Pointing to the future of UI | John Underkoffler

譯者: Jing Yao 審譯者: Bill Hsiung

We're 25, 26 years after

25、26 年前

the advent of the Macintosh,

麥金塔電腦系統問世，

which was an astoundingly seminal event

而麥金塔系統的出現，

in the history

整體來說，

of human-machine interface

對人機界面和計算機的發展史

and in computation in general.

影響非常重大。

It fundamentally changed the way

它從根本上改變了人們

that people thought about computation,

對於計算機

thought about computers,

和對於電腦的看法，

how they used them and who and how many people were able to use them.

人們是如何使用，以及是誰，還有多少人能夠使用它們。

It was such a radical change, in fact,

這是個非常極端的改變，事實上，

that the early Macintosh development team

早期麥金塔研發團隊

in '82, '83, '84

在 1982 到 1984 年這三年間，

had to write an entirely new operating system from the ground up.

必須從頭開始設計全新的操作系統。

Now, this is an interesting little message,

現在，這是個很有趣的訊息，

and it's a lesson that has since, I think,

我想，也是個已經被遺忘

been forgotten or lost or something,

或失去之類的的課題。

and that is, namely, that the OS is the interface.

也就是，換句話說，操作系統即是界面。

The interface is the OS.

界面就是操作系統。

It's like the land and the king (i.e. Arthur) they're inseparable, they are one.

這就像是《亞瑟王》中的領土與國王，他們密不可分，是一體的。

And to write a new operating system was not a capricious matter.

而寫一個新的操作系統並不是個奇怪的想法。

It wasn't just a matter of tuning up some graphics routines.

這並不只是調整改善某些圖像程序而已。

There were no graphics routines. There were no mouse drivers.

當年並沒有圖像程序，也沒有滑鼠驅動程式。

So it was a necessity.

所以寫個新的操作系統是必要的。

But in the quarter-century since then,

但在那之後的 25 年，

we've seen all of the fundamental

我們看到了所有的

supporting technologies go berserk.

基本輔助科技傾巢而出。

So memory capacity and disk capacity

記憶體容量還有硬碟容量

have been multiplied by something between 10,000 and a million.

倍增十萬到百萬倍，

Same thing for processor speeds.

處理器的狀況也一樣。

Networks, we didn't have networks at all

網際網路，在麥金塔剛問世時，

at the time of the Macintosh's introduction,

我們根本就談不上有網際網路。

and that has become the single most salient aspect

而網際網路是我們電腦生活中

of how we live with computers.

最突出、最特別的東西。

And, of course, graphics: Today

當然，今天的顯示卡，

84 dollars and 97 cents at Best Buy

在 Best Buy 用 84.97 美元

buys you more graphics power

就可以讓你買到功能更強大的顯示卡，

than you could have gotten for a million bucks from SGI only a decade ago.

這遠比十年前你用百萬美元在 SGI 買到的顯示卡還要好。

So we've got that incredible ramp-up.

所以這是很不可思議的成長。

Then, on the side, we've got the Web

接著，另一方面，我們有了網路，

and, increasingly, the cloud,

再來有了雲端計算系統，

which is fantastic,

這真的很棒，

but also -- in the regard in which an interface is fundamental --

但也指出在這之中，界面是很重要的，

kind of a distraction.

這有點讓我們分心了。

So we've forgotten to invent new interfaces.

我們忘了要研發出新的界面。

Certainly we've seen in recent years a lot of change in that regard,

當然在過去幾年中，我們在相關系統看到了許多改變。

and people are starting to wake up about that.

而人們也開始覺醒。

So what happens next? Where do we go from there?

那接下來呢？我們要往那個方向進展？

The problem, as we see it,

問題是，當我們看待這件事時，

has to do with a single, simple word: "space,"

如何看這個單一，簡單的字，「空間」

or a single, simple phrase:

或一個簡單的詞

"real world geometry."

「真實世界中的幾何」

Computers and the programming languages

當我們使用程式語言來與電腦

that we talk to them in, that we teach them in,

溝通，並嘗試教導電腦

are hideously insensate when it comes to space.

關於空間的概念時，電腦變得很愚鈍，讓人無法忍受。

They don't understand real world space.

它們不理解真實世界的空間。

It's a funny thing because the rest of us occupy it quite frequently and quite well.

