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字幕列表 影片播放

  • I have a studio in Berlin --

    我在柏林有一個工作室,

  • let me cue on here --

    讓我帶你們由這邊開始,

  • which is down there in this snow, just last weekend.

    就在上個周末,這邊剛下了一場大雪。

  • In the studio we do a lot of experiments.

    在工作室中我們從事了很多的實驗。

  • I would consider the studio more like a laboratory.

    與其說是工作室我更相信它是個實驗室。

  • I have occasional meetings with scientists.

    我在那邊經常與科學家進行例行會議。

  • And I have an academy, a part of the University of Fine Arts in Berlin.

    並且在柏林大學內,我有主持一個學會。

  • We have an annual gathering of people,

    我們每年會把人聚集起來,

  • and that is called Life in Space.

    我們稱它為生命的空間(Life in Space)。

  • Life in Space is really not necessarily about

    生命的空間並不是很著重我們該怎麼做,

  • how we do things, but why we do things.

    我們該怎麼做,而是為甚麼我們要那麼做。

  • Do you mind looking, with me, at that little cross in the center there?

    請和我一同看一看這個在屏幕上十字符號。看到了嗎?

  • So just keep looking. Don't mind me.

    持續看它。不要管我。

  • So you will have a yellow circle, and we will do an after-image experiment.

    然後你會感覺到你看到一個黃色的圓。這就是我們得到的視覺暫留所產生的現象。

  • When the circle goes away you will have another color, the complementary color.

    當圓消失之後你會得到另外的一個顏色,那就是互補色。

  • I am saying something. And your eyes and your brain are saying something back.

    這就是我所說的。你的眼睛與頭腦告訴你它們回來了。

  • This whole idea of sharing, the idea of constituting reality

    這些點子值得我們去分享,這些點子的正是構成是交織在

  • by overlapping what I say and what you say --

    你與我所訴說的。

  • think of a movie.

    想一想這些影像。

  • Since two years now, with some stipends from the science ministry in Berlin,

    從兩年前至今,由柏林大學內的科學部所提供的薪水,

  • I've been working on these films

    我完成了這些

  • where we produce the film together.

    我們共同製作的影片。

  • I don't necessarily think the film is so interesting.

    我不需要這樣去想它是否非常的吸引人。

  • Obviously this is not interesting at all in the sense of the narrative.

    很明顯的在敘述的認知上它並不一定有趣。

  • But nevertheless, what the potential is --

    然而,甚麼是它所代表的背後的的潛力呢,

  • and just keep looking there --

    讓我們繼續往下看。

  • what the potential is, obviously,

    甚麼是這所帶來的潛力,很明顯的,

  • is to kind of move the border of who is the author,

    導演他讓邊界的一種移動的表現,

  • and who is the receiver.

    與讓接收者所收到的。

  • Who is the consumer, if you want,

    誰是欣賞者,假如你需要的話,

  • and who has responsibility for what one sees?

    誰可以為每個來欣賞的人下同樣的定義呢?

  • I think there is a socializing dimension

    我認為這樣的表現承現在我們對於社會觀念的看法之上,

  • in, kind of, moving that border.

    這是一個,移動的邊界。

  • Who decides what reality is?

    誰可以決定事情真象為何?

  • This is the Tate Modern in London.

    這是在倫敦的泰特現代美術館(Tae Modern)。

  • The show was, in a sense, about that.

    那雪在這裡,那個景象,就在那。

  • It was about a space in which I put half a semi-circular yellow disk.

    這就是我剛剛放出的黃色半圓盤狀的圓型在這個空間之中。

  • I also put a mirror in the ceiling, and some fog, some haze.

    我放了一片鏡子在天花板的中間,有些霧,有些模糊。

  • And my idea was to make the space tangible.

    這整個概念,非常明顯的讓空間形成一個實在的感受。

  • With such a big space, the problem is

    在這樣一個大的空間之中,問題是

  • obviously that there is a discrepancy

    怎麼明顯的表現

  • between what your body can embrace,

    讓你的身體感受它的差異性,

  • and what the space, in that sense, is.

    在直覺之下用幾分熱情來擁抱這個空間。

  • So here I had the hope that by inserting some natural elements,

    如果你想要所以在這我希望能借由一些個大自然的元素,

  • if you want -- some fog -- I could make the space tangible.

    一些微霧,我可以打造出你對空間的感受。

  • And what happens is that people, they start to see themselves in this space.

    那麼這些人發生了甚麼事呢,他們開始在這空間中看到自己身在其中。

  • So look at this. Look at the girl.

    所以看看這些。看這個女孩。

  • Of course they have to look through a bloody camera

    當然她們在博物館內透過這些血腥的鏡頭看到這些。

  • in a museum. Right? That's how museums are working today.

