Even if you've never heard of the bands featured,

即使你從來沒有聽說過這些樂團，

you'd probably be able to guess what kind of music they play.

你大概能猜到他們玩的是什麼音樂。

This style has become synonymous with the psychedelic '60s.

這種風格已經成為 60 年代迷幻風格的代名詞。

But these abstract forms, and curly, barely legible lettering—

但是，這些抽象的形式，和捲曲、幾乎無法辨認的字跡……

they weren't created in the 1960s.

他們不是在 60 年代創造的。

They came from a celebrated art movement—one that started almost a century earlier.

他們來自於一場著名的藝術運動，一場始於近一個世紀前的藝術運動。

In the late 1800s, new technology—electrical power, telephones, cars—

在 19 世紀末，新技術像是電力、電話、汽車，

was changing the way the world worked. And the way it looked.

改變了世界的運轉方式以及它的外觀。

And some people, especially artists, living through this technological revolution were not so into all the new industry.

而一些人，尤其是藝術家，在這場技術革命中生活，是不太喜歡所有的新產業。

To be blunt, they thought it was ugly.

說白了，他們覺得很醜。

Out of this conflict, a new global artistic movement was born.

在這場衝突中，一場新的全球藝術運動誕生了。

One that went by many different names.

一個有很多不同名字的藝術運動。

Like the Secessionists in Austria and the Glasgow school in Scotland.

像是奧地利的分離派和蘇格蘭的格拉斯哥學派，

But you might know it as: Art Nouveau, which literally means "new art" in French.

但你可能知道它叫做 Art Nouveau，法語中字面意思是「新藝術」。

Its creators wanted to make art that reflected the vibrancy of city life.

它的創作者希望能做出反映城市生活活力的藝術作品。

They used flat, decorative patterns,

他們使用的是平面的、裝飾性的圖案、

feminine figures, and organic and plant motifs,

女性形象、以及有機和植物圖案，

often stylized with fluid, abstract forms.

常常以流暢、抽象的形式進行風格化。

And they applied this new visual language to just about everything, from architecture to paintings to textiles and beyond,

而他們將這種新的視覺語言應用於從建築到繪畫到紡織，甚至更多，

because they believed that aesthetics should go hand in hand with utility,

因為他們認為，美觀應該與實用並重，

and no object was too mundane to be beautiful.

而任何物體都不會因太平凡而不美麗。

Like this entrance to the Paris subway.

比如巴黎地鐵的這個入口。

Or these posters by Alphonse Mucha advertising champagne and biscuits, which are just as much about being beautiful as they are about conveying information.

或者 Alphonse Mucha 的這些海報—香檳和餅乾的廣告。把廣告弄得漂亮就和傳達資訊一樣重要。

Okay, back to the hippies.

好，回到嬉皮這個話題。

Like the late 1800s, the 1960s were a time of cultural upheaval.

和 19 世紀末一樣，1960 年代也是一個文化動盪的時代。

–The Vietnam struggle goes on. –We want the Beatles! –The Beatles, everybody!

–越南鬥爭仍在繼續。 –我們要披頭四！ –各位一起來歡迎披頭四！

In the US, the epicenter of this change was San Francisco, where hundreds of thousands of young people descended upon the city.

在美國，這種變化的中心是舊金山，數十萬年輕人湧向這座城市，

For things like protests, and drum circles,

為了參加活動，像是抗議、鼓圈，

and of course, concerts.

當然，還有演唱會，

Lots and lots and lots of concerts.

很多很多的演唱會。

Particularly dance concerts, featuring trippy, psychedelic music from bands like Jefferson Airplane and the Grateful Dead.

特別是舞蹈演唱會，以Jefferson Airplane和Grateful Dead等樂團的迷幻音樂為特色。

And there was one major way to get people to come to your concert: a good poster.

要讓人們來你的演唱會，有一個主要的方法：海報要做得好。

Back then, these now iconic bands were just starting out, playing back to back shows at venues like the Fillmore and the Avalon.

當年，這些現在的標誌性樂隊剛剛起步，他們在像 Fillmore 和 Avalon 這樣的場地連續演出，

And to advertise this new generation of hippie bands,

要宣傳這新一代的嬉皮樂團，

those venues knew that plain typeface and a grayscale photo just wasn't going to cut it.

這些場館知道，普通的字體和灰度的照片是不會成功的，

So they commissioned work from a small group of artists, who developed a brand-new formula for concert posters.

所以他們委託了一小群藝術家，他們開創了演唱會海報一個全新的範例，

One that pulled from a variety of established design traditions—comic books, surrealism, and, of course, Art Nouveau.

