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You will understand nothing with my type of English.

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It's good for you because you can have a break after all these fantastic people.

3
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I must tell you I am like that, not very comfortable,

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because usually, in life, I think my job is absolutely useless.

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I mean, I feel useless.

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Now after Carolyn, and all the other guys, I feel like shit.

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And definitively, I don't know why I am here,

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but -- you know the nightmare you can have, like you are an impostor,

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you arrive at the opera, and they push you, "You must sing!"

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I don't know. (Laughter)

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So, so, because I have nothing to show, nothing to say,

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we shall try to speak about something else.

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We can start, if you want, by understanding --

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it's just to start, it's not interesting, but -- how I work.

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When somebody comes to me and ask for what I am known,

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I mean, yes, lemon squeezer, toilet brush, toothpick, beautiful toilet seats,

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and why not -- a toothbrush?

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I don't try to design the toothbrush.

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I don't try to say, "Oh, that will be a beautiful object," or something like that.

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That doesn't interest me.

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Because there is different types of design.

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The one, we can call it the cynical design,

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that means the design invented by Raymond Loewy in the '50s,

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who said, what is ugly is a bad sale, la laideur se vend mal, which is terrible.

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It means the design must be just the weapon for marketing,

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for producer to make product more sexy, like that,

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they sell more: it's shit, it's obsolete, it's ridiculous.

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I call that the cynical design.

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After, there is the narcissistic design:

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it's a fantastic designer who designs only for other fantastic designers. (Laughter)

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After, there is people like me, who try to deserve to exist,

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and who are so ashamed to make this useless job, who try to do it in another way,

33
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and they try, I try, to not make the object for the object but for the result,

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for the profit for the human being, the person who will use it.

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If we take the toothbrush -- I don't think about the toothbrush.

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I think, "What will be the effect of the brush in the mouth?"

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And to understand what will be the effect of the toothbrush in the mouth,

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I must imagine: Who owns this mouth?

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What is the life of the owner of this mouth? In what society [does] this guy live?

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What civilization creates this society?

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What animal species creates this civilization?

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When I arrive -- and I take one minute, I am not so intelligent --

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when I arrive at the level of animal species, that becomes real interesting.

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Me, I have strictly no power to change anything.

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But when I come back, I can understand why I shall not do it,

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because today to not do it, it's more positive than do it, or how I shall do it.

47
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But to come back, where I am at the animal species, there is things to see.

48
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There is things to see, there is the big challenge.

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The big challenge in front of us.

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Because there is not a human production

51
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which exists outside of what I call "the big image."

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The big image is our story, our poetry, our romanticism.

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Our poetry is our mutation, our life.

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We must remember, and we can see that in any book of my son of 10 years old,

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that life appears four billion years ago, around -- four billion point two?

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Voice offstage: Four point five.

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Yes, point five, OK, OK, OK! (Laughter) I'm a designer,

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that's all, of Christmas gifts.

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And before, there was this soup, called "soupe primordiale,"

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this first soup -- bloop bloop bloop --

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sort of dirty mud, no life, nothing.

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So then -- pshoo-shoo -- lightning -- pshoo -- arrive --

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pshoo-shoo -- makes life -- bloop bloop -- and that dies.

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Some million years after -- pshoo-shoo, bloop-bloop -- ah, wake up!

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At the end, finally, that succeeds, and life appears.

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We was so, so stupid. The most stupid bacteria.

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Even, I think, we copy our way to reproduce, you know what I mean,

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and something of -- oh no, forget it.

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After, we become a fish; after, we become a frog;

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after, we become a monkey; after, we become what we are today: a super-monkey,

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and the fun is, the super-monkey we are today, is at half of the story.

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Can you imagine? From that stupid bacteria to us,

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with a microphone, with a computer, with an iPod: four billion years.

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And we know, and especially Carolyn knows, that when the sun will implode,

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the earth will burn, explode, I don't know what,

76
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and this is scheduled for four, four billion years?

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Yes, she said, something like that. OK, that means we are at half of the story.

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Fantastic! It's a beauty!

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Can you imagine? It's very symbolic.