這真的很有趣，因為我們人類對空間概念的使用相當頻繁而且順手。

They also don't understand time, but that's a matter for a separate talk.

它們也不懂時間，但這又是另一個話題了。

So what happens if you start to

那當你開始向這些電腦

explain space to them?

解釋空間時又會發生什麼事呢？

One thing you might get is something like the Luminous Room.

你可能得到的是像這個「光室」的東西。

The Luminous Room is a system

光室是個

in which it's considered that

輸入和輸出的空間

input and output spaces are co-located.

重疊的系統。

That's a strangely simple,

這是個極其簡單，

and yet unexplored idea, right?

卻還未有人研究的概念，對吧？

When you use a mouse, your hand is down here on the mouse pad.

當你使用滑鼠時，你的手就在滑鼠上。

It's not even on the same plane as what you're talking about:

你的手甚至與你所討論的東西不在同個平面上。

The pixels are up on the display.

那些像素是呈現在顯示器上。

So here was a room in which all the walls, floors, ceilings,

這裡有個房間，裡面有所有的牆面，地板還有天花板，

pets, potted plants, whatever was in there,

寵物，盆栽植物，還有其他有的沒的，

were capable, not only of display but of sensing as well.

都能夠，不僅僅是用來顯示而已，同時也用來感測。

And that means input and output are in the same space

這意味著輸出和輸入可發生在同一空間，

enabling stuff like this.

讓這樣的事發生。

That's a digital storage in a physical container.

這是在物理空間中的數位儲存體。

The contract is the same

反之亦然。

as with real word objects in real world containers.

就跟真實世界中的真實物體一樣。

Has to come back out, whatever you put in.

無論你輸入什麼，都可以拿出來。

This little design experiment

這是個小小的設計實驗，

that was a small office here knew a few other tricks as well.

這是個小型辦公室，還能做些其他有趣的事。

If you presented it with a chess board,

如果你用西洋棋呈現的話，

it tried to figure out what you might mean by that.

它會試著模擬出你可能的想法。

And if there was nothing for them to do,

如果他們沒有事可做，

the chess pieces eventually got bored

那這些西洋棋最後會覺得無聊

and hopped away.

然後跳走。

The academics who were overseeing this work

在督導這項計畫的學術單位

thought that that was too frivolous,

認為這很愚蠢，

so we built deadly serious applications

所以我們做了相當正經的應用，

like this optics prototyping workbench

像是這個光學原型工作台，

in which a toothpaste cap on a cardboard box

我們把牙膏蓋放在厚紙板盒上，

becomes a laser.

做成一個雷射台。

The beam splitters and lenses are represented by physical objects,

分光器還有鏡片是以實物來呈現，

and the system projects down the laser beam path.

這個系統投影出雷射光的路線。

So you've got an interface that has no interface.

所以你有了沒有界面的界面。

You operate the world as you operate the real world,

你操作這個虛擬世界就像是你在操作真實的世界，

which is to say, with your hands.

也就是，用你自己的雙手。

Similarly, a digital wind tunnel with digital wind

相同地，有著數位風的數位風洞，

flowing from right to left --

由右至左吹過來。

not that remarkable in a sense; we didn't invent the mathematics.

從某個層面看沒那麼了不起;我們並沒有發明這其中的數學原理。

But if you displayed that on a CRT or flat panel display,

但如果你在 CRT 或平面面板上呈現，

it would be meaningless to hold up an arbitrary object,

隨意拿起一個物體，一個真實世界中的物體，

a real world object in that.

就沒什麼意義了。

Here, the real world merges with the simulation.

在這裡，真實的世界和虛擬的世界融合在一起。

And finally, to pull out all the stops,

最後，我們把剛提到的放在一起，

this is a system called Urp, for urban planners,

這個系統叫做 Urp，專門為都市設計者所研發的，

in which we give architects and urban planners back

在這個系統中，

the models that we confiscated

我們提供建築師以及都市設計者模組，

when we insisted that they use CAD systems.

我們要求他們使用 CAD 系統。

And we make the machine meet them half way.

我們做出這機器以滿足他們的需求。

It projects down digital shadows, as you see here.

它可以投射出數位化陰影，就像你在這看到的。

And if you introduce tools like this inverse clock,

如果你啟用像這個反向時鐘的工具，

then you can control the sun's position in the sky.

