When I was little --
When I was little --

and by the way, I was little once --
and by the way, I was little once --

my father told me a story
my father told me a story

about an 18th century watchmaker.
about an 18th century watchmaker.

And what this guy had done:
And what this guy had done:

he used to produce these fabulously beautiful watches.
he used to produce these fabulously beautiful watches.

And one day, one of his customers came into his workshop
And one day, one of his customers came into his workshop

and asked him to clean the watch that he'd bought.
and asked him to clean the watch that he'd bought.

And the guy took it apart,
And the guy took it apart,

and one of the things he pulled out was one of the balance wheels.
and one of the things he pulled out was one of the balance wheels.

And as he did so, his customer noticed
And as he did so, his customer noticed

that on the back side of the balance wheel was an engraving,
that on the back side of the balance wheel was an engraving,

were words.
were words.

And he said to the guy,
And he said to the guy,

"Why have you put stuff on the back
"Why have you put stuff on the back

that no one will ever see?"
that no one will ever see?"

And the watchmaker turned around and said,
And the watchmaker turned around and said,

"God can see it."
"God can see it."

Now I'm not in the least bit religious,
Now I'm not in the least bit religious,

neither was my father,
neither was my father,

but at that point, I noticed something happening here.
but at that point, I noticed something happening here.

I felt something
I felt something

in this plexus of blood vessels and nerves,
in this plexus of blood vessels and nerves,

and there must be some muscles in there as well somewhere, I guess.
and there must be some muscles in there as well somewhere, I guess.

But I felt something.
But I felt something.

And it was a physiological response.
And it was a physiological response.

And from that point on, from my age at the time,
And from that point on, from my age at the time,

I began to think of things in a different way.
I began to think of things in a different way.

And as I took on my career as a designer,
And as I took on my career as a designer,

I began to ask myself the simple question:
I began to ask myself the simple question:

Do we actually think beauty,
Do we actually think beauty,

or do we feel it?
or do we feel it?

Now you probably know the answer to this already.
Now you probably know the answer to this already.

You probably think, well, I don't know which one you think it is,
You probably think, well, I don't know which one you think it is,

but I think it's about feeling beauty.
but I think it's about feeling beauty.

And so I then moved on into my design career
And so I then moved on into my design career

and began to find some exciting things.
and began to find some exciting things.

One of the most early work was done in automotive design --
One of the most early work was done in automotive design --

some very exciting work was done there.
some very exciting work was done there.

And during a lot of this work,
And during a lot of this work,

we found something, or I found something,
we found something, or I found something,

that really fascinated me, and maybe you can remember it.
that really fascinated me, and maybe you can remember it.

Do you remember when lights used to just go on and off,
Do you remember when lights used to just go on and off,

click click, when you closed the door in a car?
click click, when you closed the door in a car?

And then somebody, I think it was BMW,
And then somebody, I think it was BMW,

introduced a light that went out slowly.
introduced a light that went out slowly.

Remember that?
Remember that?

I remember it clearly.
I remember it clearly.

Do you remember the first time you were in a car and it did that?
Do you remember the first time you were in a car and it did that?

I remember sitting there thinking, this is fantastic.
I remember sitting there thinking, this is fantastic.

In fact, I've never found anybody
In fact, I've never found anybody

that doesn't like the light that goes out slowly.
that doesn't like the light that goes out slowly.

I thought, well what the hell's that about?
I thought, well what the hell's that about?

So I started to ask myself questions about it.
So I started to ask myself questions about it.

And the first was, I'd ask other people: "Do you like it?" "Yes."
And the first was, I'd ask other people: "Do you like it?" "Yes."

"Why?" And they'd say, "Oh, it feels so natural,"
"Why?" And they'd say, "Oh, it feels so natural,"

or, "It's nice."
or, "It's nice."

I thought, well that's not good enough.
I thought, well that's not good enough.

Can we cut down a little bit further,
Can we cut down a little bit further,

because, as a designer, I need the vocabulary, I need the keyboard,
because, as a designer, I need the vocabulary, I need the keyboard,

of how this actually works.
of how this actually works.

And so I did some experiments.
And so I did some experiments.

