1.Of the five senses, vision is the one that I appreciate the most, and it’s the one that I can least take for granted.
五感之中， 视觉是我最欣赏的， 也是我最不可熟视无睹的。
2.I think this is partially due to my father, who was blind.
我认为部分原因归于我的父亲。他是盲人。
3.It was a fact that he didn’t make much of a fuss about, usually.
他通常不把这当多大一回事。
4.One time in Nova Scotia, when we went to see a total eclipse of the sun — yeah, same one as in the Carly Simon song, which may or may not refer
有一次，在新斯科舍， 我们去看一场日全食 ─ 没错，就是 Carly Simon 歌里的那一场， 其暗指的可能是
5.to James Taylor, Warren Beatty or Mick Jagger; we’re not really sure.
James Taylor，Warren Beatty，或者 Mick Jagger；我们不确定。
6.They handed out these dark plastic viewers that allowed us to look directly at the sun without damaging our eyes.
人们发放那些暗塑料观景器， 让我们能直视太阳， 而又不会伤害眼睛。
7.But dad got really scared: he didn’t want us doing that.
但爸爸很害怕： 他不想让我们那么做。
8.he wanted us instead to use these cheap cardboard viewers so that there was no chance at all that our eyes would be damaged.
他想让我们用廉价的硬纸皮观景器， 那样我们的眼睛就决不可能受到伤害。
9.I thought this was a little strange at the time.
我当时觉得有些奇怪。
10.What I didn’t know at the time was that my father had actually been born with perfect eyesight.
我当时不知道的是： 我父亲其实出生时视力完全正常。
11.When he and his sister Martha were just very little, their mom took them out to see a total eclipse — or actually, a solar eclipse —
当他和他妹妹还很小的时候， 他们的母亲带他们去看一场全食， 一场日食。
12.and not long after that, both of them started losing their eyesight.
之后不久， 他们两人开始丧失视力。
13.Decades later, it turned out that the source of their blindness was most likely some sort of bacterial infection.
几十年后发现， 他们致盲的原因 很可能是某种细菌感染。
14.As near as we can tell, it had nothing whatsoever to do with that solar eclipse, but by then my grandmother had already gone to her grave
据我们所知， 和那场日食根本毫无瓜葛。 但是那时，我祖母已经满怀内疚地
15.thinking it was her fault.
去世了。
16.So, dad graduated Harvard in 1946, married my mom, and bought a house in Lexington, Massachusetts, where the first shots were fired against the British in 1775,
爸爸在1946年从哈佛毕业， 娶了我妈妈， 买了一套房子，在麻省莱克星顿镇， 也就是1775年对英国打响第一枪的地方，
17.although we didn’t actually hit any of them until Concord.
虽然我们直到康科德镇才真正打中他们。
18.He got a job working for Raytheon, designing guidance systems, which was part of the Route 128 high-tech axis in those days — so the equivalent of Silicone Valley in the ’70s.
他在 Raytheon 找了一份工作， 设计导航系统， Raytheon 是当年128号公路高科技轴心区的一部分 ─ 相当于70年代的硅谷。
19.Dad wasn’t a real militaristic kind of guy; he just really felt bad that he wasn’t able to fight in World War II on account of his handicap,
爸爸不是个很有军人作风的人； 他只是对自己因身体缺陷而没能参加二战 感到不快。
20.although they did let him get through the several-hour-long army physical exam before they got to the very last test, which was for vision.
尽管他们的确让他一路通过了 长达数小时之久的军队体检， 直到最后一项 测视力。
21.(Laughter) So, dad started racking up all of these patents and gaining a reputation as a blind genius, rocket scientist, inventor.
（笑声） 于是，爸爸开始拿下一个又一个专利， 获得了盲人天才、导弹科学家、和发明家的美称。
22.But to us he was just dad, and our home life was pretty normal.
但对于我们，他只是爸爸。 我们的家庭生活十分平常。
23.As a kid, I watched a lot of television and had lots of nerdy hobbies like mineralogy and microbiology and the space program and a little bit of politics.