那你就可以控制天空中太陽的位置。

That's 8 a.m. shadows.

這是早上八點的陰影。

They get a little shorter at 9 a.m.

到了九點會有點短。

There you are, swinging the sun around.

就像這樣，任意移動太陽。

Short shadows at noon and so forth.

中午影子更短，諸如此類的。

And we built up a series of tools like this.

我們還設計了一系列像這樣的工具。

There are inter-shadowing studies

還有一個連孩子都可以操作的

that children can operate,

互動陰影學習工具，

even though they don't know anything about urban planning:

即便他們不懂都市設計，

To move a building, you simply reach out your hand and you move the building.

想要移動一座建築物的話，只要伸出你的手，你就可以移動它。

A material wand makes the building

一根棒子就可以將一棟建築物

into a sort of Frank Gehry thing that reflects light in all directions.

變成像是法蘭克•蓋瑞的作品，並反射出各個方向的光線。

Are you blinding passers by and motorists on the freeways?

這會不會讓路人還有高速公路上的汽車乘客覺得太刺眼了呢?

A zoning tool connects distant structures, a building and a roadway.

區域劃分工具可以連接地理位置上不相鄰的物體，將建築物還有道路連接起來。

Are you going to get sued by the zoning commission? And so forth.

可以看看你會不會被區域委員會控告等等之類的。

Now, if these ideas seem familiar

現在，如果這些想法有點耳熟

or perhaps even a little dated,

或甚至有點過時，

that's great; they should seem familiar.

這很好，因為你應該要對他們感到熟悉。

This work is 15 years old.

這項計畫已進行十五年了。

This stuff was undertaken at MIT and the Media Lab

所以在石井裕教授英明的帶領下，

under the incredible direction of Professor Hiroshi Ishii,

麻省理工學院還有媒體實驗室一直都有這類的研究，

director of the Tangible Media Group.

石井裕教授是 Tangible Media Group 的領導者。

But it was that work that was seen

亞歷克斯•麥克道爾發現了

by Alex McDowell,

這個計劃，

one of the world's legendary production designers.

他是許多傳奇性產品的設計者。

But Alex was preparing a little, sort of obscure, indie, arthouse film

當時亞歷克斯正在為史蒂芬•史匹柏準備一部有點不好懂卻又獨樹一格的

called "Minority Report" for Steven Spielberg,

科技藝術電影<關鍵報告>。

and invited us to come out from MIT

他邀請我們走出麻省理工學院

and design the interfaces

並設計可在影片中

that would appear in that film.

出現的界面。

And the great thing about it was

最棒的事是

that Alex was so dedicated to the idea of verisimilitude,

亞歷克斯十分熱中於擬真這個想法，

the idea that the putative 2054

預設我們在片中所構想的 2054 年

that we were painting in the film be believable,

是有可能成真的，

that he allowed us to take on that design work

亞歷克斯允許我們接手這項設計任務，

as if it were an R&D effort.

就好像這是個研發工作般。

And the result is sort of

結果還蠻令人

gratifyingly perpetual.

相當滿意呢。

People still reference those sequences in "Minority Report"

當人們談到新的使用者界面設計，

when they talk about new UI design.

仍然會參考在<關鍵報告>中的片段。

So this led full circle, in a strange way,

這形成了一個完整的循環，用一種特殊的方式，

to build these ideas into what we believe

建構出今天的這些新理念，

is the necessary future of human machine interface:

我們相信這將是必然發生的未來人機界面，

the Spatial Operating Environment, we call it.

我們稱它為空間操作環境。

So here we have a bunch of stuff, some images.

我們這裡有一些影像。

And, using a hand,

接著，用一隻手，

we can actually exercise six degrees of freedom,

我們真的可以操作六個自由度，

six degrees of navigational control.

六度的導航控制。

And it's fun to fly through Mr. Beckett's eye.

飛過貝克先生的眼睛還蠻好玩的。

And you can come back out

你還可以從可怕的紅毛猩猩前面

through the scary orangutan.

退出來。

And that's all well and good.

這些都進行得非常順利。

Let's do something a little more difficult.

我們再來做些有點難度的！

Here, we have a whole bunch of disparate images.

這裡，我們有一大堆不同的影像。

We can fly around them.

我們可以飛過他們。

So navigation is a fundamental issue.