And I suddenly realized
And I suddenly realized

that there was something that did exactly that --
that there was something that did exactly that --

light to dark in six seconds --
light to dark in six seconds --

exactly that.
exactly that.

Do you know what it is? Anyone?
Do you know what it is? Anyone?

You see, using this bit, the thinky bit,
You see, using this bit, the thinky bit,

the slow bit of the brain -- using that.
the slow bit of the brain -- using that.

And this isn't a think, it's a feel.
And this isn't a think, it's a feel.

And would you do me a favor?
And would you do me a favor?

For the next 14 minutes or whatever it is,
For the next 14 minutes or whatever it is,

will you feel stuff?
will you feel stuff?

I don't need you to think so much as I want you to feel it.
I don't need you to think so much as I want you to feel it.

I felt a sense of relaxation
I felt a sense of relaxation

tempered with anticipation.
tempered with anticipation.

And that thing that I found
And that thing that I found

was the cinema or the theater.
was the cinema or the theater.

It's actually just happened here --
It's actually just happened here --

light to dark in six seconds.
light to dark in six seconds.

And when that happens, are you sitting there going,
And when that happens, are you sitting there going,

"No, the movie's about to start,"
"No, the movie's about to start,"

or are you going, "That's fantastic. I'm looking forward to it.
or are you going, "That's fantastic. I'm looking forward to it.

I get a sense of anticipation"?
I get a sense of anticipation"?

Now I'm not a neuroscientist.
Now I'm not a neuroscientist.

I don't know even if there is something called a conditioned reflex.
I don't know even if there is something called a conditioned reflex.

But it might be.
But it might be.

Because the people I speak to in the northern hemisphere
Because the people I speak to in the northern hemisphere

that used to go in the cinema get this.
that used to go in the cinema get this.

And some of the people I speak to
And some of the people I speak to

that have never seen a movie or been to the theater
that have never seen a movie or been to the theater

don't get it in the same way.
don't get it in the same way.

Everybody likes it,
Everybody likes it,

but some like it more than others.
but some like it more than others.

So this leads me to think of this in a different way.
So this leads me to think of this in a different way.

We're not feeling it. We're thinking beauty is in the limbic system --
We're not feeling it. We're thinking beauty is in the limbic system --

if that's not an outmoded idea.
if that's not an outmoded idea.

These are the bits, the pleasure centers,
These are the bits, the pleasure centers,

and maybe what I'm seeing and sensing and feeling
and maybe what I'm seeing and sensing and feeling

is bypassing my thinking.
is bypassing my thinking.

The wiring from your sensory apparatus to those bits
The wiring from your sensory apparatus to those bits

is shorter than the bits that have to pass through the thinky bit, the cortex.
is shorter than the bits that have to pass through the thinky bit, the cortex.

They arrive first.
They arrive first.

So how do we make that actually work?
So how do we make that actually work?

And how much of that reactive side of it
And how much of that reactive side of it

is due to what we already know,
is due to what we already know,

or what we're going to learn, about something?
or what we're going to learn, about something?

This is one of the most beautiful things I know.
This is one of the most beautiful things I know.

It's a plastic bag.
It's a plastic bag.

And when I looked at it first, I thought, no, there's no beauty in that.
And when I looked at it first, I thought, no, there's no beauty in that.

Then I found out,
Then I found out,

post exposure,
post exposure,

that this plastic bag if I put it into a filthy puddle
that this plastic bag if I put it into a filthy puddle

or a stream filled with coliforms
or a stream filled with coliforms

and all sorts of disgusting stuff,
and all sorts of disgusting stuff,

that that filthy water
that that filthy water

will migrate through the wall of the bag by osmosis
will migrate through the wall of the bag by osmosis

and end up inside it as pure, potable drinking water.
and end up inside it as pure, potable drinking water.

And all of a sudden, this plastic bag
And all of a sudden, this plastic bag

was extremely beautiful to me.
was extremely beautiful to me.

Now I'm going to ask you again
Now I'm going to ask you again

to switch on the emotional bit.
to switch on the emotional bit.

