Paola Antonelli: Why I brought Pac-Man to MoMA

Translator: Joseph Geni Reviewer: Morton Bast

翻译人员: ge tang 校对人员: Catherine Gu

I'm almost like a crazy evangelical.

我几乎像一个疯狂的福音派信徒，

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

一直深信设计时代来临，

almost like a rapture.

几乎像狂喜一般。

If the day is sunny, I think,

如果晴天，我就会想，

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

“哦，众神设计日快乐。”

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

如果我去看展览，看到一件艺术家展示的精美作品，

particularly beautiful, I say

特别的漂亮，我就会说，

he's so good because he clearly looked to design

他如此优秀是因为他清楚地希望设计ˎ

to understand what he needed to do.

理解他需要做什么。

So I really do believe that design

因此我真确实相信，

is the highest form of creative expression.

设计是创造性表达的最高形式。

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

这就是为什么今天我和你们谈论设计时代。

and the age of design is the age in which design

设计时代是这样的，

is still cute furniture, is still posters,

其设计仍然是可爱的家具ˎ海报

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

和快车，就是你们今天在现代艺术博物馆(MoMa)看到的东西。

But in truth, what I really would like to explain

但事实上，我确实想要向公众，

to the public and to the audiences of MoMA is that

向现代艺术博物馆的听众解释的是

the most interesting chairs are the ones

这些最有意思的椅子

that are actually made by a robot,

实际上是由机器人制造的。

like this beautiful chair by Dirk Vander Kooij,

比如说这张漂亮的椅子是Dirk Vander Kooij设计的。

where a robot deposits a toothpaste-like slur

机器人将回收的冰箱部件上的牙膏状污物

of recycled refrigerator parts,

储存在那里，

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

仿佛是一粒大糖果，然后造出了一把椅子。

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

好的设计就像我们一直使用的数字字体一样，

and that become part of our identity.

成为我们身份的一部分。

I want people to understand

我想让人们理解

that design is so much more than cute chairs,

设计远远不止是可爱的椅子。

that it is first and foremost everything that is around us

设计是我们生活中

in our life.

周围首要的一切。

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

有趣的是，

tonight is not simply design but interaction design.

我们今晚谈论的不是简单的设计，而是交互设计。

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

实际上，几年来我一直在努力尝试把交互设计

to insert in the collection of the Museum of Modern Art

引入到现代艺术博物馆的收藏品中。

for a few years, starting not very timidly

开始时并不很胆怯，

but just pointedly with works, for instance,

但是只针对作品，例如，

by Martin Wattenberg -- the way a machine

由Martin Wattenberg设计的一个机器人自己下棋的方式，

plays chess with itself, that you see here,

你这里看到的。

or Lisa Strausfeld and her partners, the Sugar interface

或者是Lisa Strausfeld和她的同伴设计的Sugar界面

for One Laptop Per Child,

用于儿童笔记本电脑。

Toshio Iwai's Tenori-On musical instruments,

Toshio Iwai设计的酷炫电子乐器，

and Philip Worthington's Shadow Monsters,

Philip Worthington设计的«Shadow Monsters»，

and John Maeda's Reactive Books,

John Maeda的«Reactive Books»，

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

还有Jonathan Harris和Sep Kamvar合作的«I Want You To Want Me»。

These were some of the first acquisitions that really

这些是部分最先收购的设计品，

introduced the idea of interaction design to the public.

它们确实把交互设计的理念带给了大众。

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

但最近，我一直在尝试真正

into interaction design with examples

用实例更加深入交互设计，

that are emotionally really suggestive

这些实例在感情上真的暗示，

and that really explain interaction design at a level

在一定的水平上真正解释了交互设计。

that is almost undeniable.

