Paola Antonelli: Design and the elastic mind

譯者: Manlai YOU 審譯者: Chun-wen Chen

I dabble in design. I'm a curator of architecture and design;

我涉及設計；我是建築與設計的策展人。

I happen to be at the Museum of Modern Art.

我在現代藝術博物館工作，

But what we're going to talk about today

但重要的是 － 今天我們要談的

is really design. Really good designers are like sponges:

是真正的設計。真正好的設計師就像海棉。

they really are curious

他們充滿好奇心

and absorb every kind of information that comes their way,

吸收各種他們遇到的資訊，

and transform it so that it can be used by people like us.

將它轉換後讓我們使用。

And so that gives me an opportunity,

因此，那給我機會，

because every design show that I curate

因為每個我策畫的設計展

kind of looks at a different world. And it's great,

都像看到不同的世界。那很棒，

because it seems like every time I change jobs.

就像我每次都換了工作。

And what I'm going to do today is I'm going to give you a preview

今天我要給你們預覽

of the next exhibition that I'm working on, which is called

我正在籌備的下個展覽，叫做：

"Design and the Elastic Mind."

「設計與彈性思維」。

The world that I decided to focus on this particular time

這次我要聚焦的世界

is the world of science and the world of technology.

是科學世界及技術世界。

Technology always comes into play when design is involved,

當涉及設計時，技術總是有關，

but science does a little less.

而科學則稍少一些。

But designers are great at taking big revolutions that happen

但設計師總能善用偉大的變革，

and transforming them so that we can use them.

轉換後讓我們使用。

And this is what this exhibition looks at.

這就是這項展覽所追求的。

If you think about your life today,

想想你今天的生活，

you go every day through many different scales,

每天走過許多不同的尺度，

many different changes of rhythm and pace.

許多不同韻律及步調的改變。

You work over different time zones, you talk to very different people,

在不同時區工作，與差異很大的人交談，

you multitask. We all know it, and we do it kind of automatically.

多工處理。我們都知道它，而且能自動處理。

Some of the minds in this audience are super elastic,

你們的思維有的是超級彈性，

others are a little slower,

有的則反應慢一點，

others have a few stretch marks, but nonetheless

其他人的則有點拉痕，但無論如何

this is a quite exceptional audience from that viewpoint.

以此觀點，你們是極獨特的群眾。

Other people are not as elastic.

其他人則不那麼有彈性。

I can't get my father in Italy to work on the Internet.

我無法讓在義大利的家父上網。

He doesn't want to put high-speed Internet at home.

他不想在家中裝高速網路。

And that's because there's some little bit of fear,

那是因為有一點害怕，

little bit of resistance or just clogged mechanisms.

有一點抗拒或阻礙的情形。

So designers work on this particular malaise that we have,

因此，設計師為我們特有的不適應、

these kinds of discomforts that we have,

我們的不自在而去設計，

and try to make life easier for us.

試著讓我們生活得較容易。

Elasticity of mind is something that we really need, you know,

思維的彈性是我們真正需要的，

we really need, we really cherish and we really work on.

我們真的需要，真的珍惜，並認真追求。

And this exhibition is about the work of designers

這個展覽是關於設計師的作品

that help us be more elastic,

它讓我們更有彈性，

and also of designers that really work on this elasticity

和追求彈性機會的設計師們。

as an opportunity. And one last thing is that

還有最後一點...

it's not only designers, but it's also scientists.

不只是設計師，也有科學家。

And before I launch into the display of some of the slides

在開始播放幻燈片、

and into the preview, I would like to point out

開始預覽之前，我要指出

this beautiful detail about scientists and design.

科學家和設計的美麗細節。

You can say that the relationship between science and design

你可以說，科學和設計的關係

goes back centuries. You can of course talk about

已有好幾世紀。你當然也可以談

Leonardo da Vinci and many other Renaissance men and women --

李奧那多達文西，許多其他文藝復興時期的男女，

and there's a gigantic history behind it.