Would you mind taking the brain out,
Would you mind taking the brain out,

and I just want you to feel something.
and I just want you to feel something.

Look at that. What are you feeling about it?
Look at that. What are you feeling about it?

Is it beautiful? Is it exciting?
Is it beautiful? Is it exciting?

I'm watching your faces very carefully.
I'm watching your faces very carefully.

There's some rather bored-looking gentlemen
There's some rather bored-looking gentlemen

and some slightly engaged-looking ladies
and some slightly engaged-looking ladies

who are picking up something off that.
who are picking up something off that.

Maybe there's an innocence to it.
Maybe there's an innocence to it.

Now I'm going to tell you what it is. Are you ready?
Now I'm going to tell you what it is. Are you ready?

This is the last act on this Earth
This is the last act on this Earth

of a little girl called Heidi, five years old,
of a little girl called Heidi, five years old,

before she died of cancer to the spine.
before she died of cancer to the spine.

It's the last thing she did,
It's the last thing she did,

the last physical act.
the last physical act.

Look at that picture.
Look at that picture.

Look at the innocence. Look at the beauty in it.
Look at the innocence. Look at the beauty in it.

Is it beautiful now?
Is it beautiful now?

Stop. Stop. How do you feel?
Stop. Stop. How do you feel?

Where are you feeling this?
Where are you feeling this?

I'm feeling it here. I feel it here.
I'm feeling it here. I feel it here.

And I'm watching your faces,
And I'm watching your faces,

because your faces are telling me something.
because your faces are telling me something.

The lady over there is actually crying, by the way.
The lady over there is actually crying, by the way.

But what are you doing?
But what are you doing?

I watch what people do.
I watch what people do.

I watch faces.
I watch faces.

I watch reactions.
I watch reactions.

Because I have to know how people react to things.
Because I have to know how people react to things.

And one of the most common faces
And one of the most common faces

on something faced with beauty,
on something faced with beauty,

something stupefyingly delicious,
something stupefyingly delicious,

is what I call the OMG.
is what I call the OMG.

And by the way, there's no pleasure in that face.
And by the way, there's no pleasure in that face.

It's not a "this is wonderful!"
It's not a "this is wonderful!"

The eyebrows are doing this, the eyes are defocused,
The eyebrows are doing this, the eyes are defocused,

and the mouth is hanging open.
and the mouth is hanging open.

That's not the expression of joy.
That's not the expression of joy.

There's something else in that.
There's something else in that.

There's something weird happening.
There's something weird happening.

So pleasure seems to be tempered
So pleasure seems to be tempered

by a whole series of different things coming in.
by a whole series of different things coming in.

Poignancy is a word I love as a designer.
Poignancy is a word I love as a designer.

It means something triggering a big emotional response,
It means something triggering a big emotional response,

often quite a sad emotional response,
often quite a sad emotional response,

but it's part of what we do.
but it's part of what we do.

It isn't just about nice.
It isn't just about nice.

And this is the dilemma, this is the paradox, of beauty.
And this is the dilemma, this is the paradox, of beauty.

Sensorily, we're taking in all sorts of things --
Sensorily, we're taking in all sorts of things --

mixtures of things that are good, bad, exciting, frightening --
mixtures of things that are good, bad, exciting, frightening --

to come up with that sensorial exposure,
to come up with that sensorial exposure,

that sensation of what's going on.
that sensation of what's going on.

Pathos appears obviously
Pathos appears obviously

as part of what you just saw in that little girl's drawing.
as part of what you just saw in that little girl's drawing.

And also triumph, this sense of transcendence,
And also triumph, this sense of transcendence,

this "I never knew that. Ah, this is something new."
this "I never knew that. Ah, this is something new."

And that's packed in there as well.
And that's packed in there as well.

And as we assemble these tools,
And as we assemble these tools,

from a design point of view, I get terribly excited about it,
from a design point of view, I get terribly excited about it,

because these are things, as we've already said,
because these are things, as we've already said,

they're arriving at the brain, it would seem,
they're arriving at the brain, it would seem,

before cognition, before we can manipulate them --
before cognition, before we can manipulate them --

electrochemical party tricks.
electrochemical party tricks.

