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我擁有多學科背景。身為科學家,我去年擔任NASA火星模擬專案指揮官;身為藝術家,我在世界各地創作多元文化社群藝術,最近我將兩者結合,但讓我先稍微談一下NASA的任務。
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I am multidisciplinary. As a scientist, I've been a crew commander for a NASA Mars simulation last year, and as an artist, I create multicultural community art all over the planet. And recently, I've actually been combining both. But let me first talk a little more about that NASA mission.
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這是HI-SEAS專案(夏威夷太空探索類比與模擬專案)。HI-SEAS是NASA資助的模擬行星表面專案,地點在夏威夷冒納羅亞火山。這是一項專門探討長期隔離對小團隊影響的研究計畫,我和六名隊員在這個圓頂屋裡住了四個月,確實是相當有趣的經歷。我們做了各式各樣的研究,事實上主要是食品研究。但除了食品研究-即開發一套新食品系統,供生活在外太空的太空人使用-我們也進行各種其它研究。如你們所見,我們也進行艙外活動,穿著實體太空衣模型。但我們也有日常瑣事和許多其他事得做,例如每天結束前的問卷工作,相當繁忙。正如你所想像,與一小群人長期生活在一個狹小空間裡相當具挑戰性,會出現各式各樣的精神挑戰:在這種環境下如何保持團隊精神、生活在這種環境下如何處理時間扭曲感,還有睡眠問題等等。但我們也學到很多,我學到很多關於每位隊員如何處理上述情況的方法,如何使隊員保持積極樂觀的態度,例如讓他們擁有較大自主權是不錯的方法。
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This is the HI-SEAS program. HI-SEAS is a NASA-funded planetary surface analogue on the Mauna Loa volcano in Hawaii, and it's a research program that is specifically designed to study the effects of long-term isolation of small crews. I lived in this dome for four months with a crew of six, a very interesting experience, of course. We did all kinds of research. Our main research was actually a food study, but apart from that food study -- developing a new food system for astronauts living in deep space -- we also did all kinds of other research. We did extra-vehicular activities, as you can see here, wearing mock-up space suits, but we also had our chores and lots of other stuff to do, like questionnaires at the end of every day. Busy, busy work. Now, as you can imagine, it's quite challenging to live with just a small group of people in a small space for a long time. There's all kinds of psychological challenges: how to keep a team together in these circumstances; how to deal with the warping of time you start to sense when you're living in these circumstances; sleep problems that arise; etc. But also we learned a lot. I learned a lot about how individual crew members actually cope with a situation like this; how you can keep a crew productive and happy, for example, giving them a good deal of autonomy is a good trick to do that.
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老實說我學到許多關於領導力的知識,因為我是指揮官,因此進行這項任務時,我確實開始更深入地思考我們在外太空的未來。我們將冒險進入外太空並開始前住外太空定居,我對此深信不疑。這或許得花上50年、甚至500年時間,但終究會實現,因此我想出一個名為「探索者」的新藝術專案。探索者專案事實上是向全球社群發出挑戰,看看他們是否能設計出能重塑人類居住及生存的星艦原型,那就是這個專案的核心。很重要的一點是:這並非反烏托邦計畫,這並非「天哪!這世界出了問題,我們得設法逃離,因為我們需要在其他地方尋找未來。」不,並非如此。這個專案基本上是邀請大家脫離地球上的框架,重新構想我們的未來。這相當有幫助,進行得相當順利,因此這確實是我們行動中相當重要的部分。在這個專案中,我採用共同創作方法,這與你們想像中大多數藝術家採用的方法稍有不同。基本上我將一個簡單想法丟給一個團體或社群,人們開始受到這個想法吸引,然後我們共同塑造及創建這個藝術作品。感覺有點像白蟻,確實。我們只是共同合作,例如,甚至當建築師來參觀我們在做什麼時有時,他們也有點難以理解我們如何在缺乏整體計畫下進行建造。
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Honestly, I learned a lot about leadership, because I was a crew commander. So doing this mission, I really started thinking more deeply about our future in outer space. We will venture into outer space, and we will start inhabiting outer space. I have no doubt about it. It might take 50 years or it might take 500 years, but it's going to happen nevertheless. So I came up with a new art project called Seeker. And the Seeker project is actually challenging communities all over the world to come up with starship prototypes that re-envision human habitation and survival. That's the core of the project. Now, one important thing: This is not a dystopian project. This is not about, "Oh my God, the world is going wrong and we have to escape because we need another future somewhere else." No, no. The project is basically inviting people to take a step away from earthbound constraints and, as such, reimagine our future. And it's really helpful, and it works really well, so that's really the important part of what we're doing. Now, in this project, I'm using a cocreation approach, which is a slightly different approach from what you would expect from many artists.I'm essentially dropping a basic idea into a group, into a community, people start gravitating to the idea, and together, we shape and build the artwork. It's a little bit like termites, really. We just work together, and even, for example, when architects visit what we're doing,sometimes they have a bit of a hard time understanding how we build without a master plan.
