TED演讲之游戏的力量:为什么把《小精灵》带到艺术博物馆(6)
So the way we acquired the games is very interesting and very unorthodox.
我们收购游戏的方式是十分有趣的，也是极不寻常的。
You see them here displayed alongside other examples of design,
你看在这里，它们陈列在其它设计样品的旁边，
furniture and other parts,
家具和其他的部分，
but there's no paraphernalia, no nostalagia,
但是这儿没有游戏设备，没有怀旧街机，
only the screen and a little shelf with the controllers.
只有屏幕和带控制器的小架子。
The controllers are, of course, part of the experience,
当然，控制器是这种体验的一部分，
so you cannot do away with it.
因而你不可以没有它。
But interestingly, this choice was not condemned too vehemently by gamers.
有趣的是，这个选择并没有被游戏者们太过强烈地谴责。
I was afraid that they would kill us, and instead they understood,
我以前曾担心他们会杀了我们，相反，他们理解了我们，
especially when I told them that I was trying to
特别是当我告诉他们我正尝试
apply the same stratagem that Philip Johnson applied in 1934
应用Philip Johnson在1934年使用的相同的攻略。
when he wanted to make people understand the importance of design,
他当时想让人们理解设计的重要性，
and he took propeller blades and pieces of machinery
他采用了螺旋桨推进器，一些机器的零件，
and in the MoMA galleries he put them on white pedestals against white walls,
他把它们放在现代艺术博物馆走廊里的白色底座上，
as if they were Brancusi sculptures.
紧靠着白色的墙壁，就好像它们是Brancusi的雕塑。
He created this strange distance, this shock,
他创造了这个怪异的间隔，这种冲击，
that made people realize how gorgeous formally,
使人们认识到是这些设计零件是
and also important functionally, design pieces were.
多么华丽而又庄重并且有着重要的功能。
I would like to do the same with video games.
我也想这样来介绍电子游戏。
By getting rid of the sticky carpets and the cigarette butts
摆脱了黏地毯和烟蒂
and everything else that we might remember from our childhood,
以及任何可能回忆起我们童年的东西。
I want people to understand that those are important forms of design.
我想让人们明白这些是设计的重要形式。
And in a way, the video games, the fonts and everything else
某种程度上，电子游戏、字体以及其它任何东西，
lead us to make people understand a wider meaning for design.
都引导我们使人们理解设计的更广泛的含义。
One of my dream acquisitions, which has been on hold for a few years
我梦想的收购品之一，已经搁置了好几年，
but now will come back on the front burner, is a 747.
不过现在将要回到首要位置的，是一架747。
I would like to acquire it, but without owning it.
我想要收购它，但不想拥有它。
I don't want it to be at MoMA and possessed by MoMA.
我不想要它出现并被现代艺术博物馆所拥有，
I want it to keep flying.
我想要它继续飞翔。
So it's an acquisition where MoMA makes an arrangement with an airline and keeps the Boeing 747 flying.
这是一个收藏品，现代艺术博物馆与航空公司达成了一个协议，让波音747继续飞翔。
And the same with the "@" sign that we acquired a few years ago.
同样，我们几年前收购的"@"符号 ，
It was the first example of an acquisition of something that is in the public domain.
它是公共领域收藏品的第一个例子。
And what I say to people, it's almost as if a butterfly were flying by
我想对人们说的是，这几乎就像是一只蝴蝶在飞舞，
and we captured the shadow on the wall,
我们抓住了它在墙壁上的影子，
and just we're showing the shadow.
而我们只是在展示这个影子。
So in a way, we're showing a manifestation of something that is truly important
换言之，我们正在展示一种非常重要东西的表现，
and that is part of our identity but that nobody can have.
这是我们身份的一部分，没人可以拥有。
And it's too long to explain the acquisition,
要解释收购实在是需要太多的言语了。
but if you want to go on the MoMA blog,
不过如果你想上现代艺术博物馆的博客，
there's a long post where I explain why it's such a great example of design.
有一篇很长的帖子里我解释了为什么它是这样一个设计很好的例子。
Along the way, I've had to burn a few chairs. You know?
在这个过程中，我不得不烧掉几把椅子。你们知道吗？
I've had to do away with a few concepts of design past.
我不得不废除过去设计的一些概念。
But I see that people are coming along,
然而我看到人们正在进步，
that the audiences, paradoxically,
相反的是，相比我的一些同事们而言，听众们
are much more responsive and much more understanding
更加积极响应而且更加理解
of this expansion of design than some of my colleagues are.
这种设计的扩展。
Design is truly everywhere, and design is as important as anything,
设计是真的无处不在。设计和任何事情一样重要。
and I'm so glad that, because of its diversity
我很欣慰，由于它的多样性，
and because of its centrality to our lives,
由于它是我们生活中的中心，
many more people are coming to it as a profession, as a passion,
越来越多的人们正在认识它，作为一个专业，或者一种激情，
and as, very simply, part of their own culture.
或者简单地作为自己修养的一部分。
Thank you very much.
非常感谢。
演讲简介：
当现代艺术博物馆的建筑设计部资深馆长宣布在2012年收藏了14部电子游戏，“全乱套了”。在这个范围宽广，寓教于乐，极有见地的讲话中，Paola Antonelli解释了为什么她乐于挑战关于艺术和画廊的先入为主的想法，并描述了她热切希望帮助更广泛地理解设计。
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