    是嗎? 這些就是我們今日博物館的功能。

  • But look at her face there,

    但是看看她的臉,

  • as she's checking out, looking at herself in the mirror.

    就像她檢查的一樣,透過鏡子觀看她自己。

  • "Oh! That was my foot there!"

    Oh!這是我的那一雙腳。

  • She wasn't really sure whether she was seeing herself or not.

    她不確定她所看到的那雙腳是否為她的。

  • And in that whole idea,

    所以我猜想,

  • how do we configure the relationship between our body and the space?

    這整個點子是如何聯繫著我們的身體與空間的關係呢?

  • How do we reconfigure it?

    我們如何重新配置它們呢?

  • How do we know that being in a space makes a difference?

    我們如何認知在空間中所造成的這些個差異呢?

  • Do you see when I said in the beginning, it's about

    你看到我在一開始所用的言語的,

  • why, rather than how?

    我用為甚麼那麼做,來取代如何做嗎?

  • The why meant really,

    為甚麼那麼做表示了實際的問題,

  • "What consequences does it have when I take a step?"

    ”當我決定下一步時會帶來甚麼樣的結果呢?”

  • "What does it matter?"

    ”事情會怎麼樣呢?”

  • "Does it matter if I am in the world or not?"

    ”假如我在這世界之中的與否是否會帶來事情不同的變化呢?”

  • "And does it matter whether the kind of actions I take

    ”當我帶著負責任的想法去

  • filter into a sense of responsibility?"

    過濾每一件我所採取的行動時,這些事情會變的如何呢?”

  • Is art about that?

    藝術是包括這些事嗎?

  • I would say yes. It is obviously about

    我會跟你說是的。這是非常明確地

  • not just about decorating the world, and making it look even better,

    關於我們如何裝飾這世界,乃至於讓它看起來更加的美好。

  • or even worse, if you ask me.

    或者讓這世界變的更差,假如您問我的話。

  • It's obviously also about taking responsibility,

    它是那麼樣的顯而易見的,就像我需要負起我所做的事情的責任一般,

  • like I did here when throwing some green dye in the river

    我曾在河流之中投下綠色的染料

  • in L.A., Stockholm, Norway and Tokyo,

    像是洛杉磯、斯德哥爾摩、挪威與東京

  • among other places.

    等諸多地方。

  • The green dye is not environmentally dangerous,

    這些綠色的染料並不會對我們的環境帶來任何的負擔,

  • but it obviously looks really rather frightening.

    但那件事的確引起相當大的驚恐。

  • And it's on the other side also, I think, quite beautiful,

    在某一方面是這樣的,但在另一方面來看,我認為它是件美麗的事情。

  • as it somehow shows the turbulence in these kind of downtown areas,

    這些綠色的染料總是會在世界上不同的城市之中

  • in these different places of the world.

    製造出豐富的喧囂。

  • The "Green river," as a kind of activist idea, not a part of an exhibition,

    綠色的河流,像是活動的份子,不只是展覽的某一部份而已,

  • it was really about showing people,

    這個點子真正圍繞著是人們、

  • in this city, as they walk by,

    城市,在城市之中的人們走過,

  • that space has dimensions. A space has time.

    經過這些空間而建構出來的氛圍。空間之中呈現出時間的概念。

  • And the water flows through the city with time.

    而城市中的水流跟著時間一同流動著。

  • The water has an ability to make

    水具有能力來

  • the city negotiable, tangible.

    讓城市變的可觸摸並且可探討的。

  • Negotiable meaning that it makes a difference

    所謂可探討的意思是不管您做了些甚麼

  • whether you do something or not.

    是與否都會造成這城市的不同。

  • It makes a difference whether you say, "I'm a part of this city.

    它就會造成不同不管你是否這樣說 : “我是這城市之中的一份子。

  • And if I vote it makes a difference.

    假如我投下那一份足以改變的行為

  • If I take a stand, it makes a difference."

    假如我表明態度,它一定會變的不一樣的。”

  • This whole idea of a city not being a picture is,

    這整個城市的概念不只是個圖像,

  • I think, something that art, in a sense,

    我認為它關乎於藝術、觀感,

  • always was working with.

    這事總是這樣進行的。

  • The idea that art can actually evaluate the relationship

    這整個概念是藝術能真正評估圖像它的關聯性

  • between what it means to be in a picture,

    與所代表的意義究竟是甚麼,

  • and what it means to be in a space. What is the difference?

    它在空間中又象徵著甚麼?這些有甚麼不同?

  • The difference between thinking and doing.

    它的差別是關於所認知的與所作為的不同。

  • So these are different experiments with that. I won't go into them.

    所以這些不同的試驗代表了這意義。在這我不多說。

  • Iceland, lower right corner, my favorite place.

