Tim Brown: Tales of creativity and play

翻译人员: Manlai YOU 校对人员: Chun-wen Chen

This is a guy named Bob McKim.

这位仁兄, 这位仁兄叫做博布‧马金。

He was a creativity researcher in the '60s and '70s,

'60、'70 年代时他是创造力研究者，

and also led the Stanford Design Program.

同时负责史丹福大学的设计学程。

And in fact, my friend and IDEO founder, David Kelley,

事实上，我的朋友兼 IDEO 创办人大卫‧凯利，

who’s out there somewhere, studied under him at Stanford.

他也在场，曾在史丹福当他的学生。

And he liked to do an exercise with his students

他喜欢要学生做一个练习

where he got them to take a piece of paper

要他们拿一张纸

and draw the person who sat next to them, their neighbor,

画坐在身边的人，他们的邻座，

very quickly, just as quickly as they could.

很快地画，越快越好。

And in fact, we’re going to do that exercise right now.

事实上，我们就要来做那个练习。

You all have a piece of cardboard and a piece of paper.

你们都有一片纸板和一张纸。

It’s actually got a bunch of circles on it.

它有着一堆的圆圈在上面。

I need you to turn that piece of paper over;

我要你们把纸翻过来，

you should find that it’s blank on the other side.

背面是空白的，是吧？

And there should be a pencil.

也该有一枝铅笔。

And I want you to pick somebody that’s seated next to you,

我要你找个坐在你旁边的人，

and when I say, go, you’ve got 30 seconds to draw your neighbor, OK?

当我说｢开始｣，你用 30 秒画你的邻座，好吗？

So, everybody ready? OK. Off you go.

都预备好了吗？好了？开始。

You’ve got 30 seconds, you’d better be fast.

你有 30 秒，最好画快些。

Come on: those masterpieces ...

加油，画出杰作。

OK? Stop. All right, now.

好？停。很好，到了。

(Laughter)

(笑声)

Yes, lot’s of laughter. Yeah, exactly.

是呀，很多笑声。就是这样。

Lots of laughter, quite a bit of embarrassment.

很多笑声，有点难为情。

(Laughter)

(笑声)

Am I hearing a few "sorry’s"? I think I’m hearing a few sorry’s.

有人说｢不好意思｣？我猜我听到有人说｢不好意思｣。

Yup, yup, I think I probably am.

对，对，我有听到。

And that’s exactly what happens every time,

那正是每次都有的事，

every time you do this with adults.

每次你要大人做这个。

McKim found this every time he did it with his students.

马金每次要学生做，都发现这样。

He got exactly the same response: lots and lots of sorry’s.

得到的反应完全一样：许许多多｢不好意思｣。

(Laughter)

(笑声)

And he would point this out as evidence

他会指出这是证据

that we fear the judgment of our peers,

我们害怕同侪的评断，

and that we’re embarrassed about showing our ideas

我们不好意思展现自己的构想

to people we think of as our peers, to those around us.

给我们的同侪，给周边的人。

And this fear is what causes us

就是这种害怕使我们

to be conservative in our thinking.

变成思想上保守。

So we might have a wild idea,

我们或许有个狂野的想法，

but we’re afraid to share it with anybody else.

但我们怕和任何人分享。

OK, so if you try the same exercise with kids,

好，如果你要儿童做同样的练习，

they have no embarrassment at all.

他们一点都不会难为情。

They just quite happily show their masterpiece

他们都高兴地展现自己的杰作

to whoever wants to look at it.

给任何想看它的人。

But as they learn to become adults,

但当他们学着长大，

they become much more sensitive to the opinions of others,

他们对别人的意见变得大为敏感，

and they lose that freedom and they do start to become embarrassed.

而失去了那个自由，也开始变得难为情。

And in studies of kids playing, it’s been shown

研究游戏中的儿童，已经一次次

time after time that kids who feel secure,

证明了只要孩子们觉得安心、

who are in a kind of trusted environment --

是在一种信赖的环境里，

they’re the ones that feel most free to play.

他们就越觉得能尽兴去玩。

And if you’re starting a design firm, let’s say,

例如说，你计划要成立一家设计公司，

then you probably also want to create

你因此可能也要规划一个地方

a place where people have the same kind of security.

让人感到有安全感。

Where they have the same kind of security to take risks.

那里他有敢去冒险的安全感。

Maybe have the same kind of security to play.

也许有敢去游戏的安全感。

Before founding IDEO, David said that what he wanted to do

创立 IDEO 之前，大卫说他想做的是

was to form a company where all the employees are my best friends.

组一家员工全是他的好朋友的公司。

Now, that wasn’t just self-indulgence.

那并不是只自我陶醉。

He knew that friendship is a short cut to play.

他知道，友谊是游戏的关键。

And he knew that it gives us a sense of trust,

他知道，那给我们信赖感，

and it allows us then to take the kind of creative risks

也容许我们去冒创意风险

that we need to take as designers.

就是设计师都要冒的风险。

And so, that decision to work with his friends --

所以那种想和朋友一起工作的决定 －

now he has 550 of them -- was what got IDEO started.