所以導航是個相當基本的條件。

You have to be able to navigate in 3D.

你必須要能在三度空間中導航。

Much of what we want computers to help us with in the first place

大部分我們一開始所希望電腦幫我們處理的是

is inherently spatial.

內在空間。

And the part that isn't spatial can often be spatialized

不是空間的部分時常可以轉為空間化，

to allow our wetware to make greater sense of it.

讓我們人腦可以利用它做出更有意義的事。

Now we can distribute this stuff in many different ways.

現在我們可以用很多方法來分散這個東西。

So we can throw it out like that. Let's reset it.

我們可以像這樣丟出去。 我們重新設置一下。

We can organize it this way.

我們可以這樣組合。

And, of course, it's not just about navigation,

還有，當然，這不僅僅只是導航，

but about manipulation as well.

還有牽扯到操控。

So if we don't like stuff,

所以如果我們不喜歡這個東西，

or we're intensely curious about

或是我們對恩斯特•海克爾的科學仿真

Ernst Haeckel's scientific falsifications,

感到極度好奇，

we can pull them out like that.

我們可以像這樣把他們拉出來。

And then if it's time for analysis, we can pull back a little bit

如果要做分析，我們可以退出一些，

and ask for a different distribution.

然後用個不一樣的展示方式。

Let's just come down a bit

我們下來一點點，

and fly around.

然後飛一圈。

So that's a different way to look at stuff.

這又是另一個不一樣的方式來看這些東西。

If you're of a more analytical nature

如果你有科學分析的特質，

then you might want, actually, to look at this

那你可能會想，事實上，

as a color histogram.

把這個看成彩色的柱狀圖。

So now we've got the stuff color-sorted,

所以我們把這些東西依據色彩來分類，

angle maps onto color.

把地圖彩色化。

And now, if we want to select stuff,

現在，如果我們想要選擇像

3D, space,

3D，空間這類的東西，

the idea that we're tracking hands in real space

我們在真實空間中移動手的軌跡

becomes really important because we can reach in,

就變得相當重要，因為我們可以控制的

not in 2D, not in fake 2D, but in actual 3D.

並不是平面，也不是虛擬的平面，而是真實的三度空間。

Here are some selection planes.

這裡有一些供選擇的陳列版。

And we'll perform this Boolean operation

我們將進行這個布林運算

because we really love yellow and tapirs on green grass.

因為我們真的很喜歡黃色和在青草地上的貘。

So, from there to the world of real work.

所以，從那裏到真實存在的世界。

Here's a logistics system,

這裡有個後勤系統，

a small piece of one that we're currently building.

這是我們現在正建立的東西的一小部分。

There're a lot of elements.

有很多要素在裡面。

And one thing that's very important is to combine traditional tabular data

其中有一個很重要的就是把傳統的表格數據

with three-dimensional and geospatial information.

和三度空間還有地理空間資訊結合在一起。

So here's a familiar place.

這裡有個很熟悉的地方。

And we'll bring this back here for a second.

我們把這個拉回來這裡一下。

Maybe select a little bit of that.

也許選一些那個。

And bring out this graph.

然後帶出這張圖表。

And we should, now,

現在，我們應該

be able to fly in here

可以在這裡飛，

and have a closer look.

還可以再看近一點。

These are logistics elements

這些是散布在整個美國

that are scattered across the United States.

的物流要素。

One thing that three-dimensional interactions

三度空間互動以及

and the general idea of imbuing

完全的進入空間計算的基本概念

computation with space affords you

所提供給你的是

is a final destruction of that unfortunate

徹底淘汰了不合時的

one-to-one pairing between human beings and computers.

人類與電腦一對一操作界面。

That's the old way, that's the old mantra:

這是老舊的方式，老舊的思維，對吧！

one machine, one human, one mouse, one screen.

一台機器，一個人類，一個滑鼠，一個螢幕。

Well, that doesn't really cut it anymore.

現在，不能光靠這些了。

In the real world, we have people who collaborate;

所以在真實的世界中，我們有著跟我們合作的人，

we have people who have to work together,

也有著和我們一起工作的人。

and we have many different displays.

我們還有許多不同的展示方式。

And we might want to look at these various images.

大家可能會想要看看這些不一樣的圖像。

We might want to ask for some help.

