Paola Antonelli: Why I brought Pac-Man to MoMA

Translator: Joseph Geni Reviewer: Morton Bast

譯者: Shengwei Cai 審譯者: Ning Zhang

I'm almost like a crazy evangelical.

我就像一個狂熱的福音信徒。

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

一直確信設計時代正朝我們走來，

almost like a rapture.

對此，我可是欣喜若狂啊。

If the day is sunny, I think,

如果今天天氣晴朗，我就會想，

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

“哇哦，諸神今天可以好好構思一天了。”

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

再如，我去看展覽，看到了一件漂亮的藝術作品，

particularly beautiful, I say

特別漂亮，我會想

he's so good because he clearly looked to design

這藝術家真不錯，毫無疑問他懂得

to understand what he needed to do.

設計時它需要做些什麼。

So I really do believe that design

所以，我深信

is the highest form of creative expression.

設計是創造性表達的最高級形式。

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

這也是今天我來給你們講設計時代的原因，

and the age of design is the age in which design

在設計時代

is still cute furniture, is still posters,

設計仍跟小巧的家具、海報，跑車有關，

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

正如你們在紐約現代藝術博物館（MoMA）看到的一樣。

But in truth, what I really would like to explain

但實際上，

to the public and to the audiences of MoMA is that

我想向公眾和MoMA的觀眾說明的是

the most interesting chairs are the ones

那些最有意思的椅子

that are actually made by a robot,

實際上是由機器人製造的，

like this beautiful chair by Dirk Vander Kooij,

比如德克•范德•科藝（荷蘭設計師）設計的這把椅子

where a robot deposits a toothpaste-like slur

機器人把回收的冰箱零部件上的牙膏状的污物

of recycled refrigerator parts,

储存起来，

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

仿佛那是一大塊糖果，它可藉此製造一把椅子。

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

或說，我們常用的數字字體也是優良的設計作品

and that become part of our identity.

它們已成為我們身份特征的一部分。

I want people to understand

我想讓人們明白

that design is so much more than cute chairs,

設計遠不止可愛的椅子，

that it is first and foremost everything that is around us

設計是我們生活周圍

in our life.

首要的也是最重要的一切。

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

而且有趣的是，今天晚上我們講的很多內容

tonight is not simply design but interaction design.

不僅僅是設計，更多的是交互設計。

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

事實上，近幾年來我一直嘗試

to insert in the collection of the Museum of Modern Art

讓交互設計作品也成為MoMA的藏品

for a few years, starting not very timidly

一開始我就沒有畏怯

but just pointedly with works, for instance,

只是針對作品，比如

by Martin Wattenberg -- the way a machine

你們看到的馬丁•瓦騰伯格的作品——

plays chess with itself, that you see here,

一台計算機和它自己下國際象棋

or Lisa Strausfeld and her partners, the Sugar interface

另外莉薩•斯特勞斯菲爾德和她的合伙人

for One Laptop Per Child,

為“每個孩子一台筆記本”項目設計的“糖果”界面

Toshio Iwai's Tenori-On musical instruments,

岩井俊雄設計的Tenori-On（一種觸摸屏樂器）

and Philip Worthington's Shadow Monsters,

菲利普•沃辛頓的怪物影子遊戲

and John Maeda's Reactive Books,

約翰•前田的"會聽話的書"

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

喬納森•哈里斯和塞普•卡姆瓦爾的"我想你約我"（一種網上約會應用）

These were some of the first acquisitions that really

這批最早的一些藏品

introduced the idea of interaction design to the public.

真正把交互設計這個概念呈現給了公眾。

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

最近，我一直試著

into interaction design with examples

用具有情緒性暗示的

that are emotionally really suggestive

且能詳細闡釋交互設計的例子

and that really explain interaction design at a level

去更深入了解交互設計

that is almost undeniable.

