演讲文本

And the same with, for instance, Tetris, original version, the Soviet one.
同样地，例如，俄罗斯方块，苏联的原始版本
And you know, the amount of work...
你们知道，这个工作量…
yeah, Alexey Pajitnov was working for the Soviet government
好吧，Alexey Pajitnov那时正为苏联政府工作，
and that's how he developed Tetris,
这也是他如何开发了俄罗斯方块。
and Alexey himself reconstructed the whole game
Alexey自己又重建了整个游戏，
and even gave us a simulation of the cathode ray tube that makes it look slightly bombed.
甚至给了我们一个模拟的阴极射线管，使它看上去有点像遭轰炸的。
And it's fantastic.
这是多么令人惊叹啊。
So behind these acquisitions is an enormous amount of work,
在这些收购品的背后是无比巨大的工作量，
because we're still the Museum of Modern Art,
因为我们仍然是现代艺术博物馆，
so even when we tackle popular culture,
所以纵使我们正视通俗文化，
we tackle it as a form of interaction design
我们视它为交互设计的一种形式，
and as something that has to go into the collection at MoMA,
现代艺术博物馆必须收藏的藏品。
therefore, has to be researched.
因此，它必须被研究。
So to get to choosing Eric Chahi's wonderful Another World, amongst others,
让我们从众多电子游戏中，选择Eric Chahi的美好的《另一个世界》来看，
we put together a panel of experts, and we worked on this acquisition,
我们组织了一个专家小组，为这个收购而努力，
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.
为此我们工作了一年半，
So many people helped us a designers of games, you might know Jamin Warren
有很多人帮助了我们，游戏的设计师们，你们可能知道Jamin Warren，
and his collaborators at Kill Screen magazine, and you know, Kevin Slavin. You name it.
和他的《Kill Screen》杂志的合作者们。你知道，还有Kevin Slavin，只要你能想到的，
We bugged everybody, because we knew that we were ignorant.
我们烦扰了每一个人，因为我们了解自己是多么无知。
We were not real gamers enough, so we had to really talk to them.
我们还不足以是真正的游戏玩家，所以我们必须真正与他们交谈。
And so we decided, of course, to have Sim City 2000,
所以我们决定拥有《模拟城市2000》，
not the other Sim City, that one in particular,
当然不是其它版本的《模拟城市》，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.
在我们发展的道路上建立起来的标准十分强大。而且不单是选拔标准，
They were also criteria of exhibition and of preservation.
还包括展示和保存的标准。
That's what makes this acquisition more than a little game or a little joke.
这也使得这个收购超越了一个小小的游戏，或开个小玩笑，
It's truly a way to think of how to preserve
这真的是一种思路考虑如何保存
and show artifacts that will more and more become part of our lives in the future.
和展示文物，这些东西将越来越成为我们未来生活的一部分。
We live today, as you know very well, not in the digital,
我们生活在当下，正如你很清楚的那样，不是在数字中，
not in the physical, but in the kind of minestrone that our mind makes of the two.
也不是在物质中，而是在那种通心粉里。我们的思想中融合了这两种。
And that's really where interaction lies, and that's the importance of interaction.
这确实是交互作用之所在，是交互作用的重要性。
And in order to explain interaction, we need to really
为了解释交互作用，
bring people in and make them realize how interaction is part of their lives.
我们确实需要把人们带进，并且让他们意识到交互作用如何组成了他们生活中的一部分。
So when I talk about it, I don't talk only about video games,
当我谈论它的时候，我不会只说电子游戏，
which are in a way the purest form of interaction, unadulterated by any kind of function or finality.
某种程度上它们是交互作用最纯粹的形式，不掺杂某种功能或结果。
I also talk about the MetroCard vending machine,
我还会讲捷运卡自动售货机，
which I consider a masterpiece of interaction.
我认为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.
它看上去像一个魁梧的地铁男走出隧道。
You know, with your mitt you can actually paw the MetroCard,
你们知道，带着手套你依然可以笨拙去拿捷运卡。
and I talk about how bad ATM machines usually are.
我想说自动柜员机通常是多么的差劲。
So I let people understand that it's up to them to know how to judge interaction
所以我想让人们明白，由他们自己决定该如何评判交互作用，
so as to know when it's good or when it's bad.
以便知道何时好何时坏。
So when I show The Sims,
当我展出《模拟人生》时，
I try to make people really feel what it meant to have an interaction with The Sims,
我努力想让人们真正地感受到，与《模拟人生》交互到底意味着什么，
not only the fun but also the responsibility that came with the Tamagotchi.
除了乐趣还有责任，这也是《电子鸡》所带给我们的。
You know, video games can be truly deep even when they're completely mindless.
你们知道，电子游戏可以非常地深入，甚至当它们完全盲目时。

视频及简介

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。