1.Hello! My name is Golan Levin.
大家好，我是戈兰?莱文。
2.I’m an artist and an engineer.
我是个艺术家，也是工程师。
3.Which is, increasingly, a more common kind of hybrid.
也是越来越常见的跨界混血儿。
4.But I still fall into this weird crack where people don’t seem to understand me.
尽管如此我还是会陷入尴尬的境地， 就是当人们看起来不明白我做的是什么的时候。
5.And I was looking around and I found this wonderful picture.
于是我就四处找找，并找到了这幅好图。
6.It’s a letter from “Artforum” in 1967 saying “We can’t imagine ever doing a special issue on electronics or computers in art.” And they still haven’t.
这是《 艺术论坛》杂志 (Artforum) 1967年的一封信。 上面说 “我们无法想像，何时出版专刊 谈电子或电脑艺术。” 他们至今也还没有做到。
7.And lest you think that you all, as the digerati, are more enlightened, I went to the Apple iPhone app store the other day.
你也许认为，作为数字精英，你们大家更先知先觉， 有一天我去了苹果 iPhone 的应用程序专营店，
8.Where is art? I got productivity. I got sports.
艺术在哪儿呢？它有各色产品，有体育方面的等等。
9.And somehow the idea that one would want to make art for the iPhone, which my friends and I are doing now, is still not reflected in our understanding
不知何故，为 iPhone 创做艺术的想法， 当然这也是我和我伙伴们在做的东西， 依然没有得到充分的理解和认知，
10.of what computers are for.
尤其是对于电脑的用处上。
11.So, from both directions, there is kind of, I think, a lack of understanding about what it could mean to be an artist who uses the materials
所以从认知的双方向看，我以为还是存在一些缺失的， 那就是，作为一个使用他自己时代工具的艺术家
12.of his own day, or her own day.
到底意味着什么。
13.Which I think artists are obliged to do, is to really explore the expressive potential of the new tools that we have.
我以为艺术家的一个使命就是， 不断拓展我们时代新工具的表达潜能。
14.In my own case, I’m an artist, and I’m really interested in expanding the vocabulary of human action, and basically empowering people through interactivity.
以我自己为例呢，我是一个艺术家， 我也对以下两件事很感兴趣 一是拓展人类行为的表达方式， 还有就是通过互动的形式来赋予人们更多的体验。
15.I want people to discover themselves as actors, as creative actors, by having interactive experiences.
我希望人们用演员的方式来发现自己， 像富有创意的演员那样，通过互动的体验。
16.A lot of my work is about trying to get away from this.
我的很多工作都是为了避免以下这种情况，
17.This a photograph of the desktop of a student of mine.
这是我一个学生的桌面照片，
18.And when I say desktop, I don’t just mean the actual desk where his mouse has worn away the surface of the desk.
我说的这个桌面呢，不仅仅是指 这个被鼠标磨没了表面的实体桌面，
19.If you look carefully, you can even see a hint of the Apple menu, up here in the upper left, where the virtual world has literally punched through to the physical.
如果你仔细看，你会发现 一点苹果菜单的蛛丝马迹，就在这上边左边一点的地方， 虚拟世界就是这么实实在在的 穿越了来到了现实世界啊。
20.So this is, as Joy Mountford once said, “The mouse is probably the narrowest straw you could try to suck all of human expression through.”
所以就像 Joy Mountford (原雅虎用户体验设计副总裁) 说的， “鼠标可能是世上最细的吸管， 用它你可以吮吸到所有人类世界的表达。”
21.(Laughter) And the thing I’m really trying to do is enabling people to have more rich kinds of interactive experiences.
（笑声） 我正在尝试去做的, 也正是使人们可以拥有更丰富 更多样的互动体验。
22.How can we get away from the mouse and use our full bodies as a way of exploring aesthetic experiences, not necessarily utilitarian ones.
我们怎样才能摆脱鼠标并且使用我们的整个身体 来做为探索美学体验的方式呢 这并不需要是实用主义的。
23.So I write software. And that’s how I do it.
所以我写软件。这就是我实现它的方式。
24.And a lot of my experiences resemble mirrors in some way.
我的很多试验 都是在不同程度的模拟镜子。
25.Because this is, in some sense, the first way, that people discover their own potential as actors, and discover their own agency.