Now what I'm also interested in is:
Now what I'm also interested in is:

Is it possible to separate
Is it possible to separate

intrinsic and extrinsic beauty?
intrinsic and extrinsic beauty?

By that, I mean intrinsically beautiful things,
By that, I mean intrinsically beautiful things,

just something that's exquisitely beautiful,
just something that's exquisitely beautiful,

that's universally beautiful.
that's universally beautiful.

Very hard to find. Maybe you've got some examples of it.
Very hard to find. Maybe you've got some examples of it.

Very hard to find something that, to everybody,
Very hard to find something that, to everybody,

is a very beautiful thing,
is a very beautiful thing,

without a certain amount of information packed in there before.
without a certain amount of information packed in there before.

So a lot of it tends to be extrinsic.
So a lot of it tends to be extrinsic.

It's mediated by information before the comprehension.
It's mediated by information before the comprehension.

Or the information's added on at the back,
Or the information's added on at the back,

like that little girl's drawing that I showed you.
like that little girl's drawing that I showed you.

Now when talking about beauty
Now when talking about beauty

you can't get away from the fact
you can't get away from the fact

that a lot experiments have been done in this way
that a lot experiments have been done in this way

with faces and what have you.
with faces and what have you.

And one of the most tedious ones, I think,
And one of the most tedious ones, I think,

was saying that beauty was about symmetry.
was saying that beauty was about symmetry.

Well it obviously isn't.
Well it obviously isn't.

This is a more interesting one
This is a more interesting one

where half faces were shown to some people,
where half faces were shown to some people,

and then to add them into a list
and then to add them into a list

of most beautiful to least beautiful
of most beautiful to least beautiful

and then exposing a full face.
and then exposing a full face.

And they found that it was almost exact coincidence.
And they found that it was almost exact coincidence.

So it wasn't about symmetry.
So it wasn't about symmetry.

In fact, this lady has a particularly asymmetrical face,
In fact, this lady has a particularly asymmetrical face,

of which both sides are beautiful.
of which both sides are beautiful.

But they're both different.
But they're both different.

And as a designer, I can't help meddling with this,
And as a designer, I can't help meddling with this,

so I pulled it to bits and sort of did stuff like this,
so I pulled it to bits and sort of did stuff like this,

and tried to understand what the individual elements were,
and tried to understand what the individual elements were,

but feeling it as I go.
but feeling it as I go.

Now I can feel a sensation of delight and beauty
Now I can feel a sensation of delight and beauty

if I look at that eye.
if I look at that eye.

I'm not getting it off the eyebrow.
I'm not getting it off the eyebrow.

And the earhole isn't doing it to me at all.
And the earhole isn't doing it to me at all.

So I don't know how much this is helping me,
So I don't know how much this is helping me,

but it's helping to guide me to the places
but it's helping to guide me to the places

where the signals are coming off.
where the signals are coming off.

And as I say, I'm not a neuroscientist,
And as I say, I'm not a neuroscientist,

but to understand how I can start to assemble things
but to understand how I can start to assemble things

that will very quickly bypass
that will very quickly bypass

this thinking part
this thinking part

and get me to the enjoyable precognitive elements.
and get me to the enjoyable precognitive elements.

Anais Nin and the Talmud have told us time and time again
Anais Nin and the Talmud have told us time and time again

that we see things not as they are, but as we are.
that we see things not as they are, but as we are.

So I'm going to shamelessly expose something to you,
So I'm going to shamelessly expose something to you,

which is beautiful to me.
which is beautiful to me.

And this is the F1 MV Agusta.
And this is the F1 MV Agusta.

Ahhhh.
Ahhhh.

It is really -- I mean, I can't express to you
It is really -- I mean, I can't express to you

how exquisite this object is.
how exquisite this object is.

But I also know why it's exquisite to me,
But I also know why it's exquisite to me,

because it's a palimpsest of things.
because it's a palimpsest of things.

It's masses and masses of layers.
It's masses and masses of layers.

This is just the bit that protrudes into our physical dimension.
This is just the bit that protrudes into our physical dimension.

It's something much bigger.
It's something much bigger.

