Since we are still realizing these works,

大家好，今天我將和你們 分享一下正在進行中的工作。

we are largely working within the realm

因為這些工作還在進行中，

of intuition and mystery, still.

我們仍然很大程度上

So I'm going to try and describe

是在直覺和神秘的領域裡努力。

some of the experiences that we're looking for

那麼現在我將嘗試描述

through each of the works.

我們想通過每個作品

So the first work is called the Imperial Monochromes.

得到的一些體驗。

A viewer sort of unsuspectingly walks into the room,

第一個作品名叫《單色帝國》 (Imperial Monochromes)，

and catches a glimpse of these panels

一個觀眾幾乎毫不懷疑地走進了房間，

in a messy composition on the wall.

然後瞥到了牆上這些

Within seconds, as if the panels have noticed

胡亂擺放的畫板。

the presence of the viewer,

就在一瞬間，彷彿這些畫板注意到了

they appear to panic and sort of get into

這個觀眾的存在，

a strict symmetry.

它們一下變得害怕，然後

(Laughter)

就變成了一種嚴格的對稱狀態。

So this is the sketch of the two states.

（笑聲）

One is total chaos. The other is absolute order.

所以這是兩種狀態的描寫。

And we were interested in seeing how little change

一種是完全的混亂。另一種是絕對的有序。

it takes to move from one state to the other state.

我們感興趣的是去展示，從一個狀態到另一個

This also reminded us of two very different pictorial traditions.

所需要的是多麼微小的改變。

One is the altar tablets of the 15th century,

這也讓我們想起了 兩種截然不同的繪畫傳統。

and the other is about 100 years ago,

一種是15世紀的祭壇桌，

Malevich's abstract compositions.

另一種是大約100年前

So I'm just going to take you to a video.

馬列維奇（Malevich，俄國畫家）的抽象作品。

To give you a sense of scale,

我現在就給你們看一個影片。

the largest panel is about two meters high.

爲了讓你們對尺度有個概念，

That's about this much. And the smallest one is an A4.

最大的畫板大概兩米高，

So a viewer enters the space,

大概是這樣。 最小的畫板是一張A4紙大小。

and they snap to attention.

一位觀眾走進這個空間，

And after a while, if the viewer continues

這些畫板迅速擺正。

to remain in the space,

過了一會，如果這個觀眾

the panels will sort of become immune

一直待在那裡，

to the presence of the viewer

這些畫板就好比對這個人的存在

and become lax and autonomous again,

免疫了一樣，

until they sort of sense a presence in the room or a movement,

就又變得慵懶而自顧自了。

when they will again snap to attention.

直到它們再一次感覺到 房間裡出現了人或者有什麽變化，

(Laughter)

它們才會再次擺正。

So here it appears as if it's the viewer

（笑聲）

that's sort of instigating the sense of order among the panels,

這裡，看起來好像是觀眾的出現

but it could also be the other way around,

為這些畫板注入有序感，

that the panels are so stuck within

但是也可以用另一種方式理解，

their preconditioned behaviors

這些畫板完全深陷於

that they sort of thrust the viewer with the role of a tyrant.

它們自己預先設置好的行為模式中，

So this brings me to a quieter, small work

以至於它們的表現 讓那位觀眾縣出了暴君的角色。

called Handheld.

然後，我有了一個更安靜更小的作品，

The viewer sees a piece of paper

名叫《手握》(Handheld)。

that's mounted on the far end of the wall,

觀眾看到一張紙，

but when you go closer, you see that it's a blank

這張紙掛在墻的遠端，

A4, or a letter-sized piece of paper,

但如果你走的更近，你會發現這是一張

that's held on either side

空白的A4，或者是信紙大小，

by two small hands

這張紙在兩邊

that appear to be carved with a great deal

被兩隻小手握著，

of attention and care from a small block of wood.

這兩隻手看起來是用一小塊木頭

The viewer also sees that this entire sculpture

用極大的專注力和細心雕刻出來的。

is sort of moving very slightly,

觀眾也會看到，這整個雕塑

as if these two hands are trying

似乎一點點的移動，

to hold the paper very still

就好像這兩隻手是想

for a long period of time,

努力在很長的時間裡

and somehow are not managing to.

靜止的保持握住這張紙，

So this instability in the movement

但卻似乎做不到完全不動。

very closely resembles the unsteady nature

所以這移動中的不穩定性

of images seen through a handheld camera.

就和手持照相機照出的圖片

So here I'm going to show you two tandem clips.

有異曲同工之處。

One is through a still camera

現在我要向你們展示兩幅並列的圖片

and the other is through a handheld camera.

一幅由靜止的相機拍攝，

And you immediately see how the unsteady nature

另一幅是手持的相機。

of the video suggests the presence

你立刻就能看到，影片的不穩定

of an observer and a subjective point of view.