这几乎是无可否认的。

The Wind Map, by Wattenberg and Fernanda Viégas,

Wattenberg和Fernanda Viégas制作的«实时风地图»，

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

我不知道你们是否曾经见过，确实非常的奇妙。

It looks at the territory of the United States

这地图是根据美国版图做的。

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

仿佛它又像被风吹拂的小麦田。

and that is really giving you a pictorial image

不过它确实展现给你一幅图案形象，

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

关于美国的风正在吹向哪里。

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

另外近来我们开始收购一些电子游戏，

and that's where all hell broke loose

至此全乱套了，

in a really interesting way. (Laughter)

以一种非常有趣的方式乱了。（笑声）

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

仍然有人确信有高雅有低俗，

And that's really what I find so intriguing

这真的是令我感到有趣的地方，

about the reactions that we've had to the anointment

对于在现代艺术博物馆收藏品中

of video games in the MoMA collection.

收购的电子游戏的反应。

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

我们，不，首先，纽约杂志总是最先得到。

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

我爱他们。所以我们是在右边的象限。

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

我们是知识分子，有胆量，有勇气，

and Brilliant, which is great.

并且有智慧，这相当的棒。

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

缺乏自信地说，我们在其它情况下的对角线上的位置也更高。

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

但是没关系。这很好，很好，很好。（笑声）

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

但是接着出现了艺术评论家。噢，那是奇妙的。

So the first was Jonathan Jones from The Guardian.

首先是来自«卫报»的Jonathan Jones。

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

“抱歉，现代艺术博物馆，电子游戏不是艺术。”

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

对不起，我说过它们是艺术吗？我在谈论交互设计。

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

“在Picasso和Van Gogh的作品旁边展示Pac-Man和俄罗斯方块游戏”

They're two floors away. (Laughter) —

他们相隔有两层楼远。（笑声）

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

“将意味着游戏结束就会对艺术有任何真正理解。”

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

我将带来世界的尽头，你们知道吗？

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

我们正在谈论狂喜是吧？它就要来了。

And Jonathan Jones is making it happen.

Jonathan Jones正在使其发生。

So the same Guardian rebuts,

同样的«卫报»反驳说，

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

“电子游戏是艺术吗？不该有的辩论。”

Last week, Guardian art critic blah blah suggested

上周，«卫报»艺术评论家的瞎说表明

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

游戏不可能有艺术资格。但他对吗？

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

这重要吗？谢谢。重要吗？

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

你们知道，就像再次有这样的设计的整体问题，

of design being often misunderstood for art,

即设计经常会被误解为艺术，

or the idea that is so diffuse that designers want to

或者普遍流传着这种观点，

aspire to, would like to be called, artists.

设计师想要ˎ渴望ˎ喜欢被人叫做艺术家。

No. Designers aspire to be really great designers.

不。设计师渴望成为真正伟大的设计师。

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

非常感谢。这就足够了。

So my knight in shining armor, John Maeda,

因此我的白马王子，John Maeda，

without any prompt, came out with this big declaration

没有任何的提示，发出了这个大宣言，

on why video games belong in the MoMA.

为什么电子游戏属于现代艺术博物馆。

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

这是极了不起的。至少我是这么认为的。

But then there was another wonderfully pretentious article

不过又有另一篇极其自命不凡的文章，

that came out in The New Republic, so pretentious,

刊登在«新共和杂志»上，真的非常自命不凡。

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

是Liel Leibovitz写的，文章说，“现代艺术博物馆居然把电子游戏误以为是艺术”，再一次出现否定的声音。

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

“博物馆正在把«小精灵»置于Picasso旁边”，又一次如是说。

"That misses the point."

“这样忽略了重点。”

Excuse me. You're missing the point.

抱歉，你们正在忽略重点内容。

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

这儿，看，上述问题被直截了当地提出来了：

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

“电子游戏是艺术吗？不，电子游戏不是艺术，

because they are quite thoroughly something else: code."

因为它们是相当彻底的别的东西：代码。”

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

噢，所以Picasso不是艺术因为它是油漆，对吗？

So it's so fantastic to see

因此如此美妙地看到

how these feathers that were ruffled,

这些羽毛是如何被激惹起来，

and these reactions, were so vehement.

这些反应是多么的激烈。

And you know what?

你知道吗？

The International Cat Video Film Festival

国际猫的视频电影节

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

并没有引起如此多的反应。（笑声）

I think this was truly fantastic.

