A Futuristic Vision for Latin America, Rooted in Ancient Design | Catalina Lotero | TED

翻译人员: Bella Hung 校对人员: suya f.

My name is Catalina Lotero, and I suffer from aesthetic anxiety.

我的名字叫卡塔琳娜·洛特罗， 我患有审美焦虑症。

That means that while you guys probably fear planes

这意味着，虽然你们可能害怕飞机

or some real life-threatening thing, like snakes,

或一些真正危及生命的东西，比如蛇，

I get very anxious at the idea of a poster where the font is kind of off

但我对一张字体有点不对的海报

or a room where the lighting is not right.

或者光线不对的房间 的想法感到非常焦虑。

On the bright side, this same feeling

好的一面是，同样的感觉

has taken me around the world of design and aesthetics.

使我环游了设计和美学的世界。

In 2018, I moved to Japan for five years

2018 年，我移居日本五年，

as an academic design and aesthetics researcher

在东京庆应义塾大学

for Keio University in Tokyo.

担任学术设计和美学研究员

There I did a lot of research

我在那里做了很多研究，

because as a Latin American,

因为作为一个拉丁美洲人，

I really wanted to understand the why

我真的很想了解日本 对美学的自信和自豪感

behind Japan's confidence and pride in their aesthetics,

背后的原因，

which I felt where I grew up I didn't have.

而我从小就觉得自己 没有这种自信和自豪感。

In my research, I understood that a lot of Japan's design icons

在我的研究中，

我了解到许多日本的设计偶像至少可以

trace back at least 1,000 years, minimum.

追溯到 1,000 年前。

They have very purposefully selected, protected and evolved the elements

他们非常有目的地选择、 保护和进化了

that make up their aesthetic landscape.

构成其审美景观的元素。

And I was very interested in finding out.

我对找出答案非常感兴趣。

So I found out that aesthetics

所以我发现美学

hold a very big, influential power on us.

对我们有很大的影响力。

They influence our everyday actions and decisions without us knowing.

它们在我们不知情的情况下 影响我们的日常行为和决定。

And in Japan, I was always in awe of very well-known objects and spaces,

在日本，我一直对非常 知名的物体和空间感到敬畏，

like the temple,

比如寺庙、

the tatami room,

榻榻米房间、

the kimono,

和服，

and actually the tatami room was my favorite one.

实际上榻榻米房间 是我最喜欢的。

And if you guys don't know what a tatami room is,

如果你们不知道 榻榻米房间是什么，

a tatami room is a space designed approximately 1,200 years ago,

榻榻米房间是 大约 1200 年前设计的空间，

with very soft floors made of straw,

有这非常柔软的地板，

and it was done to perform some ceremonies,

是用来举行一些仪式的，

but one of them is the tea ceremony.

但其中之一就是茶道。

And I actually had a tatami room in every single apartment I had in Tokyo.

实际上，我在东京的每套公寓 里都有一间榻榻米房。

My apartments were super tiny, super, super small,

我的公寓非常小，

and yet they had a tatami room.

但是他们有一个榻榻米房间。

And me and my husband would use the tatami room as our bedroom.

我和我丈夫会把榻榻米 房间当作我们的卧室。

So we had a lot of time to spend there

因此，我们花了很多时间在那里

and analyze its origin, its design, its style and its meaning.

分析它的起源、 设计、风格和意义。

And I was there, lying there, awake at night,

我当时在那里， 躺在那里，晚上醒着，

when I started to wonder

那时我开始想知道在 我自己的拉丁美洲文化中，

what is the equivalent of the tatami room in my own Latin American culture?

什么等同于榻榻米房间？

What are the things, objects and spaces that trace back in our region

有哪些东西、物体和空间 可以追溯到我们地区

at least 1,000 years

至少 1000 年

and that still give me meaning today?

而在今天仍然赋予我意义？

I'm very ashamed to say I couldn't think of any.