小时候，我看很多电视， 还有许多古怪的爱好， 比如说矿物学、微生物学、宇宙计划， 还有少许政治学。
24.I played a lot of chess.
我常常下棋。
25.But at the age of 14, a friend of mine got me interested in comic books, and I decided that was what I wanted to do for a living.
但14岁时， 我的一个朋友让我对漫画书着迷了， 我决定那就是我以后谋生的行业。
26.So, here’s my dad: he’s a scientist, he’s an engineer and he’s a military contractor.
所以说，这是我爸爸： 他是一名科学家，一名工程师，一名军事承包商。
27.So, he has four kids, right?
他有四个孩子。
28.One grows up to become a computer scientist, one grows up to join the navy, one grows up to become an engineer, and then there’s me:
一个长大成为了电脑科学家， 一个长大加入了海军， 一个长大成为了工程师， 然后就是我：
29.the comic book artist.
漫画家。
30.(Laughter) Which, incidentally, makes me the opposite of Dean Kamen, because I’m a comic book artist, son of an inventor, and he’s an inventor, son of a comic book artist.
（笑声） 这使我无意中成为了 Dean Kamen 的反面， 因为我是一名漫画家，一个发明家的儿子； 而他是一个发明家，一名漫画家的儿子。
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31.(Laughter) Right, it’s true.
（笑声） 没错，是真的。
32.(Applause) The funny thing is, dad had a lot of faith in me.
（掌声） 有趣的是，爸爸对我很有信心。
33.He had faith in my abilities as a cartoonist, even though he had no direct evidence that I was any good whatsoever: everything he saw was just a blur.
他相信我作为漫画家的能力， 尽管他无法直接取证我的水平到底如何： 他看到的一切都是朦胧的。
34.Now, this gives a real meaning to the term “blind faith,”
这给“盲目信仰”提供了一个名符其实的定义，
35.which doesn’t have the same negative connotation for me that it does for other people.
对我而言，这个词并不像对他人一样带有负面情感。
36.Now, faith in things which cannot be seen, which cannot be proved, is not the sort of faith that I’ve ever really related to all that much.
对既看不到，又证明不了的事情的信仰， 并不是我真正欣赏的那种信仰。
37.I tend to like science, where what we see and can ascertain are the foundation of what we know.
我更喜爱科学， 将我们看到的 和我们能确定的，作为我们知识的基础。
38.But there’s a middle ground, too.
但科学也有灰色地带。
39.A middle ground tread by people like poor old Charles Babbage, and his steam-driven computers that were never built.
像可怜的老 Charles Babbage 这样的人就行走在这灰色地带之中， 还有他那从未做好的蒸汽电脑。
40.Nobody really understood what it was that he had in mind, except for Ada Lovelace, and he went to his grave trying to pursue that dream.
没有人真正明白他脑海里的概念， 除了 Ada Lovelace， 而他直到入土前都一直在追寻那个梦想。
41.Vannevar Bush with his Memex — this idea of all of human knowledge at your fingertips — he had this vision.
Vannevar Bush 和他的 Memex ─ 一个让全人类的知识都在一指之遥的梦想 ─ 他一直坚信不疑。
42.And I think a lot of people in his day probably thought he was a bit of a kook.
我想当时许多人 或许认为他是一个疯子。
43.And, yeah, we can look back in retrospect and say, yeah, ha-ha, you know — it’s all microfilm. But that’s — that’s not the point. He understood the shape of the future.
或许我们现在看来，会说： “耶，哈哈，你看，不就是微型胶片吗。”但那不是关键。 他明白未来是什么样子的。
44.So did J.C.R. Liklider and his notions for computer-human interaction.
J.C.R. Likider 和他的人机互动概念也是如此。
45.Same thing: he understood the shape of the future, even though it was something that would only be implemented by people much later.
同样地：他明白未来是什么样子的， 即使那仅仅是 多年之后人们才能做出的东西。
46.Or Paul Barron, and his vision for packet switching.
