欢迎来到 庞凤仪


赌博默示录2【视频】- 珍惜你的想象力,带你去未知的远方! TED演讲-合肥贵学

2015-12-29 全部文章 119
【视频】| 珍惜你的想象力,带你去未知的远方三眼神童! TED演讲-合肥贵学

演说者:Janet Echelman
演说题目:珍惜你的想象力,巩天阔 带你去未知的远方!

This storyis about taking imagination seriously.Fourteen years ago,I first encountered this ordinary material, fishnet,used the same way for centuries.Today, I'm using it to createpermanent, billowing, voluptuous formsthe scale of hard-edged buildingsin cities around the world.I was an unlikely person to be doing this.I never studied sculpture,engineering or architecture.In fact, after collegeI applied to seven art schoolsand was rejected by all seven.
I went off on my own to become an artist,and I painted for 10 years,when I was offered a Fulbright to India.Promising to give exhibitions of paintings,I shipped my paints and arrived in Mahabalipuram.The deadline for the show arrived --my paints didn't.I had to do something.This fishing village was famous for sculpture.So I tried bronze casting.But to make large forms was too heavy and expensive.
I went for a walk on the beach,watching the fishermenbundle their nets into mounds on the sand.I'd seen it every day,but this time I saw it differently --a new approach to sculpture,a way to make volumetric formwithout heavy solid materials.
My first satisfying sculpturewas made in collaboration with these fishermen.It's a self-portraittitled "Wide Hips."(Laughter)We hoisted them on poles to photograph.I discoveredtheir soft surfacesrevealed every ripple of windin constantly changing patterns.I was mesmerized.I continued studying craft traditionsand collaborating with artisans,next in Lithuania with lace makers.I liked the fine detailit gave my work,but I wanted to make them larger --to shift from being an object you look atto something you could get lost in.
Returning to India to work with those fishermen,we made a netof a million and a half hand-tied knots --installed briefly in Madrid.Thousands of people saw it,and one of them was the urbanistManual Sola-Moraleswho was redesigning the waterfrontin Porto, Portugal.He asked if I could build thisas a permanent piece for the city.I didn't know if I could do thatand preserve my art.Durable, engineered, permanent --those are in oppositionto idiosyncratic, delicate and ephemeral.
回到印度后裘继戎,我与渔人们合作编织了一张网高秋曦 ,有一百五十万个半手工编制的结。在马德里短暂安置数千人看到了这件作品,其中一人是城市规划专家,索拉莫拉雷斯(Manual Sola-Morales)当时他正在重新设计葡萄牙波尔图的海滨,他问我能不能把作它建成一座永久的作品,立在城市中。我不知道我能否在这样做的同时保留我作品的艺术性,耐用、工程度高、永久这些都与独特、精致、短暂,恰恰相反。
For two years, I searched for a fiberthat could survive ultraviolet rays,salt, air, pollution,and at the same time remain soft enoughto move fluidly in the wind.We needed something to hold the net upout there in the middle of the traffic circle.So we raised this 45,000-pound steel ring.We had to engineer itto move gracefully in an average breezeand survive in hurricane winds.
But there was no engineering softwareto model something porous and moving.I found a brilliant aeronautical engineerwho designs sails for America's Cup racing yachtsnamed Peter Heppel.He helped me tackle the twin challengesof precise shapeand gentle movement.
但当时没有设计软件来模拟这种多孔物体的移动,我找到了一个优秀的航空学工程师,他设计了美国杯竞赛帆船的帆,他是彼得·赫普尔(Peter Heppel)彼得帮助我解决了这个二重挑战,模拟了精确的外形和优雅的运动。
I couldn't build this the way I knewbecause hand-tied knotsweren't going to withstand a hurricane.So I developed a relationshipwith an industrial fishnet factory,learned the variables of their machines,and figured out a wayto make lace with them.There was no languageto translate this ancient, idiosyncratic handcraftinto something machine operators could produce.So we had to create one.Three years and two children later文登之窗 ,we raised this 50,000-square-foot lace net.It was hard to believethat what I had imaginedwas now built,赌博默示录2 permanentand had lost nothing in translation.