如何顯示出觀察者的存在

So we've just removed the camera

以及所處的主觀的視角。

and transferred that movement onto the panel.

所以我們只是去掉了相機，

So here's a video.

而把這種不穩定的運動移植到了作品裡。

You have to imagine the other hand. It's not there yet.

這是影片。

But to us, we're sort of trying to evoke

你需要想像另一隻手的存在， 它還不在那裡，

a self-effacing gesture, as if there's a little person

但對我們來說，我們某種意義上是在嘗試

with outstretched arms

做出一種謙虛的手勢，就好像

behind this enormous piece of paper.

在這張巨大的白紙背後

That sort of likens it to the amount of strain

有一個小人正伸出雙手。

to be at the service of the observer and present

這就給予它一種緊張感，

this piece of paper very delicately to the viewer

就像在給觀眾服務一樣，把這張紙

in front of them.

非常小心翼翼地呈現在

The next work is Decoy.

觀眾面前。

This is a cardboard model, so the object

下一個作品叫做《圈套》(Decoy)，

is about as tall as I am.

這是一個紙板的模型，

It has a rounded body, two arms,

作品大概和我一樣高，

and a very tall, head-like antenna,

它有一個圓圓的身體，兩條手臂，

and its sole purpose is to attract attention towards itself.

和一個非常高、像頭一樣的天線，

So when a viewer passes by,

它的唯一目的是爲了 把注意力吸引到自己身上。

it sort of tilts from side to side,

當一個觀眾經過的時候

and moves its arms more and more frantically

它就左右搖擺，

as the person gets closer.

而且隨著這個人越走越近，

So here is the first test scenario.

它會越來越瘋狂的揮舞兩條手臂。

You see the two movements integrated,

這是第一個測試場景，

and the object seems to be employing

你看到，兩種動作結合在一起，

its entire being in this expression of desperation.

這個物體似乎是

But the idea is that once it's got the person's attention,

把整個自己都 投入到這種絕望的表達中。

it's no longer interested, and it looks for the next person whose attention to get.

但是，重點是，一旦它得到了這個人的關注，

(Laughter)

它就不感興趣了，開始尋找下一個人。

So this is the final fabricated body of the Decoy.

（笑聲）

It appears to be mass-manufactured

這是最後為《圈套》製作出來的身體，

like it came out of a factory

它看起來像是大規模製作的產品，

like vacuum cleaners and washing machines.

就好像是從工廠造出來的，

Because we are always working

比如吸塵器和洗衣機一樣。

from a very personal space,

因為我們總是

we like how this consumer aesthetic

從個人化的空間工作，

sort of depersonalizes the object

我們很喜歡這種消費者美學，

and gives us a bit of distance

讓這個物體不再個人化，

in its appearance, at least.

而且給我們製造了一點距離，

And so to us this is a kind of sinister being

在外表上，至少。

which is trying to distract you from the things

所以對我們來說，這個是某種邪惡的存在，

that actually need your attention,

它嘗試把你的注意力

but it could also be a figure that needs a lot of help.

從實際需要你注意的地方吸引過來，

The next work is an object,

但是它也可以是確實 需要很多幫助的一個形象。

that's also a kind of sound instrument.

下一個作品是一個物品，

In the shape of an amphitheater

也算是一種樂器，

that's scaled to the size of an audience

形狀是一個露天圓形劇場，

as perceived from somebody from the stage.

就像一個人在舞臺上看到的那樣，

So from where I'm standing,

然後按比例縮小到了一個觀眾的大小。

each of you appears to be this big,

從我站的地方來看

and the audience sort of takes the entire

你們每個人大概這麼大，

field of my vision.

而觀眾差不多

Seated in this audience are 996 small figures.

佔據了我整個視野。

They're mechanically enabled to clap

在觀眾席上是996個小塑像，

of their own free will.

它們在機械上被設計成

This means that each of them can decide

可以根據自己的意願來鼓掌，

if and when they want to clap,

也就是說，它們每一個都可以

how hard, for how long,

自己決定什麼時候、以及是否鼓掌，

how they want to be influenced by those around them or influence others,

用多少力氣鼓掌，鼓掌多久，

and if they want to contribute to innovation.

決定自己想如何被周圍的人影響，或者影響別人，

So when the viewer steps in front of the audience,

以及是否願意為創新做貢獻。

there will be a response.

當一個觀察者走到這些觀眾面前，

It could be a few claps or a strong applause,

會產生一個反應。

and then nothing happens until the viewer

可能是寥寥幾聲，也可能是熱烈的掌聲，

leaves the stage, and again the audience will respond.

然後就沒有動靜了，

It could be anything from a few feeble claps

直到觀察者離開舞臺，這些觀眾又會有反應。

from members in the audience,

可能是觀眾席裡

or it could be a very loud ovation.

