John Maeda: How art, technology and design inform creative leaders

Translator: Joseph Geni Reviewer: Morton Bast

翻译人员: Ming Chen 校对人员: Xiaotong Ding

I have to say that I'm very glad to be here.

非常高兴能来到这里。

I understand we have over 80 countries here,

我知道大家来自于80多个国家，

so that's a whole new paradigm for me to speak

在来自于这么多国家的人面前发言，

to all of these countries.

对我来说是一种全新的体验。

In each country, I'm sure you have this thing called

我相信，在每个国家，

the parent-teacher conference.

都有一种叫家长会的东西。

Do you know about the parent-teacher conference?

你们知道什么是家长会吗？

Not the ones for your kids, but the one you had as a child,

不是作为一个家长，而是当你还是个孩子的时候，

where your parents come to school and your teacher

你的父母来到学校，

talks to your parents, and it's a little bit awkward.

然后，老师会跟他们进行些有点儿奇怪的谈话。

Well, I remember in third grade, I had this moment

我记得在我小学三年级的时候，

where my father, who never takes off from work,

我的父亲，一个从来不请假休息的人，

he's a classical blue collar, a working-class immigrant person,

一个典型的蓝领，移民工薪阶层，

going to school to see his son, how he's doing,

去学校看他儿子表现得怎么样，

and the teacher said to him, he said, "You know,

我的老师告诉他，“你知道吗，

John is good at math and art."

John擅长数学和艺术"。

And he kind of nodded, you know?

他稍稍地点了点头。

The next day I saw him talking to a customer at our

第二天，我看到他在跟我们家豆腐店的客人聊天，

tofu store, and he said, "You know, John's good at math."

他说，"你知道吗，John的数学很好。"

(Laughter)

（笑声）

And that always stuck with me all my life.

这个事情一直都让我困惑不解。

Why didn't Dad say art? Why wasn't it okay?

我爸爸为什么不提艺术？为什么擅长艺术就不好？

Why? It became a question my entire life, and

为什么呢？它成为了一个我一辈子都在寻找答案的问题，

that's all right, because being good at math meant

这也没什么的，因为擅长数学，

he bought me a computer, and some of you remember

他给我买了一台计算机，有些人可能记得这台计算机，

this computer, this was my first computer.

这是我的第一台计算机。

Who had an Apple II? Apple II users, very cool. (Applause)

你们谁有过Apple II？用Apple II 的人很酷。（掌声）

As you remember, the Apple II did nothing at all. (Laughter)

就跟你记得的一样，Apple II 什么也做不了。（笑声）

You'd plug it in, you'd type in it and green text would come out.

你插上电，开始打字，然后绿色文本就会出来。

It would say you're wrong most of the time.

大多数情况下它都会说命令错误。

That was the computer we knew.

这就是我们以前所接触的计算机。

That computer is a computer that I learned about

正是因为这台计算机，我进入了麻省理工学习，

going to MIT, my father's dream. And at MIT, however,

这是父亲的梦想。

I learned about the computer at all levels,

在麻省理工，我学习了各个层次的计算机知识，

and after, I went to art school to get away from computers,

但在那之后，我却去了艺术学校，以此来逃离计算机，

and I began to think about the computer as more of

我开始更多地将计算机看做是

a spiritual space of thinking.

思考的精神空间。

And I was influenced by performance art --

我深受表演艺术的影响，

so this is 20 years ago. I made a computer out of people.

于是20 年前，我做了一台由人模拟的计算机。

It was called the Human Powered Computer Experiment.

我将其命名为人类动力计算机实验。

I have a power manager, mouse driver, memory, etc.,

我有电源管理人、 鼠标驱动人员、 内存等，

and I built this in Kyoto, the old capital of Japan.

我是在日本的旧首都京都做的这个实验。

It's a room broken in two halves.

那是一个被分成两半的房间。

I've turned the computer on,

我开启计算机后，

and these assistants are placing a giant floppy disk

助理们把一个用纸板做的巨型软盘

built out of cardboard, and it's put into the computer.