如今他有 550 位 － 是 IDEO 的缘起。

And our studios, like, I think, many creative workplaces today,

而我们的工作室，像今天的许多创意工作区一样，

are designed to help people feel relaxed:

其设计是要帮助人们觉得放松。

familiar with their surroundings,

熟悉他们的周遭，

comfortable with the people that they’re working with.

自在地与同事一起工作。

It takes more than decor, but I think we’ve all seen that

它不只是装潢，我想你们都知道，

creative companies do often have symbols in the workplace

创意公司往往在工作区都有个｢象征｣

that remind people to be playful,

可以提醒人要敢玩，

and that it’s a permissive environment.

以及那是个容许放肆的环境。

So, whether it’s this microbus meeting room

因此不论是这个箱型车会议室

that we have in one our buildings at IDEO;

就在 IDEO 的一栋大楼里，

or at Pixar, where the animators work in wooden huts and decorated caves;

或在匹克萨，动画师们在木屋及装饰的洞穴里工作。

or at the Googleplex, where

或在谷歌城，你知道的，

it’s famous for its [beach] volleyball courts,

它有名的是沙滩排球场，

and even this massive dinosaur skeleton with pink flamingos on it.

以及这个巨大的恐龙骨骼及上面的红鹤。

Don’t know the reason for the pink flamingos,

不懂红鹤的理由是什么，

but anyway, they’re there in the garden.

但是总之，它们就在庭院里。

Or even in the Swiss office of Google,

或者，甚至瑞士的谷歌办公室，

which perhaps has the most wacky ideas of all.

这里有或许是最搞怪的点子。

And my theory is, that’s so the Swiss can prove

我的理论是这样的：瑞士可以证明给

to their Californian colleagues that they’re not boring.

加州同事们说，他们不会无聊。

So they have the slide, and they even have a fireman’s pole.

他们有滑梯，他们甚至有消防队的钢管。

Don’t know what they do with that, but they have one.

不知他们拿那个做什么，但他们就是有。

So all of these places have these symbols.

因此, 所有这些地方都有这些｢象征｣。

Now, our big symbol at IDEO is actually

而我们在 IDEO 的大｢象征｣，实际上

not so much the place, it’s a thing.

并不是个地点，而是件物品。

And it’s actually something that we invented a few years ago,

它实际上是我们几年前发明的东西，

or created a few years ago.

或几年前创造出来的。

It’s a toy; it’s called a "finger blaster."

那是个玩具，叫做 「弹射镖」。

And I forgot to bring one up with me.

我忘了带一个上来。

So if somebody can reach under the chair that’s next to them,

谁可以到旁边那把椅子下，

you’ll find something taped underneath it.

你可以找到就贴在座垫底下。

That’s great. If you could pass it up. Thanks, David, I appreciate it.

很好。请递给我。谢谢你大卫，感谢。

So this is a finger blaster, and you will find that every one of you

这就是弹射镖，你们都可以找到一个

has got one taped under your chair.

贴在你的座垫下。

And I’m going to run a little experiment. Another little experiment.

我要来个小实验。另一个小实验。

But before we start, I need just to put these on.

但是开始前，我要戴上这个。

Thank you. All right.

谢谢。好了。

Now, what I’m going to do is, I’m going to see how --

现在，我要做的是：我要看如何 －

I can’t see out of these, OK.

我看不到，好了。

I’m going to see how many of you at the back of the room

我要看有多少位坐在房间后面的

can actually get those things onto the stage.

可以把这些东西射上舞台。

So the way they work is, you know,

使用方法是，你知道的，

you just put your finger in the thing,

把手指套进去，

pull them back, and off you go.

向后拉，放开就射出了。

So, don’t look backwards. That’s my only recommendation here.

不要回头看。这是我唯一的建议。

I want to see how many of you can get these things on the stage.

所以我要看有多少人能把它射上舞台。

So come on! There we go, there we go. Thank you. Thank you. Oh.

开始了！来吧、来吧。谢谢、谢谢。噢。

I have another idea. I wanted to -- there we go.

我有另一个想法。我要 － 来吧。

(Laughter)

(笑声)

There we go.

来吧。

(Laughter)

(笑声)

Thank you, thank you, thank you.

谢谢、谢谢、谢谢。

Not bad, not bad. No serious injuries so far.

不错、不错。还没有严重伤害。

(Laughter)

(笑声)

Well, they’re still coming in from the back there;

嗯，它们继续从后方飞过来：

they’re still coming in.

继续飞过来。

Some of you haven’t fired them yet.

有些人还没有发射。

Can you not figure out how to do it, or something?

你不知如何射，或怎么了

It’s not that hard. Most of your kids figure out how to do this

并不难的。大部分小孩都会射

in the first 10 seconds, when they pick it up.

拿到后十秒内就会了。

All right. This is pretty good; this is pretty good.

好了。很好、很好。

Okay, all right. Let’s -- I suppose we'd better...

好了。我想我们最好...

I'd better clear these up out of the way;

我最好清理一下场地

otherwise, I’m going to trip over them.

否则我会踏到它们。

All right. So the rest of you can save them

好。其他人可以留着它

for when I say something particularly boring,

如果我讲得特别无聊时，

and then you can fire at me.