當然，這些例子的闡釋要無可爭辯

The Wind Map, by Wattenberg and Fernanda Viégas,

不知道你們是否看過

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

瓦騰伯格和費爾蘭達•維埃加斯的“風圖” 非常神奇

It looks at the territory of the United States

在“風圖”里，美國領土看起來

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

就像風在吹過的麥田

and that is really giving you a pictorial image

這張如畫的圖片能讓你清楚地看到

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

美國領土上的風是如何流動的

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

同時，我們也開始收藏視頻遊戲

and that's where all hell broke loose

而且一切都因此亂套了

in a really interesting way. (Laughter)

但是非常有意思

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

因為現在仍有人認為 藏品應有高低之分

And that's really what I find so intriguing

對於人們

about the reactions that we've had to the anointment

對在 MoMA 收藏視頻遊戲的反應

of video games in the MoMA collection.

我真得覺得很搞笑

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

首先，《紐約雜誌》對此非常了解

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

我愛死它們了 他們把我們排在這個圖的右上部

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

即“高雅”和“非凡”的集合處

and Brilliant, which is great.

真是大膽、勇敢又美妙，這很棒。

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

在其他地方 我們曾“羞怯的”處於過更高的排位

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

但沒關係，這很好，很好，非常好

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

但是藝術批評家來了，哇哦~再好不過

So the first was Jonathan Jones from The Guardian.

第一個是《衛報》的喬納森•瓊斯

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

他說，“不好意思，MoMA 視頻遊戲不是藝術”

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

我說他們是藝術了嗎？ 我講的是交互設計，你先搞清楚

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

“把《吃豆人》和《俄羅斯方塊》 與畢加索和梵高的作品一起展覽

They're two floors away. (Laughter) —

（它們可隔了兩層樓遠啊！） （笑聲）

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

將意味著藝術真諦的Game Over”

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

天啊，我把世界末日召喚來了

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

我們前面說的「欣喜若狂」時刻 就要到了

And Jonathan Jones is making it happen.

喬納森•瓊斯和《衛報》的反駁

So the same Guardian rebuts,

做到了這點

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

“視頻遊戲是藝術嗎：不應有的討論。

Last week, Guardian art critic blah blah suggested

上週，《衛報》的藝術批評家提出

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

視頻遊戲不夠格成為藝術 但他對嗎？

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

而且，這有關係嗎？ ” 謝謝您，這有關係嗎？

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

知道嗎，這就像又一次

of design being often misunderstood for art,

設計被曲解為藝術

or the idea that is so diffuse that designers want to

或說設計師渴望被別人 稱其為藝術家的觀念

aspire to, would like to be called, artists.

再一次散佈開來了

No. Designers aspire to be really great designers.

那不對 設計師渴望成為偉大的設計師

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

非常感謝 那已經足夠說明問題了

So my knight in shining armor, John Maeda,

於是，我的白馬王子約翰·前田

without any prompt, came out with this big declaration

突然從黑夜中走來，並鄭重聲明

on why video games belong in the MoMA.

為什麼視頻遊戲應歸入MoMA

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

真是太好了，我想，這就對了嘛

But then there was another wonderfully pretentious article

但之後《新共和報》登出了

that came out in The New Republic, so pretentious,

一篇極其做作的文章 作者是里爾•萊博維茨

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

上面又一次說到 “MoMA誤把視頻遊戲當藝術”

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

“該博物館把《吃豆人》 和畢加索的作品放在一起展覽”

"That misses the point."

還說“那樣的做法沒有抓住重點”

Excuse me. You're missing the point.

我沒重點？你才沒抓住重點吧

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

看這裡，上面的問題很明顯的擺在這兒

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

“視頻遊戲是藝術嗎？ 不，電子遊戲不是藝術

because they are quite thoroughly something else: code."

因為它們完全是另外一種東西：代碼。 ”

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

嚯~ 所以說畢加索的作品 是油畫顏料而不是藝術？

So it's so fantastic to see

看到這些整潔的羽毛

how these feathers that were ruffled,

被弄皺的過程簡直太好了

and these reactions, were so vehement.

而且批評家們的反應是如此激烈

And you know what?

我告訴你們

The International Cat Video Film Festival

國際貓視頻電影節

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

都沒有過如此大的反響

I think this was truly fantastic.