我們可能會需要一些幫助。

The author of this new pointing device

這一套新的指向裝置的發明者

is sitting over there,

就坐在那裡，

so I can pull this from there to there.

所以我可以把這個從那拉到那裏。

These are unrelated machines, right?

這些是沒有關聯的機器，對吧！

So the computation is space soluble and network soluble.

所以這個計算是不受空間和網路限制的。

So I'm going to leave that over there

我先把那些留在那裡，

because I have a question for Paul.

因為我有個問題要給保羅。

Paul is the designer of this wand, and maybe its easiest

保羅是這魔杖的設計者，

for him to come over here and tell me in person what's going on.

也許由他過來這裡親自告訴我到底發生什麼事是最簡單的了。

So let me get some of these out of the way.

讓我先把這些東西移開。

Let's pull this apart:

讓我先把這個拆開，

I'll go ahead and explode it.

我將向前把它分解開。

Kevin, can you help?

凱文，可以幫個忙嗎?

Let me see if I can help us find the circuit board.

讓我看看，是否我可以讓我們找到線路板。

Mind you, it's a sort of gratuitous field-stripping exercise,

提醒你一下，這是有點無聊的槍砲拆械演練，

but we do it in the lab all the time.

但是我們總是會在實驗室做這個。

All right.

好了。

So collaborative work, whether it's immediately co-located

所以集體工作，不論是不是在同一地點，

or distant and distinct, is always important.

或是相距千里，合作總是很重要的一件事。

And again, that stuff

再一次，我們必須在

needs to be undertaken in the context of space.

空間狀態中處理這個東西。

And finally, I'd like to leave you with a glimpse

最後，我想讓你們看一下

that takes us back to the world of imagery.

帶我們回到想像世界的系統。

This is a system called TAMPER,

這是一個叫做 TAMPER 的系統，

which is a slightly whimsical look

這可以讓我們略見到

at what the future of editing

編輯以及傳播操作系統未來

and media manipulation systems might be.

可能呈現的樣貌。

We at Oblong believe that media should be

我們相信媒體應該

accessible in much more fine-grained form.

可以在更細微的影像呈現中操作。

So we have a large number of movies

我們有大量的電影

stuck inside here.

儲存在這裡面。

And let's just pick out a few elements.

讓我們先挑出一些基本元素。

We can zip through them

我們可以快速地

as a possibility.

瀏覽它們。

We can grab elements off the front,

我們可以從表面將元素捕捉下來，

where upon they reanimate, come to life,

它們在這裡復活，重生，

and drag them down onto the table here.

我們再把它們拉下來放到這裡的桌面。

We'll go over to Jacques Tati here

我們來到 Jacques Tati 這裡，

and grab our blue friend

抓下我們的藍色朋友，

and put him down on the table as well.

也把他放到桌上。

We may need more than one.

我們可能需要多一些。

And we probably need,

我們或許需要，

well, we probably need a cowboy

嗯，老實說，

to be quite honest.

我們可能需要一個牛仔。

(Laughter)

（笑聲）

Yeah, let's

好，讓我們

take that one.

拿那一個。

(Laughter)

（笑聲）

You see, cowboys and French farce people

你看，牛仔跟法國諧星

don't go well together, and the system knows that.

不太合得來，系統也知道這一點。

Let me leave with one final thought,

最後讓我再提個想法，

and that is that

這是

one of the greatest English language writers

過去三十幾年中最偉大的英語作家之一

of the last three decades

所提出的，

suggested that great art is always a gift.

偉大的藝術一直以來都是種禮物。

And he wasn't talking about whether the novel costs 24.95 [dollars],

他並不是在說要花 24.95 美金來買本小說，

or whether you have to spring 70 million bucks

或是你需要花到七千萬美金

to buy the stolen Vermeer;

來買維米爾（荷蘭畫家）的作品，

he was talking about the circumstances of its creation

他指的是藝術創作本身的條件與環境

and of its existence.

還有藝術本身的存在性。

And I think that it's time that we asked

我認為也該是時候

for the same from technology.

讓我們對科技有一樣的要求。

Technology is capable of

科技能夠

expressing and being imbued with

表達而且充滿著

a certain generosity,

某種程度的寬容性，

and we need to demand that, in fact.

而我們事實上也需要這些。

For some of this kind of technology,

因為有些這一類的科技，

ground center is

基礎在於與設計的結合，

a combination of design, which is crucially important.