就拿来射我。

(Laughter)

(笑声)

All right. I think I’m going to take these off now,

好了。我要把它脱下，

because I can’t see a damn thing when I’ve -- all right, OK.

因为我看不到东西 － 好了，好。

So, ah, that was fun.

所以，啊，那真好玩。

(Laughter)

(笑声)

All right, good.

好了，好。

(Applause)

(鼓掌)

So, OK, so why?

所以，好，为什么？

So we have the finger blasters. Other people have dinosaurs, you know.

所以我们有弹射镖，其他人有恐龙，你知道的。

Why do we have them? Well, as I said,

为何我们要有它？嗯，我说过，

we have them because we think maybe playfulness is important.

我们有它，因为我们认为：好玩是重要的。

But why is it important?

但是，为什么重要？

We use it in a pretty pragmatic way, to be honest.

我们用它在实用上，老实说。

We think playfulness helps us get to better creative solutions.

我们认为：好玩帮我们找到更有创意的解答。

Helps us do our jobs better,

帮我们做得更好，

and helps us feel better when we do them.

当我们做事时，帮我们感觉更好。

Now, an adult encountering a new situation --

现在，大人遇到了新的情况 －

when we encounter a new situation we have a tendency

当我们遇到新情况，我们倾向

to want to categorize it just as quickly as we can, you know.

要将它尽快归类。

And there’s a reason for that: we want to settle on an answer.

这是有道理的。我们想找个解答。

Life’s complicated; we want to figure out

生活是复杂的。我们要尽快

what’s going on around us very quickly.

弄清楚四周的状况。

I suspect, actually, that the evolutionary biologists

我猜，实际上演化论生物学者

probably have lots of reasons [for] why we want

或许有很多理由可说明为何

to categorize new things very, very quickly.

我们要尽快归类事情。

One of them might be, you know,

其中一个理由也许是，

when we see this funny stripy thing:

当我们看到个怪条纹的东西，

is that a tiger just about to jump out and kill us?

那是老虎要跳出来吃人吗？

Or is it just some weird shadows on the tree?

或者只是树上的一些怪影？

We need to figure that out pretty fast.

我们必须很快弄清楚。

Well, at least, we did once.

嗯，至少我们做过一次。

Most of us don’t need to anymore, I suppose.

我猜，我们大部分都不必再做。

This is some aluminum foil, right? You use it in the kitchen.

这是铝箔，对吧？你在厨房里用它。

That’s what it is, isn’t it? Of course it is, of course it is.

就是那样，不是吗？当然是的、当然是的。

Well, not necessarily.

嗯，未必吧。

(Laughter)

(笑声)

Kids are more engaged with open possibilities.

小孩更愿意接受开放的可能性。

Now, they’ll certainly -- when they come across something new,

他们将必然 － 当他们遇到新的事情，

they’ll certainly ask, "What is it?"

他们将必然会问：这是什么？

Of course they will. But they’ll also ask, "What can I do with it?"

当然他们会。但他们也会问：我能用它做什么？

And you know, the more creative of them

而你知道，比较有创意的小孩

might get to a really interesting example.

将会得到真正有趣的例子。

And this openness is the beginning of exploratory play.

这种开放是探索游戏的开始。

Any parents of young kids in the audience? There must be some.

观众中有人有小孩吗？ 一定是有的。

Yeah, thought so. So we’ve all seen it, haven’t we?

呀，想必如此。因此我们都看到了，不是吗？

We’ve all told stories about how, on Christmas morning,

我们都说过在圣诞节早上的故事，

our kids end up playing with the boxes

孩子们竟然在玩纸箱，

far more than they play with the toys that are inside them.

而不玩包在里面的玩具。

And you know, from an exploration perspective,

你知道的，从探索的角度看，

this behavior makes complete sense.

这种行为是有道理的。

Because you can do a lot more with boxes than you can do with a toy.

因为箱子可以玩的方式比玩具多得多。

Even one like, say, Tickle Me Elmo --

举例而言：像｢搔癢娃娃｣，

which, despite its ingenuity, really only does one thing,

它虽有原创性，却只有一个用途，

whereas boxes offer an infinite number of choices.

而箱子却有无限的选择。

So again, this is another one of those playful activities

再一次，这又是一个好玩的活动，

that, as we get older, we tend to forget and we have to relearn.

当我们长大后，我们倾向忘记，而要重新学习。

So another one of Bob McKim’s favorite exercises

因此，博布‧马金的另一个喜爱的练习

is called the "30 Circles Test."

叫做｢30 圈测验｣。

So we’re back to work. You guys are going to get back to work again.

因此我们回来工作。你们都要回来工作。

Turn that piece of paper that you did the sketch on

把刚才画图的纸翻过来，

back over, and you’ll find those 30 circles printed on the piece of paper.

背面印有 30 个圆圈。

So it should look like this. You should be looking at something like this.

就是这样。你看到的就像这个。

So what I’m going to do is, I’m going to give you minute,

我要做什么呢，我要给你一分钟，

and I want you to adapt as many of those circles as you can

我要你尽量利用这些圆圈，

into objects of some form.

画成某些物品。

So for example, you could turn one into a football,

例如，你可以把一个画成足球，

or another one into a sun. All I’m interested in is quantity.