还有 Paul Barron，以及他对于包交换的先见之明。
47.Hardly anybody listened to him in his day.
同一时代里几乎没有人理睬他。
48.Or even the people who actually pulled it off, the people at Bolt, Beranek and Newman in Boston, who just would sketch out these structures
甚至是真正将其实现的人们， 波士顿的 Bolt Beranek and Newman 公司的人们， 他们将这最终连接全球的网络
49.of what would eventually become a worldwide network, and sketching things on the back of napkins and on note papers and arguing over dinner at Howard Johnson’s —
的结构描绘出来， 描绘在纸巾背面和笔记本上， 在麻省莱克星顿的 Howard Johnson 旅店
50.on Route 128 in Lexington, Massachusetts, just two miles from where I was studying the Queen’s Gambit Deferred and listening to Gladys Knight & the Pips
的晚餐上争论不休 ─ 离我学习“后翼弃兵”以及 听 Gladys Knight & the Pips 唱 “Midnight Train to Georgia”
51.singing “Midnight Train to Georgia,” while — (Laughter) — in my dad’s big easy chair, you know?
的地方仅两英里之遥 ─ （笑声） ─ 在我爸爸的摇椅上。
52.So, three types of vision, right?
有三种看事物的方式。
53.Vision based on what one cannot see: the vision of that unseen and unknowable.
一种着眼于人们看不到的东西： 着眼于不可见和不可知的事物。
54.The vision of that which has already been proven or can be ascertained.
一种着眼于已经被证明或可确定的事物。
55.And this third kind of vision, of something which can be, which may be, based on knowledge, but is as yet unproven.
还有第三种 着眼于可能的事物， 根据现有知识来说 有可能，但尚未证明的事物。
56.Now, we’ve seen a lot of examples of people who are pursuing that sort of vision in science, but I think it’s also true in the arts, it’s true in politics,
我们知道许多在科学领域中追寻那样的事物的人， 但我认为在艺术和政治中，也同样大有人在。
57.it’s even true in personal endeavors.
甚至在个人奋斗历程中。
58.What it comes down to, really, is four basic principles: learn from everyone, follow no one, watch for patterns, and work like hell.
归根结底，四条基本原则： 向所有人学习， 不盲从任何人， 注意观察模式， 和卖力工作。
59.I think these are the four principles that go into this.
我认为这四条原则是关键。
60.And it’s that third one, especially, where visions of the future begin to manifest themselves.
尤其是第三条， 对未来的展望 开始自我实现。
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61.What’s interesting is that this particular way of looking at the world, is, I think, only one of four different ways that manifest themselves in different fields of endeavor.
有趣的是，这种看世界的方式， 我认为，是四种方式中唯一一种 在不同的奋斗领域中能自我实现的。
62.In comics, I know that it results in sort of a formalist attitude towards trying to understand how it works.
在漫画界，我知道 它促成了一种严谨的态度， 引导我们尝试明白它的原理。
63.Then there’s another, more classical, attitude which embraces beauty and craft.
然后，还有一种更古典的态度， 囊括美和工艺。
64.Another one which believes in the pure transparency of content.
还有一种相信内容的纯透明性。
65.And then another which emphasizes the authenticity of human experience — and honesty, and rawness.
还有一种 强调原汁原味的人文体验， 强调诚实和本性。
66.These are four very different ways of looking at the world. I even gave them names.
这是看待世界的四种迥异方式。我还给它们命了名。
67.The classicist, the animist, and formalist and iconoclast.
古典主义者，泛灵主义者，形式主义者，和标志主义者。
68.Interestingly, it seemed to correspond more or less to Jung’s four subdivisions of human thought.
有趣的是，其恰好和 荣格的四类人类思维相吻合。
69.And they reflect a dichotomy of art and delight on left and the right; tradition and revolution on the top and the bottom.
他们反映了一种二分法：艺术在左， 喜悦在右； 传统在上，革新在下。
70.And if you go on the diagonal, you get content and form — and then beauty and truth.