Layer after layer of legend, sport, details that resonate.
Layer after layer of legend, sport, details that resonate.

I mean, if I just go through some of them now --
I mean, if I just go through some of them now --

I know about laminar flow when it comes to air-piercing objects,
I know about laminar flow when it comes to air-piercing objects,

and that does it consummately well, you can see it can.
and that does it consummately well, you can see it can.

So that's getting me excited.
So that's getting me excited.

And I feel that here.
And I feel that here.

This bit, the big secret of automotive design --
This bit, the big secret of automotive design --

reflection management.
reflection management.

It's not about the shapes,
It's not about the shapes,

it's how the shapes reflect light.
it's how the shapes reflect light.

Now that thing, light flickers across it as you move,
Now that thing, light flickers across it as you move,

so it becomes a kinetic object,
so it becomes a kinetic object,

even though it's standing still --
even though it's standing still --

managed by how brilliantly that's done on the reflection.
managed by how brilliantly that's done on the reflection.

This little relief on the footplate, by the way, to a rider
This little relief on the footplate, by the way, to a rider

means there's something going on underneath it --
means there's something going on underneath it --

in this case, a drive chain running at 300 miles and hour probably,
in this case, a drive chain running at 300 miles and hour probably,

taking the power from the engine.
taking the power from the engine.

I'm getting terribly excited
I'm getting terribly excited

as my mind and my eyes flick across these things.
as my mind and my eyes flick across these things.

Titanium lacquer on this.
Titanium lacquer on this.

I can't tell you how wonderful this is.
I can't tell you how wonderful this is.

That's how you stop the nuts coming off at high speed on the wheel.
That's how you stop the nuts coming off at high speed on the wheel.

I'm really getting into this now.
I'm really getting into this now.

And of course, a racing bike doesn't have a prop stand,
And of course, a racing bike doesn't have a prop stand,

but this one, because it's a road bike,
but this one, because it's a road bike,

it all goes away and it folds into this little gap.
it all goes away and it folds into this little gap.

So it disappears.
So it disappears.

And then I can't tell you how hard it is to do that radiator, which is curved.
And then I can't tell you how hard it is to do that radiator, which is curved.

Why would you do that?
Why would you do that?

Because I know we need to bring the wheel farther into the aerodynamics.
Because I know we need to bring the wheel farther into the aerodynamics.

So it's more expensive, but it's wonderful.
So it's more expensive, but it's wonderful.

And to cap it all,
And to cap it all,

brand royalty --
brand royalty --

Agusta, Count Agusta,
Agusta, Count Agusta,

from the great histories of this stuff.
from the great histories of this stuff.

The bit that you can't see is the genius that created this.
The bit that you can't see is the genius that created this.

Massimo Tamburini.
Massimo Tamburini.

They call him "The Plumber" in Italy,
They call him "The Plumber" in Italy,

as well as "Maestro,"
as well as "Maestro,"

because he actually is engineer
because he actually is engineer

and craftsman and sculptor at the same time.
and craftsman and sculptor at the same time.

There's so little compromise on this, you can't see it.
There's so little compromise on this, you can't see it.

But unfortunately, the likes of me and people that are like me
But unfortunately, the likes of me and people that are like me

have to deal with compromise all the time with beauty.
have to deal with compromise all the time with beauty.

We have to deal with it.
We have to deal with it.

So I have to work with a supply chain, and I've got to work with the technologies,
So I have to work with a supply chain, and I've got to work with the technologies,

and I've got to work with everything else all the time,
and I've got to work with everything else all the time,

and so compromises start to fit into it.
and so compromises start to fit into it.

And so look at her.
And so look at her.

I've had to make a bit of a compromise there.
I've had to make a bit of a compromise there.

I've had to move that part across, but only a millimeter.
I've had to move that part across, but only a millimeter.

No one's noticed, have they yet?
No one's noticed, have they yet?

Did you see what I did?
Did you see what I did?

I moved three things by a millimeter.
I moved three things by a millimeter.

Pretty? Yes.
Pretty? Yes.

Beautiful? Maybe lesser.
Beautiful? Maybe lesser.