或另一个画成太阳。我要的是数量。

I want you to do as many of them as you can,

我要你尽可能画越多越好，

in the minute that I’m just about to give you.

利用我将给你的一分钟。

So, everybody ready? OK? Off you go.

准备好了吗？好吗？开始。

Okay. Put down your pencils, as they say.

好了。请放下铅笔。

So, who got more than five circles figured out?

谁画超过五个？

Hopefully everybody? More than 10?

应该是每个人？超过 10 个？

Keep your hands up if you did 10.

如果画满 10 个的，请举手。

15? 20? Anybody get all 30?

15？20？有人画满 30 个？

No? Oh! Somebody did. Fantastic.

没有？喔！有人做到了。好极了。

Did anybody to a variation on a theme? Like a smiley face?

有人用同一主题去变化吗？如笑脸？

Happy face? Sad face? Sleepy face? Anybody do that?

快乐脸？悲伤脸？瞌睡脸？有人吗？

Anybody use my examples? The sun and the football?

有人用我的例子吗？太阳、足球？

Great. Cool. So I was really interested in quantity.

很好。酷。我要的是数量。

I wasn’t actually very interested in whether they were all different.

实际上我不在意它们是否都差别很大。

I just wanted you to fill in as many circles as possible.

我只是要你们尽量使用圆圈。

And one of the things we tend to do as adults, again, is we edit things.

大人的另一个倾向，会去编辑东西。

We stop ourselves from doing things.

我们停住自己，不再去做。

We self-edit as we’re having ideas.

我们一有想法就自我编辑它。

And in some cases, our desire to be original is actually a form of editing.

有时候，我们想要有原创性，其实是一种编辑。

And that actually isn’t necessarily really playful.

而实际上未必真的好玩。

So that ability just to go for it and explore lots of things,

因此那种往前探索许多事物的能力，

even if they don’t seem that different from each other,

即使它们彼此并不那么不同，

is actually something that kids do well, and it is a form of play.

实际上小孩子做得很好，是一种游戏。

So now, Bob McKim did another

因此，现在博布‧马金做了另一个 －

version of this test

测验的另一个版本，

in a rather famous experiment that was done in the 1960s.

一个颇有名的实验，在 1960 年代。

Anybody know what this is? It’s the peyote cactus.

有人知道这是什么吗？是皮约特仙人掌。

It’s the plant from which you can create mescaline,

用它可以制造美斯卡灵，

one of the psychedelic drugs.

一种迷幻剂。

For those of you around in the '60s, you probably know it well.

'60 年代的人或许知道。

McKim published a paper in 1966, describing an experiment

马金在 1966 年发表了一篇论文，描述一个实验

that he and his colleagues conducted

由他和他的同事执行的，

to test the effects of psychedelic drugs on creativity.

测试迷幻药对创造力的影响。

So he picked 27 professionals -- they were

因此他挑选了 27 名专业人士。他们是：

engineers, physicists, mathematicians, architects,

工程师、物理学者、数学家、建筑师、

furniture designers even, artists --

家具设计师、还有艺术家。

and he asked them to come along one evening,

他请他们某个晚上过来

and to bring a problem with them that they were working on.

带个他们正在处理的问题。

He gave each of them some mescaline,

他给每个人吃一些美斯卡灵，

and had them listen to some nice, relaxing music for a while.

让他们听一下好听、轻松的音乐。

And then he did what’s called the Purdue Creativity Test.

接着他要他们做所谓的｢普度创造力测验｣。

You might know it as, "How many uses can you find for a paper clip?"

也许你知道，就是：想出回形针有多少用途？

It’s basically the same thing as the 30 circles thing that I just had you do.

基本上和我要你们做的 30 个圆圈一样。

Now, actually, he gave the test before the drugs

实际上，用药前他也有做测验，

and after the drugs, to see

用药后也有，要比较 －

what the difference was in people’s

人们在产生构想的熟练度

facility and speed with coming up with ideas.

和速度上有何不同。

And then he asked them to go away

接着他要他们离开

and work on those problems that they’d brought.

开始处理带来的问题。

And they’d come up with a bunch of

他们都产生了一大堆的

interesting solutions -- and actually, quite

有趣解答，实际上都相当

valid solutions -- to the things that they’d been working on.

具体的解答用在正处理的问题上。

And so, some of the things that they figured out,

他们想出的一些点子，

some of these individuals figured out;

这些受试者想出的...

in one case, a new commercial building and designs for houses

如：新的商业大楼和住屋设计

that were accepted by clients;

被客户接受了。

a design of a solar space probe experiment;

太阳的太空探测实验设计。

a redesign of the linear electron accelerator;

线性电子加速器的再设计、

an engineering improvement to a magnetic tape recorder --

录音磁带的工程改进。

you can tell this is a while ago;

－ 这是好几年前的事。

the completion of a line of furniture;

完成家具产品线，

and even a new conceptual model of the photon.

甚至光子的新概念模型。

So it was a pretty successful evening.

因此，这是个蛮成功的夜晚。

In fact, maybe this experiment was the reason that Silicon Valley

也许这个实验是硅谷为什么

got off to its great start with innovation.

在创新上能有那么大的突破。

We don’t know, but it may be.

