijumi koje smo vremenom razvili

were really strong, and were not only criteria of selection.

ostali jaki, ne samo kao kriterijumi selekcije,

They were also criteria of exhibition and of preservation.

već kao kriterijumi koji utiču na izlaganje i prezervaciju.

That's what makes this acquisition more than a little game

Zato je ova akvizicija više od obične igre ili bezvezarije.

or a little joke. It's truly a way to think of how to preserve

To je način na koji treba da se misli o očuvanju i izlaganju

and show artifacts that will more and more

artefakata koji u sve većoj meri postaju deo naše budućnosti.

become part of our lives in the future.

We live today, as you know very well, not in the digital,

Kao što znate, mi danas ne živimo u digitalnom,

not in the physical, but in the kind of minestrone

niti u fizičkom svetu, nego u nekakvoj mešavini

that our mind makes of the two.

koju naš um pravi od ta dva.

And that's really where interaction lies,

I upravo tu leži interakcija

and that's the importance of interaction.

i tu je značaj interakcije.

And in order to explain interaction, we need to really

Kako bismo objasnili interakciju, moramo da dovedemo ljude

bring people in and make them realize

i da ih nateramo da shvate da je interakcija deo njihovih života.

how interaction is part of their lives.

So when I talk about it, I don't talk only about video games,

Kada ja pričam o tome, ne pričam samo o video igrama,

which are in a way the purest form of interaction,

koje su u nekom smislu čista forma interakcije,

unadulterated by any kind of function or finality.

oslobođena bilo kakve funkcije ili konačnosti.

I also talk about the MetroCard vending machine,

Takođe govorim o Metrokard bankomatima

which I consider a masterpiece of interaction.

koje ja smatram remek-delima interakcije.

I mean, that interface is beautiful.

Taj interfejs je predivan.

It looks like a burly MTA guy coming out of the tunnel.

Izgleda kao da kršni poštar izlazi iz tunela.

You know, with your mitt you can actually paw

Svojom šakom možete zgrabiti Metro karticu

the MetroCard, and I talk about how bad

a to samo govori koliko su bankomati obično loši.

ATM machines usually are.

So I let people understand that it's up to them

Zato mislim da ljudi treba da shvate

to know how to judge interaction

kako se tumači interakcija,

so as to know when it's good or when it's bad.

da bi moglu da razlikuju dobru od loše.

So when I show The Sims,

Zato kada im polažem Sims,

I try to make people really feel what it meant

pokušavam da učinim da zaista osete

kako je to imati interakciju sa Simsima,

to have an interaction with The Sims,

not only the fun but also the responsibility

i to ne samo zabavnu stranu, već i odgovornost

that came with the Tamagotchi.

koju je doneo Tamagoči.

You know, video games can be truly deep

Video igre mogu biti zaista duboke

even when they're completely mindless.

čak i kada su potpuno bez korišćenja uma.

I'm sure that all of you know Katamari Damacy.

Sigurna sam da svi znate za igru Katamari Damaši.

It's about rolling a ball and picking up as many objects as you can

Igra se tako što zakotrljate loptu i prikupljate što više stvari moguće

in a finite amount of time

u ograničenom vremenskom roku

and hopefully you'll be able to make it into a planet.

u nadi da ćete na kraju napraviti planetu.

I've never made it into a planet, but that's it.

Nikada nisam napravila planetu, ali to je to.

Or, you know, Vib-Ribbon was not distributed here in the United States.

Tu je i igra Vib-Ribon koja nikada nije distribuirana u SAD.

It was a PlayStation game, but mostly for Japan.

To je bila igra za Plejstejšn, uglavnom za Japan.

And it was one of the first video games

Bila je to jedna od prvih igara

in which you could choose your own music.

u kojoj ste mogli da odaberete muziku po želji.

So you would put into the PlayStation,

Pa biste u Plejstejšn stavili svoj CD

you would put your own CD,

and then the game would change alongside your music. So really fantastic.

i igra bi se menjala zajedno sa muzikom. Zbilja fantastično.

Not to mention Eve Online.

A da ni ne pominjem Iv Onlajn.