我不能按照旧的方式来塑造这次的作品,因为手捆的结承受不了飓风的袭击。因此我与一个渔网工厂结成合作伙伴鲸鲨王,学习了他们机器的不同变量并找出了一种方式通过机器来制作花边。当时没有语言来翻译这古老的、独特的手工艺,将它转为程序让机器操作者可以用来生产,所以我们得创造了一种。三年后杨函数 ,我有了两个孩子,我们终于竖立起这张50,000平方英尺的花边网,难以置信我曾经的想象现在被建成了永久的作品,而在这转化过程中仍保持了原有风味。
This intersection had been bland and anonymous.Now it had a sense of place.I walked underneath itfor the first time.As I watched the wind's choreography unfold,I felt shelteredand, at the same time,connected to limitless sky.My life was not going to be the same.I want to create these oases of sculpturein spaces of cities around the world.I'm going to share two directionsthat are new in my work.
Historic Philadelphia City Hall:its plaza, I felt, needed a material for sculpturethat was lighter than netting.So we experimentedwith tiny atomized water particlesto create a dry mistthat is shaped by the windand in testing, discoveredthat it can be shaped by peoplewho can interact and move through it without getting wet.I'm using this sculpture materialto trace the paths of subway trains above groundin real time --like an X-ray of the city's circulatory system unfolding.
历史悠久的费城城市大厅,这是它的广场雷浪声,我当时认为,我们需要的雕塑材料要比网还轻。我们实验了这些微型原子化水离子,创造出一种干的薄雾,能够被风改变形状犯罪升级 。在测试中我们发现它也能被人改变外形并且穿行其中的人们不会被沾湿,我用这种雕塑材料在地表来追踪地铁即时的路径,这就像城市循环系统扩散的X射线。
Next challenge,the Biennial of the Americas in Denverasked, could I representthe 35 nations of the Western hemisphere and their interconnectednessin a sculpture?(Laughter)I didn't know where to begin,but I said yes.I read about the recent earthquake in Chileand the tsunami that rippled acrossthe entire Pacific Ocean.
It shifted the Earth's tectonic plates,sped up the planet's rotationand literally shortened the length of the day.So I contacted NOAA,and I asked if they'd share their data on the tsunami,and translated it into this.Its title: "1.26"refers to the number of microsecondsthat the Earth's day was shortened.
I couldn't build this with a steel ring, the way I knew.Its shape was too complex now.So I replaced the metal armaturewith a soft, fine meshof a fiber 15 times stronger than steel.The sculpture could now be entirely soft,which made it so lightit could tie in to existing buildings --literally becoming part of the fabric of the city.There was no softwarethat could extrude these complex net formsand model them with gravity.So we had to create it.
Then I got a call from New York Cityasking if I could adapt these conceptsto Times Squareor the High Line.This new soft structural methodenables me to model theseand build these sculpturesat the scale of skyscrapers.They don't have funding yet,but I dream nowof bringing these to cities around the worldwhere they're most needed.
Fourteen years ago,I searched for beautyin the traditional things,in craft forms.Now I combine them with hi-tech materials and engineeringto create voluptuous, billowing formsthe scale of buildings.My artistic horizons continue to grow.
I'll leave you with this story.I got a call from a friend in Phoenix.An attorney in the officewho'd never been interested in art,never visited the local art museum,dragged everyone she could from the buildingand got them outside to lie down underneath the sculpture.There they were in their business suits,laying in the grass,noticing the changing patterns of windbeside people they didn't know,sharing the rediscovery of wonder.
最后,我要告诉你们这个故事我接到了凤凰城一个朋友的电话,她是一个办公室律师,从未对艺术感兴趣过,从未去过当地的艺术博物馆,但却把所有她能号召的人拉出大楼傅芬芳 ,让大家一起躺在雕塑的下方。他们躺在那儿,穿着商务套装躺在草地中,看着雕塑的形状随风而变,与陌生人一起分享这重新发现的美。
Thank you. Thank you.Thank you.Thank you. Thank you.(Applause)
徐州0516-87777730/133 7512 1899
淮北0561-3158566/153 0561 1953
180 9662 5503邹老师
156 6551 9788王老师