我们未得而知，但有可能的。

We need to ask some of the CEOs

我们要问几位执行长

whether they were involved in this mescaline experiment.

他们是否参加了这个美斯卡灵实验。

But really, it wasn’t the drugs that were important;

真的，重要的不是药，

it was this idea that what the drugs did

而是实验的发现：

would help shock people out of their normal way of thinking,

药可以帮人跳出平常的思维方式。

and getting them to forget the adult behaviors

让人忘记大人的行为

that were getting in the way of their ideas.

这些行为有碍创意。

But it’s hard to break our habits, our adult habits.

但是很难改变习惯，我们的大人习惯。

At IDEO we have brainstorming rules written on the walls.

在 IDEO，我们把脑力激荡规则写在墙上。

Edicts like, "Defer judgment," or "Go for quantity."

昭告如下：｢延后判断｣，或｢追求数量｣。

And somehow that seems wrong.

好像这样也不对。

I mean, can you have rules about creativity?

我是说，创造力可以有规则吗？

Well, it sort of turns out that we need rules

好像我们需要规则

to help us break the old rules and norms

来帮我们打破旧规则及常态

that otherwise we might bring to the creative process.

否则我们又把它放到创造过程里。

And we’ve certainly learnt that over time,

当然长时来我们已学会它，

you get much better brainstorming,

可以有较好的脑力激荡，

much more creative outcomes when everybody does play by the rules.

有更具创意的产出，只要大家遵守规则。

Now, of course, many designers, many individual designers,

当然，许多设计师、个人设计师，

achieve this is in a much more organic way.

以更有机的方式达成这个。

I think the Eameses are wonderful examples of experimentation.

我认为，伊姆斯夫妇是实验的最佳实例。

And they experimented with plywood for many years

他们多年实验各种合板

without necessarily having one single goal in mind.

未必心中先有单一目标。

They were exploring following what was interesting to them.

他们循着他们的兴趣探索。

They went from designing splints for wounded soldiers

他们当初是要设计伤兵的断骨夹板

coming out of World War II and the Korean War, I think,

我想，是为二战及韩战的伤兵。

and from this experiment they moved on to chairs.

从这个实验，他们进展到各种椅子。

Through constant experimentation with materials,

经由不断的材料实验，

they developed a wide range of iconic solutions

发展了广范围的经典解答

that we know today, eventually resulting in,

现在我们都知道，后来导致

of course, the legendary lounge chair.

那个传奇的靠椅。

Now, if the Eameses had stopped with that first great solution,

如果伊姆斯停止在那个伟大的解答，

then we wouldn’t be the beneficiaries of so many

我们受益的将没有那么多

wonderful designs today.

今日的绝佳设计。

And of course, they used experimentation in all aspects of their work,

当然，他们把实验用在工作的所有面向。

from films to buildings, from games to graphics.

从影片到建筑、从游戏到图文。

So, they’re great examples, I think, of exploration

因此我想，他们是绝佳的设计探索

and experimentation in design.

和实验的范例。

Now, while the Eameses were exploring those possibilities,

当伊姆斯探索各种可能时，

they were also exploring physical objects.

他们也探索实体物品。

And they were doing that through building prototypes.

经由建造模型来做。

And building is the next of the behaviors that I thought I’d talk about.

｢建造｣是我要谈的另一个行为。

So the average Western first-grader

平均的西方小一学生

spends as much as 50 percent of their play time

花游戏时间的一半之多

taking part in what’s called "construction play."

做所谓的「建构游戏」。

Construction play -- it’s playful, obviously,

建构游戏 － 显然很好玩，

but also a powerful way to learn.

也是有力的学习方法。

When play is about building a tower out of blocks,

当玩用积木建造一个塔，

the kid begins to learn a lot about towers.

小孩开始学许多有关塔的事。

And as they repeatedly knock it down and start again,

当他们不断地拆了又建，

learning is happening as a sort of by-product of play.

学习就以游戏的副产品发生着。

It’s classically learning by doing.

这是古典的「做中学」。

Now, David Kelley calls this behavior,

大卫‧剀利叫这种行为，

when it’s carried out by designers, "thinking with your hands."

当由设计师做时：「用手思考」。

And it typically involves making multiple,

它基本上包含快速地

low-resolution prototypes very quickly,

制作多次草模。

often by bringing lots of found elements together

如，往往是组合找到的东西

in order to get to a solution.

以得到解答。

On one of his earliest projects, the team was kind of stuck,

最早期的一个项目，小组卡住了，

and they came up with a mechanism by hacking together

后来得到的机构是拼组了

a prototype made from a roll-on deodorant.

除臭剂的滚球而成的模型。

Now, that became the first commercial computer mouse

而成为第一款上市计算机鼠标

for the Apple Lisa and the Macintosh.

用在苹果丽莎和麦金塔。

So, they learned their way to that by building prototypes.

因此他们以建造模型找到那个解答。

Another example is a group of designers

另个例子是有一群设计师

who were working on a surgical instrument with some surgeons.

和外科医师讨论手术器具设计

They were meeting with them; they were talking to the surgeons

他们开会，他们和外科医师谈

about what it was they needed with this device.