Eve Online is an artificial universe, if you wish,

Iv Onlajn je, može se reći, veštački univerzum,

but one of the diplomats that was killed in Benghazi,

ali jedan od diplomata ubijenih u Bengaziju,

not Ambassador Stevens, but one of his collaborators,

ne ambasador Stivens, već jedan od njegovih saradnika,

was a really big shot in Eve Online,

bio je velika faca u Iv Onlajn.

so here you have a diplomat in the real world

Eto tako imate čoveka koji je u realnosti diplomata,

that spends his time in Eve Online

a svoje vreme provodi u Iv Onlajn univerzumu.

to kind of test, maybe, all of his ideas about diplomacy

ne bi li, recimo, testirao svoje viđenje diplomatije

and about universe-building, and to the point that

i kreiranju univerzuma.

the first announcement of the bombing

I tako je prva vest o bombardovanju

was actually given on Eve Online,

objavljena na Iv Onlajn stranici,

and after his death, several parts of the universe

a nakon njegove smrti, nekoliko delova univerzuma

were named after him.

dobilo je ime po njemu.

And I was just recently at the Eve Online fan festival

Nedavno sam bila na okupljanju fanova Iv Onlajn

in Reykjavík that was quite amazing.

u Rejkjaviku koje je bilo prosto neverovatno.

I mean, we're talking about an experience

Govorim vam o iskustvu

that of course can seem weird to many,

koje mnogima nesumnjivo može delovati čudno,

but that is very educational.

ali koje je vrlo edukativno.

Of course, there are games that are even more educational.

Naravno, postoje igre koje su još više edukativne.

Dwarf Fortress is like the holy grail

Tvrđava patuljaka je kao Sveti gral

of this kind of massive multiplayer online game,

među ovakvim onlajn igrama za veliki broj igrača,

and in fact the two Adams brothers were in Reykjavík,

i braća Adams su bila u Rejkjaviku

and they were greeted

i dobili su gromki aplauz od svih Iv Onlajn fanova.

by a standing ovation by all the Eve Online fans.

It was amazing to see. And it's a beautiful game.

To je bio neverovatan prizor. A to je predivna igra.

So you start seeing here that

Sada sigurno uviđate

the aesthetics that are so important

koliko se estetika, koja je izuzetno važna

to a museum collection like MoMA's

za kolekcije poput onih iz muzeja MoMA,

are kept alive also by the selection of these games.

oživljava i izborom ovih igara.

And you know, Valve -- you know, Portal --

Znate, Valv... Tačnije, Portal igre

is an example of a video game in which

primer je video igara u kojima

you have a certain type of violence

imate određen tip nasilja

which also leads me to talk about

i zato moram pomenuti jedan od najvećih problema

one of the biggest issues that we had to discuss

sa kojima smo se suočili kada smo pribavljali igre

when we acquired the video games, what to do with violence.

- šta ćemo sa nasiljem?

Right? We had to make decisions.

Morali smo da donesemo odluke.

At MoMA, interestingly, there's a lot of violence

Zanimljivo je da u muzeju MoMA ima zaista puno nasilja

depicted in the art part of the collection,

prikazanog u umetničkim delima,

but when I came to MoMA 19 years ago, and as an Italian,

ali kada sam pre 19 godina došla tamo i kao prava Italijanka rekla

I said, "You know what, we need a Beretta."

"Znate, treba nam Bereta".

And I was told, "No. No guns in the design collection."

I rekli su mi: "Ne. U kolekciji dizajna oružje je zabranjeno."

A ja sam se pitala zašto.

And I was like, "Why?"

Interestingly, I learned that it's considered

Zanimljivo mi je bilo otkriće

that in design and in the design collection,

da je u dizajnu i kolekcijama dizajna

what you see is what you get.

sve očigledno.

So when you see a gun, it's an instrument for killing in the design collection.

Kada vidite pištolj u kolekciji dizajna, on je samo oruđe za ubijanje.

If it's in the art collection,

Ako je u umetničkoj kolekciji

it might be a critique of the killing instrument.

onda se to smatra kritikom oruđa za ubijanje.

So it's very interesting.

To je prilično interesantno.