因为从某种程度来说，镜子是人们 以演员的方式发现自我的第一次经历， 当然也发现了自己的媒介。
26.By saying “Who is that person in the mirror? Oh it’s actually me.”
也就是当时那一句 “镜子中的人是谁？哦那是我自己啊。”
27.And so, to give an example, this is a project from last year.
所以这里有一个例子， 这是我去年的一个作品。
28.Which is called the Interstitial Fragment Processor.
它叫做 “间隙碎片处理器”。
29.And it allows people to explore the negative shapes that they create when they’re just going about their everyday business.
它使人们可以发现他们 做日常动作时候被忽略的阴性图形。
30.So as people make shapes with their hands or their heads and so forth, or with each other, these shapes literally produce sounds and drop out of thin air.
这样人们可以用他们的手和头创作图形， 也可以更进一步的，和别人一起完成。 这些图形还会发声，并且从轻薄的空气中坠落。
31.Basically taking what’s often this, kind of, unseen space, or this undetected space, and making it something real, that people then can appreciate and become creative with.
基本上就是把这些不被看到的 被忽视的空间，变成真实的存在， 这样人们就可以欣赏，也可以发挥创意。
32.So again, people discover their creative agency in this way.
人们以这种方式, 发现了自己充满创意的媒介。
33.And their own personalities come out in totally unique ways.
与此同时他们自己的个性也呈现了出来 以这种别致的方式。
34.So in addition to using full-body input, something that I’ve explored now, for a while, has been the use of the voice.
除了以整个身体做为输入之外呢， 我还创作了这个 以声音为媒介的作品。
35.Which is an immensely expressive system for us, vocalizing.
它是一个强大的表达系统，即发声系统。
36.Song is one of our oldest ways of making ourselves heard and understood.
歌唱是我们最古老的 让我们被听到被理解的方式。
37.And I came across this fantastic research by Wolfgang K?hler, the so-called father of gestalt psychology, from 1927, who submitted to an audience like yourselves
我有幸知道了苛勒 (Wolfgang Kohler) 做过的这个神奇研究， 就是被称为完形心理学之父的苛勒，1927年， 他向他的观众，就像在座各位这样的观众，
38.the following two shapes.
展示了以下两个图形。
39.And he said one of them is called Maluma.
然后他说其中的一个叫做吗魯吗，
40.And one of them is called Taketa. Which is which?
另一个叫做嗒咔嗒。哪个是哪个？
41.Anyone want to hazard a guess?
有没有人想猜一下的？
42.Maluma is on top. Yeah. So.
吗魯吗是上边的那个。是的，就像你猜的那样。
43.As he says here, most people answer without any hesitation.
据他所说，绝大多数人会毫不犹豫的回答出来。
44.So what we’re really seeing here is a phenomenon called phonaesthesia, which is a kind of synesthesia that all of you have.
所以我们现在看到的就是一个现象， 叫做 “声觉” (声音的通感现象)。 它是我们每个人都有的一种通感。
45.And so, where as Dr. Oliver Sacks has talked about how perhaps one person in a million actually has true synethesia, where they hear colors or taste shapes, and things like this,
就像奥利弗?萨克斯 (Oliver Sacks, 英国脑神经学家) 曾说的， 大概一百万人中的一个 是真的拥有通感的， 也就是他们可以听到颜色或者品尝到形状，诸如此类。
46.phonaesthesia is something we can all experience to some extent.
声觉是我们都可以一定程度上体验到的。
47.It’s about mappings between different perceptual domains, like hardness, sharpness, brightness and darkness, and the phonemes that we’re able to speak with.
它是指联通不同感知领域的对应。 就好像坚固，锋利，明亮和黑暗， 以及我们用以发声的音素。
48.So 70 years on, there’s been some research where cognitive psychologists have actually sussed out the extent to which, you know, L, M and B are more associated with shapes that look like this,
于是70年来，通过一些研究， 认知心理学家们已经弄清楚了 这个现象，如你所知的， L, M, B 与这种形状的图形更贴近，
49.and P, T and K are perhaps more associated with shapes like this.
而 P, T, K 则更贴近这个形状。
50.And here we suddenly begin to have a mapping between curvature that we can exploit numerically, a relative mapping between curvature and [speech].