在对角线，则是内容和形式， 以及美与真实。
71.And it probably applies just as much to music and to movies and to fine art, which has nothing whatsoever to do with vision at all,
这同样可以被运用在 音乐、电影、和高雅艺术上， 它们和视觉之间并无关系，
72.or for that matter, nothing to do with our conference theme of “Inspired by Nature” — except to the extent of the fable of the frog
或者说，和我们这次的“来于自然的灵感”的主题 毫无关系； 除了那个关于青蛙的寓言：
73.who gives the ride to the scorpion on his back to get across the river because the scorpion promises not to sting him, but then the scorpion does sting him anyway and they both die,
青蛙让蝎子坐在它背上渡河， 条件是蝎子承诺不蛰它， 但蝎子最后还是蛰了它，结果它们都淹死了，
74.but not before the frog asks him why and the scorpion says, “Because it’s my nature” — in that sense, yes.
在临死之前，青蛙问为什么，蝎子说： “因为这是我的自然天性” ── 从这个意义上来说，有关系。
75.(Laughter) So — so this was my nature. The thing was, I saw that the route that I took to discovering this focus in my work and who I was,
（笑声） 因此， 这就是我的天性。我曾回顾 我追寻我工作的 这个重心的历程， 以及曾经的我，
76.I saw it as just this road to discovery.
我当时认为，那只是一条通往探索的道路。
77.Actually, it was just me embracing my nature, which means that I didn’t actually fall that far from the tree after all.
事实上，我只是在拥抱我的天性， 也就是说 我其实离我父亲的期望并不算远。
78.So what does a “scientific mind”
那么，在艺术中，
79.do in the arts?
“科学思维”有何作用呢？
80.Well, I started making comics, but I also started trying to understand them, almost immediately.
嗯…当我开始画漫画时， 我也几乎同时开始了解漫画。
81.And one of the most important things about comics, I discovered, was that comics are a visual medium, but they try to embrace all of the senses within it.
我发现，关于漫画最重要的事情之一， 就是：漫画是一种视觉媒介， 但它也尝试将其它感官囊括其中。
82.So, the different elements of comics, like pictures and words, and the different symbols and everything in between that comics presents
因此，漫画的不同元素，比如说图像和文字， 和不同的符号，以及两者间种种 漫画表现的东西，
83.are all funneled through the single conduit of vision.
都通过视觉这一条途径涉入。
84.So you have things like resemblance, where something which resembles the physical world can be abstracted in a couple of different directions:
因此，你就有了表相， 也就是说代表现实世界的事物， 可以被不同的方式抽象化：
85.abstracted from resemblance, but still retaining the complete meaning, or abstracted away from both resemblance and meaning towards the picture plan.
将表相抽象化， 但仍保留完全的含义， 或者将表相和含义两者都抽象化，趋于图形化。
86.Put all these three together, and you have a nice little map of the entire boundary of visual iconography which comics can embrace.
将这三者放在一起，你就有了这一幅有趣的小图， 表现了漫画所能表现的视觉符号 的整个领域。
87.And if you move to the right you also get language, because that’s abstracting even further from resemblance, but still maintaining meaning.
如果你再往右移，就是语言， 因为其将表相进一步抽象化， 但仍旧保留含义。
88.Vision is called upon to represent sound and to understand the common properties of those two and their common heritage, as well.
视觉被用来重现声音 以明白这两者，以及他们的共同来源 之间的共性。
89.Also, to try to represent the texture of sound; to capture its essential character through visuals.
也用来重现声音的质感； 用视觉捕捉其关键的特性。
90.And there’s also a balance between the visible and the invisible in comics.
漫画中还有可见和不可见事物 的平衡。
91.Comics is a kind of call and response in which the artist gives you something to see within the panels, and then gives you something to imagine between the panels.
漫画是一种呼应： 漫画家让你在格子里看到 一些东西， 然后让你在格子之间想象另一些东西。
92.Also, another sense which comics vision represents, and that’s time.