我很羞愧地说 我什么都想不出来。

I couldn't think of a ritual,

我想不出任何仪式，

I couldn't think of a space, an architectural structure.

想不出空间，建筑结构。

Nothing would come to mind.

什么都不会浮现在脑海中。

So I started asking, why?

所以我开始问，为什么？

Why don't I have this knowledge?

为什么我没有这方面的知识？

And well, the answer is now obvious to me,

好吧，现在答案对我来说显而易见，

but it wasn't at the time.

但当时不是。

Colonization.

殖民化。

Turns out that during the European conquest to Latin America,

事实证明，在欧洲征服拉丁美洲期间，

they erased almost every type of knowledge documenting --

他们抹去了几乎所有 类型的知识记录——

document that we had,

我们手中的文件，

either Mexican codexes or Peruvian quipus.

要么是墨西哥的法典， 要么是秘鲁的基普斯。

They burned or stole them.

他们烧毁或偷走了它们。

So a lot, a lot was lost.

所以，我们损失了很多。

And what they did to codexes and to quipus,

他们对法典的所作所为，

they did to our spiritual beliefs,

同样对我们的精神信仰，

to our concept of what beauty is,

对我们什么是美的观念

and they did to everything that was very important to these cultures.

他们的所作所为严重影响了我们的文化

So our pre-Columbian cultures were not allowed to evolve and refine.

因此，我们前哥伦布时期的文化 没有办法演变和完善。

So I decided to turn to design to correct this.

所以我决定转向设计 来纠正这个问题。

And I asked: What would Latin America look like

然后我问到：如果前哥伦布时期的文明

if its pre-Columbian civilizations had evolved without colonial interruption?

在没有殖民中断的情况下演变， 拉丁美洲会是什么样子？

And the quest for the answer of this question

对这个问题的答案的探索，

is something that I like to call pre-Columbian futurism.

我喜欢称之为前哥伦布未来主义。

Pre-Columbian futurism is a speculative design project

前哥伦布时期未来主义 是一个推测性的设计项目

that seeks to dig the hidden stories and messages

去挖掘我们前殖民时代社区

of our precolonial communities

的隐藏故事和信息，

and bring them into today through design.

并通过设计将其带入今天。

So I started with the equivalent of the Latin American tatami room,

所以我从相当于拉丁美洲 榻榻米的房间开始，

which is where it all started.

这一切就是从这里开始的。

Turns out, I learned, that pre-Columbian civilizations

我了解到，前哥伦布 时期的文明会围绕古柯叶

do a lot of rituals around the coca leaf,

进行许多仪式，

just as the Japanese have their own tea ritual.

就像日本人有 自己的喝茶仪式一样。

And the coca leaf is very important.

而且古柯叶非常重要。

Not only was it important before,

它不仅以前很重要，

but it's still today for a lot of indigenous communities.

而且对许多土著社区来说仍然很重要。

So I identified common features

因此，

that the spaces dedicated to the coca leaf have,

我确定了专门存放 古柯叶的空间的共同特征，

and for example, they were all rounded,

例如，它们都是圆形的，

they had a central fire, they had floor seating,

有中央壁炉，有地板座位，

they had metallic jars where you could spit in.

有金属罐， 你可以往里面吐痰。

And I took those, and I brought them to today.

然后我把它们拿走了， 今天我把它们带到了。

So usually they were decorated with altars dedicated to gods.

因此，通常它们都是 用献给神灵的祭坛来装饰的。

Gods of corn, gods of the moon, the sun,

玉米之神、月神、太阳之神，

or Chía and Sué,

或者奇亚和苏埃之神，

as they call them in the Chibcha dialect.

他们用奇布查方言称呼他们。

And I was hooked.

我被迷住了。

I really, really enjoyed the process so much

我真的非常喜欢这个过程，

because I did a lot of visual research,

因为我做了大量的视觉研究，

and during my visual research,

在我的视觉研究中，

some other things started to pop out and get my attention.

其他一些东西开始 浮出水面并吸引了我的注意力。

One of those things was chairs.