But we are acquiring our critical dimension also in design,

Ali kritička dimenzija je sve prisutnija u dizajnu,

so maybe one day we'll be able to acquire also the guns.

pa možda jednog dana budemo dobili i pištolje.

But here, in this particular case, we decided,

Ali u ovom specifičnom slučaju,

you know, with Kate and Paul,

Kejt, Pol i ja smo odlučili

that we would have no gratuitous violence.

da neće biti nikakve vrste nasilja.

So we have Portal because you shoot walls

Imamo Portal jer tu pucate u zidove

da biste napravili nova mesta.

in order to create new spaces.

We have Street Fighter II, because martial arts are good.

Uzeli smo i Uličnog borca II jer su boriličke veštine dobre.

(Laughter)

(Smeh)

But we don't have GTA because,

Ali, GTA igre nemamo.

maybe it's my own reflection,

Možda je to ipak samo do mene,

I've never been able to do anything but crashing cars

jer znam samo da uništavam automobile

and shooting prostitutes and pimps.

i pucam u prostitutke i makroe.

So it was not very constructive. (Laughter)

Što nije baš konstruktivno. (Smeh)

So, I'm making fun of it, but we discussed this

Sada se ja o tome šalim, ali nećete verovati

for so many days. You have no idea.

koliko dana smo mi o tome ozbiljno razgovarali.

And to this day, I am ambivalent,

I dan danas sam neodlučna,

but when you have instead games like Flow, there's no doubt.

ali kada zauzvrat dobijete igre kao što je Flou, nema tu sumnje.

It's like, it's about serenity and it's about sublime.

Tu se radi o spokoju i božanstvenosti.

It's about experiencing what it means to be a sea creature.

Radi se o doživljavanju života kroz prizmu morskih stvorenja.

Then we have a few also side-scrollers -- classical ones.

Osim toga, imamo i nekoliko sajd-skrol igara, onih klasičnih.

So it's quite a hefty collection.

Sve u svemu, to je solidna kolekcija.

And right now, we started with the first 14,

I sada smo počeli sa prvih 14,

but we have several that are coming up,

ali imamo još nekoliko u planu,

and the reason why we haven't acquired them yet

a razlog zbog kojeg ih još nismo dobili

is because you don't acquire just the game.

je to što ne dobijate samo igru.

You acquire the relationship with the company.

Počinjete odnos sa celom kompanijom.

What we want, what we aspire to, is the code.

Ono što mi želimo, ono čemu težimo je kod.

It's very hard to get, of course.

A to je teško dobiti.

But that's what would enable us to preserve

Ali, to je ono što bi nam omogućilo

the video games for a really long time,

da zaista dugo čuvamo te igre.

and that's what museums do.

A to je zadatak muzeja. Oni čuvaju artefakte od propasti.

They also preserve artifacts for posterity.

In absence of the code, because, you know,

Ukoliko nam fali kod, jer kompanije koje se bave

video game companies are not very forthcoming in some cases,

video igrama nisu bile spremne da nam ga daju,

in absence of that, we acquire the relationship with the company.

u tom slučaju, mi moramo da stupimo u odnos sa kompanijom.

We're going to stay with them forever.

Ostajemo sa njima zauvek. Ne mogu nas se otarasiti.

They're not going to get rid of us.

And one day, we'll get that code. (Laughter)

I jednog dana dobićemo taj kod. (Smeh)

But I want to explain to you the criteria that we chose

Ali, želim da vam objasnim kriterijum koji koristimo

for interaction design. Aesthetics are really important.

kod interaktivnog dizajna. Estetika je vrlo važna.

And I'm showing you Core War here,

Sada vam pokazujem igru Kor vor.

which is an early game that takes advantage aesthetically

To je jedna stara igra koja je iz ograničenja procesora

of the limitations of the processor.

izvukla estetsku prednost.

So the kind of interferences that you see here

Vrsta interfejsova koje vidite ovde

that look like beautiful barriers in the game

u obliku prelepih barijera u igri

are actually a consequence of the processor's limitedness,

su zapravo posledica ograničenja tog procesora,

which is fantastic. So aesthetics is always important.

što je zaista fantastično, jer estetika je uvek važna.

And so is space, the spatial aspect of games.