我认为这是十分棒的。

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

我们谈论跳舞的小马，

of the Walker Arts Center for putting up this festival,

但我真的很嫉妒沃克艺术中心支持设置这个节日，

because it's very, very wonderful.

因为它真的非常非常精彩。

And there's this Flaubert quote that I love:

引用一句我所钟爱的Flaubert的话，

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

“我一直尝试着住在一座象牙塔里，

but a tide of shit is beating at its walls,

但是一股胡说八道的言论在敲打它的墙壁，

threatening to undermine it."

威胁着要破坏它。”

I consider myself the tide of shit.

我认为我自己就是那一股胡说八道的言论。

(Laughter) (Applause)

（笑声）（掌声）

You know, we have to go through that.

你们知道，我们必须穿越它。

Even in the 1930s, my colleagues

即使在十九世纪30年代，我的同行们

that were trying to put together an abstract art show

准备举办一个抽象艺术展，把这些类型的作品都汇集起来，

had all of these works stopped by the customs officers

但是被海关工作人员阻止了，

that decided they were not art.

这些人决定着这些作品不是艺术。

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

这样的事情在以前发生过，在将来还会发生，

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

但是现在，我能告诉你们我是如此地骄傲，

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

能把«小精灵»称为现代艺术博物馆藏品的一部分。

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

同样地，例如，«俄罗斯方块»，苏联的原始版本

And you know, the amount of work --

你们知道，这个工作量…

yeah, Alexey Pajitnov was working for the Soviet government

好吧，Alexey Pajitnov那时正为苏联政府工作，

and that's how he developed Tetris,

这也是他如何开发了«俄罗斯方块»。

and Alexey himself reconstructed the whole game

Alexey自己又重建了整个游戏，

and even gave us a simulation of the cathode ray tube

甚至给了我们一个模拟的阴极射线管，

that makes it look slightly bombed.

使它看上去有点像遭轰炸的。

And it's fantastic.

这是多么令人惊叹啊。

So behind these acquisitions is an enormous amount of work,

在这些收购品的背后是无比巨大的工作量，

because we're still the Museum of Modern Art,

因为我们仍然是现代艺术博物馆，

so even when we tackle popular culture,

所以纵使我们正视通俗文化，

we tackle it as a form of interaction design

我们视它为交互设计的一种形式，

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

现代艺术博物馆必须收藏的藏品。

therefore, has to be researched.

因此，它必须被研究。

So to get to choosing Eric Chahi's

让我们从众多电子游戏中，

wonderful Another World, amongst others,

选择Eric Chahi的美好的«另一个世界»来看，

we put together a panel of experts,

我们组织了一个专家小组，

and we worked on this acquisition,

为这个收购而努力，

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

主要是我自己、Kate Carmody和Paul Galloway

We worked on it for a year and a half.

为此我们工作了一年半，

So many people helped us — designers of games,

有很多人帮助了我们，游戏的设计师们，

you might know Jamin Warren

你们可能知道Jamin Warren，

and his collaborators at Kill Screen magazine,

和他的«Kill Screen»杂志的合作者们。

and you know, Kevin Slavin. You name it.

你知道，还有Kevin Slavin，只要你能想到的，

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

我们烦扰了每一个人，因为我们了解自己是多么无知。

We were not real gamers enough,

我们还不足以是真正的游戏玩家，

so we had to really talk to them.

所以我们必须真正与他们交谈。

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

所以我们决定拥有«模拟城市2000»，

not the other Sim City, that one in particular,

当然不是其它版本的«模拟城市»，尤其是那一版，

so the criteria that we developed along the way

在我们发展的道路上建立起来的标准十分强大。

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

而且不单是选拔标准，

They were also criteria of exhibition and of preservation.

还包括展示和保存的标准。

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

这也使得这个收购超越了一个小小的游戏，

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

或开个小玩笑，这真的是一种思路考虑如何保存

and show artifacts that will more and more

和展示文物，

become part of our lives in the future.