放入计算机。

And the floppy disk drive person wears it. (Laughter)

然后那个充当软盘驱动器的人就戴着这个软盘。（笑声）

She finds the first sector on the disk, and

她访问磁盘上的第一个扇区,

takes data off the disk and passes it off to, of course, the bus.

提取数据，然后传递给电脑的主线。

So the bus diligently carries the data into the computer

主线会敬业地把数据输入到计算机，

to the memory, to the CPU, the VRAM, etc.,

到内存，到CPU，再到VRAM等。

and it's an actual working computer. That's a bus, really. (Laughter)

这是一个能运行的计算机，一个传输数据的线路集合，真的。（笑声）

And it looks kind of fast. That's a mouse driver,

它看起来很快。那是鼠标驱动人员

where it's XY. (Laughter)

写着XY。（笑声）

It looks like it's happening kind of quickly, but it's actually

它看起来似乎运行很快，但实际上，

a very slow computer, and when I realized how slow

这是一个运行非常慢的计算机，

this computer was compared to how fast a computer is,

当我意识到跟正常的计算机相比，它有多慢时，

it made me wonder about computers and technology in general.

我对计算机和科技从总体上有了新的思考。

And so I'm going to talk today about four things, really.

所以，我今天真正要谈论的有四件事。

The first three things are about how I've been curious

前三件事是关于我是如何一直以来

about technology, design and art, and how they intersect,

对科技、设计和艺术都充满了好奇的，

how they overlap, and also a topic that I've taken on

以及这三者是如何重叠、相互影响的。另一个主题

since four years ago I became the President

是我成为罗德岛设计学校校长这四年以来

of Rhode Island School of Design: leadership.

一直在思考的问题：领导力。

And I'll talk about how I've looked to combine

我会讲一下我是如何尝试着

these four areas into a kind of a synthesis, a kind of experiment.

把这四个领域结合到一起实现同步并进行试验的。

So starting from technology,

从科技开始说，

technology is a wonderful thing.

科技是很美好的事物。

When that Apple II came out, it really could do nothing.

当那个Apple II 问世时，它真的什么都做不了。

It could show text and

它可以显示文本，

after we waited a bit, we had these things called images.

一段时间后，它开始显示图像。

Remember when images were first possible with a computer,

还记得当计算机第一次显示图像，

those gorgeous, full-color images?

显示那些华丽、 全彩图像的时候吗？

And then after a few years, we got CD-quality sound.

几年后，CD 音质问世了。

It was incredible. You could listen to sound on the computer.

你可以在计算机上听到声音了，这令人难以置信。

And then movies, via CD-ROM. It was amazing.

然后是 CD-ROM的电影，多么了不起！

Remember that excitement?

还记得当时那种兴奋的感觉吗？

And then the browser appeared. The browser was great,

然后浏览器出现了，最初的浏览器不错，

but the browser was very primitive, very narrow bandwidth.

但是非常初级，只能执行很简单的任务。

Text first, then images, we waited,

首先是文本，然后有了图像，

CD-quality sound over the Net,

一段时间的等待之后，又有了通过网络播放的 CD音质，

then movies over the Internet. Kind of incredible.

然后是出现在互联网上的电影，有点儿难以置信。

And then the mobile phone occurred,

然后，手机诞生了，

text, images, audio, video. And now we have iPhone,

文本、 图像、 音频、 视频。

iPad, Android, with text, video, audio, etc.

现在我们有了能播放文本、 视频、 音频等内容的 iPhone，iPad，Android。

You see this little pattern here?

你发现这其中微妙的规律了吗？

We're kind of stuck in a loop, perhaps, and this sense

我们看起来像是被困在了这个循环之中，

of possibility from computing is something I've been

这种由计算机带来的种种可能性

questioning for the last 10 or so years,

是我过去10多年以来一直在质疑的。

and have looked to design, as we understand most things,

因为我通过设计来理解大多数事情，所以我们也研究了设计，

and to understand design with our technology has been a passion of mine.

通过科技来领会设计也成为了我的一个爱好。

And I have a small experiment to give you a quick design lesson.

我这里有一个小实验来让你快速了解设计。

Designers talk about the relationship between form

设计师注重于形式与内容，

and content, content and form. Now what does that mean?