背後有個巨大的歷史。

But according to a really great science historian you might know,

但依據一位偉大科學史學者的說法，

Peter Galison -- he teaches at Harvard --

Peter Galison － 他在哈佛大學教書 －

what nanotechnology in particular and quantum physics

特別是奈米科技和量子物理學

have brought to designers is this renewed interest,

帶給設計師的是一股新的興趣，

this real passion for design.

對設計的真正熱情。

So basically, the idea of being able to build things bottom up,

因此基本上，由下而上建造物品的想法，

atom by atom, has made them all into tinkerers.

用原子一個個建，使他們成為修補匠。

And all of a sudden scientists are seeking designers,

突然間科學家們都在找設計師，

just like designers are seeking scientists.

就如設計師們在找科學家一樣。

It's a brand-new love affair that we're trying to cultivate

這是一個新的愛情故事，我們試圖由 MOMA

at MOMA. Together with Adam Bly, who is the founder of Seed magazine --

和 Adam Bly 合作，他創辦了 Seed 雜誌 －

that's now a multimedia company, you might know it --

現在是個多媒體公司，也許你知道它 －

we founded about a year ago a monthly salon

約一年前，我們創立讓科學家和設計師

for designers and scientists, and it's quite beautiful.

每月一次的沙龍，極為美妙。

And Keith has come, and also Jonathan has come and many others.

Keith 來了，Jonathan 也來了，還有許多其他人。

And it was great, because at the beginning was this apology fest --

結果很棒，因為一開始是道歉連連，

you know, scientists would tell designers,

科學家告訴設計師：

you know, I don't know what style is, I'm not really elegant.

我不知道何謂風格，我真的不夠優雅。

And designers would like, oh, I don't know how to do an equation,

而設計師則說：我不會做數學式子，

I don't understand what you're saying. And then all of a sudden

我不懂你說的。而突然間

they really started talking each others' language,

他們真的開始說起彼此的語言，

and now we're already at the point that they collaborate.

而現在我們已到了彼此合作的地步。

Paul Steinhardt, a physicist from New York,

你知道 Paul Steinhardt，來自紐約的物理學者，

and Aranda/Lasch, architects, collaborated in an installation

和 Aranda/Lasch 建築師合作在倫敦的

in London at the Serpentine.

Serpentine 做裝置設計。

And it's really interesting to see how this happens.

看著它的進展真是有趣。

The exhibition will talk about the work

這個展覽將要談

of both designers and scientists,

設計師與科學家的作品，

and show how they're presenting the possibilities of the future to us.

展示他們如何為我們展現未來。

I'm showing to you

現在我正要為你展示

different sections of the show right now,

這個展覽的不同部分，

just to give you a taste of it.

讓你先睹為快，

Nanophysics and nanotechnology, for instance,

例如，奈米物理學與奈米科技，

have really opened the designer's mind.

已真正開啟了設計師的思維。

In this case I'm showing more the designers' work,

這個例子我將展示較多設計師的作品，

because they're the ones that have really been stimulated.

因為真正受到刺激的就是他們。

A lot of the objects in the show are concepts,

展覽中的許多物品只是概念，

not objects that exist already. But what you're looking at here

不是已經存在的物品。但你看到的

is the work of some scientists from UCLA.

是 UCLA 科學家的作品。

This kind of alphabet soup is a new way to mark proteins --

這種字母湯是標示蛋白質的新方法，

not only by color but literally by alphabet letters.

不但用顏色，也用字母。

So they construct it, and they can construct all kinds of forms

他們製作它，可用奈米尺度

at the nanoscale. This is the work of design students

做成各種形態。而這個作品來自倫敦的

from the Royal College of Arts in London

皇家藝術學院的設計系學生和

that have been working together with their tutor, Tony Dunne,

指導老師 Tony Dunne，

and with a bunch of scientists around Great Britain

以及一些英國科學家做的 －

on the possibilities of nanotechnology for design in the future.

探討奈米科技用在未來設計的可能性。

New sensing elements on the body --

身體的新感應單元。

you can grow hairs on your nails,

讓指甲長毛，

and therefore grab some of the particles from another person.