我覺得那種感覺好得不能再好

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

我們說的可是跳舞的小馬呀

of the Walker Arts Center for putting up this festival,

而且我是真嫉妒 沃克藝術中心能承辦這次電影節

because it's very, very wonderful.

因為這個電影節真的太精彩了

And there's this Flaubert quote that I love:

我很喜歡福樓拜的這句話

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

“我總盡力生活在象牙塔中

but a tide of shit is beating at its walls,

但屎潮不停拍打著圍牆

threatening to undermine it."

威脅著要壞掉這座塔”

I consider myself the tide of shit.

我認為自己就是那屎潮

(Laughter) (Applause)

（笑聲）（掌聲）

You know, we have to go through that.

我們必須經歷這個過程

Even in the 1930s, my colleagues

即使在 30 年代，我的同行們

that were trying to put together an abstract art show

曾試著把這些作品放在一起 舉行一個抽象藝術展

had all of these works stopped by the customs officers

但被海關官員攔了下來

that decided they were not art.

因為他們覺得這些作品不是藝術

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

看吧，這樣的事情以前發生過 今後還會繼續發生

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

但現在，我很自豪

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

我可以把《吃豆人》稱為 MoMA 的藏品

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

同樣還有原版《俄羅斯方塊》 （前蘇聯版）

And you know, the amount of work --

而且這個過程中的工作量……

yeah, Alexey Pajitnov was working for the Soviet government

沒錯，阿列克謝•帕基特諾夫 當時為前蘇聯政府工作

and that's how he developed Tetris,

並在那里製作了《俄羅斯方塊》

and Alexey himself reconstructed the whole game

而且他自己還改造了這個遊戲

and even gave us a simulation of the cathode ray tube

給了我們一個陰極射線管的仿真設計品

that makes it look slightly bombed.

讓遊戲有遭受過輕微轟炸的感覺

And it's fantastic.

太不可思議了

So behind these acquisitions is an enormous amount of work,

為收藏這些作品，需要驚人的工作量

because we're still the Museum of Modern Art,

因為本質上 我們還是紐約現代藝術博物館

so even when we tackle popular culture,

所以，面對流行文化時

we tackle it as a form of interaction design

我們要把它當作交互設計來處理

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

把它當做必須要收藏在 MoMA 的東西

therefore, has to be researched.

因此必須要仔細研究

So to get to choosing Eric Chahi's

當從很多視頻遊戲中

wonderful Another World, amongst others,

選擇埃里克•恰西的《異世界》時

we put together a panel of experts,

我們聚集了一組專家

and we worked on this acquisition,

一起為這次收購工作

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

主要是凱特•卡莫迪、保羅•加洛韋和我

We worked on it for a year and a half.

我們花了一年半的時間在這上面

So many people helped us — designers of games,

很多人給予了我們幫助，比如遊戲設計師們

you might know Jamin Warren

也許你們知道雅​​明•沃倫

and his collaborators at Kill Screen magazine,

和他在 KillScreen 雜誌社的合作者們

and you know, Kevin Slavin. You name it.

還有凱文•斯拉文，多不勝舉

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

我們向每一個人求教 因為我們缺乏這方面的知識

We were not real gamers enough,

甚至算不上真正的玩家

so we had to really talk to them.

所以我們必須認真和他們交談

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

當然，我們決定收藏《模擬城市2000》

not the other Sim City, that one in particular,

不包括其他系列，只收藏那一款

so the criteria that we developed along the way

在此過程中我們建立的選擇標準

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

非常嚴格，而且不止是選擇標準

They were also criteria of exhibition and of preservation.

還包括展覽標準和收藏標準

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

所以這次收藏不只是遊戲

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

不是玩笑，是考慮如何保存

and show artifacts that will more and more

和展示那些在將來

become part of our lives in the future.

會成為我們生活一部分的工藝品的方法

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

你們很清楚 我們現在不是單純生活在數位世界

not in the physical, but in the kind of minestrone

或物質世界中，而是生活在

that our mind makes of the two.

