i really do believe that design is the highest form of creative expression that 's why i 'm talking to you today about the age of design and the age of design is the age in which design is still cute furniture is still posters is still fast cars what you see at moma today but in truth
what i really would like to explain to the public and to the audiences of moma is that the most interesting chairs are the ones that are actually
that design is so much more than cute chairs
that it is first and foremost everything that is around us in our life and it 's interesting how so much of what we 're talking about tonight is not simply design but interaction design
pointedly with works for instance by martin wattenberg the way a machine plays chess with itself that you see here or lisa strausfeld and her partners the sugar interface for one laptop per child
and also jonathan harris and sep kamvar 's i want you to want me these were some of the first acquisitions that really introduced the idea
but also more recently we started
all hell broke loose in a really interesting way laughter there are still people that believe that there 's a high and there 's a low and that 's really what
exhibiting pac man and tetris alongside picasso and van gogh they 're two floors away
jonathan jones is making it happen so the same guardian
of design being often misunderstood for art or the idea that is so diffuse that designers want to aspire to would like to be called artists
no designers aspire to be really great designers thank you very much and that 's more than enough so my knight in shining armor john maeda without any prompt came out with this big declaration on why video games belong in the moma and that was fantastic and i thought that was it but then there was another
wonderfully pretentious article that came out in the new republic so pretentious by liel leibovitz and it said moma has mistaken video games for art again
the museum is putting pac man alongside picasso again that misses the point excuse me you 're missing the point
code oh so picasso is not art because it 's oil paint right so it 's so fantastic to see how these feathers that were ruffled and these reactions were so vehement and you know what the international cat video film festival didn 't have
and there 's this flaubert quote that i love i have always tried to live in an ivory tower but a tide of shit is beating at its walls threatening to undermine it i consider myself the tide of shit
i am so so proud to be able to call pac man part of the moma collection and the same with for instance tetris original version the soviet one and you know
reconstructed the whole game and even gave us a simulation of the cathode ray tube that makes it look slightly bombed and it 's fantastic so behind these acquisitions is an enormousamount of work because we 're still the museum of modern art so even when we tackle popular culture we tackle it
as a form of interaction design and as something that has to go into the collection at moma therefore has to be researched
so to get to choosing eric chahi 's wonderful another world amongst others we put together a panel of experts and we worked on this acquisition and it 's mostly myself and kate carmody and paul galloway we worked on it for a year and a half
so many people helped us designers of games you might know jamin warren and his collaborators at kill screen magazine and you know kevin slavin you name it we bugged everybody because we knew that we were ignorant we were not real gamers enough so we had to really talk to them
and so we decided of course to have sim city two thousand not the other sim city that one in particular so
artifacts that will more and more become part of our lives in the future
we live today as you know very well not in the digital not in the physical but in the kind of minestrone that our mind makes of the two and that 's really where interaction
i also talk about the metrocard vending machine which i consider a masterpiece of interaction i mean that interface is beautiful it looks like a burly mta guy coming out of the tunnel you know with your mitt you can actually paw the metrocard and i talk about how bad
not only the fun but also the responsibility that came with the tamagotchi
you know video games can be truly deep even when they 're completely mindless i 'm sure that all of you know katamari damacy it 's about rolling a ball and picking up as many objects as you can in a finite amount of time and hopefully you 'll be able to make it into a planet i 've never made it into a planet but that 's
alongside your music so really fantastic not to mention eve online eve online is an artificialuniverse if you wish but one of the diplomats that was killed in benghazi not ambassador stevens but one of his collaborators was a really big shot in eve online so here you have a diplomat in the real world that spends his time in eve online
to kind of test maybe all of his ideas about diplomacy and about universe building
and to the point that the first announcement
of the bombing was actually given on eve online and after his death several parts of the universe were named after him and i was just recently at the eve online
fan festival in reykjavik that was quite amazing i mean we 're talking about an experience that of course can seem weird to many but that is very educational of course there are games that are even more educational
dwarf fortress is like the holy grail of this kind of massive multiplayer online game and in fact the two adams brothers were in reykjavik and they were greeted by a standing ovation by all the eve online fans it was amazing to see and it 's a beautiful game so you start seeing here
that the aesthetics that are so important to a museum collection like moma 's are kept alive also by the selection of these games
and you know valve you know portal is an example of a video game in which you have a certain type of violence which also leads me to talk about one of the biggest issues that we had to discuss when we acquired the video games what to do with violence right we had to make decisions
at moma interestingly there 's a lot of violence depicted in the art part of the collection but when i came to moma nineteen years ago and as an italian i said you know what we need a beretta and i was told no no guns in the design collection and i was like why
we have portal because you shoot walls in order to create new spaces we have street fighter ii because martial arts are good
flow there 's no doubt it 's like it 's about serenity and it 's about sublime it 's about experiencing what it means to be a sea creature
what we want what we aspire to is the code it 's very hard to get of course but that 's what would enable us to preserve the video games for a really long time and that 's what museums do they also preserve artifacts for
time the way we experience time in video games as in other forms of interaction design is really quite amazing it can be real time or it can be the time within the game
as is in animal crossing where seasons follow each other at their own pace so time space aesthetics and then most important behavior
the real core issue of interaction design is behavior designers that deal with interaction design behaviors that go to influence the rest of our lives they 're not just limited to our interaction with the screen
in this case i 'm showing you marblemadness which is a beautiful game in which the controller is a big sphere that vibrates with you so you have a sphere that 's moving in this landscape and the sphere the controller itself gives you a sense of the movement
in a way you can see how video games are the purest aspect of interaction design and are very useful to explain what interaction is
there 's no paraphernalia no nostalagia only the screen and a little shelf with the controllers the controllers are of course part of the experience so you cannot
applied in one thousand nine hundred and thirty four when he wanted to make people understand the importance of design and he took propeller blades and pieces of machinery and in the moma galleries he put them on white pedestals against white walls as if they were brancusi sculptures he created this strange distance this shock
that made people realize how gorgeousformally and also important functionally design pieces were
i would like to do the same with video games by getting rid of the sticky carpets and the cigarette butts and everything else that we might remember from our childhood i want people to
that those are important forms of design and in a way the video games the fonts and everything else lead us to make people understand a wider meaning for design one of my dream acquisitions which has been on hold for a few years but now will come back on the front burner is a seven hundred and forty seven
i would like to acquire it but without owning it i don 't want it to be at moma and possessed by moma i want it to keep flying so it 's an acquisition where moma makes an arrangement with an airline and keeps the boeing seven hundred and forty seven flying
something that is truly important and that is part of our identity but that nobody can have
and it 's too long to explain the acquisition but if you want to go on the moma blog there 's a long post where i explain why it 's such a great example of design
along the way i 've had to burn a few chairs you know i 've had to do away with a few concepts of design past but i see that people are coming along that the audiences paradoxically are much more responsive and much more understanding of this expansion of design than some of my colleagues
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