因此可以抓取他人身上的分子。

They seem very, very obsessed

他們似乎執意要找出

with finding out more about the ideal mate.

更多關於理想伴侶的事。

So they're working on enhancing everything: touch, smell --

因此他們強化每件事 － 觸覺、嗅覺，

everything they can, in order to find the perfect mate.

任何能做的事，以找到完美的伴侶。

Very interesting. This is a typeface designer

很有趣。而這是一位字體設計師

from Israel who has designed -- he calls them "typosperma."

來自以色列，他設計了 － 所謂的｢精蟲體｣

He's thinking -- of course it's all a concept --

他想 － 當然只是個概念 －

of injecting typefaces into spermatozoa,

把字體注入精蟲、注入精子 －

I don't know how to say it in English -- spermatazoi --

英文該怎麼念 － spermatazoi，

in order to make them become -- to almost have a song

使它們變成 － 幾乎每次射精都會

or a whole poem written with every ejaculation. (Laughter)

唱一首歌或吟一首詩。(笑聲)

I tell you, designers are quite fantastic, you know.

我認為，設計師真是神奇，

So, tissue design.

接著，肌肉組織設計。

In this case too, you have a mixture of scientists and designers.

這例子也是科學家和設計師的結合。

This here is part of the same lab at the Royal College of Arts.

這也是出自皇家藝術學院的同一個實驗室。

The RCA is really quite an amazing school from that viewpoint.

就這方面，RCA 真是個奇妙的學校。

One of the assignments for a year was to work with in-vitro meat.

有一年的作業是用培養皿種肉。

You know that already you can grow meat in vitro.

你知道，已經可以用培養皿種肉。

In Australia they did it -- this research company, called SymbioticA.

澳洲有人種它 － 一家研究公司叫做 SymbioticA，

But the problem is that it's a really ugly patty.

但問題是種出來的很難看。

And so, the assignment to the students was,

因此，給學生的作業是：

how should the steak of tomorrow be?

未來的牛排該長得怎樣？

When you don't have to kill cows and it can have any shape,

如果你不必殺牛，則它可以是任何形狀，

what should it be like?

它該長得怎樣？

So this particular student, James King,

這名學生叫 James King

went around the beautiful English countryside,

到漂亮的英國鄉下四處去，

picked the best, best cow that he could see,

挑了他看到的最美、最美的牛，

and then put her in the MRI machine.

然後將它放在磁共振成像機上。

Then, he took the scans of the best organs and made the meat --

取最佳部位的掃描影像用來做肉。

of course, this is done with a Japanese resins food maker,

當然，這是由日本樹脂食品模型師做的，

but you know, in the future it could be made better --

而未來可以做得更好。

which reproduces the best MRI scan of the best cow he could find.

而那再現了他能找到的最美的牛的最佳 MRI 影像。

Instead, this element here is much more banal.

而這個單元則較為俗氣一點。

Something that you know can be done already

你已經知道可以做到的

is to grow bone tissue, so that you can make a wedding ring

是增長骨頭組織來做一枚婚戒

out of the bone tissue of your loved one -- literally.

來自你心愛的人的骨頭組織。

So, this is indeed made of human bone tissue.

這是真人骨組織做成的。

This is SymbioticA, and they've been working --

這家 SymbioticA 公司，他們正在做，

they were the first ones to do this in-vitro meat --

他們是第一家做培養皿肉，

and now they've also done an in-vitro coat, a leather coat.

現在他們也做培養皿外套，一種皮外套，

It's miniscule, but it's a real coat. It's shaped like one.

是袖珍型的，卻是真的外套。形狀也像。

So, we'll be able to really not have any excuse

因此，我們將沒有任何藉口

to be wearing everything leather in the future.

在未來還穿真皮的。

One of the most important topics of the show -- you know,

這展覽的一個最重要主題就是

as anything in our life today,

就如我們今日的生活一般，

we can look at it from many, many different viewpoints,

我們可以有許多不同觀點看它，

and at different levels.