由我們智慧創造的 這兩種世界相結合的世界裡

And that's really where interaction lies,

那才是“交互”存在的地方

and that's the importance of interaction.

和“交互”的重要性所在

And in order to explain interaction, we need to really

為了把“交互”解釋清楚

bring people in and make them realize

我們必須把人們帶到這個領域來 讓他們意識到

how interaction is part of their lives.

為什麼“交互”是他們生活的一部分

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

當我談論“交互”時 談的不只是視頻遊戲

which are in a way the purest form of interaction,

視頻遊戲一定程度上 是最純粹的“交互”形式

unadulterated by any kind of function or finality.

沒有摻雜其它功能或權威性

I also talk about the MetroCard vending machine,

我同樣會談及 紐約地鐵自動售票機

which I consider a masterpiece of interaction.

我覺得那是“交互”作用的傑作

I mean, that interface is beautiful.

因為售票機的介面非常美觀

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

看起來像從管道裡鑽出來 一位結實的紐約交管局的傢伙

You know, with your mitt you can actually paw

事實上，即使帶著手套

the MetroCard, and I talk about how bad

你也可以把地鐵卡抓出來 我還會談及

ATM machines usually are.

自動取款機經常是多麼糟糕

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

所以，我讓人們明白

to know how to judge interaction

怎樣判斷“交互”由他們自己決定

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

因此才知道何時是好、何時是壞

So when I show The Sims,

所以當我展出《模擬人生》時

I try to make people really feel what it meant

我設法讓人們感受

to have an interaction with The Sims,

與《模擬人生》“交互”意味着什么

not only the fun but also the responsibility

他們感受到的不僅是樂趣

that came with the Tamagotchi.

還有伴隨電子寵物而來的責任感

You know, video games can be truly deep

即使視頻遊戲有時是完全盲目的

even when they're completely mindless.

但也能變得很深奧

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

我肯定你們知道《魂塊》

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

其規則是滾動一個球 並在有限的時間內

in a finite amount of time

拾起盡可能多的物體

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

並藉此創造一個星球

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

我從沒成功過，但僅此而已了

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

另外，《線條兔》並沒有在美國擴散

It was a PlayStation game, but mostly for Japan.

那是 PlayStation 遊戲公司的一款遊戲 其市場主要在日本

And it was one of the first video games

而且那是最初幾款

in which you could choose your own music.

你可以自主選擇音樂的 視頻遊戲中的一款

So you would put into the PlayStation,

所以你可以把它放進遊戲機裡

you would put your own CD,

或放進 CD 播放機裡

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

然後遊戲會隨音樂改變而改變 非常非常了不得

Not to mention Eve Online.

更不必說《星戰前夜》了

Eve Online is an artificial universe, if you wish,

你可以稱其為一個人造宇宙

but one of the diplomats that was killed in Benghazi,

但是，一位在班加西被殺的外交官

not Ambassador Stevens, but one of his collaborators,

（並非大使史蒂文斯，而是他的合作者）

was a really big shot in Eve Online,

在《星戰前夜》裡可是個大人物

so here you have a diplomat in the real world

一名現實中的外交官

that spends his time in Eve Online

花時間在《星戰前夜》上

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

其目的可能是某種測試

and about universe-building, and to the point that

測試他關於宇宙運作的理念

the first announcement of the bombing

事實上，最先的炸彈襲擊通告

was actually given on Eve Online,

是在《星戰前夜》裡宣布的

and after his death, several parts of the universe

他死後 《星戰前夜》中宇宙的有幾個部分

were named after him.

就以他的名字命名了

And I was just recently at the Eve Online fan festival

最近在雷克雅維克（冰島首都） 舉行了 EVE 全球玩家盛會

in Reykjavík that was quite amazing.

我也參加了那場非常不可思議的盛會

I mean, we're talking about an experience

我是說我們談論的是一種

that of course can seem weird to many,

可能對很多人來說比較奇怪的經歷

but that is very educational.