其中之一是椅子。

It's very, very hard for us industrial designers

to ignore a good chair.

来说，很难忽视一把好椅子。

So I did the same that I did with the coca room,

所以我做了

and I identified common design traits

和古柯室一样的做法， 我发现了阿兹台克人手抄本

in some of the chairs in Aztec codexes,

中一些椅子的共同设计特征，

mostly, like, they all had sharp angles.

比如，它们都有锋利的角度。

They look very heavy when you look at them.

当你看着它们时， 它们看起来很沉重。

They have a similar color palette.

它们有相似的调色板。

And my favorite part when I brought this design to today

was how they depicted the way they made these chairs comfortable,

我最喜欢的部分是他们

using jaguar skin.

用美洲豹皮描绘了 如何让这些椅子变得舒适。

But not only did I find it very interesting

但我觉得他们使用

that they used jaguar skin,

美洲虎皮肤不仅非常有趣，

but the way they printed and illustrated this jaguar skin.

而且他们印制和插图 这种美洲虎皮肤的方式也很有趣。

So I became a little obsessed with the way they did it,

所以我对他们的创作方式有点着迷，

and I pretty much use it in everything I design now.

我现在在设计的所有东西 中几乎都使用它。

And jaguar skin brings us to the jaguar.

美洲虎的皮肤将我们带到了美洲虎。

So the jaguar for a lot of pre-Columbian civilizations

因此，在许多前 哥伦布时期的文明中，

was a very important, powerful god.

美洲豹是一个非常重要、强大的神。

It was a shape-shifter,

它是一个变形器，

it was able to move between the living and the dead very easily.

它能够很容易地在活 人与死者之间移动。

So it inspired a lot of creation.

因此，它激发了很多创作。

It inspired them to do paintings, illustrations, pottery

它激发了他们创作绘画、 插图、陶器

and, many times, jewelry.

以及许多时候创作珠宝的灵感。

And that's where I found my inspiration myself.

这就是我自己找到灵感的地方。

And the jaguar was so inspiring

美洲豹非常鼓舞人心，

that I didn't only want to do something for the present,

我不仅想为现在做点什么，

but I started designing something, looking a little bit in the future ahead.

而且我开始设计一些东西，展望未来。

So I designed an earring that is also a jewelry piece,

所以我设计了一款耳环， 它也是一件珠宝首饰，

and it has AI, and it helps you decipher visions and dreams.

它有人工智能，它可以 帮助你解读愿景和梦想。

Also take calls, whatever makes you happy.

还要接电话，只要你开心就行。

But I was very, very inspired by the jaguar.

但是美洲豹给了我 非常非常大的启发。

And all these loose elements,

所有这些松散的元素，

as I start putting them together in my mind,

当我开始将它们 放在脑海中时，

they start to paint a very clear picture

它们开始非常清晰地描绘出

of what I see the future of Latin America look like

我对拉丁美洲 的未来会想象的样貌。

if we actually took some of our ancestral knowledge

如果我们真正的吸收一些祖先的知识

and included it today.

并将其包括在现在

Also, I mixed it with a little bit of sustainable tech

另外，我把它与一点可持续技术

and a pinch of positivism.

和一点实证主义混为一谈。

And yes, I have enjoyed creating and designing objects

是的，我非常喜欢

based on pre-Columbian futurism a lot,

根据前哥伦布时代的未来主义 来创作和设计物体，

but that wasn't my favorite part of this project.

但这并不是我最喜欢 这个项目的一部分。

My favorite part has been stumbling upon other creators

我最喜欢的部分是偶然发现了

that are actively working on this.

其他正在积极研究这个问题的创作者。

Like, without knowing, I am part of a broader movement

比如，在不知不觉中，

of other people across Latin America

我参与了拉丁美洲

who are doing it.

其他人群的更广泛运动。

For example, there are chefs like Charles Michel.