不同的層次看它。

One of the most interesting and most important concepts

其中一個最有趣最重要的概念

is the idea of scale. We change scale very often:

就是尺度的觀念。我們很常改變尺度，

we change resolution of screens, and

我們改變顯示器的解析度，但我們不 －

we're not really fazed by it, we do it very comfortably.

並不以為意，我們習以為常。

So you go, even in the exhibition,

因此，甚至在展覽裡，

from the idea of nanotechnology and the nanoscale

從奈米科技及奈米尺度的概念

to the manipulation of really great amounts of data --

到處理極大量的資料；

the mapping and tagging of the universe and of the world.

去映射及標示宇宙及世界。

In this particular case a section will be devoted

這個特例中，將有一個部分是

to information design.

資訊設計。

You see here the work of Ben Fry. This is "Human vs. Chimps" --

這裡可看到 Ben Fry 的作品。這是人類對猩猩。

the few chromosomes that distinguish us from chimps.

少數幾個染色體區分我們和猩猩。

It was a beautiful visualization that he did for Seed magazine.

這是他為 Seed 雜誌做的漂亮視覺圖。

And here's the whole code of Pac-Man, visualized

這是視覺化的小精靈遊戲全套程式碼

with all the go-to, go-back-to,

包含所有的 go-to、go-back-to，

also made into a beautiful choreography.

都變成漂亮的舞譜。

And then also graphs by scientists,

也有科學家的圖：

this beautiful diagraph of protein homology.

這張漂亮的蛋白質同源分度圖。

Scientists are starting to also consider aesthetics.

科學家已注意到美學。

We were discussing with Keith Shrubb* this morning

我們今天早上和 Keith Shrubb 討論

the fact that many scientists

事實上許多科學家

tend not to use anything beautiful in their presentations,

在發表時傾向不用漂亮的東西，

otherwise they're afraid of being considered dumb blondes.

怕被認為虛有漂亮的外表。

So they pick the worst background

因此挑選最糟糕的背景

from any kind of PowerPoint presentation, the worst typeface.

去做各種 PowerPoint 發表，最差的字體。

It's only recently that this kind of marriage

直到最近設計師和科學家

between design and science is producing some of the first "pretty" --

的結合，才產生了第一次的－

if we can say so -- scientific presentations.

我們所謂的 － 「漂亮的」科學發表。

Another aspect of contemporary design

當代設計的另一面向

that I think is mind-opening, promising

我認為讓人心智大開、充滿期許、

and will really be the future of design,

也會成為未來的設計，

is the idea of collective design.

就是集體設計的概念。

You know, the whole XO laptop, from One Laptop per Child,

你知道，整個 XO 手提電腦，即：學童都有電腦，

is based on the idea of collaboration and mash and networking.

就是基於合作、結合、及網絡的概念。

So, the more the merrier.

因此，越多越愉快。

The more computers, the stronger the signal,

電腦越多，信號越強，

and children work on the interface so that it's all based

兒童們使用介面，全部基於

on doing things together, tasks together.

一起做事，分工做事。

So the idea of collective design

因此，合作設計的概念

is something that will become even bigger in the future,

是未來會更盛行的事，

and this is chosen as an example.

這也被選為一個例子。

Related to the idea of collective design and to the new balance

關於合作設計的概念和

between the individual and the collectiveness, collectivity

個人與集體活動之間的新平衡

is the idea of existence maximum.

就是｢存在最大化｣的概念。

That's a term that I coined a few years ago

這個詞是幾年前由我創用的

while I was thinking of how pressed we are together,

那時我想我們都擠在一起，

and at the same time how these small objects,

而同時那些小小的物品，

like the Walkman first and then the iPod,

如隨身聽和 iPod，卻又能

create bubbles of space around us that enable us

為我們創造了空間範圍，讓我們

to have a metaphysical space

擁有無形的空間，

that is much bigger than our physical space.

那比我們物理空間大很多。

You can be in the subway and you can be completely isolated

你可以在地鐡卻完全孤立

and have your own room in your iPod.