问他们需要这个器具做什么。

And one of the designers ran out of the room

其中一个设计师跑出房间

and grabbed a white board marker and a film canister --

抓了一支白板笔和一个底片盒 －

which is now becoming a very precious prototyping medium --

它们变成很有用的模型道具 －

and a clothespin. He taped them all together,

加上晒衣夹。用胶带捆起来，

ran back into the room and said, "You mean, something like this?"

跑回房间说：你是说像这个？

And the surgeons grabbed hold of it and said,

外科医师抓住把手，说：

well, I want to hold it like this, or like that.

我要像这样或那样握它。

And all of a sudden a productive conversation

突然间，建设性的对话开始

was happening about design around a tangible object.

绕着实际的物品讨论设计。

And in the end it turned into a real device.

最后产生了真实的器具。

And so this behavior is all about quickly getting something

所以这个行为是为了快速放东西

into the real world, and having your thinking advanced as a result.

到真实世界，以便思考也跟着前进。

At IDEO there’s a kind of a back-to-preschool feel

在 IDEO 有点像回到学前的感觉，

sometimes about the environment.

关于它的环境。

The prototyping carts, filled with colored paper

塞满色纸做购物车的模型

and Play-Doh and glue sticks and stuff --

玩面团、黏棒子及其他东西。

I mean, they do have a bit of a kindergarten feel to them.

他们真的有点像是在幼儿园的感觉。

But the important idea is that everything’s at hand, everything’s around.

但最重要的概念是，事事物物都在周边、顺手可得。

So when designers are working on ideas,

因此当设计师在找构想时

they can start building stuff whenever they want.

他们任何时候都能开始建造东西。

They don’t necessarily even have to go

他们未必需要去

into some kind of formal workshop to do it.

某个正式的工场去做它。

And we think that’s pretty important.

我们认为这是很重要的。

And then the sad thing is, although preschools

悲哀的是，学龄前儿童虽然

are full of this kind of stuff, as kids go through the school system

充满这些东西，一旦儿童进入学校系统

it all gets taken away.

这些都不见了。

They lose this stuff that facilitates

他们失去这些物品，这些能促成

this sort of playful and building mode of thinking.

好玩的、建造模式的思考。

And of course, by the time you get to the average workplace,

当然，当你到达一般工作场合时，

maybe the best construction tool we have

我们能有的最佳建造工具

might be the Post-it notes. It’s pretty barren.

或许就是便利贴了。蛮寒酸的。

But by giving project teams and the clients

但如能让专案小组及一起工作的客户

who they’re working with permission to think with their hands,

允许他们用手去思考，

quite complex ideas can spring into life

极复杂的构想就会油然而生

and go right through to execution much more easily.

并能更方便地加以执行。

This is a nurse using a very simple -- as you can see -- plasticine prototype,

这位护士用很简单的 － 你看得出 － 油土模型，

explaining what she wants out of a portable information system

说明她要用手持信息系统做什么

to a team of technologists and designers

给技术人员及设计师小组听

that are working with her in a hospital.

他们正一起在医院合作。

And just having this very simple prototype

只用这个简单的模型

allows her to talk about what she wants in a much more powerful way.

让她有力地表达她想要的东西。

And of course, by building quick prototypes,

当然，建造快速模型可以

we can get out and test our ideas with consumers

让我们更快速提出构想，

and users much more quickly

并和顾客及使用者测试它，

than if we’re trying to describe them through words.

比只是用口头描述好多了。

But what about designing something that isn’t physical?

但如果要设计非实体的事物呢？

Something like a service or an experience?

像是服务或体验？

Something that exists as a series of interactions over time?

时间上的一系列互动之类的?

Instead of building play, this can be approached with role-play.

不是建造游戏，这时要用角色扮演。

So, if you’re designing an interaction between two people --

如果你要设计两个人之间的互动

such as, I don’t know -- ordering food at a fast food joint

例如，在快餐店点餐

or something, you need to be able to imagine

或什么的，你要能想象

how that experience might feel over a period of time.

那个时间历程上经验的感觉。

And I think the best way to achieve that,

我想，最好的达成方式

and get a feeling for any flaws in your design, is to act it out.

并感受设计缺点，就是扮演一下。

So we do quite a lot of work at IDEO

在 IDEO 我们花佷多工夫

trying to convince our clients of this.

说服我们的客户采用它。

They can be a little skeptical; I’ll come back to that.

他们有点怀疑，等下我再说。

But a place, I think, where the effort is really worthwhile

但我认为，有个值得努力的地方

is where people are wrestling with quite serious problems --

是在人们致力的严肃问题上。

things like education or security or finance or health.

例如教育、保险、财务、或医疗。

And this is another example in a healthcare environment

这是另一个医疗环境的例子

of some doctors and some nurses and designers

医生、护士、及设计师们

acting out a service scenario around patient care.

扮演着病患照顾的服务情境。

But you know, many adults

但是你知道，许多大人

are pretty reluctant to engage with role-play.

很不愿参与角色扮演。

Some of it’s embarrassment and some of it is because

有的怕难为情，有的则是因为

they just don’t believe that what emerges is necessarily valid.

他们就是不相信，这样得到的会是有效的。

They dismiss an interesting interaction by saying,

他们推辞有趣的互动，说：

you know, "That’s just happening because they’re acting it out."