内容与形式之间的关系。这是什么意思呢？

Well, content is the word up there: fear.

内容是屏幕上的字： 恐惧。

It's a four-letter word. It's a kind of a bad feeling word, fear.

一个由四个字母组成的词，是一个描述一种不好的感觉的词。

Fear is set in Light Helvetica, so it's not too stressful,

这个词用浅色Helvetica字体显示， 所以我们并没感到很有压力，

and if you set it in Ultra Light Helvetica,

如果设置成非常浅的Helvetica字体，

it's like, "Oh, fear, who cares?" Right? (Laughter)

感觉就像，"哦，恐惧，有什么大不了的呢？ “ 对吧？（笑声）

You take the same Ultra Light Helvetica and make it big,

我们还是用同样浅色的Helvetica字体，但把它放大，

and like, whoa, that hurts. Fear.

就像，天哪，真吓人！恐惧！

So you can see how you change the scale, you change

刚才，我们通过改变字体大小，改变了形式。

the form. Content is the same, but you feel differently.

尽管内容是相同的，但你的感觉却不一样。

You change the typeface to, like, this typeface,

你把字体改成这样的，

and it's kind of funny. It's like pirate typeface,

这个比较搞笑，有点儿像海盗字体，

like Captain Jack Sparrow typeface. Arr! Fear!

像杰克船长（加勒比海盗）字体：啊！恐惧 ！

Like, aww, that's not fearful. That's actually funny.

这一点也不吓人，实际上还很好笑。

Or fear like this, kind of a nightclub typeface. (Laughter)

而这种字体，感觉像夜店。（笑声）

Like, we gotta go to Fear. (Laughter)

让你觉得我们必须得去“”恐惧“喝一杯。（笑声）

It's, like, amazing, right? (Laughter) (Applause)

很神奇，对吗？（笑声）（掌声）

It just changes the same content.

相同的内容，感觉却不一样。

Or you make it -- The letters are separated apart,

或者像这样，字母本来是分开的， 但把他们挤在一起，

they're huddled together like on the deck of the Titanic,

像是在泰坦尼克号的甲板上，

and you feel sorry for the letters, like, I feel the fear.

你就会为这些字母感到难过，似乎是”我感到惧怕“。

You feel for them.

你可以感受到他们。

Or you change the typeface to something like this.

或者，你还可以把字体改为这样。

It's very classy. It's like that expensive restaurant, Fear.

它非常优雅，就像一家昂贵的叫做”恐惧“餐馆。

I can never get in there. (Laughter)

我永远都进不去。（笑声）

It's just amazing, Fear. But that's form, content.

恐惧，真是了不起。但这就是形式与内容。

If you just change one letter in that content,

如果你只改变其中的一个字母，

you get a much better word, much better content: free.

你会得到一个好得多的词：自由。

"Free" is a great word. You can serve it almost any way.

"自由"是一个很好的词，你可以用任何的方式感受它。

Free bold feels like Mandela free.

加粗之后，感觉像曼德拉被释放而自由了。

It's like, yes, I can be free.

就像”耶，我自由了“。

Free even light feels kind of like, ah, I can breathe in free.

变浅之后，感觉就像，啊！我可以自由呼吸了。

It feels great. Or even free spread out,

那感觉真棒。或者把这些字母分开，

it's like, ah, I can breathe in free, so easily.

这就像，我可以轻松自由地呼吸。

And I can add in a blue gradient and a dove,

我可以添加蓝色渐变和一只鸽子，

and I have, like, Don Draper free. (Laughter)

感觉就像Don Draper（广告狂人男主角）那样的自由。（笑声）

So you see that -- form, content, design, it works that way.

所以形式、 内容和设计就是这样运作的。

It's a powerful thing. It's like magic, almost,

这很强大，跟魔术差不多，

like the magicians we've seen at TED. It's magic.

就像我们在 TED看到的魔术师一样。

Design does that.

设计跟魔法一样，

And I've been curious about how design and technology intersect,

我一直以来都对设计和科技 是如何相互融合的十分感兴趣，

and I'm going to show you some old work I never really

我将展示一些我以前从来没有展示过的作品，

show anymore, to give you a sense of what I used to do.