但那很有教育意義

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

當然 還有其他遊戲更具教育意義

Dwarf Fortress is like the holy grail

比如《矮人要塞》就是這種

of this kind of massive multiplayer online game,

大規模聯網對戰的遊戲

and in fact the two Adams brothers were in Reykjavík,

其實 當時亞當兄弟倆也在雷克雅維克

and they were greeted

所有的 EVE 玩家

by a standing ovation by all the Eve Online fans.

就站著對他們表示了熱烈的歡迎

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

EVE 是很出色的遊戲 這個盛會也很讓人震驚

So you start seeing here that

所以現在你會發現

the aesthetics that are so important

畫面美感對 MoMA 這樣的博物館來說

to a museum collection like MoMA's

非常重要

are kept alive also by the selection of these games.

在挑選這些遊戲的過程中 讓遊戲也保持了其活力

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

而且，Valve 軟件公司開發的《傳送門》

is an example of a video game in which

是一個有特定類型暴力方式的

you have a certain type of violence

視頻遊戲的例子

which also leads me to talk about

同時 在我們收藏了這些電子遊戲之後

one of the biggest issues that we had to discuss

它也引導了我，讓我去談論

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

我們必須討論的一個最大的問題 ——如何看待暴力

Right? We had to make decisions.

你們說對吧？我們必須做出決定

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

有趣的是，在 MoMA 所有藏品中的藝術品裡

depicted in the art part of the collection,

很多都描繪有暴力元素

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

作為一個義大利人 19 年前我來到 MoMA 時

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

我說，“知道嗎，我們需要收藏一把槍” （意大利P. Beretta SpA是最古老的槍械生產組織之一）

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

他們卻告訴我 “不行，設計類藏品裡不能有槍”

And I was like, "Why?"

Interestingly, I learned that it's considered

我就想，“為什麼呀？”

有趣的是，後來才我知道

that in design and in the design collection,

人們認為在設計和設計類藏品裡

what you see is what you get.

眼睛看到的就是作品要傳達的

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

當設計類藏品裡有一把槍 你看到就是一把殺人工具

If it's in the art collection,

如果在藝術類藏品裡

it might be a critique of the killing instrument.

可能表達的就是對殺人工具的批判

So it's very interesting.

所以這非常有趣

But we are acquiring our critical dimension also in design,

但是我們在收集臨界作品 到設計類藏品裡

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

可能有一天我們同樣可以收藏槍

But here, in this particular case, we decided,

在現在這種特殊情況下

you know, with Kate and Paul,

凱特、保羅和我，我們決定

that we would have no gratuitous violence.

必須有理有據的收藏與暴力相關的作品

So we have Portal because you shoot walls

我們收藏《傳送門》是因為

in order to create new spaces.

射擊牆壁是為了創造空間

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

收藏《街頭霸王2》 是因為高質量的武術

(Laughter)

（笑聲）

But we don't have GTA because,

但是我們沒收藏《俠盜獵車手》

maybe it's my own reflection,

可能是出於我個人的原因

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

因为，我不會做任何事情，

and shooting prostitutes and pimps.

除了撞車，槍殺妓女和皮條客

So it was not very constructive. (Laughter)

所以其可取性不大

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

我剛在開玩笑 但是我們確實討論過很長時間

for so many days. You have no idea.

當然你們不會知道

And to this day, I am ambivalent,

至今我都比較矛盾

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

但有了 Flow 這樣的替代遊戲後 疑慮就消散了

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

因為它跟寧靜和賞心悅目相關

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

並帶你體驗作為海洋生物的意義

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

此外 我們還採集了一些經典的小遊戲

So it's quite a hefty collection.

那些是相當重要的採集品

And right now, we started with the first 14,

而且現在我們開始了 對前面 14 個的研究

but we have several that are coming up,

後面還會有一些其他的遊戲

and the reason why we haven't acquired them yet

之所以現在還沒決定收藏它們

is because you don't acquire just the game.

是因為我們收藏的不僅是遊戲本身

You acquire the relationship with the company.

還有要獲得與該公司的關係

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

我們渴望得到的是遊戲的代碼

It's very hard to get, of course.

