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  • If someone were to show you these album covers, or these posters...

    如果有人給你看這些專輯封面或海報......

  • 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 movementone 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 technologyelectrical 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 traditionscomic 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 textilesdynamic, 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 figuresmost 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 peacocksthat'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 furthersoftening 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 madetheir vibrating colors and winding linescapture 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。

If someone were to show you these album covers, or these posters...

如果有人給你看這些專輯封面或海報......

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