所以如此，我们突然就开始描绘这个 我們可以通过数学计算曲率， 找出曲率和形状的对应关系。
51.So it occurred to me, what happens if we could run these backwards?
我就想，如果我们反过来操作又会怎样呢？
52.And thus was born the project called Remark.
于是就诞生了这个叫做 “重塑” (Remark) 的作品。
53.Which is a collaboration with Zachary Lieberman and the Ars Electronica Futurelab.
它是与札却立·里伯曼 (Zachary Lieberman) 以及 Ars Electronica 未来实验室共同完成的。
54.And this is an interactive installation which presents the fiction that speech casts visible shadows.
这是一个互动的装置艺术，它呈现了 说话本身演出可视影子的虚幻场景。
55.So the idea is you step into a kind of a magic light.
大体上说, 就是你走进这种魔术一样的光晕中，
56.And as you do, you see the shadows of your own speech.
同时你便看到你自己说的话变成影子，
57.And they sort of fly away, out of your head.
这些影子似乎飞散了，从你脑袋中飞走了。
58.If a computer speech recognition system is able to recognize what you’re saying, then it spells it out.
如果电脑的语音识别系统 识别出了你说的话，它就把它拼写出来，
59.And if it isn’t then it produces a shape which is very phonaesthetically tightly coupled to the sounds you made.
而相反的, 它将创造一个图形，一个声觉意义上 极其贴近你发声的一个图形。
60.So let’s bring up a video of that.
我们一起来看一下这个视频。
61.(Applause) Thanks. So. And this project here, I was working with the great abstract vocalist, Jaap Blonk.
（掌声） 谢谢。下面还有一个作品， 与我一起工作的是著名的声音实验诗人雅普·布朗克 (Jaap Blonk)
62.And he is a world expert in performing “The Ursonate,”
他是世界有名的 “声音诗歌” (Ursonate) 专家，
63.which is a half-an-hour nonsense poem by Kurt Schwitters, written in the 1920s.
这是一首半小时的无意义诗歌 由柯特·舒维特 (Kurt Schwitters) 创作于1920年代。
64.Which is half an hour of very highly patterned nonsense.
这首诗是长达半小时的高度程式化的无意义。
65.And it’s almost impossible to perform.
同时也非常难于表演。
66.But Jaap is one of the world experts in performing it.
幸运的是雅普就是可以表演它的全球专家之一。
67.And in this project we’ve developed a form of intelligent real-time subtitles.
在这个作品里我们创建了 一种智能的实时字幕形式。
68.So these are our live subtitles, that are being produced by a computer that knows the text of “The Ursonate,”
这些就是我们的实时现场字幕， 它的制作是依靠一台电脑，电脑知道 “声音诗歌” 的文本，
69.fortunately Jaap does too, very well.
幸好雅普也知道，不容易啊。
70.And it is delivering that text at the same time as Jaap is.
电脑在雅普表演的同时传输文本。
71.So all the text you’re going to see is real-time generated by the computer, visualizing what he’s doing with his voice.
所以所有你将要看到的文本字幕 都是由一台电脑实时产生的， 它把雅普的声音转换为可视的了。
72.Here you can see the set-up where there is a screen with the subtitles behind him.
你可以看到这设置着一个背后有字幕的屏幕。
73.Okay. So …
好了。那么…
74.(Applause) The full videos are online if you are interested.
（掌声） 完整版视频在网上，如果你感兴趣的话。
75.I got a split reaction to that during the live performance.
在现场表演这个作品时我得到了不尽相同的反应。
76.Because there is some people who understand live subtitles are a kind of an oxymoron.
因为有些人明白 实时字幕在某种程度上是自相矛盾的。
77.Because usually there is someone making them afterwards.
因为字幕通常是有专人事后制作的。
78.And then a bunch of people who were like, “What’s the big deal?
可还是有一些人会说 “有什么大不了的？
79.I see subtitles all the time on television.”
我在电视上总是看到字幕啊。”
80.You know? They don’t imagine the person in the booth, typing it all.
你懂我意思么？他们根本不去想还会有个人躲在格子间里拼命打字。
81.So in addition to the full body, and in addition to the voice, another thing that I’ve been really interested in, most recently, is the use of the eyes,
除了以上两种用身体和人声做艺术的形式之外， 还有一件我非常感兴趣的事， 尤其是最近这段时间，我喜欢用眼睛，
82.or the gaze, in terms of how people relate to each other.