而這樣的設計是極為重要的。

We can't have advances in technology any longer

除非我們從頭重新整合設計過，

unless design is integrated from the very start.

否則我們沒辦法在科技上再有新的進展。

And, as well, as of efficacy, agency.

當然還有效能及專業機構。

We're, as human beings, the creatures that create,

我們，身為人類，創作出萬物的創造者，

and we should make sure that our machines aid us in that task

我們應該確保機器永遠都會在工作上給予我們協助，

and are built in that same image.

而且都是以同樣的形像呈現。

So I will leave you with that. Thank you.

我把這點留給大家思考。謝謝。

(Applause)

（掌聲）

Chris Anderson: So to ask the obvious question --

克里斯•安德森：來問個直接的問題 —

actually this is from Bill Gates --

事實上是比爾•蓋茲要問的 —

when? (John Underkoffler: When?)

何時？（(約翰•昂德科夫勒：何時？）

CA: When real? When for us, not just in a lab and on a stage?

克里斯•安德森：這何時能夠成真？對我們來說，這一切不再是只發生在實驗室或是只在舞台上示範？

Can it be for every man, or is this just for corporations and movie producers?

這是每個人都可以操作的嗎？還是這只是給專門機構以及電影製作者用的？

JU: No, it has to be for every human being.

約翰•昂德科夫勒：不，這必須是給每個人用的。

That's our goal entirely.

這是我們的終極目標。

We won't have succeeded

直到我們再往前再邁進一大步，

unless we take that next big step.

才能稱得上成功。

I mean it's been 25 years.

我的意思是，已經 25 年了。

Can there really be only one interface? There can't.

只能存在著單一界面嗎？當然不是。

CA: But does that mean that, at your desk or in your home,

克里斯•安德森：那這是不是意味著

you need projectors, cameras?

你的辦公桌前或家裡必須要有台投影機及攝影機？

You know, how can it work?

這要怎麼運作？

JU: No, this stuff will be built into the bezel of every display.

約翰•昂德科夫勒：不，這東西將會被內建在所有顯示器的邊框。

It'll be built into architecture.

我們並會將它內建到建築物中。

The gloves go away in a matter of months or years.

在幾個月或幾年後就不會需要這副手套了。

So this is the inevitability about it.

這是這項科技必然的發展方向。

CA: So, in your mind, five years time,

克里斯•安德森：所以，在你看來，有生之年中，

someone can buy this as part of

將會有人添購這項產品

a standard computer interface?

做為電腦標準界面？

JU: I think in five years time when you buy a computer,

約翰•昂德科夫勒：我想大概是在五年後你買電腦時，

you'll get this.

就會有這項配備。

CA: Well that's cool.

克里斯•安德森：這真的很酷。

(Applause)

（掌聲）

The world has a habit of surprising us as to how these things are actually used.

這個世界中，新事物的使用方式總是會讓我們大吃一驚。

What do you think, what in your mind is the first killer app for this?

你認為，在你看來，這個界面第一個最驚人的應用會是什麼?

JU: That's a good question, and we ask ourselves that every day.

約翰•昂德科夫勒：這是個好問題，我們每天也是這樣問自己。

At the moment, our early-adopter customers --

現在，我們早期的客戶，

and these systems are deployed out in the real world --

在現實世界中使用這個系統，

do all the big data intensive, data heavy problems with it.

利用它來處理大量的數據問題，

So, whether it's logistics and supply chain management

所以，不管是供應通路管理的物流

or natural gas and resource extraction,

還是天然氣及資源開採，

financial services, pharmaceuticals, bioinformatics,

金融服務，製藥，生物資訊等等，

those are the topics right now, but that's not a killer app.

這些都是現在的應用重點，但還不是最驚人的應用。

And I understand what you're asking.

而我懂你要問的是什麼。

CA: C'mon, c'mon. Martial arts, games. C'mon.

克里斯•安德森：坦白一點吧，武術，遊戲，你知道的。

(Laughter)

（笑聲）

John, thank you for making science-fiction real.

約翰，謝謝你讓科幻小說成為現實。

JU: It's been a great pleasure.

約翰•昂德科夫勒：這是我莫大的榮幸。

Thank you to you all.

謝謝大家。

(Applause)

（掌聲）