让你们了解我所做的事情。

So -- yeah.

--

So I made a lot of work in the '90s.

我在90 年代有很多作品。

This was a square that responds to sound.

这是一个对声音有反应的方块。

People ask me why I made that. It's not clear. (Laughter)

人们问我，为什么做这个东西，我也不知道。（笑声）

But I thought it'd be neat for the square

但是我认为，这个方块能对我做出反应，

to respond to me, and my kids were small then,

感觉很不错，那时候我的孩子们还很小，

and my kids would play with these things, like, "Aaah,"

他们会玩这些东西，

you know, they would say, "Daddy, aaah, aaah." You know, like that.

他们会对着方块喊，"啊！爸爸，啊，啊。”

We'd go to a computer store, and they'd do the same thing.

我们去买电脑的地方时，他们也会这样。

And they'd say, "Daddy, why doesn't the computer respond to sound?"

然后他们会问，"爸爸，为什么这些电脑没有回应呢？"

And it was really at the time I was wondering why doesn't the computer respond to sound?

正是从那时候起，我便开始想， 为什么计算机对声音没有反应呢？

So I made this as a kind of an experiment at the time.

所以我当时就做了一些这种类型的实验。

And then I spent a lot of time in the space of

我也花了很多时间

interactive graphics and things like this, and I stopped doing it because

研究交互式图形以及相关的东西，但后来我停下来了，

my students at MIT got so much better than myself,

因为我在麻省的学生比我强多了，

so I had to hang up my mouse.

所以我不得不“金盆洗手”。

But in '96, I made my last piece. It was in black and white,

但在 96年，我制作了我最后一件作品：它是黑白的，

monochrome, fully monochrome, all in integer mathematics.

单色，完全单色，完全基于整数数学。

It's called "Tap, Type, Write."

我将其命名为"点，打，写。"

It's paying a tribute to the wonderful typewriter

我以此来向老式打字机致敬，

that my mother used to type on all the time as a legal secretary.

我母亲是位法律秘书，她曾经就在那样的打字机上打字。

It has 10 variations. (Typing noise)

它有 10 种变化。(打字声)

(Typing noise)

(打字声)

There's a shift.

这是shift。

Ten variations. This is, like, spin the letter around.

十种变化，这种是左右转动字母。

(Typing noises)

(打字声)

This is, like, a ring of letters. (Typing noises)

这像是一个由字母组成的戒指。(打字声)

This is 20 years old, so it's kind of a --

这台打字机有20多年的历史了，所以它有点儿 — —

Let's see, this is —

看，这是 — —

I love the French film "The Red Balloon."

我喜欢法国电影《红气球》。

Great movie, right? I love that movie. So,

很棒的电影，对吧？我非常喜欢那部电影。

this is sort of like a play on that. (Typing noises) (Typewriter bell)

所以，这就像那部电影的延伸。(打字声)(打字机铃声)

It's peaceful, like that. (Laughter)

很平静，就像这样。（笑声）

I'll show this last one. This is about balance, you know.

最后一种作品，是有关平衡的。

It's kind of stressful typing out, so if you

这种打字方法让人有点抓狂，所以如果你

type on this keyboard, you can, like, balance it out.

在这个键盘上打字，你可以让它平衡起来。

(Laughter)

（笑声）

If you hit G, life's okay, so I always say,

如果你按G，什么事儿也没有，所以我总是说，

"Hit G, and it's going to be all right.

"按G， 一切都会好的。“

Thank you. (Applause)

谢谢。（掌声）

Thank you.

谢谢。

So that was 20 years ago, and

这是在 20 年前。

I was always on the periphery of art.

我一直是在艺术的边缘。

By being President of RISD I've gone deep into art,

在担任了罗德岛艺术学院的校长之后， 我更加深入地了解了艺术，

and art is a wonderful thing, fine art, pure art.

艺术是非常美妙的，精美艺术，纯艺术。

You know, when people say, "I don't get art.

当有人说"我不懂艺术，我一点儿也不明白"时，

I don't get it at all." That means art is working, you know?

