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I'm almost like a crazy evangelical.
我幾乎像一個瘋狂的福音派信徒，
I've always known that the age of design is upon us, almost like a rapture.
一直深信設計時代來臨，幾乎像狂喜一般。
If the day is sunny, I think,
如果晴天，我就會想，
"Oh, the gods have had a good design day."
“哦，眾神設計日快樂。”
Or, I go to a show and I see a beautiful piece by an artist,
如果我去看展覽，看到一件藝術家展示的精美作品，
particularly beautiful, I say
特別的漂亮，我就會說，
he's so good because he clearly looked to design to understand what he needed to do.
他如此優秀是因為他清楚地希望設計、理解他需要做什么。
So I really do believe that design is the highest form of creative expression.
因此我真確實相信，設計是創造性表達的最高形式。
That's why I'm talking to you today about the age of design,
這就是為什么今天我和你們談論設計時代。
and the age of design is the age in which design is still cute furniture, is still posters,
設計時代是這樣的，其設計仍然是可愛的家具、海報
is still fast cars, what you see at MoMA today.
和快車，就是你們今天在現代藝術博物館(MoMa)看到的東西。
But in truth, what I really would like to explain to the public and to the audiences of MoMA is that
但事實上，我確實想要向公眾，向現代藝術博物館的聽眾解釋的是
the most interesting chairs are the ones that are actually made by a robot,
這些最有意思的椅子實際上是由機器人制造的。
like this beautiful chair by Dirk Vander Kooij,
比如說這張漂亮的椅子是Dirk Vander Kooij設計的。
where a robot deposits a toothpaste-like slur of recycled refrigerator parts,
機器人將回收的冰箱部件上的牙膏狀污物儲存在那里，
as if he were a big candy, and makes a chair out of it.
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
好的設計就像我們一直使用的數字字體一樣，
and that become part of our identity.
成為我們身份的一部分。
I want people to understand that design is so much more than cute chairs,
我想讓人們理解設計遠遠不止是可愛的椅子。
that it is first and foremost everything that is around us in our life.
設計是我們生活中周圍首要的一切。
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，我們今晚談論的不是簡單的設計，而是交互設計。
And in fact, interaction design is what I've been trying
實際上，幾年來我一直在努力嘗試把交互設計
to insert in the collection of the Museum of Modern Art
引入到現代藝術博物館的收藏品中。
for a few years, starting not very timidly
開始時并不很膽怯，
but just pointedly with works, for instance,
但是只針對作品，例如，
by Martin Wattenberg -- the way a machine plays chess with itself, that you see here,
由Martin Wattenberg設計的一個機器人自己下棋的方式，你這里看到的。
or Lisa Strausfeld and her partners, the Sugar interface for One Laptop Per Child,
或者是Lisa Strausfeld和她的同伴設計的Sugar界面用于兒童筆記本電腦。
Toshio Iwai's Tenori-On musical instruments,
Toshio Iwai設計的酷炫電子樂器，
and Philip Worthington's Shadow Monsters,
Philip Worthington設計的Shadow Monsters，
and John Maeda's Reactive Books,
John Maeda的Reactive Books，
and also Jonathan Harris and Sep Kamvar's I Want You To Want Me.
還有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.
這些是部分最先收購的設計品，它們確實把交互設計的理念帶給了大眾。
But more recently, I've been trying really to go even deeper
但最近，我一直在嘗試真正
into interaction design with examples that are emotionally really suggestive
用實例更加深入交互設計，這些實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釋了交互設計。這幾乎是無可否認的。
The Wind Map, by Wattenberg and Fernanda Viegas,
Wattenberg和Fernanda Viegas制作的《實時風地圖》，
I don't know if you've ever seen it -- it's really fantastic.
我不知道你們是否曾經見過，確實非常的奇妙。
It looks at the territory of the United States
這地圖是根據美國版圖做的。
as if it were a wheat field that is procured by the winds
仿佛它又像被風吹拂的小麥田。
and that is really giving you a pictorial image of what's going on with the winds in the United States.
不過它確實展現給你一幅圖案形象，關于美國的風正在吹向哪里。
But also, more recently, we started acquiring video games, and that's where all hell broke loose in a really interesting way.
另外近來我們開始收購一些電子游戲，至此全亂套了，以一種非常有趣的方式亂了。
There are still people that believe that there's a high and there's a low.
仍然有人確信有高雅有低俗，
And that's really what I find so intriguing
這真的是令我感到有趣的地方，
about the reactions that we've had to the anointment of video games in the MoMA collection.
對于在現代藝術博物館收藏品中收購的電子游戲的反應。