毫無疑問那很難得到

But that's what would enable us to preserve

所以那才使我們能將電子遊戲

the video games for a really long time,

保存相當長的時間

and that's what museums do.

博物館都這樣幹

They also preserve artifacts for posterity.

博物館也為子孫們保存古器物

In absence of the code, because, you know,

沒有代碼……你們知道

video game companies are not very forthcoming in some cases,

某些情況下 視頻遊戲公司就不太可能出現

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

因為我們沒有代碼 故必須獲得與視頻遊戲公司的關係

We're going to stay with them forever.

我們要永遠和它們在一起

They're not going to get rid of us.

想都別想甩掉我們

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

總有一天，我們會得到代碼（笑聲）

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

但我想向你們講清楚 選擇交互設計作品的條件

for interaction design. Aesthetics are really important.

首先，“美感”非常重要

And I'm showing you Core War here,

現在你們看到的是《磁芯大戰》

which is an early game that takes advantage aesthetically

它是一個早期的遊戲

of the limitations of the processor.

利用介面的美感彌補了處理程序的不足

So the kind of interferences that you see here

所以你們在遊戲中看到的

that look like beautiful barriers in the game

漂亮的像障礙物的干擾因素

are actually a consequence of the processor's limitedness,

實際上是處理器不足的結果

which is fantastic. So aesthetics is always important.

那仍然很棒啊 所以說界面美感總是很重要的

And so is space, the spatial aspect of games.

同樣還有“空間” 即遊戲的空間方面

You know, I feel that the best video games

我感覺最好的視頻遊戲

are the ones that have really savvy architects

背後總有一群理解力超強的建築師

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

如果他們不是建築師

bona fide trained in architecture, they have that feeling.

但受過良好的建築方面的訓練 他們也會有那種感覺

But the spatial evolution in video games is extremely important.

但視頻遊戲中的空間演化極其重要

Time. The way we experience time in video games,

還有“時間” 我們在遊戲裡體驗時間的感覺

as in other forms of interaction design,

作為交互設計的其他形式

is really quite amazing.

這是非常不可思議的

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

它能作為真實的時間 也能作為遊戲中的時間

as is in Animal Crossing, where seasons

比如在《動物森林》裡

follow each other at their own pace.

四季就照著固有的順序循環

So time, space, aesthetics,

所以 時間、空間、美感都非常重要

and then, most important, behavior.

然後是最重要的“行為”

The real core issue of interaction design is behavior.

交互設計的根本核心就是“行為”

Designers that deal with interaction design behaviors

處理交互設計行為的設計者

that go to influence the rest of our lives.

將會影響到我們今後的生活

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

他們不僅把我們的 “交互行為”限制在屏幕上

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

既然如此 我給你們看看《瘋狂的石頭》

which is a beautiful game

很漂亮的一個遊戲

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

遊戲裡，控制器是一個與你一起搖擺的球體

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

有一個在畫面中運動的球體

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

而且球體會帶給你一種移動的感覺

In a way, you can see how video games

某種程度上，你們能夠理解

are the purest aspect of interaction design

為什麼視頻遊戲是交互設計裡最純粹的方面

and are very useful to explain what interaction is.

視頻遊戲對闡釋交互作用也很有用

We don't want to show the video games

我們不想展示視頻遊戲設備

with the paraphernalia. No arcade nostalgia.

不展示跟街機有關的甜蜜回憶

If anything, we want to show the code,

如果非要展示的話，我們想展示代碼

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

在這裡，你們看到的 是本•弗萊用《吃豆人》的代碼

of the Pac-Man code.

製作的《吃豆人》代碼軌跡圖

So the way we acquired the games is very interesting

所以我們收藏遊戲的方式 很有趣，很另類

and very unorthodox. You see them here

你們可以看到這些遊戲

displayed alongside other examples of design,

與其他設計作品擺在一起

furniture and other parts,

比如家具和其他東西

but there's no paraphernalia, no nostalagia,

沒有相關遊戲設備，沒有回憶

only the screen and a little shelf with the controllers.