Baš kao i prostor, prostorni aspekt igre.

You know, I feel that the best video games

Mislim da su najbolje video igre one iza kojih stoje

are the ones that have really savvy architects

arhitekte sa puno iskustva. Ako nisu arhitekte,

that are behind them, and if they're not architects,

ili makar samouke arhitekte, ipak imaju taj osećaj.

bona fide trained in architecture, they have that feeling.

But the spatial evolution in video games is extremely important.

No, prostorna evolucija u video igrama je izuzetno značajna.

Time. The way we experience time in video games,

Vreme. Način na koji doživljavamo vreme u video igrama,

as in other forms of interaction design,

kao i u ostalim formama interaktivnog dizajna,

is really quite amazing.

je zaista neverovatan.

It can be real time or it can be the time within the game,

To može biti realno vreme ili vreme u igri,

as is in Animal Crossing, where seasons

poput vremena u igri Životinje na putu

follow each other at their own pace.

u kojoj se godišnja doba smenjuju po sopstvenom tempu.

So time, space, aesthetics,

Dakle, vreme, prostor, estetika

and then, most important, behavior.

i, što je najbitnije, ponašanje.

The real core issue of interaction design is behavior.

Najbitnija stvar u interaktivnom dizajnu je ponašanje.

Designers that deal with interaction design behaviors

Dizajneri koji se bave interaktivnim dizajnom, dizajniraju ponašanja

that go to influence the rest of our lives.

koja mogu uticati na ostatak naših života.

They're not just limited to our interaction with the screen.

Ona nisu ograničena samo na interakciju sa ekranom.

In this case, I'm showing you Marble Madness,

U ovom slučaju, pokazujem Mermerno ludilo,

which is a beautiful game

predivnu igru

in which the controller is a big sphere that vibrates with you,

koju kontroliše velika sfera koja vibrira zajedno sa vama,

so you have a sphere that's moving in this landscape,

ta sfera se pomera po slici predela

and the sphere, the controller itself, gives you a sense of the movement.

i kao upravljač vam daje osećaj pokreta.

In a way, you can see how video games

Na neki način, tako možete videti zašto su

are the purest aspect of interaction design

video igre najčistiji aspekt interaktivnog dizajna

and are very useful to explain what interaction is.

i zašto su korisne u objašnjavanju pojma interakcije.

We don't want to show the video games

Ne želimo da pokazujemo igre sa rekvizitima.

with the paraphernalia. No arcade nostalgia.

Nema nostalgije za arkadama.

If anything, we want to show the code,

Ako išta, želimo da pokažemo kod.

and here you see Ben Fry's distellamap of Pac-Man,

Ovde vidite mapu Pekmenovog koda koju je napravio Ben Fraj.

of the Pac-Man code.

So the way we acquired the games is very interesting

Način na koji mi dolazimo do igara

je vrlo interesantan i neobičan.

and very unorthodox. You see them here

Ovde su one izložene pored drugih primera dizajna,

displayed alongside other examples of design,

furniture and other parts,

nameštaja i ostalih delova,

but there's no paraphernalia, no nostalagia,

ali tu nema nikakvih rekvizita, niti nostalgije,

only the screen and a little shelf with the controllers.

samo ekran i mala polica sa kontrolama.

The controllers are, of course, part of the experience,

Kontrole su, naravno, deo iskustva,

so you cannot do away with it.

pa ni ne možete bez njih.

But interestingly, this choice was not condemned

No, interesantno je da ovaj izbor nije bio žestoko

osuđivan kod gejmera.

too vehemently by gamers.

I was afraid that they would kill us,

Bojala sam se da će nas ubiti ali, umesto, toga razumeli su,

and instead they understood, especially

when I told them that I was trying to apply the same stratagem

naročito kada sam im objasnila da pokušavam da primenim

that Philip Johnson applied in 1934

isti trik koji je 1943. godine primenio Filip Džonson

when he wanted to make people understand

kada je ljudima želeo da objasni

the importance of design, and he took propeller blades

značaj dizajna, pa je uzeo peraja propelera

and pieces of machinery and

i mašinske delove i stavio ih

in the MoMA galleries he put them on white pedestals

na bela postolja tik do belih zidova

against white walls, as if they were Brancusi sculptures.

muzeja MoMA, kao da su Brankusijeve skulpture.