提取自各種既有的設計傳統，像是漫畫書、超現實主義、當然還有新藝術。

By the mid-60s, Art Nouveau was already experiencing a bit of a resurgence.

到了60年代中期，新藝術已經有了一點復甦的趨勢。

Especially when it came to textiles — dynamic, floral designs were a natural fit for the hippie aesthetic.

特別是在紡織品方面--動感十足的花卉設計自然而然地成為嬉皮審美的首選。

Which is probably why in 1965, a museum just outside of San Francisco launched this exhibit.

這大概就是為什麼在1965年，舊金山郊外的一家博物館就推出了這個展覽。

Legend says this is where some of those designers were first exposed to Art Nouveau.

傳說這裡是一些設計師第一次接觸新藝術的地方。

One designer, Wes Wilson, told Time Magazine that he admired their "idea of really putting it out there."

一位設計師韋斯威爾遜告訴《時代》雜誌，他很欣賞他們「真正地把自己的想法付諸實踐」。

And when they started making new concert posters, these designers took those Art Nouveau staples and turned the dial up.

而當他們開始製作新的音樂會海報時，這些設計師將這些新藝術的範例拿來，並提高強度，

Art Nouveau is famous for its feminine figures—most often nude, with flowing hair, and a "come hither" glance.

新藝術運動以其女性形象而聞名—通常是裸體、頭髮飄逸的，以及有一個「過來」的眼神，

A style the psychedelic designers clearly picked up on.

迷幻風格的設計師們顯然是看中了這種風格。

Look at the way these posters are covered edge to edge with detailed, two dimensional illustrations.

看看這些海報從各邊界如何覆蓋著細緻的二維插畫。

Particularly flowers, and abstract curves, and also peacocks—that's an Art Nouveau thing, too.

尤其是花，和抽象的曲線，還有孔雀，那也是新藝術的東西，

They loved peacocks.

他們就是喜歡孔雀。

And sometimes, psychedelic designers would use images pulled directly from an Art Nouveau poster, but always with a radically different color palette.

有時候，迷幻的設計師們會直接使用從新藝術海報中提取的影像，但總是用完全不同的方式配色，

Instead of Art Nouveau's soft pastels, these artists opted for intense, high-contrast colors, said to make your eyes "vibrate", a reference to the "visual experiences of an LSD tripper."

不用新藝術的柔和粉彩，迷幻藝術家選擇了強烈的、高對比度的色彩，據說能讓你的眼睛「震動」，像是「使用 LSD 致幻劑的視覺體驗」。

And that curly, cloudy, barely legible font?

還有那捲曲、渾濁、幾乎看不清的字體？

It started here....on a 1902 poster by Austrian designer Alfred Roller.

它是從這裡開始的……1902年奧地利設計師 Alfred Roller 的海報上。

In the 60s, artists adapted the bold, dynamic typeface and pushed it even further—softening its lines and obscuring its edges, making it nearly illegible.

在60年代，藝術家調整這種大膽、動感的字體，並將其進一步推陳出新—軟化線條，讓邊緣不分明，使其幾乎難以辨認。

Which served a purpose.

這起到了一定的作用，

It was meant to grab your attention and keep you interested—

它的目的是吸引你的注意力，並讓你持續地感興趣，

at least for as long as it took to figure out what the poster was trying to tell you.

至少持續到你弄明白海報想告訴你什麼，

The result was a ton of posters that looked like Art Nouveau on acid.

結果是做出一堆看起來像新藝術嗑藥的海報。

As the music of San Francisco spread throughout the world, so did the aesthetic.

隨著舊金山的音樂傳遍世界，其審美也是如此，

In part, because posters are easy to own and reproduce and collect,

部分原因是海報易於擁有和複製、收藏，

with fans sometimes tearing them down immediately after they were put up.

粉絲有時貼起來後馬上就撕掉。

The artists behind them even became celebrities in their own right.

海報背後的藝術家甚至憑己之力成為名人，

A few of them got their own spread in Life Magazine.

有幾位甚至在《生活》雜誌上有全版文章。

The posters they made—their vibrating colors and winding lines—capture the energy of the 1960s.

他們所做的海報—其震動的色彩和蜿蜒的線條—捕捉到60年代的力量，

Just like the Art Nouveau ones represent the late 1800s.

就像新藝術派代表19世紀末一樣。

And while these two time periods don't mirror each other perfectly,

雖然這兩個時間段並不能完美地相互輝映，

both movements were able to create something that captured the feeling of a changing world.

兩種運動都能創造出一些捕捉到世界變化的感覺。

And their art reflected that.

而他們的藝術也反映了這一點。