獨享你自己的 iPod 空間。

And this is the work of several designers

這是幾個設計師的作品

that really enhance the idea of solitude and expansion

以各種技法，它真正強化了

by means of various techniques.

孤獨及擴張的概念。

This is a spa telephone. The idea is that it's become so difficult

這是個水療電話。概念是現在很難

to have a private conversation anywhere

隨處有私人談話了 －

that you go to the spa, you have a massage, you have a facial,

你去水療、去按摩、去做臉、

maybe a rub, and then you have this beautiful pool

去推拿，水池多麼漂亮，

with this perfect temperature, and you can have

溫度恰到好處，讓你

this isolation tank phone conversation

在這個｢孤立泡｣中講電話

with whomever you've been wanting to talk with for a long time.

和任何你想好好長談的人聊聊。

And same thing here, Social Tele-presence.

而這是相同的事：社會遠距在場。

It's actually already used by the military a little bit,

軍中已多少用到它，

but it's the idea of being able to be somewhere else

但它的想法是讓你的感官

with your senses while you're removed from it physically.

在身體不在場時能感覺得到。

And this is called Blind Date. It's a [unclear],

這叫做盲目約會。

so if you're too shy to be really at the date,

如果你太害羞不敢去約會，

you can stay at a distance with your flowers

你就帶著花離遠一點

and somebody else reenacts the date for you.

別人會替你扮演約會。

Rapid manufacturing is another big area

快速製造是另一個重要領域

in which technology and design are, I think,

讓技術與設計，我認為...

bound to change the world. You've heard about it before many times.

一起來改變世界。以前你聽過很多次了

Rapid manufacturing is a computer file

快速製造是用電腦檔案

sent directly from the computer to the manufacturing machine.

直接由電腦送到製造設備上。

It used to be called rapid prototyping, rapid modeling.

它曾叫做快速原型、快速模型法。

It started out in the '80s, but at the beginning

它開始於 '80 年代，開始時

it was machines carving out of a foam block

是用機器雕刻泡棉塊

a model that was very, very fragile,

這種模型很脆弱，

and could not have any real use.

很難有實際用途。

Slowly but surely, the materials became better -- better resins.

漸漸地，材料變好了 － 用較好的樹脂。

Techniques became better -- not only carving

技巧也變好了 － 不只是雕刻

but also stereolithography and laser -- solidifying all kinds of resins,

也用立體印製及雷射，固化各種樹脂，

whether in powder or in liquid form. And the vats became bigger,

不論是粉末或液狀。而桶子也變大了，

to the point that now we can have actual chairs

直到現在我們能有實際的椅子

made by rapid manufacturing.

由快速製造做成。

It takes seven days today to manufacture a chair,

如今做一張椅子要七天，

but you know what? One day it will take seven hours.

但你知道嗎？有一天將只需七小時。

And then the dream is that you'll be able to, from home,

夢想將是：你將能在家裡

customize your chair. You know, companies and designers

訂製你的椅子。公司和設計師

will be designing the matrix or the margins

將設計本體或周邊

that respect both solidity and brand, and design identity.

並兼顧堅實性、及品牌和設計識別。

And then you can send it to the Kinko's store at the corner

然後你將送它到街角的 Kinko 商店

and go get your chair. Now, the implications of this are enormous,

去拿取你的椅子。這個意涵很大，

not only regarding the participation of the final buyer

不只關於最終購買者的參與

in the design process, but also no tracking,

設計過程，也不必追蹤、

no warehousing, no wasted materials.

不必倉儲、不浪費材料。

Also, I can imagine many design manufacturers

因此，我能想像許多設計製造公司

will have to retool their own business plans

將要重新改造它的商業計畫。

and maybe invest in this Kinko's store. But it really is a big change.

並投資到 Kinko 商店。那真是一個大變化。

And here I'm showing a picture that was in Wired Magazine --

接著我秀一張 WIRED 雜誌的照片，

you know, the Artifacts of the Future section that I love so much --

這是我很喜歡的｢未來用品｣部分，

that shows you can have your desktop 3D printer

看到你可以有自己的桌上型立體印製機

and print your own basketball.