漫画视觉还表现了 另一种感觉：时间感。
93.Sequence is a very important aspect of comics.
序列是漫画中重要的一个方面。
94.Comics presents a kind of temporal map.
漫画表现了一种时间图序。
95.And this temporal map was something that energizes modern comics, but I was wondering if perhaps it also energizes other sorts of forms,
这时间图序使得现代漫画充满了活力， 但我猜想它可能也使得 别的艺术形式充满活力，
96.and I found some in history.
我在历史中找到了一些。
97.And you can see this same principle operating in these ancient versions of the same idea.
你能看到同样的原则在这些 古老的版本中支配着相同的主意。
98.What’s happening is, the art form is colliding with the given technology, whether it’s paint on stone, like the Tomb of the Scribe in ancient Egypt,
事实上，艺术形式随着科技条件 而转变： 在古埃及的墓穴碑文上，它被画在石头上；
99.or a bas-relief sculpture rising up a stone column, or a 200-foot-long embroidery, or painted deerskin and tree bark running across 88 accordion-folded pages.
在石柱的浮雕上； 在200英尺长的刺绣上； 在88折长的 鹿皮和树皮画上。
100.What’s interesting is, once you hit print — and this is from 1450, by the way — all of the artifacts of modern comics start to present themselves:
有趣的是，当进入印刷时代后 ── 顺带一提，这来自1450年 ── 所有现代漫画的元素一目了然：
101.rectilinear panel arrangements, simple line drawings without tone and a left-to-right reading sequence.
直线性格子排列， 简单线条描绘，无色调， 还有由左至右的阅读顺序。
102.And within 100 years, you already start to see word balloons and captions, and it’s really just a hop, skip and a jump from here to here.
接下来100年里， 你已经开始看到对话泡泡和图片说明， 事实上从这到这真的几小步而已。
103.So I wrote a book about this in ’93, but as I was finishing the book, I had to do a little bit of typesetting, and I was tired of going to my local copy shop to do it,
于是，我在1993年写了一本相关的书， 但当我快写完时， 我要做一些排版， 因为我厌倦了跑复印店，
104.so I bought a computer.
所以我买了一台电脑。
105.And it was just a little thing — it wasn’t good for much except text entry — but my father had told me about Moore’s Law, about Moore’s Law back in the ’70s, and I knew what was coming.
那是电脑还很落后，除了文字输入之外用处不大。 但我父亲在70年代曾告诉我摩尔定理， 因此我知道将要到来的是什么。
106.And so, I kept my eyes peeled to see if the sort of changes that happened when we went from pre-print comics to print comics would happen when we went beyond, to post-print comics.
于是，我拭目以待， 看看当我们由前印刷时代漫画， 到印刷时代漫画，再到后印刷时代漫画时 会发生什么。
107.So, one of the first things that were proposed was that we could mix the visuals of comics with the sound, motion and interactivity
最先猜想的事情之一， 是我们能够将漫画的视觉因素 与声音、动态、和当时生产的
108.of the CD-ROMs that were being made in those days.
CD-ROM 的互动性相结合。
109.This was even before the Web.
这甚至在互联网时代之前。
110.And one of the first things they did was, they tried to take the comics page as-is and transplant it to monitors, which was a classic McLuhanesque mistake
他们最先做的事情之一， 是尝试将漫画原封不动地 搬到显示屏上。 这是一个典型的麦克卢恩式错误：
111.of appropriating the shape of the previous technology as the content of the new technology.
将上一代科技的形式作为 新一代科技的内容
112.And so, what they would do is, they’d have these comic pages that resemble print comics pages, and they would introduce all this sound and motion.
因此，他们做的是 采用印刷体的漫画页面 并加入声音和动态。
113.The problem was, that if you go with this idea — this basic idea that space equals time in comics — what happens is that when you introduce sound and motion,
问题在于，如果你这么做 ── 这基本的空间等于时间的观念 ── 当你加入声音和动态时，
114.which are temporal phenomena that can only be represented through time, then they break with that continuity of presentation.