傳來的幾聲微弱的掌聲，

So to us, I think we're really looking

也可能是非常熱烈的鼓掌。

at an audience as its own object

所以對我們來說，我們真的是把裡面的每個觀眾

or its own organism

看做一個獨立的物體

that's also got a sort of musical-like quality to it,

或者說獨立的機制，

an instrument.

它有一種像音樂一樣的特質，

So the viewer can play it

一種樂器。

by eliciting quite complex and varied,

觀察者可以演奏它，

nuanced musical or sound patterns,

通過引發非常複雜、變化多端

but cannot really provoke the audience

創新的音樂或者聲音模式，

into any particular kind of response.

但是不能將觀眾

So there's a sense of judgment and capriciousness

引入到任何特定的反應中，

and uneasiness involved.

所以這其中有一種

It also has an alluring and trap-like quality to it.

判斷、多變和不安的感覺。

So here if you see we're quite excited about

它也有一種像陷阱一樣誘人的感覺。

the image of the head splitting to form the two hands.

這裡你看到，我們對這幅

So here's a small visual animation,

大腦分工去操控雙手的圖片很激動。

as if the two sides of the brain are sort of clashing

這是一個小小的視覺動畫，

against each other to kind of make sense

就好像大腦的兩側

of the duality and the tension.

在互相碰撞，

And here is a prototype.

去表達二元性和這種緊張。

So we can't wait to be engulfed by 996 of them.

這是一個樣本。

Okay, this is the last work. It's called the Framerunners.

我們迫不及待的想被 966個這樣的模型包圍了。

It comes out of the idea of a window.

這裡是最後一個作品，叫做 《相框奔跑者》(Framerunners)，

This is an actual window in our studio,

它的創意來自於一扇窗戶，

and as you can see, it's made up of three

這是我們工作室裡真實的一扇窗戶，

different thicknesses of wooden sections.

你看到，它有三種不同厚度的

So we used the same window vocabulary

木頭部件。

to construct our own frame or grid

所以我們用了同樣的想法

that's suspended in the room and that can

製作了我們自己的相框或者說格子

be viewed from two sides.

懸掛在房間裡，

This grid is inhabited by a tribe of small figures.

可以從兩邊看到。

They're also made up of three different sizes,

這個格子裡住著 一個由小人組成的部落。

as if to suggest a kind of perspective

他們也有三種不同尺寸，

or landscape on the single plain.

象徵着在一個平面上

Each of these figures can also run backward

看到的視角或者風景。

and forward in the track

這裡的每個小人可以

and hide behind two adjacent tracks.

在軌道上前後跑動，

So in contrast to this very tight grid,

也可以藏在兩條相鄰軌道間。

we wanted to give these figures a very comical

爲了和這個非常擁擠的格子對比，

and slapstick-like quality,

我們希望賦予這些小人

as if a puppeteer has taken them

很漫畫、很鬧劇的感覺，

and physically animated them down the path.

就好像一個操縱木偶的人

So we like the idea of these figures

真的在軌道上操縱他們一樣。

sort of skipping along

我們很喜歡這種感覺

like they're oblivious and carefree

這些小人跳來跳去

and happy-go-lucky and content,

沒有煩惱、無憂無慮

until they sort of sense a movement from the viewer

逍遙自得，

and they will hide behind the fastest wall.

直到他們感覺到來自觀察者的動作，

So to us, this work also presents its own contradiction.

他們會立刻藏到最近的墻後面。

These figures are sort of entrapped

對我們來說，這個作品 也表現了它自己的矛盾性。

within this very strong grid,

這些小人就像是

which is like a prison, but also a fortress,

被困在了這個堅固的格子裡，

because it allows them to be oblivious

就像個監獄，但也可以說是城堡，

and naive and carefree and quite oblivious

因為這個格子 讓他們可以沒有煩惱，

of the external world.

天真逍遙，

So all these real life qualities that I talk about

幾乎遺忘外界的存在。

are sort of translated to a very specific

我提到的所有這些 來自真實生活的特點

technical configuration,

都被轉化成了一種

and we were very lucky to collaborate

很特別的技術性設置，

with ETH Zurich to develop the first prototype.

我們非常有幸

So you see they extracted the motion cogs

可以和蘇黎世聯邦理工大學合作， 造出了第一個模型。

from our animations and created a wiggle

你可以看到，他們從我們的動畫裡

that integrated the head-bobbing movement

抽取了這些動作， 創造了一鐘擺動的動作，

and the back-and-forth movement.

結合了搖擺頭

So it's really quite small.

和前後的運動。

You can see it can fit into the palm of my hand.

這個真的很小，

So imagine our excitement when we saw it

你看它可以被我的手掌握住。

really working in the studio, and here it is.

當我們在工作室裡 看到它真的可以用

(Laughter)

可以想像我們多麼激動 現在我把它帶來了。

Thank you.

（笑聲）

(Applause)

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