它的发生是因为有人这样演出。

Research into kids' behavior actually suggests

研究儿童行为则实际指出

that it’s worth taking role-playing seriously.

角色扮演值得认真看待。

Because when children play a role,

因为当儿童扮演一个角色时

they actually follow social scripts quite closely

他们真的蛮密切地跟着社会剧本

that they’ve learnt from us as adults.

那是从大人那里学来的。

If one kid plays "store," and another one’s playing "house,"

如果有个小孩扮商店，另一个扮房子，

then the whole kind of play falls down.

则整个游戏就垮了。

So they get used to quite quickly

因此他们习惯于很快地

to understanding the rules for social interactions,

了解社会互动的规则，

and are actually quite quick to point out when they’re broken.

实际上也很快能指出规则的违反。

So when, as adults, we role-play,

因此，当大人扮演角色时，

then we have a huge set of these scripts already internalized.

我们有一大堆已经内化的剧本。

We’ve gone through lots of experiences in life,

在生活中我们已有许多经验。

and they provide a strong intuition

而它们提供很强的直觉

as to whether an interaction is going to work.

去得知某项互动是否可行。

So we’re very good, when acting out a solution,

因此我们很拿手于演出一个解答，

at spotting whether something lacks authenticity.

去指出某事是否缺乏真实感。

So role-play is actually, I think,

因此，我认为角色扮演是

quite valuable when it comes to thinking about experiences.

很有价值的，可用在思考各种体验。

Another way for us, as designers, to explore role-play

另一个提供设计师探讨角色扮演的方式

is to put ourselves through an experience which we’re designing for,

是亲自去经历要设计的事情，

and project ourselves into an experience.

就是把自己投入那项经验。

So here are some designers who are trying to understand

这里有几位设计师试着要了解

what it might feel like to sleep in a

睡在飞机上狭窄空间

confined space on an airplane.

的感觉是如何。

And so they grabbed some very simple materials, you can see,

因此他们取用非常简单的材料，你看。

and did this role-play, this kind of very crude role-play,

而去做这样的角色扮演，这种很粗糙的角色扮演，

just to get a sense of what it would be like for passengers

只想理解一下旅客会有的感觉

if they were stuck in quite small places on airplanes.

如果旅客被塞在机上的小小空间。

This is one of our designers, Kristian Simsarian,

这是我们的一位设计师克力仙‧西姆萨连，

and he’s putting himself through the experience of being an ER patient.

他自己经历在急诊室当病患的体验。

Now, this is a real hospital, in a real emergency room.

这可是真的医院，在真的急诊室。

One of the reasons he chose to take

为何他选择要带着

this rather large video camera with him was

这个颇大的录像机？

because he didn’t want the doctors and nurses thinking

因为他不想被医生或护士认为

he was actually sick, and sticking something into him

他是真的有病，而跟他打什么针

that he was going to regret later.

这会令他后悔。

So anyhow, he went there with his video camera,

总之，他带着录像机去了那里，

and it’s kind of interesting to see what he brought back.

有趣的是看他带回的东西。

Because when we looked at the video when he got back,

因为当他回来时，我们看了他的录像，

we saw 20 minutes of this.

我们看了 20 分钟的这个。

(Laughter)

(笑声)

And also, the amazing thing about this video --

还有，这个录像的神奇之处是，

as soon as you see it you immediately

只要你看它，你就立刻好像

project yourself into that experience.

自己投入那个体验。

And you know what it feels like: all of that uncertainty

而知道那种感觉，那种不确定感

while you’re left out in the hallway

当你被留置在走廊

while the docs are dealing with some more urgent case

而医师们忙着其他更急的事

in one of the emergency rooms, wondering what the heck’s going on.

去了另一间急诊病房，你不解到底是怎么了。

And so this notion of using role-play --

因此使用角色扮演的这个概念，

or in this case, living through the experience

这个例子里，就是去经历那个经验

as a way of creating empathy --

是一种创造同感的方式，

particularly when you use video, is really powerful.

尤其当你使用录像，是佷有力的。

Or another one of our designers, Altay Sendil:

另一位我们的设计师阿尔泰‧仙迪尔，

he’s here having his chest waxed, not because he’s very vain,

他来做胸部除毛 ，并不是为了爱虚荣，

although actually he is -- no, I’m kidding --

虽然他实际是的。不，我开玩笑。

but in order to empathize with the pain that chronic care patients

而是为了感同慢性病人的痛苦

go through when they’re having dressings removed.

去经历他们移除敷料贴片的感觉。

And so sometimes these analogous experiences,

因此有时这些模拟的经验，

analogous role-play, can also be quite valuable.

即模拟的角色扮演，也可以很有用。

So when a kid dresses up as a firefighter, you know,

当小孩穿上消防装，

he’s beginning to try on that identity.

他开始尝试那个身分。

He wants to know what it feels like to be a firefighter.

他要知道当消防员的感觉。

We’re doing the same thing as designers.

身为设计师我们做相同的事。

We’re trying on these experiences.

我们尝试这些体验。

And so the idea of role-play is both as an empathy tool,

因此角色扮演的想法不但是感同的工具，

as well as a tool for prototyping experiences.

