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And the same with, for instance, Tetris, original version, the Soviet one.
同樣地，例如，俄羅斯方塊，蘇聯的原始版本
And you know, the amount of work...
你們知道，這個工作量…
yeah, Alexey Pajitnov was working for the Soviet government
好吧，Alexey Pajitnov那時正為蘇聯政府工作，
and that's how he developed Tetris,
這也是他如何開發了俄羅斯方塊。
and Alexey himself reconstructed the whole game
Alexey自己又重建了整個游戲，
and even gave us a simulation of the cathode ray tube that makes it look slightly bombed.
甚至給了我們一個模擬的陰極射線管，使它看上去有點像遭轟炸的。
And it's fantastic.
這是多么令人驚嘆啊。
So behind these acquisitions is an enormous amount of work,
在這些收購品的背后是無比巨大的工作量，
because we're still the Museum of Modern Art,
因為我們仍然是現代藝術博物館，
so even when we tackle popular culture,
所以縱使我們正視通俗文化，
we tackle it as a form of interaction design
我們視它為交互設計的一種形式，
and as something that has to go into the collection at MoMA,
現代藝術博物館必須收藏的藏品。
therefore, has to be researched.
因此，它必須被研究。
So to get to choosing Eric Chahi's wonderful Another World, amongst others,
讓我們從眾多電子游戲中，選擇Eric Chahi的美好的《另一個世界》來看，
we put together a panel of experts, and we worked on this acquisition,
我們組織了一個專家小組，為這個收購而努力，
and it's mostly myself and Kate Carmody and Paul Galloway.
主要是我自己、Kate Carmody和Paul Galloway
We worked on it for a year and a half.
為此我們工作了一年半，
So many people helped us a designers of games, you might know Jamin Warren
有很多人幫助了我們，游戲的設計師們，你們可能知道Jamin Warren，
and his collaborators at Kill Screen magazine, and you know, Kevin Slavin. You name it.
和他的《Kill Screen》雜志的合作者們。你知道，還有Kevin Slavin，只要你能想到的，
We bugged everybody, because we knew that we were ignorant.
我們煩擾了每一個人，因為我們了解自己是多么無知。
We were not real gamers enough, so we had to really talk to them.
我們還不足以是真正的游戲玩家，所以我們必須真正與他們交談。
And so we decided, of course, to have Sim City 2000,
所以我們決定擁有《模擬城市2000》，
not the other Sim City, that one in particular,
當然不是其它版本的《模擬城市》，尤其是那一版，
so the criteria that we developed along the way were really strong, and were not only criteria of selection.
在我們發展的道路上建立起來的標準十分強大。而且不單是選拔標準，
They were also criteria of exhibition and of preservation.
還包括展示和保存的標準。
That's what makes this acquisition more than a little game or a little joke.
這也使得這個收購超越了一個小小的游戲，或開個小玩笑，
It's truly a way to think of how to preserve
這真的是一種思路考慮如何保存
and show artifacts that will more and more become part of our lives in the future.
和展示文物，這些東西將越來越成為我們未來生活的一部分。
We live today, as you know very well, not in the digital,
我們生活在當下，正如你很清楚的那樣，不是在數字中，
not in the physical, but in the kind of minestrone that our mind makes of the two.
也不是在物質中，而是在那種通心粉里。我們的思想中融合了這兩種。
And that's really where interaction lies, and that's the importance of interaction.
這確實是交互作用之所在，是交互作用的重要性。
And in order to explain interaction, we need to really
為了解釋交互作用，
bring people in and make them realize how interaction is part of their lives.
我們確實需要把人們帶進，并且讓他們意識到交互作用如何組成了他們生活中的一部分。
So when I talk about it, I don't talk only about video games,
當我談論它的時候，我不會只說電子游戲，
which are in a way the purest form of interaction, unadulterated by any kind of function or finality.
某種程度上它們是交互作用最純粹的形式，不摻雜某種功能或結果。
I also talk about the MetroCard vending machine,
我還會講捷運卡自動售貨機，
which I consider a masterpiece of interaction.
我認為它是交互作用的杰作。
I mean, that interface is beautiful.
我的意思是，它的界面是很漂亮的。
It looks like a burly MTA guy coming out of the tunnel.
它看上去像一個魁梧的地鐵男走出隧道。
You know, with your mitt you can actually paw the MetroCard,
你們知道，帶著手套你依然可以笨拙去拿捷運卡。
and I talk about how bad ATM machines usually are.
我想說自動柜員機通常是多么的差勁。
So I let people understand that it's up to them to know how to judge interaction
所以我想讓人們明白，由他們自己決定該如何評判交互作用，
so as to know when it's good or when it's bad.
以便知道何時好何時壞。
So when I show The Sims,
當我展出《模擬人生》時，
I try to make people really feel what it meant to have an interaction with The Sims,
我努力想讓人們真正地感受到，與《模擬人生》交互到底意味著什么，
not only the fun but also the responsibility that came with the Tamagotchi.
除了樂趣還有責任，這也是《電子雞》所帶給我們的。
You know, video games can be truly deep even when they're completely mindless.
你們知道，電子游戲可以非常地深入，甚至當它們完全盲目時。
