"The sculpture's name, Ada, references Ada Lovelace, who, in the 19th century, wrote a series of notes to Charles Babbage about his idea for an “analytical engine."

這(zhe)件雕(diao)塑的名(ming)字(zi)叫艾達，是指艾達·洛夫萊斯(si)，他在19世紀給查爾斯·巴(ba)貝奇寫了一(yi)系列關于“分析引(yin)擎”的筆記

Some interactive, kinetic sculptures, like Olafur Eliasson’s Weather Project or Roman Ondák’s Measuring the Universe, require the viewer to also help complete it. Others, like AnL Studio’s Lightwave, interact in order to take on anthropomorphic, animated qualities. Well, Karina Smigla-Bobinski’s Ada, an interactive sculpture (...) does both.

一(yi)些互動的、動態的雕塑(su)，比(bi)如奧(ao)拉弗爾(er)·埃利亞松(song)（Olafur Eliasson）的天氣項目或羅曼·翁達克（Roman Ondák）的《測量宇(yu)宙》（Measurement the Universe），也需要觀眾幫(bang)助完成。其他的，比如(ru)AnL Studio的光波，為了(le)表現出擬人化、動畫化的特(te)性而進行交(jiao)互(hu)。Karina Smigla Bobinski的Ada，一個互動雕塑（…）兩者(zhe)都有。

The Ada – analog interactive installation is a transparent helium balloon about three feet in diameter with 300 charcoal sticks stuck on the balloon, each about 10 inches apart, using a technique that Smigla-Bobinski developed especially for this artwork. What people do when they come into contact with the floating, membrane-looking spiked globe as it floats around the gallery space is where it gets interesting.

這個裝置是一個直徑約3英尺的透明氦氣球，氣球上粘著(zhu)300根木炭棒(bang)，每根木炭棒(bang)相(xiang)隔約10英(ying)寸(cun)，使用的是斯米(mi)格(ge)拉·博賓斯基（Smigla Bobinski）專門為這件(jian)藝(yi)術(shu)品開發的技(ji)術(shu)。當人們接觸到漂(piao)浮在畫(hua)廊空間中的、看起來像薄膜的帶刺球體時，他們會做些什么，這才(cai)是有(you)趣的地方(fang)。

Some people approach the orb gingerly; other times they grab the charcoal sticks like handles and try to bend it to their will. Some people bounce it around like a beach ball at a baseball game. About halfway through, an old man tries to actually draw something, only to have it wrestled away by the laws of physics. Every time it hits the wall, the charcoal scratches its mark along the walls, turning the alien-looking, transparent membrane into an automatic art-making machine. In this, the sculpture references her namesake, Ada Lovelace, who, in the 19th century, wrote a series of notes related to a paper on her friend Charles Babbage’s “analytical engine,” i.e., computer, which they hoped would also make works of art as well.

有些人小心翼翼地接近球體；有時，他們會像(xiang)(xiang)抓(zhua)把手一樣抓(zhua)住木炭棒(bang)，并試圖按自(zi)(zi)己的意愿彎曲(qu)木炭棒(bang)。有(you)些人會像(xiang)(xiang)棒(bang)球比賽中(zhong)的沙灘球一樣彈起它(ta)。大約在畫到一半的時候，一位老人試圖畫一些東(dong)西(xi)，結果卻被(bei)物理(li)定律奪走了(le)(le)。每次碰到墻(qiang)壁，木炭都會沿著墻(qiang)壁劃傷它(ta)的痕(hen)跡，把這(zhe)(zhe)個看起來像(xiang)(xiang)外星人的透明(ming)薄(bo)膜(mo)變成一臺(tai)自(zi)(zi)動藝術(shu)制作(zuo)機器(qi)。在這(zhe)(zhe)件作(zuo)品中(zhong)，這(zhe)(zhe)座(zuo)雕塑引用了(le)(le)與她(ta)同名的艾達·洛夫蕾斯（Ada Lovelace），她在19世紀寫了(le)一系列與(yu)她的(de)朋友(you)查爾斯·巴(ba)貝奇（Charles Babbage）的“分析引擎(qing)”（analytical engine，即計(ji)算(suan)機(ji)）相關的筆記(ji)，他們(men)希(xi)望(wang)計(ji)算(suan)機(ji)也能制作(zuo)(zuo)藝術作(zuo)(zuo)品(pin)。

Smigla-Bobisnki hints that she's fine with not necessarily even knowing the extent of what she's created: “What here is exactly the work of art?" she wrote in an email to me. Ada? Or the drawing on the wall? ... Or both?” What she begins, the audience completes, and the result is an interesting look at the balance of power in what is essentially a rigged collaboration. “Once you set her into motion, she just works away,” Smigla-Bobinski continues. “The blacker she gets from the charcoal and the more she is handled by visitors, the more she seems to be some kind of alive. Even I, who built her, sometimes gets the illusion of her being a living thing.”

斯米格拉·波比(bi)辛基表示，她不(bu)必知道自己創作的(de)(de)作品的(de)(de)范圍：“這藝術品(pin)到底是什么？”她在給我的電子郵件(jian)中寫道(dao)。是艾達？還(huan)是墻上的(de)畫？……或者兩者兼而有之？”她開始這個藝術，觀眾幫她完成，結果有趣的是看到了一種(zhong)合(he)作中的平衡。斯米(mi)格拉·博(bo)賓斯(si)基(ji)繼續(xu)說道：“一旦(dan)你讓她(ta)(ta)動起來，她(ta)(ta)就會(hui)不(bu)停地工作。”。“她(ta)(ta)從木炭中得到的顏色越黑，被游客接觸(chu)的次數越多，她(ta)(ta)似(si)乎就越有活力。就連建造她(ta)(ta)的我，有時也會(hui)覺得她(ta)(ta)是個活物(wu)。”