或者说注视，这种人们用以相互联系的奇妙形式。
83.It’s a really profound amount of nonverbal information that’s communicated with the eyes.
事实是相当数量含义隽永的不可视信息 都是通过眼睛来交流的。
84.And it’s one of the most interesting technical challenges that’s very currently active in the computer sciences.
这是一项非常有趣的技术挑战， 在当今的电脑科学领域也相当活跃。
85.Being able to have a camera that can understand from a fairly big distance away, how these little tiny balls are actually pointing in one way or another,
新的科技之下诞生了这样一种摄像头，它可以 即使从很远的距离也可以， 辨明我们这两个小小的眼球是如何一会看向这边一会看向那边
86.to reveal what you’re interested in, and where your attention is directed.
就反映出了你的兴致所在， 以及你注意力又在哪里。
87.So there is a lot of emotional communication that happens there.
这中间很多感情层面的交流也随之发生了。
88.And so I’ve been beginning, with a variety of different projects, to understand how people can relate to machines with their eyes.
于是我便着手于一系列的作品， 它们都是探讨人类是如何通过自己的眼睛与机器交流的。
89.And basically to ask the questions, What if art was aware that we were looking at it?
作品的概念基本上是提出这样的问题， 如果艺术品本身可以意识到我们在看它，又会怎样？
90.How could it respond, in a way, to acknowledge or subvert the fact that we’re looking at it?
它会如何回应，或者说， 它会怎样认知或者颠覆我们观赏者的注视这一事实？
91.And what could it do if it could look back at us?
如果它可以也朝我们看回来，与我们对视，又会怎样？
92.And so those are the questions that are happening in the next projects.
这些问题基本上就是以下几个作品所要探讨的。
93.In the first one, which I’m going to show you, called Eyecode, it’s a piece of interactive software in which, if we read this little circle,
第一个我将要展示给大家的，叫做 “眼睛密码” (Eyecode)， 它是一个人机互动的软件， 它所能做的，就像这圈话说的，
94.”the trace left by the looking of the previous observer looks at the trace left by the looking of previous observer.”
前一个观察者注视留下的印记 正在注视前一个观察者注视留下的印记。
95.The idea is that it’s an image wholly constructed from its own history of being viewed by different people in an installation.
简单来说它是一个完全由 它被装置中的不同观众观看 的自身历史所建构的影像。
96.So let me just switch over so we can do the live demo.
下面让我切换过去，现场的做一个小样测试。
97.So let’s run this and see if it works.
我们一起来试试看。
98.Okay. Ah, there is lots of nice bright video.
好了。嗯，这有很多不错的视频。
99.There is just a little test screen that shows that it’s working.
这只是一个测试页，试看看它工作的怎么样。
100.And what I’m just going to do is I’m going to hide that.
我接下来要把它收起来，
101.And you can see here that what it’s doing is it’s recording my eyes every time I blink.
这样你们就可以看到它的工作了 它在我每次眨眼的时候都会收录我的眼睛。
102.Hello? And I can … hello … okay.
你好？我想我 … 你好 … 好了。
103.And no matter where I am, what’s really going on here is that it’s an eye-tracking system that tries to locate my eyes.
不管我在哪儿，它真正在做的 就是通过一个眼球跟踪系统来定位我的眼睛。
104.And if I get really far away I’m blurry.
如果我很远呢, 我就变得很模糊。
105.You know, you’re going to have these kind of blurry spots like this that maybe only resemble eyes in a very very abstract way.
你知道, 你将得到的就是这种模糊的小点点， 超级抽象的来看, 还是类似眼睛的。
106.But if I come up really close and stare directly at the camera on this laptop then you’ll see these nice crisp eyes.
但是当我凑近电脑上的摄像头并且直视它时 你将看到这样又好看又清晰的眼睛。
107.You can think of it as a way of, sort of, typing, with your eyes.
你可以这么认为，就好像你在用你的眼睛打字输入一样。
108.And what you’re typing are recordings of your eyes as you’re looking at other peoples’ eyes.
只是你输入的是你看别人眼睛时 你自己眼睛留下的记录。
109.So each person is looking at the looking of everyone else before them.
所以每个人看到的就是 在他之前的所有人的观看。
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