只有屏幕和放遊戲手柄的小架子

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

因為手柄是體驗的一部分

so you cannot do away with it.

所以不能沒有它

But interestingly, this choice was not condemned

但奇怪的是，這樣的做法

too vehemently by gamers.

並沒有為遊戲玩家所責難

I was afraid that they would kill us,

之前我還擔心他們會殺了我們呢

and instead they understood, especially

但相反，當我給他們說

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

我在嘗試飛利浦•約翰遜 在 1934 年用過的花招時

that Philip Johnson applied in 1934

他們特別理解我們的做法

when he wanted to make people understand

飛利浦想讓人們了解設計的重要性

the importance of design, and he took propeller blades

所以他把螺旋槳葉片

and pieces of machinery and

和機械零部件

in the MoMA galleries he put them on white pedestals

放在 MoMA 畫廊裡靠牆的雕像基座上

against white walls, as if they were Brancusi sculptures.

看起來像布蘭庫西的雕刻作品

He created this strange distance, this shock,

他營造出這種距離感和衝擊感

that made people realize how gorgeous formally,

就是為了讓人們意識到

and also important functionally, design pieces were.

設計成品在外形上多麼美觀 還有功能上多麼重要

I would like to do the same with video games.

我想對視頻遊戲採取同樣的策略

By getting rid of the sticky carpets and the cigarette butts

通過去除掉我們童年記憶中

and everything else that we might remember from our childhood,

粘人的地毯、燃盡的煙頭等

I want people to understand

而且我想讓人們明白

that those are important forms of design.

這些都是重要的設計形式

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

而且在一定程度上 視頻遊戲、数字字體等

lead us to make people understand

會讓人們對設計的含義

a wider meaning for design.

有一個更寬泛的理解

One of my dream acquisitions,

我夢想過

which has been on hold for a few years

收藏一架波音747

but now will come back on the front burner,

這個想法已擱置了好幾年

is a 747.

現在又成當務之急了

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

我想收藏它，但不是擁有它

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

我不想它放在 MoMA 成為 MoMA 的財產

I want it to keep flying.

我想它繼續飛行

So it's an acquisition where MoMA makes an arrangement

所以這次收購需要 MoMA 和航空公司簽署一個協定

with an airline and keeps the Boeing 747 flying.

好讓波音 747 繼續飛行

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

同樣還有我們幾年前收藏的“@”符號

It was the first example of an acquisition of something

它是我們做的第一個

that is in the public domain.

屬於公共領域中的事物的收購

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

我向公眾說

a butterfly were flying by

那就像一隻蝴蝶飛過

and we captured the shadow on the wall,

我們抓住了牆上的影子

and just we're showing the shadow.

而且 我們只把蝴蝶的影子展示給你們

So in a way, we're showing a manifestation

這有點兒像我們展示了

of something that is truly important

一個極重要的事物的外在形式

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

而且那是我們的部分身份象徵 但沒人能將其據為己有

And it's too long to explain the acquisition,

要說清楚這個收購要花很多時間

but if you want to go on the MoMA blog,

但如果你們想去 MoMA 的博客主頁

there's a long post where I explain why

我在主頁上寫了一篇長博文

it's such a great example of design.

講述為什麼那是一個重大的設計

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

你們知道嗎，一路走來 我迫不得已燒掉了一些椅子

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

我必須消除一些過時的設計理念

But I see that people are coming along,

但我發現，人們在進步

that the audiences, paradoxically,

反常的是，觀眾們對設計理念的擴大

are much more responsive and much more understanding

比我的一些同行們

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

更积极响应，也更能理解

Design is truly everywhere,

設計無處不在

and design is as important as anything,

設計與其他事情一樣重要

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

我很欣慰，由於設計的多樣性

and because of its centrality to our lives,

和它在我們生活中的向心性

many more people are coming to it

越來越多的人在了解它

as a profession, as a passion,

並將其作為職業，作為激情

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

說直接點 作為他們自身文化的一部分

Thank you very much.

非常感謝

(Applause)

（掌聲）