也是型塑体验的工具。

And you know, we kind of admire people who do this at IDEO anyway.

我们很羡慕在 IDEO 有人去做这个。

Not just because they lead to insights about the experience,

不只因为他们带来体验的洞见，

but also because of their willingness to explore

也因为他们愿意去探索

and their ability to unselfconsciously

以及他们有能力在无意识中

surrender themselves to the experience.

忘我地去体验。

In short, we admire their willingness to play.

简言之，我们羡慕他们愿意去扮演。

Playful exploration, playful building and role-play:

因此，好玩的探索、好玩的建造、及角色扮演。

those are some of the ways that designers use play in their work.

这些都是设计师工作中用的方法。

And so far, I admit, this might feel

至此，我承认这好像是

like it’s a message just to go out and play like a kid.

叫你们像个小孩那样去玩。

And to certain extent it is, but I want to stress a couple of points.

某个程度上是的，但我要强调几点。

The first thing to remember is that play is not anarchy.

首先记住游戏不是乱无章法的。

Play has rules, especially when it’s group play.

游戏有规则，尤其是团体游戏。

When kids play tea party, or they play cops and robbers,

当孩子玩茶会、或玩警察抓小偷，

they’re following a script that they’ve agreed to.

他们依着彼此同意的剧本。

And it’s this code negotiation that leads to productive play.

是这个守则协商带来有产出的游戏。

So, remember the sketching task we did at the beginning?

记得一开始的画图任务吗

The kind of little face, the portrait you did?

你画的那个小脸、画像？

Well, imagine if you did the same task with friends

想想如果你和朋友做这个

while you were drinking in a pub.

一边在酒廊里喝酒。

But everybody agreed to play a game

大家同意玩个游戏

where the worst sketch artist bought the next round of drinks.

画得最差的要付下一巡酒钱。

That framework of rules would have turned an embarrassing,

这个规则将使难为情、

difficult situation into a fun game.

窘境成为有趣的游戏。

As a result, we’d all feel perfectly secure and have a good time --

结果呢，我们将有安全感，过得很愉快 －

but because we all understood the rules and we agreed on them together.

因为我们都了解规则，我们一起同意它。

But there aren’t just rules about how to play;

但是，不只有「如何玩」的规则，

there are rules about when to play.

也有「何时玩」的规则。

Kids don’t play all the time, obviously.

显然，孩子们不是一直在玩。

They transition in and out of it,

他们进入及退出游戏。

and good teachers spend a lot of time

而好的老师要花许多时间

thinking about how to move kids through these experiences.

思考如何带孩子走过这些经验。

As designers, we need to be able to transition in and out of play also.

身为设计师，我们也要能进入及退出游戏。

And if we’re running design studios

如果我们经营设计公司

we need to be able to figure out, how can we transition

我们要让设计师，

designers through these different experiences?

如何进出这些不同的体验？

I think this is particularly true if we think about the sort of --

尤其是当我们思考...

I think what’s very different about design

设计上有很大差别的是

is that we go through these two very distinctive modes of operation.

我们经历两种很独特的操作模式。

We go through a sort of generative mode,

我们经历产出模式，

where we’re exploring many ideas;

此时我们探索创意。

and then we come back together again,

接着，我们又回来，

and come back looking for that solution,

回来寻找解答，

and developing that solution.

并发展那个解答。

I think they’re two quite different modes:

我认为两者是极不同的模式。

divergence and convergence.

发散及收敛。

And I think it’s probably in the divergent mode

或许是在发散模式中

that we most need playfulness.

我们最需要「好玩」。

Perhaps in convergent mode we need to be more serious.

或许在收敛模式中，我们要严肃一点。

And so being able to move between those modes

因此能够在这两个模式间移动

is really quite important. So, it’s where there’s a

真的很重要。因此

more nuanced version view of play, I think, is required.

有个更细致的游戏观，我想是需要的。

Because it’s very easy to fall into the trap that these states are absolute.

因为很容易掉入陷阱，以为这两种状态是绝对的。

You’re either playful or you’re serious, and you can’t be both.

要不是好玩，就是严肃，不能两者都有。

But that’s not really true: you can be a serious professional adult

但不是那样。你可以是严肃的专业人士，

and, at times, be playful.

有时却是好玩的。

It’s not an either/or; it’s an "and."

那不是二择一，而是兼有。

You can be serious and play.

你可以严肃又好玩。

So to sum it up, we need trust to play,

总结一下，我们需要信赖感才敢玩，

and we need trust to be creative. So, there’s a connection.

需要信赖感才有创意，这有关联。

And there are a series of behaviors that we’ve learnt as kids,

有一系列的行为我们在儿童时学到

and that turn out to be quite useful to us as designers.

那对设计师很有用。

They include exploration, which is about going for quantity;

它们包含探索，即追求数量。

building, and thinking with your hands;

建造及用手思考。

and role-play, where acting it out helps us both

及角色扮演，演出可帮助我们对

to have more empathy for the situations in which we’re designing,

我们的设计情境更同感，

and to create services and experiences

及创立服务和体验，

that are seamless and authentic.

使它顺畅无缝、真实可靠。

Thank you very much. (Applause)

谢谢大家。