那就意味着艺术影响到你了，知道吗？

It's like, art is supposed to be enigmatic, so when you say,

艺术就应该是神秘的，所以当你说"我不明白" 的时候，

like, "I don't get it," like, oh, that's great. (Laughter)

其实是在说“哦，太棒了。”（笑声）

Art does that, because art is about asking questions,

这就是艺术的力量，艺术是在提问题，

questions that may not be answerable.

提那些可能无法解答的问题。

At RISD, we have this amazing facility called

在罗德岛设计学院，我们有一个十分出色的实验室

the Edna Lawrence Nature Lab. It has 80,000 samples

叫埃德娜 · 劳伦斯自然实验室，在那里我们有

of animal, bone, mineral, plants.

80,000 种动物、 骨头、 矿物质和植物的样本。

You know, in Rhode Island, if an animal gets hit on the road,

在罗德岛，如果一个动物被撞死了，

they call us up and we pick it up and stuff it.

就会有人打电话过来，我们会把尸体运过来，填充成标本。

And why do we have this facility?

我们为什么要有这样的实验室？

Because at RISD, you have to look at the actual animal,

因为在罗德岛设计学院，你需要看到真实的动物，

the object, to understand its volume, to perceive it.

来感知他的大小，并了解它们。

At RISD, you're not allowed to draw from an image.

在罗德岛设计学院，我们是不允许根据图像来画图的。

And many people ask me, John, couldn't you just

很多人问我，John，你就不能把这些实物数字化？

digitize all this? Make it all digital? Wouldn't it be better?

把所有东西都变成电子版，这不是更好吗？

And I often say, well, there's something good to how things

我常说，我们以前做事的方法是有可取之处的。

used to be done. There's something very different about it,

而且与众不同，

something we should figure out what is good about

即使是在新时代，

how we did it, even in this new era.

我们仍然要弄清楚它们好在哪里。

And I have a good friend, he's a new media artist named

我有一个好朋友，是一位新媒体艺术家

Tota Hasegawa. He's based in London, no, actually it's in Tokyo,

叫做长谷川值，他住在伦敦，不，实际上是在东京，

but when he was based in London, he had a game

但是当他住在伦敦时，他和他的妻子经常

with his wife. He would go to antique shops,

玩一个游戏，他们会去古董店，

and the game was as such:

这个游戏是这样的：

When we look at an antique we want,

当他们看见一件想要的古董的时候，

we'll ask the shopkeeper for the story behind the antique,

会问问老板这件古董背后的故事，

and if it's a good story, we'll buy it.

如果是一个很好的故事，他们才会买这件古董。

So they'd go to an antique shop, and they'd look at this cup,

所以当他们去古董店时，他们会看着这个杯子，

and they'd say, "Tell us about this cup."

然后问："跟我们讲讲这个杯子。"

And the shopkeeper would say, "It's old." (Laughter)

老板会说："它是旧的。"（笑声）

"Tell us more." "Oh, it's really old." (Laughter)

"还有呢。" "哦，它非常旧。"（笑声）

And he saw, over and over, the antique's value

他反反复复地了解到，

was all about it being old.

古董的价值便在于它是旧的。

And as a new media artist, he reflected, and said,

作为一名新媒体艺术家，他感叹道，

you know, I've spent my whole career making new media art.

我用整个职业生涯来创造新媒体艺术。

People say, "Wow, your art, what is it?" It's new media.

人们却会说，"哇，这是什么艺术？“ "这是新媒体。”

And he realized, it isn't about old or new.

他意识到，新媒体无关乎旧或新。

It's about something in between.

它介于这两者之间。

It isn't about "old," the dirt, "new," the cloud. It's about what is good.

它不是关于"旧“的泥土，或是"新"的云。 它要寻找什么是好的。

A combination of the cloud and the dirt is where the action is at.

云和泥土的组合才是新媒体。

You see it in all interesting art today, in all

你会在所有有趣的艺术中，

interesting businesses today. How we combine

以及所有令人感兴趣的商业中，看到这种组合。

those two together to make good is very interesting.

如何将这两者结合产生好的东西，是非常有意思的。

So art makes questions, and

所以艺术创造问题，

leadership is something that is asking a lot of questions.