例如，有像查尔斯·米歇尔这样的厨师。

He is educating the world on coca leaf, on cacao,

他正在向全世界普及古柯叶、可可、

tucupi and other ancestral foods.

土库皮和其他祖传食物。

There's Vanessa Gomez.

有凡妮莎·戈麦斯。

She is recovering antique fabrication techniques

她正在恢复 古董制作技术，

and making them timeless.

使其永恒不朽。

I would get a lot of inspiration from music videos and plays in theaters

我会从音乐视频和 影院的戏剧中得到很多灵感，

that I later found out were all art directed by Orly Anan.

后来我发现这些 都是由奥利·安南执导的艺术。

She mixes a lot of pre-Columbian tradition with modern pop culture,

她将许多前哥伦布时期的传统 与现代流行文化融为一体，

resulting in aesthetics that for me are very, very inspiring.

所产生的美学 对我来说非常非常鼓舞人心。

And they look very modern, yet you can still see the ancient in them.

而且它们看起来很现代， 但你仍然可以在其中看到古老的东西。

I was walking one day down the BeltLine in Atlanta,

有一天我正沿着 亚特兰大的 BeltLine 行走，

and I fell in love with the work of Lisette Correa as well.

我也爱上了 Lisette Correa 的作品。

It spoke to me, and after I talked to her,

它对我说了话， 在我和她交谈之后，

I found out that she's also desperately trying to understand

我发现她也在 拼命地试图通过

her Taino heritage through her work,

自己的作品，

not only through graffiti, but other mediums.

不仅是通过涂鸦，

还包括其他媒介来 了解自己的泰诺遗产。

She's trying to communicate to the world in a way that is very accessible,

她试图以一种非常容易 理解的方式与世界沟通，

as graffiti is,

就像涂鸦一样，

all her knowledge and her findings, which she didn't know before.

她所有的知识和发现 都是她以前不知道的。

And there is Freddie Mamani, a self-taught architect from Bolivia.

还有来自玻利维亚的自学 成才的建筑师弗雷迪·马马尼。

He does amazing things when he starts crossing his Aymara knowledge.

当他开始学习自己的艾马拉知识时， 他会做一些了不起的事情。

He's actually an Aymara community member,

他实际上是一位艾马拉社区成员，

and he crosses aesthetics from the Aymara graphics and fabrics

他将艾马拉图案和面料中的美学

with his love for sci-fi,

与对科幻的热爱融为一体，

and you can definitely see it in the outer parts of the buildings.

你绝对可以在建筑物的外部看到这一点。

The landscapes he’s built in Bolivia are things that make me daydream

他在玻利维亚建造的景观 让我对我们文化中隐藏

of the potential hidden within our cultures.

的潜力做白日梦。

And I wish there was more.

我希望还有更多。

There are more, but I wish there were a lot more of us.

还有更多，但我希望我们当中还有更多。

Because pre-Columbian futurism is just one aesthetic.

因为前哥伦布时期的 未来主义只是一种美学。

It's one way to do it.

这是做到这一点的一种方法。

Bringing inspiration from the past to create -- to the present,

将过去的灵感带 到创作，带到现在，

and projecting it into the future.

并将其投射到未来。

But what I have learned during this process

但是在这个 过程中我学到

is that everything we are designing today

的是，我们今天设计的所有东西实际上

is literally designing us back constantly.

是在不断地重新设计我们。

So, at least as Latin Americans,

因此，至少作为拉丁美洲人，

we need a future where we can see ourselves,

我们需要一个能够看到自己的未来，

so we feel empowered to work towards it,

这样我们才能感到 有能力朝着这个方向努力，

and not only wait for other cultures to tell us what the future holds

不仅要等待其他 文化告诉我们未来会怎样

or predict the future for us,

或预测未来，

we need to find certain features of our own

我们还需要找到自己的 某些特征

and project them into the future so we can work towards it.

并将其投射到未来， 这样我们才能朝着这个方向努力。

Thank you.

谢谢。

(Applause)

（掌声）