这些东西将越来越成为我们未来生活的一部分。

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

我们生活在当下，正如你很清楚的那样，不是在数字中，

not in the physical, but in the kind of minestrone

也不是在物质中，而是在那种通心粉里。

that our mind makes of the two.

我们的思想中融合了这两种。

And that's really where interaction lies,

这确实是交互作用之所在，

and that's the importance of interaction.

是交互作用的重要性。

And in order to explain interaction, we need to really

为了解释交互作用，

bring people in and make them realize

我们确实需要把人们带进，

how interaction is part of their lives.

并且让他们意识到交互作用如何组成了他们生活中的一部分。

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

当我谈论它的时候，我不会只说电子游戏，

which are in a way the purest form of interaction,

某种程度上它们是交互作用最纯粹的形式，

unadulterated by any kind of function or finality.

不掺杂某种功能或结果。

I also talk about the MetroCard vending machine,

我还会讲捷运卡自动售货机，

which I consider a masterpiece of interaction.

我认为它是交互作用的杰作。

I mean, that interface is beautiful.

我的意思是，它的界面是很漂亮的。

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

它看上去像一个魁梧的地铁男走出隧道。

You know, with your mitt you can actually paw

你们知道，带着手套你依然可以笨拙去拿捷运卡。

the MetroCard, and I talk about how bad

我想说

ATM machines usually are.

自动柜员机通常是多么的差劲。

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

所以我想让人们明白，

to know how to judge interaction

由他们自己决定该如何评判交互作用，

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

以便知道何时好何时坏。

So when I show The Sims,

当我展出«模拟人生»时，

I try to make people really feel what it meant

我努力想让人们真正地感受到，

to have an interaction with The Sims,

与«模拟人生»交互到底意味着什么，

not only the fun but also the responsibility

除了乐趣还有责任，

that came with the Tamagotchi.

这也是«电子鸡»所带给我们的。

You know, video games can be truly deep

你们知道，电子游戏可以非常地深入，

even when they're completely mindless.

甚至当它们完全盲目时。

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

我确信在座的各位都知道«块魂»，

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

它是一种在有限的时间里滚动一个球，

in a finite amount of time

并抓住尽量多的物品的游戏，

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

希望你将能使它成为一个星球。

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

我从没使它成为一个星球，但仅此而已。

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

你们知道，«线条兔»并没有在美国发行，

It was a PlayStation game, but mostly for Japan.

它是一个PS游戏，但主要是在日本。

And it was one of the first video games

它是最早的电子游戏之一，

in which you could choose your own music.

游戏里你可以选用自己的音乐，

So you would put into the PlayStation,

你可以在PS机里

you would put your own CD,

放你自己的CD，

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

然后游戏就会随着你的音乐而改变。所以真是奇妙。

Not to mention Eve Online.

更不用说«星战前夜»了。

Eve Online is an artificial universe, if you wish,

如果你想的话，«星战前夜»是一个人造宇宙，

but one of the diplomats that was killed in Benghazi,

一位外交官在Benghazi被害，

not Ambassador Stevens, but one of his collaborators,

不是Ambassador Stevens，而是他的合作者之一，

was a really big shot in Eve Online,

在«星战前夜»里真是个大人物。

so here you have a diplomat in the real world

所以这里在现实世界中你有一个外交官，

that spends his time in Eve Online

他把自己的时间都花在玩«星战前夜»这个游戏上，

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

可能有点考验他所有的想法关于外交ˎ

and about universe-building, and to the point that

宇宙建设，到如此地步，

the first announcement of the bombing

第一次宣布轰炸

was actually given on Eve Online,

实际上是在«星战前夜»发出的。

and after his death, several parts of the universe

在他死后，

were named after him.

宇宙的几部分将以他的名字命名。

And I was just recently at the Eve Online fan festival

我最近去了Reykjavík参加了«星战前夜»迷们的聚会，

in Reykjavík that was quite amazing.

相当的令人惊叹。

I mean, we're talking about an experience

我指，我们谈起某一次体验，

that of course can seem weird to many,

当然在许多人看来可能会是怪异的，

but that is very educational.