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我們總是設計出這種壯觀的大型雕塑,事實上也能供人居住。第一個版本在比利時與荷蘭完工,由將近50人的團隊建造。這是同一個專案中第二次創作,但在不同國家-斯洛維尼亞-建造。這個新團隊說,我們要打造完全不同的建築,因此他們拆了原來的作品,保留基座,在基座上建造一個全新風格、更具生物形態的建築。這是專案另一個關鍵部分,使藝術作品進化,使建築進化。這是幾星期前在荷蘭展出的最新版本,以露營拖車作為建造星艦的模型。我們購買一些二手露營拖車,將它們切開,重組成一艘星艦。當我們想到星艦時,不僅將它視為科技上的挑戰,我們將它視為三個系統的結合:生態、人類、科技。因此在這項專案中一直存在強烈的生態要素,你們所見的是存在於太空人周遭的魚菜共生系統,因此他們持續接觸部分所吃的食物。這項專案有個特點,就是我們在這些藝術與設計專案中執行各自的隔離任務,我們連續幾天將自己關在裡面測試。我們建造的作品,例如這個,如你所見,右側是一個隔離任務,位於斯洛維尼亞盧比安納現代藝術博物館,六位藝術家和設計師把自己關在裡面,我是其中之一,在博物館裡關四天。當然,顯然這對我們所有人來說是相當切身及印象深刻的經歷。
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We always come up with these fantastic large-scale scupltures that actually we can also inhabit. The first version was done in Belgium and Holland. It was built with a team of almost 50 people. This is the second iteration of that same project, but in Slovenia, in a different country, and the new group was like, we're going to do the architecture differently. So they took away the architecture, they kept the base of the artwork, and they built an entirely new, much more biomorphic architecture on top of that. And that's another crucial part of the project. It's an evolving artwork, evolving architecture. This was the last version that was just presented a few weeks ago in Holland, which was using caravans as modules to build a starship. We bought some second-hand caravans, cut them open, and reassembled them into a starship. Now, when we're thinking about starships, we're not just approaching it as a technological challenge. We're really looking at it as a combination of three systems: ecology, people and technology. So there's always a strong ecological component in the project. Here you can see aquaponic systems that are actually surrounding the astronauts, so they're constantly in contact with part of the food that they're eating. Now, a very typical thing for this project is that we run our own isolation missions inside these art and design projects. We actually lock ourselves up for multiple days on end, and test what we build. And this is, for example, on the right hand side you can see an isolation mission in the Museum of Modern Art in Ljubljana in Slovenia, where six artists and designers locked themselves up -- I was part of that -- for four days inside the museum. And, of course, obviously, this is a very performative and very strong experience for all of us.
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下一個版本的專案目前正在開發中與Camilo Rodriguez-Beltran合作,他也是TED會員,地點在智利阿他加馬沙漠,一個神奇的地方。首先這裡被視為火星模擬場,所某些地方看起來確實很像火星,曾被NASA用來測試設備。這裡因觀星活動而擁有接觸太空的悠久歷史,它現在是ALMA望遠鏡誕生地,這種大型望遠鏡於此地開發。但這裡也是地球上最乾燥的地方,這使我們專案的執行變得相當有趣,因為突然間永續性變成我們需要充分探討的重點。我們沒有其它選擇,因此我十分好奇接下來會發生什麼情形。在這個專案的特別版本中有件令我非常感興趣的事,就是我們如何與當地居民合作,當地原住民。這些人在這裡生活了很長時間,可視為永續性領域專家,因此我對能從他們身上學到什麼十分感興趣,然後將當地知識融入太空探索中。因此我們試著重新定義如何看待我們在外太空的未來,藉由探索整體、生態、科技及人類,藉由共同創造方式,藉由運用及探索當地傳統,看看我們如何學習前人經驗,並將其整合到長遠的未來,謝謝。(掌聲)
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Now, the next version of the project is currently being developed together with Camilo Rodriguez-Beltran, who is also a TED Fellow, in the Atacama Desert in Chile, a magical place. First of all, it's really considered a Mars analogue. It really does look like Mars in certain locationsand has been used by NASA to test equipment. And it has a long history of being connected to space through observations of the stars. It's now home to ALMA, the large telescope that's being developed there. But also, it's the driest location on the planet, and that makes it extremely interesting to build our project, because suddenly, sustainability is something we have to explore fully. We have no other option, so I'm very curious to see what's going to happen. Now, a specific thing for this particular version of the project is that I'm very interested to see how we can connect with the local population,the native population. These people have been living there for a very long time and can be considered experts in sustainability, and so I'm very interested to see what we can learn from them, and have an input of indigenous knowledge into space exploration. So we're trying to redefine how we look at our future in outer space by exploring integration, biology, technology and people; by using a cocreation approach; and by using and exploring local traditions and to see how we can learn from the past and integrate that into our deep future. Thank you.