领导力则意味着提出很多问题。

We aren't functioning so easily anymore.

社会不像以前那样单一了。

We aren't a simple authoritarian regime anymore.

现在再也不是简单的独裁政权。

As an example of authoritarianism, I was in Russia one time

举个独裁主义的例子，

traveling in St. Petersburg, at a national monument,

我曾经去俄罗斯圣彼得堡的一个国家纪念碑旅游，

and I saw this sign that says, "Do Not Walk On The Grass,"

我看见一个标志，上面写着，"请勿践踏草坪“

and I thought, oh, I mean, I speak English,

我想，我是说英语的人，

and you're trying to single me out. That's not fair.

用英语写标语就像是刻意对我说的，这不公平。

But I found a sign for Russian-speaking people,

但我发现一个给说俄语的人的标志，

and it was the best sign ever to say no.

这是有史以来最好的禁止标志。

It was like, "No swimming, no hiking, no anything."

"禁止游泳，禁止远足，禁止任何事情。"

My favorite ones are "no plants." Why would you bring a plant to a national monument? I'm not sure.

我最喜欢的一个是"禁止携带植物。 " 为什么会有人带植物到国家纪念碑？我不太明白。

And also "no love." (Laughter)

还有"禁止谈情说爱"。（笑声）

So that is authoritarianism.

这就是独裁主义。

And what is that, structurally?

从结构上而言，独裁主义是什么？

It's a hierarchy. We all know that a hierarchy is how we run

它是一个等级制度。大家都知道，

many systems today, but as we know, it's been disrupted.

如今我们都在用等级制度运做很多东西， 但它已经被打破了。

It is now a network instead of a perfect tree.

现在它是一个网结构，而不是一个完美的树结构。

It's a heterarchy instead of a hierarchy. And that's kind of awkward.

它是一个分层结构，而不是等级结构，这有一点奇怪。

And so today, leaders are faced

因此，我认为如今的领导者们面临着

with how to lead differently, I believe.

如何以不同的方式来带领团队。

This is work I did with my colleague Becky Bermont

我与我的同事Becky Bermont

on creative leadership. What can we learn

研究了创意领导学。

from artists and designers for how to lead?

我们从艺术家和设计师那里能学到哪些关于领导力的事情？

Because in many senses, a regular leader loves to avoid mistakes.

许多的情况下，一般的领导都希望避免错误，

Someone who's creative actually loves to learn from mistakes.

而有创意的人其实喜欢从错误中学习。

A traditional leader is always wanting to be right,

传统的领导者总是想要正确，

whereas a creative leader hopes to be right.

而创意领导者则只是希望能正确。

And this frame is important today, in this complex,

这个框架如今很重要，在现在这个复杂，捉摸不透的世界，

ambiguous space, and artists and designers have a lot to teach us, I believe.

我相信艺术家和设计师们可以教我们很多事情。

And I had a show in London recently where my friends

最近我在伦敦有一个展览，

invited me to come to London for four days

我的朋友邀请我在伦敦呆四天，

to sit in a sandbox, and I said great.

就坐在沙坑里，我欣然答应了。

And so I sat in a sandbox for four days straight,

于是那四天我一直坐在沙坑里，

six hours every day, six-minute appointments with anyone in London,

每天六个小时，在伦敦的任何人都可以和我面对面六分钟，

and that was really bad.

那可真是杯具。

But I would listen to people, hear their issues,

但是，我可以听见人们聊他们的问题，

draw in the sand, try to figure things out,

在沙上画画，试图解决问题，

and it was kind of hard to figure out what I was doing.

很难弄清楚我在做什么。

You know? It's all these one-on-one meetings for like four days.

这样一对一的会议，持续了四天。

And it felt kind of like being president, actually.

感觉就像当总统一样，真的。

I was like, "Oh, this my job. President. I do a lot of meetings, you know?"

就像"哦，这是我的工作。我是总统，我有很多会议。"

And by the end of the experience,

到最后，

I realized why I was doing this.