但它是极有教育意义的。

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

当然，有更加有教育意义的游戏。

Dwarf Fortress is like the holy grail

«矮人要塞»就像这种

of this kind of massive multiplayer online game,

大型多人在线游戏的圣杯。

and in fact the two Adams brothers were in Reykjavík,

事实上，Adams俩兄弟也在Reykjavík，

and they were greeted

迎接他们的是

by a standing ovation by all the Eve Online fans.

全场«星战前夜»迷们的起立鼓掌。

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

看上去相当的神奇，其本身就是一个漂亮的游戏。

So you start seeing here that

你可以从这儿看起，

the aesthetics that are so important

对于像现代艺术博物馆这样的博物馆藏品来说，

to a museum collection like MoMA's

美学是十分重要的。

are kept alive also by the selection of these games.

选择这些游戏使美学依然有其影响。

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

你们知道，Valve开发的«传送门»，

is an example of a video game in which

是电子游戏的一个例子。

you have a certain type of violence

在游戏里你有某种暴力行为，

which also leads me to talk about

这也导致我谈谈

one of the biggest issues that we had to discuss

我们一定要讨论的其中一个最大的问题，

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

当我们收购电子游戏时，该如何对待暴力呢？

Right? We had to make decisions.

是吧？我们必须做出一个决定。

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

有趣的是，在现代艺术博物馆，

depicted in the art part of the collection,

艺术部分的藏品描绘了许多暴力。

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

但是当我19年前来到现代艺术博物馆的时候，作为一个意大利人，

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

我说，“你知道，我们需要一个枪支制造商。”

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

有人对我说，“不，设计收藏中没有枪支。”

And I was like, "Why?"

Interestingly, I learned that it's considered

我就问，“为什么？”

有趣的是，我才知道需要考虑

that in design and in the design collection,

在设计和设计收藏品中，

what you see is what you get.

你看到的就是你得到的。

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

当你看到一把枪的时候，它是一个设计收藏品中的杀人工具。

If it's in the art collection,

如果它在艺术收集品中，

it might be a critique of the killing instrument.

它可能是批判杀人工具。

So it's very interesting.

因此这是非常有趣的。

But we are acquiring our critical dimension also in design,

但是我们也从设计中得到批判性的视角，

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

因此可能有一天，我们也将会收购手枪。

But here, in this particular case, we decided,

但是这里，在此个别情况下，我们

you know, with Kate and Paul,

和Kate 与Paul决定，

that we would have no gratuitous violence.

我们将摒弃无端的暴力。

So we have Portal because you shoot walls

所以我们收藏了«传送门»，因为你们向墙壁射击

in order to create new spaces.

是为了创造新的空间。

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

我们收藏了«街头霸王 II»，因为武术是好的。

(Laughter)

（笑声）

But we don't have GTA because,

但我们没有收藏«侠盗猎车手»，因为，

maybe it's my own reflection,

可能是我自己的反思，

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

我从不会做任何事情除了撞毁汽车，

and shooting prostitutes and pimps.

枪击妓女及皮条客们。

So it was not very constructive. (Laughter)

所以它并不是非常有建设性的。（笑声）

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

好吧，我在嘲笑它，但是我们讨论这件事

for so many days. You have no idea.

有许多天了。你一点主意也没有。

And to this day, I am ambivalent,

至今我仍然在矛盾着。

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

但是当你有替代的游戏像«浮游世界»，当然毫无疑问。

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

它有点像是关于宁静和崇高的。

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

它是关于体验变成海洋生物意味着什么。

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

我们也有少量像«横向卷轴»等的经典游戏。

So it's quite a hefty collection.

这的确是一个巨大的收藏。

And right now, we started with the first 14,

现在，让我们从最初的14个开始，

but we have several that are coming up,

我们还有数个即将收购的游戏，

and the reason why we haven't acquired them yet

为什么我们还没有收购它们呢？

is because you don't acquire just the game.

因为你不会只收购游戏，

You acquire the relationship with the company.

你还收购与公司之间的关系。

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

我们想要，渴望得到的是代码。

It's very hard to get, of course.