印製自己的籃球。

But here instead are examples, you can already 3D-print textiles,

這裡只是舉例，已經有真的立體印紡機，

which is very interesting.

那是很有趣的。

This is just a really nice touch -- it's called slow prototyping.

這是一個很細膩的東西 － 叫做慢速原型法。

It's a designer that put 10,000 bees at work and they built this vase.

有個設計師放一萬隻蜜蜂做了這個蜂巢花瓶。

They had a particular shape that they had to stay in.

它們依預給的形狀建巢。

Mapping and tagging.

映射與標示。

As the capacity of computers becomes really, really big,

電腦的能力越來越大，真的很大，

and the capacity of our mind not that much bigger,

而我們的心智能力並沒變大，

we find that we need to tag as much as we can what we do

我們發現我們必須標示做過的事

in order to then retrace our path.

以便能跟蹤走過的路。

Also, we do it in order to share with other people.

同時，這樣也能和他人分享。

Again, this communal sense of experience

再一次，這種經驗的共享

that seems to be so important today.

今日看來極為重要。

So, various ways to map and tag

因此，各種映射與標示方法

are also the work of many designers nowadays.

也是當今許多設計師的工作。

Also, the senses -- designers and scientists all work on trying to expand

感覺。設計師與科學家都試圖擴大

our senses capabilities so that we can achieve more.

我們的感覺能力以求達成更多。

And also animal senses in a way.

某方面則是動物的感覺。

This particular object that many people love so much

這項特別的物品許多人都很喜歡

is actually based on kind of a scientific experiment --

實際上是基於一種科學實驗 －

the fact that bees have a very strong olfactory sense,

事實上蜂有很強的嗅覺，

and so -- much like dogs that can smell certain kinds of skin cancer --

因此 － 就像狗可以嗅出某種皮膚癌 －

bees can be trained by Pavlovian reflex

蜂也能訓練以巴甫洛夫反射

to detect one type of cancer, and also pregnancy.

來偵測一種癌症，以及驗孕。

And so this student at the RCA

同樣這個 RCA 學生

designed this beautiful blown-glass object

設計了這個漂亮的吹玻璃

where the bees move from one chamber to the other

讓蜂由一個隔間飛到另一隔間

if they detect that particular smell

一旦它們偵測到特殊的氣味

that signifies, in this case, pregnancy.

那意味著，本例是驗孕。

Another shape is made for cancer.

另一種形狀則可以驗癌。

Design for Debate is a very interesting new endeavor

｢設計為辯論｣是很有趣的新嘗試

that designers have really shaped for themselves.

是設計師為自己而創設的。

Some designers don't design objects, products,

有些設計師並不設計物品、產品，

things that we're going to actually use,

不做供實用的東西，

but rather, they design scenarios that are object-based.

而是設計基於物品的劇情。

They're still very useful.

劇情也很有用的。

They help companies and other designers think better about the future.

可以幫助公司或其他設計師更好地思考未來。

And usually they are accompanied by videos.

通常它們伴隨影片來呈現。

This is quite beautiful. It's Dunne and Raby, "All the Robots."

這個很美。是 Dunne 與 Raby 的｢所有機器人｣。

Those are a series of robots that are meant to be taken care of.

那些是一系列要人照顧的機器人。

We always think that robots will take care of us,

我們都認為機器人將會照顧我們，

and instead they designed these robots that are very, very needy.

反之，他們設計了這些很黏人的機器人。

You need to take one in your arms and look at it in the eyes

有一個你要抱在手臂，親眼看著它

for about five minutes before it does something.

要約五分鐘它才會做動作。

Another one gets really, really nervous if you get in to the room,

另一個在你進入房間時會非常、非常緊張，

and starts shaking, so you have to calm it down.

開始發抖，因此你要安撫它。

So it's really a way to make us think more

這樣讓我們進一步去想

about what robots mean to us.