    在右下角是我最喜愛的地方冰島。

  • These kinds of experiments, they filter into architectural models.

    透過這些類型的試驗,他們篩選出建築的模型。

  • These are ongoing experiments.

    這是正在進行中的實驗。

  • One is an experiment I did for BMW,

    另一個試驗是我正在為BMW所從事的,

  • an attempt to make a car.

    試著套用於汽車的設計之上。

  • It's made out of ice.

    它由冰製成。

  • A crystalline stackable principle in the center on the top,

    透過水晶結晶在頂部所堆疊成的原則,

  • which I am trying to turn into a concert hall in Iceland.

    我正試著替冰島的音樂中心變的不同。

  • A sort of a run track, or a walk track,

    在丹麥的博物館頂層,

  • on the top of a museum in Denmark,

    散佈著一些運行或步行的通道。

  • which is made of colored glass, going all around.

    那些是由透明與彩色的玻璃依著四周而呈現的。

  • So the movement with your legs

    所以當您在這裡走動時會感受到

  • will change the color of your horizon.

    腳上的顏色會隨之改變。

  • And two summers ago at the Hyde Park in London,

    在去年夏天,在倫敦的海德公園(Hyde Park)

  • with the Serpentine Gallery:

    內的蛇型(Serpentine)畫廊內。

  • a kind of a temporal pavilion where

    透過時間的移動

  • moving was the only way you could see the pavilion.

    是唯一一種方式使您可以看到短暫出現的亭子。

  • This summer, in New York:

    在紐約今年夏天。

  • there is one thing about falling water which is very much about

    有一個概念設計是關於

  • the time it takes for water to fall.

    透過水向下流動而讓人感受時間的流逝。

  • It's quite simple and fundamental.

    它是那樣的簡單設計與基礎。

  • I've walked a lot in the mountains in Iceland.

    我曾經走訪過很多位於冰島上的山脈。

  • And as you come to a new valley,

    當您到了一個新的村莊,

  • as you come to a new landscape, you have a certain view.

    您會像是看到了一個新的風景般的,看到了嶄新的景色。

  • If you stand still, the landscape

    當您持續身在這片美好的風景之中

  • doesn't necessarily tell you how big it is.

    就會像是不需述說而感到廣大的美好。

  • It doesn't really tell you what you're looking at.

    就像是不經語言述說但您身在其中。

  • The moment you start to move, the mountain starts to move.

    當您開始移動而山也開始相對移動。

  • The big mountains far away, they move less.

    較大的山它們相對移動較慢,

  • The small mountains in the foreground, they move more.

    眼前那小座的山相對後面的大山移動的更快。

  • And if you stop again, you wonder,

    假如您停了下來並開始思考

  • "Is that a one-hour valley?

    ”這是一個小時的山谷行,

  • Or is that a three-hour hike, or is that a whole day I'm looking at?"

    或者是個三個小時的健行,還是將要花上一個整天來經過我所見的地方?“

  • If you have a waterfall in there,

    假如您看到有瀑布,

  • right out there at the horizon; you look at the waterfall

    而它正在地平線的那方,你看到了

  • and you go, "Oh, the water is falling really slowly."

    並且往前走,”看阿那水流下是如此的緩慢”

  • And you go, "My god it's really far away and it's a giant waterfall."

    您繼續往前走,”我的老天阿它是如此的遙遠,它真的是個大瀑布”。

  • If a waterfall is falling faster,

    假如這瀑布是小的

  • it's a smaller waterfall which is closer by --

    那麼當您看到這瀑布落下的水流將是快速的。

  • because the speed of falling water is pretty constant everywhere.

    因為所有地方的水落下的速度都是一樣的。

  • And your body somehow knows that.

    而您的身體總是會以直覺的告訴您。

  • So this means a waterfall is a way of measuring space.

    所以這意味著水落下的方試將可讓您量測時空。

  • Of course being an iconic city like New York,

    當然作為一個象徵性的城市紐約,

  • that has had an interest in somehow

    它重要的扮演了

  • playing around with the sense of space, you could say that New York

    與周圍空間相對角色,您可能這樣說,紐約它

  • wants to seem as big as possible.

    似乎想要盡可能凸出。

  • Adding a measurement

    計算著所量測到

  • to that is interesting:

    水落下的概念

  • the falling water suddenly gives you a sense

    可能使您忽然有所心得

  • of, "Oh, Brooklyn is exactly this much --

    “ Oh,布魯克林(Brooklyn)是多麼的大,

  • the distance between Brooklyn and Manhattan, in this case

    從布魯克林到曼哈頓的距離是個明顯的例子,

  • the lower East River is this big."

    這東邊流域下游是如此之大。”

  • So it was not just necessarily about putting nature into the cities.