But then, of course, the consumer says that doesn't really matter.
But then, of course, the consumer says that doesn't really matter.

So that's okay, isn't it?
So that's okay, isn't it?

Another millimeter?
Another millimeter?

No one's going to notice those split lines and changes.
No one's going to notice those split lines and changes.

It's that easy to lose beauty,
It's that easy to lose beauty,

because beauty's incredibly difficult to do.
because beauty's incredibly difficult to do.

And only a few people can do it.
And only a few people can do it.

And a focus group cannot do it.
And a focus group cannot do it.

And a team rarely can do it.
And a team rarely can do it.

It takes a central cortex, if you like,
It takes a central cortex, if you like,

to be able to orchestrate all those elements at the same time.
to be able to orchestrate all those elements at the same time.

This is a beautiful water bottle --
This is a beautiful water bottle --

some of you know of it --
some of you know of it --

done by Ross Lovegrove, the designer.
done by Ross Lovegrove, the designer.

This is pretty close to intrinsic beauty. This one,
This is pretty close to intrinsic beauty. This one,

as long as you know what water is like
as long as you know what water is like

then you can experience this.
then you can experience this.

It's lovely because it is an embodiment
It's lovely because it is an embodiment

of something refreshing and delicious.
of something refreshing and delicious.

I might like it more than you like it,
I might like it more than you like it,

because I know how bloody hard it is to do it.
because I know how bloody hard it is to do it.

It's stupefyingly difficult
It's stupefyingly difficult

to make something that refracts light like that,
to make something that refracts light like that,

that comes out of the tool correctly,
that comes out of the tool correctly,

that goes down the line without falling over.
that goes down the line without falling over.

Underneath this, like the story of the swan,
Underneath this, like the story of the swan,

is a million things very difficult to do.
is a million things very difficult to do.

So all hail to that.
So all hail to that.

It's a fantastic example, a simple object.
It's a fantastic example, a simple object.

And the one I showed you before was, of course, a massively complex one.
And the one I showed you before was, of course, a massively complex one.

And they're working in beauty
And they're working in beauty

in slightly different ways because of it.
in slightly different ways because of it.

You all, I guess, like me,
You all, I guess, like me,

enjoy watching a ballet dancer dance.
enjoy watching a ballet dancer dance.

And part of the joy of it is, you know the difficulty.
And part of the joy of it is, you know the difficulty.

You also may be taking into account the fact that it's incredibly painful.
You also may be taking into account the fact that it's incredibly painful.

Anybody seen a ballet dancer's toes
Anybody seen a ballet dancer's toes

when they come out of the points?
when they come out of the points?

While she's doing these graceful arabesques and plies and what have you,
While she's doing these graceful arabesques and plies and what have you,

something horrible's going on down here.
something horrible's going on down here.

The comprehension of it
The comprehension of it

leads us to a greater and heightened sense
leads us to a greater and heightened sense

of the beauty of what's actually going on.
of the beauty of what's actually going on.

Now I'm using microseconds wrongly here,
Now I'm using microseconds wrongly here,

so please ignore me.
so please ignore me.

But what I have to do now, feeling again,
But what I have to do now, feeling again,

what I've got to do is to be able to supply enough of these enzymes,
what I've got to do is to be able to supply enough of these enzymes,

of these triggers into something early on in the process,
of these triggers into something early on in the process,

that you pick it up,
that you pick it up,

not through your thinking, but through your feeling.
not through your thinking, but through your feeling.

So we're going to have a little experiment.
So we're going to have a little experiment.

Right, are you ready? I'm going to show you something for a very, very brief moment.
Right, are you ready? I'm going to show you something for a very, very brief moment.

Are you ready? Okay.
Are you ready? Okay.

Did you think that was a bicycle when I showed it to you at the first flash?
Did you think that was a bicycle when I showed it to you at the first flash?

It's not.
It's not.

Tell me something, did you think it was quick when you first saw it? Yes you did.
Tell me something, did you think it was quick when you first saw it? Yes you did.

Did you think it was modern? Yes you did.
Did you think it was modern? Yes you did.

That blip, that information, shot into you before that.
That blip, that information, shot into you before that.