它们本身就是只能通过时间表现的现象， 结果它们会打断表现的连续性。
115.Interactivity was another thing.
互动性是另一个问题。
116.There were hypertext comics.
超文本漫画问世了。
117.But the thing about hypertext is that everything in hypertext is either here, not here or connected to here; it’s profoundly non-spatial.
但超文本的问题 在于超文本中的一切只能是在这，不在这，或者链接到这 ── 非常地没有空间性。
118.The distance from Abraham Lincoln to a Lincoln penny, the Penny Marshall to the Marshall Plan to “Plan 9” to nine lives: it’s all the same.
从阿伯拉罕·林肯到林肯硬币， 从 潘尼·马歇尔 到马歇尔计划 到“九号计划”到九条命： 都是一样的。
119.(Laughter) And — but in comics, in comics, every aspect of the work, every element of the work has a spatial relationship to every other element at all times.
（笑声） 但在漫画中， 作品的每个方面，每个元素， 都总和其它的每个元素有着一种空间关系。
120.So the question was: was there any way to preserve that spatial relationship while still taking advantage of all of the things that digital had to offer us?
问题在于： 能不能保留那种空间关系， 同时又能利用数据时代 提供给我们的优势？
121.And I found my personal answer for this in those ancient comics that I was showing you.
我在之前的古代漫画中 找到了我个人的答案。
122.Each of them has a single unbroken reading line, whether it’s going zigzag across the walls or spiraling up a column or just straight left to right, or even going in a backwards zigzag
它们每一个都有一条不间断的阅读线， 无论是在墙上迂回， 或是沿圆柱回旋而上， 或者简单地由左至右，或者甚至是在
123.across those 88 accordion-folded pages.
88折的页面上反向迂回。
124.The same thing is happening, and that is that the basic idea that as you move through space you move through time is being carried out without any compromise,
同样的事情发生了，那就是当你在空间上移动时， 你也在时间上移动 ── 这个概念被圆满地实现了。
125.but there were compromises when print hit.
但在印刷时代并非如此。
126.Adjacent spaces were no longer adjacent moments, so the basic idea of comics was being broken again and again and again and again.
相邻的空间并不代表相邻的时刻， 于是漫画的基本概念被打断了，一次又一次 一次又一次
127.And I thought, OK, well, if that’s true, is there any way, when we go beyond today’s print, to somehow bring that back?
我想：好吧， 既然如此，是不是有办法， 当我们超越现今的印刷时代， 将那种概念寻回？
128.Now, the monitor is just as limited as the page, technically, right?
现在，显示屏， 技术上来说，就和页面一样有限，对吧？
129.It’s a different shape, but other than that it’s the same basic limitation.
它的形状不同，但除此之外， 它有同样的基本局限。
130.But that’s only if you look at the monitor as a page, but not if you look at the monitor as a window.
但只有当你将显示屏看作页面时才是如此， 如果你将显示屏看作一扇窗口就不同了。
131.And that’s what I proposed: that perhaps we could create these comics on an infinite canvas: along the X axis and the Y axis and staircases.
我的提议就是：也许我们能在一幅无限的画布上 创作这些漫画： 沿X轴，Y轴，以及阶梯递进。
132.We could do circular narratives that were literally circular.
我们能做出名符其实的循环故事。
133.We could do a turn in a story that was literally a turn.
我们能在故事中做出名符其实的转折。
134.Parallel narratives could be literally parallel.
平行故事可以是名符其实地平行的。
135.X, Y and also Z.
X，Y，和Z。
136.So I had all these notions. This was back in the late ’90s, and other people in my business thought I was pretty crazy, but a lot of people then went on and actually did it.
我的这些看法，成型于90年代后期， 我公司里的其他人认为我是疯子， 但之后很多人真的这么做了。
137.I’m going to show you a couple now.
我现在向你们展示一些。
138.This was an early collage comic by a fellow named Jason Lex.