我意识到我做这件事的原因。

It's because leaders, what we do is we connect

这是因为作为领导者，

improbable connections and hope something will happen,

我们要做的就是建立原本不可能的联系， 并且希望一些事情会发生，

and in that room I found so many connections

而在那个房间里，

between people across all of London, and so leadership,

我发现了很多伦敦人之间的联系，

connecting people, is the great question today.

所以用领导力来连接不同的人，是如今的大问题。

Whether you're in the hierarchy or the heterarchy,

无论你是在等级制度下，还是在分层结构中，

it's a wonderful design challenge.

这都一个很棒的设计挑战。

And one thing I've been doing is doing some research

我一直在研究一种系统，

on systems that can combine technology and leadership

一种透过艺术与设计的视角，

with an art and design perspective.

来结合技术与领导力的系统。

Let me show you something I haven't shown anywhere, actually.

让我向你展示一些我从没展示过的东西。

So what this is, is a kind of a sketch, an application sketch

这是一个草图，

I wrote in Python. You know how there's Photoshop?

是我在Python 中写的应用，大家知道Photoshop吧？

This is called Powershop, and the way it works is

这个叫Powershop，而它运作的方式是这样的，

imagine an organization. You know, the CEO isn't ever

你可以想象一个组织，

at the top. The CEO's at the center of the organization.

在这个组织中，CEO任何时候都不是在最高层。 CEO 总是在这个组织的中心。

There may be different subdivisions in the organization,

组织中也许还有更小的分支机构，

and you might want to look into different areas. For instance,

你可能想要了解不同的领域。

green are areas doing well, red are areas doing poorly.

例如，绿色代表做得好的领域，红色代表表现不佳的领域。

You know, how do you, as the leader, scan, connect,

作为领导者，你如何浏览数据，建立联系，

make things happen? So for instance, you might open up

让事情变得可能？

a distribution here and find the different subdivisions in there,

例如，你可以点开这个分支，再找到其中不同的分支，

and know that you know someone in Eco, over here,

你认识在生态部门的某个人，在这里，

and

然后

these people here are in Eco, the people you might

这些在生态部门的人，

engage with as CEO, people going across the hierarchy.

可能是你作为 CEO或者管理者想要加强联系的人，

And part of the challenge of the CEO is to find

对于CEO而言，

connections across areas, and so you might look in R&D,

要找到跨越领域的联系是一件很具有挑战性的事。 你可能关注研发部，

and here you see one person who crosses the two areas

在这里，你看到一个跨越两个领域的人。

of interest, and it's a person important to engage.

那么这个人就是一个非常重要的人。

So you might want to, for instance, get a heads-up display

因此，你可能想要仔细地看看

on how you're interacting with them.

你是如何与他们互动的。

How many coffees do you have?

你跟他们喝了多少杯咖啡？

How often are you calling them, emailing them?

你多久给他们打一次电话，发一封邮件？

What is the tenor of their email? How is it working out?

他们邮件的主题是什么？进展得怎么样？

Leaders might be able to use these systems to

领导者也许能用这些系统来

better regulate how they work inside the heterarchy.

更好地规范被领导者在分层体系中的工作。

You can also imagine using technology like from Luminoso,

你还可以使用类似于Luminoso的技术，

the guys from Cambridge who were looking at deep

像那些来自剑桥的人一样做深度文本分析。

text analysis. What is the tenor of your communications?

你沟通的要旨是什么？

So these kind of systems, I believe, are important.

我认为，这种类型的系统是很重要的。

They're targeted social media systems around leaders.

它们关注于领导人的社交圈。

And I believe that this kind of perspective will only begin

我相信这种观点的壮大，

to grow as more leaders enter the space of art and design,

需要更多的领导人介入艺术和设计领域，

because art and design lets you think like this,

因为艺术和设计让你像这样思考，

find different systems like this,

找到像这样的不同的系统，

and I've just begun thinking like this,

而我才刚开始像这样思考，

so I'm glad to share that with you.

很高兴能与你们分享。

So in closing, I want to thank all of you

最后，我想谢谢大家

for your attention. Thanks very much. (Applause)

谢谢你们的关注。非常感谢。（掌声）

(Applause)

（掌声）