And because your brain starter motor began there,
And because your brain starter motor began there,

now it's got to deal with it.
now it's got to deal with it.

And the great thing is, this motorcycle has been styled this way
And the great thing is, this motorcycle has been styled this way

specifically to engender a sense
specifically to engender a sense

that it's green technology and it's good for you
that it's green technology and it's good for you

and it's light and it's all part of the future.
and it's light and it's all part of the future.

So is that wrong?
So is that wrong?

Well in this case it isn't,
Well in this case it isn't,

because it's a very, very ecologically-sound piece of technology.
because it's a very, very ecologically-sound piece of technology.

But you're a slave of that first flash.
But you're a slave of that first flash.

We are slaves to the first few fractions of a second --
We are slaves to the first few fractions of a second --

and that's where much of my work
and that's where much of my work

has to win or lose,
has to win or lose,

on a shelf in a shop.
on a shelf in a shop.

It wins or loses at that point.
It wins or loses at that point.

You may see 50, 100, 200 things on a shelf
You may see 50, 100, 200 things on a shelf

as you walk down it,
as you walk down it,

but I have to work within that domain,
but I have to work within that domain,

to ensure that it gets you there first.
to ensure that it gets you there first.

And finally, the layer that I love, of knowledge.
And finally, the layer that I love, of knowledge.

Some of you, I'm sure, will be familiar with this.
Some of you, I'm sure, will be familiar with this.

What's incredible about this,
What's incredible about this,

and the way I love to come back to it,
and the way I love to come back to it,

is this is taking something that you hate or bores you,
is this is taking something that you hate or bores you,

folding clothes,
folding clothes,

and if you can actually do this --
and if you can actually do this --

who can actually do this? Anybody try to do this?
who can actually do this? Anybody try to do this?

Yeah?
Yeah?

It's fantastic, isn't it?
It's fantastic, isn't it?

Look at that. Do you want to see it again?
Look at that. Do you want to see it again?

No time. It says I have two minutes left, so we can't do this.
No time. It says I have two minutes left, so we can't do this.

But just go to the Web, YouTube,
But just go to the Web, YouTube,

pull it down, "folding T-shirt."
pull it down, "folding T-shirt."

That's how underpaid younger-aged people have to fold your T-shirt.
That's how underpaid younger-aged people have to fold your T-shirt.

You didn't maybe know it.
You didn't maybe know it.

But how do you feel about it?
But how do you feel about it?

It feels fantastic when you do it, you look forward to doing it,
It feels fantastic when you do it, you look forward to doing it,

and when you tell somebody else about it -- like you probably have --
and when you tell somebody else about it -- like you probably have --

you look really smart.
you look really smart.

The knowledge bubble that sits around the outside,
The knowledge bubble that sits around the outside,

the stuff that costs nothing,
the stuff that costs nothing,

because that knowledge is free --
because that knowledge is free --

bundle that together and where do we come out?
bundle that together and where do we come out?

Form follows function?
Form follows function?

Only sometimes. Only sometimes.
Only sometimes. Only sometimes.

Form is function. Form is function.
Form is function. Form is function.

It informs, it tells us,
It informs, it tells us,

it supplies us answers before we've even thought about it.
it supplies us answers before we've even thought about it.

And so I've stopped using words like "form,"
And so I've stopped using words like "form,"

and I've stopped using words like "function" as a designer.
and I've stopped using words like "function" as a designer.

What I try to pursue now
What I try to pursue now

is the emotional functionality of things.
is the emotional functionality of things.

Because if I can get that right,
Because if I can get that right,

I can make them wonderful, and I can make them repeatedly wonderful.
I can make them wonderful, and I can make them repeatedly wonderful.

And you know what those products and services are,
And you know what those products and services are,

because you own some of them.
because you own some of them.

They're the things that you'd snatch if the house was on fire.
They're the things that you'd snatch if the house was on fire.

Forming the emotional bond
Forming the emotional bond

between this thing and you
between this thing and you

is an electrochemical party trick
is an electrochemical party trick

that happens before you even think about it.
that happens before you even think about it.

Thank you very much.
Thank you very much.

(Applause)
(Applause)