He created this strange distance, this shock,

Napravio je taj čudnovati razdor, taj šok,

that made people realize how gorgeous formally,

koji je naterao ljude da shvate da su dizajnerska dela

and also important functionally, design pieces were.

po formi predivna i funkcionalno važna.

I would like to do the same with video games.

Volela bih da učinim isto to sa video igrama.

By getting rid of the sticky carpets and the cigarette butts

Dok sklanjamo lepljive tepihe i opuške od cigareta

and everything else that we might remember from our childhood,

i sve ostalo što nas može povezati sa detinjstvom,

I want people to understand

želim da ljudi shvate

that those are important forms of design.

da su to najbitnije forme dizajna.

And in a way, the video games, the fonts and everything else

I na neki način, video igre, fontovi i sve drugo

lead us to make people understand

omogućavaju ljudima da shvate šire značenje dizajna.

a wider meaning for design.

One of my dream acquisitions,

Jedna od mojih najdražih akvizicija,

which has been on hold for a few years

koja već nekoliko godina čeka na red,

but now will come back on the front burner,

ali koja će sada ponovo dospeti u centar pažnje

is a 747.

jeste 747.

I would like to acquire it, but without owning it.

Volela bih da je dobijem, ali ne i da je posedujem.

I don't want it to be at MoMA and possessed by MoMA.

Ne želim da bude u muzeju MoMa, niti da je muzej poseduje.

I want it to keep flying.

Želim da nastavi da leti.

So it's an acquisition where MoMA makes an arrangement

To je, dakle, tip akvizicije kada muzej napravi dogovor

with an airline and keeps the Boeing 747 flying.

sa avionskom kompanijom kako bi Boing 747 nastavio da leti.

And the same with the "@" sign that we acquired a few years ago.

Isto je i sa znakom "@" koji smo dobili pre nekoliko godina.

It was the first example of an acquisition of something

To je bio prvi slučaj akvizicije nečega

that is in the public domain.

što upotrebljava šira javnost.

And what I say to people, it's almost as if

Iz mog ugla to izgleda kao da leptir leti oko nas,

a butterfly were flying by

a mi uhvatimo njegovu senku na zidu,

and we captured the shadow on the wall,

and just we're showing the shadow.

i onda pokažemo samo tu senku.

So in a way, we're showing a manifestation

Tako da, na neki način, pokazujemo manifestaciju

of something that is truly important

nečega što je izuzetno važno

and that is part of our identity but that nobody can have.

i što je deo našeg identiteta, ali što niko ne može da poseduje.

And it's too long to explain the acquisition,

Objasniti akviziciju je ogroman zadatak,

but if you want to go on the MoMA blog,

ali ako odete na blog muzeja MoMA

there's a long post where I explain why

videćete veliki post u kom objašnjavam

it's such a great example of design.

zašto je to tako dobar primer dizajna.

Along the way, I've had to burn a few chairs. You know?

Usput sam morala da spalim nekoliko stolica.

I've had to do away with a few concepts of design past.

Morala sam da odbacim nekoliko koncepata iz istorije dizajna.

But I see that people are coming along,

Ali vidim da se stav publike menja,

that the audiences, paradoxically,

da su, paradoksalno, postali sve

are much more responsive and much more understanding

naklonjeniji dizajnu i da imaju više razumevanja

of this expansion of design than some of my colleagues are.

za ovu ekspanziju dizajna od nekih mojih kolega.

Design is truly everywhere,

Dizajn je zaista svuda,

and design is as important as anything,

i važan je koliko i sve drugo,

and I'm so glad that, because of its diversity

i drago mi je da mu se zbog toga, zbog te različitosti

and because of its centrality to our lives,

i centralnog mesta koje zauzima u našim životima

many more people are coming to it

sve veći broj ljudi priklanja,

as a profession, as a passion,

bilo da im je to posao ili strast,

and as, very simply, part of their own culture.

ili, jednostavno, deo njihove kulture.

Thank you very much.

Mnogo vam hvala.

(Applause)

(Aplauz)