当然，这是很难得到的。

But that's what would enable us to preserve

不过这也使我们能够

the video games for a really long time,

>在一段很长的时间里保存游戏。

and that's what museums do.

这也是博物馆所做的。

They also preserve artifacts for posterity.

当然他们也为后人保存文物。

In absence of the code, because, you know,

因为，你们知道，如果没有代码，

video game companies are not very forthcoming in some cases,

电子游戏公司在某些情况下不是很愿意，

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

在没有代码的情况下，我们收购与公司的关系。

We're going to stay with them forever.

我们将永远和它们在一起，

They're not going to get rid of us.

他们不会摆脱我们。

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

总有一天，我们会得到那个代码。（笑声）

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

但是我想向你们解释我们选择交互设计的准则，

for interaction design. Aesthetics are really important.

美学是非常重要的。

And I'm showing you Core War here,

在这儿我想向你们展示«磁芯大战»，

which is an early game that takes advantage aesthetically

它是一种早期的游戏，

of the limitations of the processor.

从美学上利用处理器的局限性。

So the kind of interferences that you see here

你在这里看到的这种干扰，

that look like beautiful barriers in the game

看起来像游戏中的美丽屏障，

are actually a consequence of the processor's limitedness,

事实上是处理器局限性的后果，

which is fantastic. So aesthetics is always important.

真是很奇妙。所以美学始终是非常重要的。

And so is space, the spatial aspect of games.

游戏的空间方面也是如此。

You know, I feel that the best video games

我觉得最好的电子游戏是那些

are the ones that have really savvy architects

在幕后由真正资深的设计师制作的。

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

如果他们不是受过良好训练的架构师，

bona fide trained in architecture, they have that feeling.

他们就不会有这种感觉。

But the spatial evolution in video games is extremely important.

但空间演变在电子游戏中是极其重要的。

Time. The way we experience time in video games,

时间，我们在电子游戏中度过时间的方式，

as in other forms of interaction design,

像在其它形式的交互设计中一样，

is really quite amazing.

确实是令人惊叹的。

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

它可以是真实的时间，也可以是游戏中的时间。

as is in Animal Crossing, where seasons

例如在«动物之森»中，

follow each other at their own pace.

季节以各自的节奏更替。

So time, space, aesthetics,

所以时间ˎ空间ˎ美学，

and then, most important, behavior.

然后，最重要的行为。

The real core issue of interaction design is behavior.

交互设计的真正的核心问题是行为。

Designers that deal with interaction design behaviors

设计师们处理交互设计行为。

that go to influence the rest of our lives.

这些行为去影响我们生活的其它部分。

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

它们并不局限于我们与屏幕的互动。

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

在这个例子中，我将给你们展示«疯狂石头»。

which is a beautiful game

这是一个美丽的游戏。

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

控制者是一个大球体和你一起颤动，

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

所以在这种风景下你有一个运动的球体。

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

这个球体，控制者本身，给了你运动的感觉。

In a way, you can see how video games

某种程度上，你可以看到电子游戏

are the purest aspect of interaction design

怎样是最纯净的交互设计方面，

and are very useful to explain what interaction is.

以及在解释交互设计是什么时是如此的有用。

We don't want to show the video games

我们不想使用一些设备来展示电子游戏，

with the paraphernalia. No arcade nostalgia.

没有怀旧街机游戏。

If anything, we want to show the code,

如果可以的话，我们想展示代码。

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

这里你看到Ben Fry的«小精灵»游戏的

of the Pac-Man code.

操作代码与图形的混合。

So the way we acquired the games is very interesting

我们收购游戏的方式是十分有趣的，

and very unorthodox. You see them here

也是极不寻常的。你看在这里，

displayed alongside other examples of design,

它们陈列在其它设计样品的旁边，

furniture and other parts,

家具和其他的部分，

but there's no paraphernalia, no nostalagia,

但是这儿没有游戏设备，没有怀旧街机，

only the screen and a little shelf with the controllers.

