TED演讲:为什么把《小精灵》带到艺术博物馆

 　　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, almost like a rapture 1. 一直深信设计时代来临，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。”
　　You know 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 to understand what he needed to do.  他如此优秀是因为他清楚地希望设计、理解他需要做什么。
　　So I really do believe that design is the highest form of creative expression. 因此我真确实相信，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 is still cute furniture, is still posters, is still fast cars, what you see at MoMA today.  设计时代是这样的，其设计仍然是可爱的家具、海报 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 to the public and to the audiences of MoMA is that 但事实上，我确实想要向公众，向现代艺术博物馆的听众解释的是
　　the most interesting chairs are the ones that are actually made by a robot, like this beautiful chair by Dirk Vander Kooij,  这些最有意思的椅子实际上是由机器人制造的。 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 2 of recycled refrigerator parts, as if he were a big candy, and makes a chair out of it.  机器人将回收的冰箱部件上的牙膏状污物储存在那里， 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 and that become part of our identity.  好的设计就像我们一直使用的数字字体一样， 成为我们身份的一部分。
　　I want people to understand that design is so much more than cute chairs,  我想让人们理解设计远远不止是可爱的椅子。
　　that it is first and foremost everything that is around us in our life. 设计是我们生活中周围首要的一切。
　　And it's interesting how so much of what we're talking about tonight is not simply design but interaction design. 有趣的是，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 to insert in the collection of the Museum of Modern Art for a few years, starting not very timidly  实际上，几年来我一直在努力尝试把交互设计 引入到现代艺术博物馆的收藏品中。 开始时并不很胆怯，
　　but just pointedly 3 with works, for instance,  但是只针对作品，例如，
　　by Martin Wattenberg -- the way a machine plays chess with itself, that you see here, 由Martin Wattenberg设计的一个机器人自己下棋的方式，你这里看到的。
　　or Lisa Strausfeld and her partners, the Sugar interface 4 for One Laptop Per Child, 或者是Lisa Strausfeld和她的同伴设计的Sugar界面用于儿童笔记本电脑。
　　Toshio Iwai's Tenori-On musical instruments, and Philip Worthington's Shadow Monsters, and John Maeda's Reactive Books, Toshio Iwai设计的酷炫电子乐器， Philip Worthington设计的Shadow Monsters， 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 introduced the idea of interaction design to the public. 这些是部分最先收购的设计品，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 into interaction design with examples that are emotionally really suggestive 但最近，我一直在尝试真正 用实例更加深入交互设计，这些实例在感情上真的暗示，
　　and that really explain interaction design at a level that is almost undeniable. 在一定的水平上真正解释了交互设计。这几乎是无可否认的。
　　The Wind Map, by Wattenberg and Fernanda Viegas, I don't know if you've ever seen it -- it's really fantastic.  Wattenberg和Fernanda Viegas制作的《实时风地图》， 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 as if it were a wheat field that is procured 5 by the winds  这地图是根据美国版图做的。 仿佛它又像被风吹拂的小麦田。
　　and that is really giving you a pictorial 6 image of what's going on with the winds in the United States. 不过它确实展现给你一幅图案形象，关于美国的风正在吹向哪里。
　　But also, more recently, we started acquiring video games, and that's where all hell broke loose in a really interesting way.  另外近来我们开始收购一些电子游戏，至此全乱套了，以一种非常有趣的方式乱了。
　　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 7 about the reactions that we've had to the anointment of video games in the MoMA collection. 这真的是令我感到有趣的地方， 对于在现代艺术博物馆收藏品中收购的电子游戏的反应。