    所以它並不只是給予城市自然應有的概念。

  • It was also about giving the city a sense of dimension.

    也給城市帶來維度的概念。

  • And why would we want to do that?

    那麼為甚麼我們要那麼做?

  • Because I think it makes a difference

    因為我認為這所造成的差異不只是

  • whether you have a body

    您自身

  • that feels a part of a space,

    在這座城市的圖像之中,

  • rather than having a body which is just in front of a picture.

    而是讓您感受到您是切身的於這城市的空間之中。

  • And "Ha-ha, there is a picture and here is I. And what does it matter?"

    就像”呵呵,這裡有一張圖片而我在裡面。這代表甚麼意義?

  • Is there a sense of consequences?

    是否有甚麼重大的意味嗎?

  • So if I have a sense of the space,

    假如我有空間的概念,

  • if I feel that the space is tangible,

    假使我可以感受到空間是可明確的,

  • if I feel there is time,

    假如我感受到這裡的時間,

  • if there is a dimension I could call time,

    假使這有我可以稱做時間的維度概念,

  • I also feel that I can change the space.

    我就可以覺知到我可以改變這裡空間。

  • And suddenly it makes a difference

    並且它會忽然做出不同的決定

  • in terms of making space accessible.

    使得空間的概念便的可以理解。

  • One could say this is about

    也許其中之一可以說是關於

  • community, collectivity.

    我們的社會、團體。

  • It's about being together.

    這是關於共同的概念。

  • How do we create public space?

    為甚麼我們創造公共空間(public space)?

  • What does the word "public" mean today anyway?

    甚麼是”公共(public)”這字在現今的意義?

  • So, asked in that way,

    我在這邊提問,

  • I think it raises great things about

    我認為這與人們提起的

  • parliamentary ideas, democracy, public space,

    議會式(parlementric)概念、民主式、公共空間,

  • being together, being individual.

    是獨立而又共同的。

  • How do we create

    我們應該如何創造

  • an idea which is both tolerant to individuality,

    這想法是具有寬容性的獨立個體,

  • and also to collectivity,

    而又具集體性的,

  • without polarizing the two

    ,而不會分化成極端的

  • into two different opposites?

    兩個對立面?

  • Of course the political agendas in the world

    當然在政治用語上議程

  • has been very obsessed, polarizing the two against each other

    這字給人困擾並將兩件事情盡可能的

  • into different, very normative ideas.

    區分,用一種非常標準化的方式來說明。

  • I would claim that art and culture,

    我要特別提出在藝術或文化上來說,

  • and this is why art and culture are so incredibly interesting

    為甚麼藝術與文化對於我們

  • in the times we're living in now,

    所居住時空之下它是那麼令人感興趣的,

  • have proven that one can

    因為它證明其中之一可以

  • create a kind of a space

    可以在生存的空間之中

  • which is both sensitive to individuality

    製造一種具有兩個面相 – 具獨立性

  • and to collectivity.

    與具集體性的空間。

  • It's very much about this causality, consequences.

    它是富有相當影響性的並且互為因果。

  • It's very much about the way we link

    它也是呈現我們如何連結

  • thinking and doing.

    思考與行動的。

  • So what is between thinking and doing?

    所以甚麼是藉於我們思考與行動之間的橋樑呢?

  • And right in-between thinking and doing,

    對於我們的思考與行動,

  • I would say, there is experience.

    我可以這樣說,是取決於我們的經驗。

  • And experience is not just

    經驗告訴我們的並不只是

  • a kind of entertainment in a non-casual way.

    一種不互為因果方式的娛樂。

  • Experience is about responsibility.

    經驗是關乎責任的表現。

  • Having an experience is taking part in the world.

    經驗是取決於我們參與這世界的一部份。

  • Taking part in the world is really about sharing responsibility.

    參與這世界的我們是有關我們如何分享彼此的責任。

  • So art, in that sense,

    所以藝術,在這概念之下,

  • I think holds an incredible relevance

    我認為是決定在我們想要

  • in the world in which we're moving into,

    讓這世界變得如何的一種令人難以置信關鍵。

  • particularly right now.

    特別是當下。

  • That's all I have. Thank you very much.

    這是我所有可分享的一切。非常感謝您們。

  • (Applause)

    (鼓掌)

I have a studio in Berlin --

我在柏林有一個工作室,

字幕與單字

影片操作 你可以在這邊進行「影片」的調整,以及「字幕」的顯示

A2 初級 中文 TED 空間 概念 城市 藝術 看到

TED】奧拉維爾-埃利亞松。玩轉空間和光線 (【TED】Olafur Eliasson: Playing with space and light)

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    Joss JJ Lee 發佈於 2021 年 01 月 14 日
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