機器人對我們的意義。

Noam Toran and "Accessories for Lonely Men":

Noam Toram 的｢寂人配件｣

the idea is that when you lose your loved one

概念是當你失去心愛的人

or you go through a bad breakup,

或經歷痛苦的分手，

what you miss the most are those annoying things

你最懷念的是那些瑣事

that you used to hate when you were with the other person.

你和那人一起時的那些討厭的事。

So he designed all these series of accessories.

因此他設計了這系列的附件。

This one is something that takes away the sheets from you at night.

像這個夜裡會把你的被單抽走。

Then there's another one that breathes on your neck.

而這個的呼吸會吹在你的脖子上。

There's another one that throws plates and breaks them.

還有另一個會丟盤子、甩破它。

So it's just this idea of what we really miss in life.

整個想法就是生活中我們懷念的事。

Elio Caccavale: he took the idea

另外，Elio Caccavale 他採用這想法

of those dolls that explain leukemia.

用玩偶解釋白血病。

He's working on dolls that explain xenotransplantation,

他正在做一個解釋異體移植的玩偶，

and also the spider gene into the goat, from a few years ago.

及將蜘蛛基因置入山羊，幾年前的。

He's working for the exhibition on a whole series of dolls

他為這個展覽做一整系列的玩偶

that explain to children where babies come from today.

為兒童解釋今天嬰兒是怎麼來的。

Because it's not anymore Mom, Dad, the flowers and the bees,

因為已不是媽、爸，花和蜂

and then there's the baby. No, it can be two moms, three dads,

然後嬰兒就來了。不，可以是兩個媽，三個爸，

in-vitro -- there's the whole idea

在培養皿裡 － 就是這個概念

of how babies can be made today that has changed.

今天嬰兒是如何產生的，已經改變了。

So it's a series of dolls that he's working on right now.

因此，這是他正在做的一系列玩偶。

One of the most beautiful things

一件最美的事

is that designers really work on life,

設計師並不真的製作生命，

even though they take technology into account.

即使他們採用了科技。

And many designers have been working recently

最近許多設計師在做的

on the idea of death and mourning,

是死亡及哀悼的想法，

and what we can do about it today with new technologies.

運用新科技我們能為它做什麼。

Or how we should behave about it with new technologies.

或者，以新科技我們會有什麼做法。

These three objects over there are hard drives

那三件物品上都有硬碟

with a Bluetooth connection. But they're in reality

有藍芽連結。但它們事實上

very, very beautiful sculpted artifacts

是非常、非常漂亮的雕塑品

that contain the whole desktop and computer memory

包含了某個過世者的

of somebody who passed away.

整個桌面及電腦記憶。

So instead of having only the pictures,

因此，不是只有一些照片，

you will be able to put this object next to the computer

你將能把物品擺在電腦旁

and all of a sudden have, you know,

因而突然間，你知道的，

Gertrude's whole life and all of her files

葛爾楚的一生和她的所有檔案

and her address book come alive.

及她的連絡簿都活了過來。

And this is even better. This is Auger-Loizeau, "AfterLife."

這個更好。它是 Auger-Loizeau 的｢來世｣。

It's the idea that some people don't believe in an afterlife.

主要構想是有些人不信有來世。

So to give them something tangible that shows that

因此提供他們一些有形事物，

there is something after death, they take the gastric juices

顯示死後的事，他們取用死者的胃液

of people who passed away and concentrate them,

把它濃縮後，

and put them into a battery that can actually be used

放在電池裡而真的能

to power flashlights. They also go -- you know, sex toys, whatever.

點亮手電筒。也可以用在 － 例如，情趣玩具、等等。

It's quite amazing how these things can make you smile,

令人驚訝的，這些事都令人會心一笑，

can make you laugh, can make you cry sometimes.

甚至大笑，有時讓人哭。

But I'm hoping that this particular exhibition

但我希望這個特別的展覽

will be able to trace a new portrait of where design is going --

可以描繪出設計將走的新圖像，

which is always, hopefully, a portrait a few years in advance

這個圖像總是，但願是，早幾年

of where the world is going.

說出世界要往哪裡去。

Thank you very much.

謝謝大家。