这是一个叫 Jason Lex 的人画的早期拼贴漫画。
139.And notice what’s going on here.
注意这里。
140.What I’m searching for is a durable mutation — that’s what all of us are searching for.
我追寻的是一个可持续的转变 ── 那也是我们所有人追寻的。
141.As media head into this new era, we are looking for mutations that are durable, that have some sort of staying power.
当媒体进入一个新时代时， 我们开始寻找可持续的转变， 一种最终有能力持续下来的转变。
142.Now, we’re taking this basic idea of presenting comics in a visual medium, and then we’re carrying it through all the way from beginning to end.
我们在谈用视觉媒介展现漫画这一基本概念， 然后我们从头到尾将它看下来。
143.That’s that entire comic you just saw is up on the screen right now.
现在屏幕上显示的是 你刚刚看到的整篇漫画。
144.But even though we’re only experiencing it one piece at a time, that’s just where the technology is right now.
但即使我们现在只能一部分一部分地看， 那也只是因为当今的科技水平。
145.As the technology evolves, as you get full immersive displays and whatnot, this sort of thing will only grow.
当科技进步， 当有了全面沉浸显示之类后， 这样的东西会愈演愈烈。
146.It will adapt. It will It will adapt to its environment: it’s a durable mutation.
它会适应。 它会适应它的环境： 它是一种可持续的转变。
147.Here’s another one I’ll show you. This is by Drew Weing; this is called, “Pop Contemplates the Heat Death of the Universe.”
接下来一个，Drew Weing 画的 叫做： 《泊普深思宇宙的热寂》。
148.See what’s going on here as we draw these stories on an infinite canvas is you’re creating a more pure expression of what this medium is all about.
看看这里 当我们在一幅无限的画布上画出这些故事时， 你在创造一种对于媒介的本质 更纯粹的体验。
149.We’ll go by this a little quickly — you get the idea.
我们快进一下，你知道大概意思了。
150.I just want to get to the last panel.
我想给你们看最后一格。
151.(Laughter) There we go.
（笑声） 来了。
152.(Laughter) (Laughter) Just one more.
（笑声） （笑声） 最后一篇。
153.Talk about your infinite canvas.
关于无限的画布。
154.It’s by a guy named Daniel Merlin Goodbrey in Britain.
这是一个名叫 Daniel Merlin Goodbrey 的英国人画的。
155.Why is this important?
这为什么重要？
156.I think this is important because media, all media, provide us a window back into our world.
我认为媒介使其尤为重要， 所有媒介 给我们一个通往我们世界的窗口。
157.Now, it could be that motion pictures — and eventually, virtual reality, or something equivalent to it — some sort of immersive display,
这媒介可以是电影 ── 以及最终，虚拟现实之类的东西 ── 一种沉浸式显示，
158.is going to provide us with our most efficient escape from the world that we’re in.
给我们最高效地逃避现实世界的方式。
159.That’s why most people turn to storytelling, is to escape.
这就是为什么大多数人喜欢故事，为了逃避。
160.But media provides us with a window back into the world that we live in.
但媒介也给了我们一扇窗口 通往我们生活的世界。
161.And when media evolve so that the identity of the media becomes increasingly unique.
当媒介转变， 媒介的性质变得越来越独特。
162.Because what you’re looking at is, you’re looking at comics cubed: you’re looking at comics that are more comics-like than they’ve ever been before.
因为你现在看到的，是多次元的漫画： 你看到的是比之前的一切都更为漫画化的漫画。
163.When that happens, you provide people with multiple ways of re-entering the world through different windows, and when you do that, it allows them to triangulate the world that they live in
它们给人们提供了从不同的窗口 重新进入世界的多种方式。 同时，它还使人们三分他们生活的世界，
164.and see its shape.
看清它的形状。
165.And that’s why I think this is important.
这就是我认为这个话题很重要
166.One of many reasons, but I’ve got to go now.
的原因之一。但我该就此打住了。
167.Thank you for having me.
谢谢你们。
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