只有屏幕和带控制器的小架子。

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

当然，控制器是这种体验的一部分，

so you cannot do away with it.

因而你不可以没有它。

But interestingly, this choice was not condemned

有趣的是，这个选择并没有被游戏者们

too vehemently by gamers.

太过强烈地谴责。

I was afraid that they would kill us,

我以前曾担心他们会杀了我们，

and instead they understood, especially

相反，他们理解了我们，

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

特别是当我告诉他们我正尝试

that Philip Johnson applied in 1934

应用Philip Johnson在1934年使用的相同的攻略。

when he wanted to make people understand

他当时想让人们理解设计的重要性，

the importance of design, and he took propeller blades

他采用了螺旋桨推进器，

and pieces of machinery and

一些机器的零件，

in the MoMA galleries he put them on white pedestals

他把它们放在现代艺术博物馆走廊里的白色底座上，

against white walls, as if they were Brancusi sculptures.

紧靠着白色的墙壁，就好像它们是Brancusi的雕塑。

He created this strange distance, this shock,

他创造了这个怪异的间隔，这种冲击，

that made people realize how gorgeous formally,

使人们认识到是这些设计零件是

and also important functionally, design pieces were.

多么华丽而又庄重并且有着重要的功能。

I would like to do the same with video games.

我也想这样来介绍电子游戏。

By getting rid of the sticky carpets and the cigarette butts

摆脱了黏地毯和烟蒂

and everything else that we might remember from our childhood,

以及任何可能回忆起我们童年的东西。

I want people to understand

我想让人们明白

that those are important forms of design.

这些是设计的重要形式。

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

某种程度上，电子游戏、字体以及其它任何东西，

lead us to make people understand

都引导我们使人们理解

a wider meaning for design.

设计的更广泛的含义。

One of my dream acquisitions,

我梦想的收购品之一，

which has been on hold for a few years

已经搁置了好几年，

but now will come back on the front burner,

不过现在将要回到首要位置的，

is a 747.

是一架747。

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

我想要收购它，但不想拥有它。

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

我不想要它出现并被现代艺术博物馆所拥有，

I want it to keep flying.

我想要它继续飞翔。

So it's an acquisition where MoMA makes an arrangement

这是一个收藏品，现代艺术博物馆与航空公司达成了一个协议，

with an airline and keeps the Boeing 747 flying.

让波音747继续飞翔。

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

同样，我们几年前收购的"@"符号 ，

It was the first example of an acquisition of something

它是公共领域收藏品的

that is in the public domain.

第一个例子。

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

我想对人们说的是，这几乎就像是

a butterfly were flying by

一只蝴蝶在飞舞，

and we captured the shadow on the wall,

我们抓住了它在墙壁上的影子，

and just we're showing the shadow.

而我们只是在展示这个影子。

So in a way, we're showing a manifestation

换言之，我们正在展示一种

of something that is truly important

非常重要东西的表现，

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

这是我们身份的一部分，没人可以拥有。

And it's too long to explain the acquisition,

要解释收购实在是需要太多的言语了。

but if you want to go on the MoMA blog,

不过如果你想上现代艺术博物馆的博客，

there's a long post where I explain why

有一篇很长的帖子里我解释了为什么

it's such a great example of design.

它是这样一个设计很好的例子。

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

在这个过程中，我不得不烧掉几把椅子。你们知道吗？

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

我不得不废除过去设计的一些概念。

But I see that people are coming along,

然而我看到人们正在进步，

that the audiences, paradoxically,

相反的是，相比我的一些同事们而言，听众们

are much more responsive and much more understanding

更加积极响应而且更加理解

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

这种设计的扩展。

Design is truly everywhere,

设计是真的无处不在。

and design is as important as anything,

设计和任何事情一样重要。

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

我很欣慰，由于它的多样性，

and because of its centrality to our lives,

由于它是我们生活中的中心，

many more people are coming to it

越来越多的人们正在认识它，

as a profession, as a passion,

作为一个专业，或者一种激情，

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

或者简单地作为自己修养的一部分。

Thank you very much.

非常感谢。

(Applause)

（掌声）