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Because the bacteria we was had no idea of what we are today.

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And today, we have no idea of what we shall be in four billion years.

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And this territory is fantastic.

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That is our poetry. That is our beautiful story.

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It's our romanticism. Mu-ta-tion. We are mutants.

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And if we don't deeply understand, if we don't integrate that we are mutants,

86
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we completely miss the story.

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Because every generation thinks we are the final one.

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We have a way to look at Earth like that, you know,

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"I am the man. The final man.

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You know, we mutate during four billion years before, but now, because it's me, we stop. Fin. (Laughter)

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For the end, for the eternity, it is one with a red jacket."

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Something like that. I am not sure of that. (Laughter)

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Because that is our intelligence of mutation and things like that.

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There is so many things to do; it's so fresh.

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And here is something: nobody is obliged to be a genius,

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but everybody is obliged to participate.

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And to participate, for a mutant, there is a minimum of exercise, a minimum of sport.

98
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We can say that.

99
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The first, if you want -- there is so many --

100
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but one which is very easy to do, is the duty of vision.

101
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I can explain you. I shall try.

102
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If you walk like that, it's OK, it's OK, you can walk,

103
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but perhaps, because you walk with the eyes like that, you will not see, oh, there is a hole.

104
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And you will fall, and you will die. Dangerous.

105
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That's why, perhaps, you will try to have this angle of vision.

106
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OK, I can see, if I found something, up, up, and they continue, up up up.

107
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I raise the angle of vision, but it's still very -- selfish, selfish, egoiste -- yes, selfish.

108
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You, you survive. It's OK.

109
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If you raise the level of your eyes a little more you go,

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"I see you, oh my God you are here, how are you, I can help you,

111
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I can design for you a new toothbrush, new toilet brush," something like that.

112
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I live in society; I live in community.

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It's OK. You start to be in the territory of intelligence, we can say.

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From this level, the more you can raise this angle of view,

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the more you will be important for the society.

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The more you will rise, the more you will be important for the civilization.

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The more you will rise, to see far and high, like that,

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the more you will be important for the story of our mutation.

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That means intelligent people are in this angle. That is intelligence.

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From this to here, that, it's genius.

121
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Ptolemy, Eratosthenes, Einstein, things like that.

122
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Nobody's obliged to be a genius.

123
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It's better, but nobody.

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Take care, in this training, to be a good mutant.

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There is some danger, there is some trap. One trap: the vertical.

126
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Because at the vertical of us, if you look like that,

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"Ah! my God, there is God. Ah! God!"

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God is a trap. God is the answer when we don't know the answer.

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That means, when your brain is not enough big, when you don't understand,

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you go, "Ah, it's God, it's God." That's ridiculous.

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That's why -- jump, like that? No, don't jump.

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Come back. Because, after, there is another trap.

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If you look like that, you look to the past,

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or you look inside if you are very flexible, inside yourself.

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It's called schizophrenia, and you are dead also.

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That's why every morning, now, because you are a good mutant,

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you will raise your angle of view.

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Out, more of the horizontal. You are an intelligence.

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Never forget -- like that, like that.

140
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It's very, very, very important.

141
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What, what else we can say about that? Why do that?

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It's because we -- if we look from far, we see our line of evolution.

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This line of evolution is clearly positive.

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From far, this line looks very smooth, like that.

145
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But if you take a lens, like that, this line is ack, ack, ack, ack, ack. Like that.

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It's made of light and shadow.

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We can say light is civilization, shadow is barbaria.

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And it's very important to know where we are.

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Because some cycle, there is a spot in the cycle,

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and you have not the same duty in the different parts of the cycle.

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That means, we can imagine -- I don't say it was fantastic,

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but in the '80s, there was not too much war, like that, it was --

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we can imagine that the civilization can become civilized.

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In this case, people like me are acceptable.

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We can say, "It's luxurious time."

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We have time to think, we have time to I don't know what,

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speak about art and things like that.

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It's OK. We are in the light.

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But sometimes, like today, we fall, we fall so fast, so fast to shadow, we fall so fast to barbaria.

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With many, many, many, many face of barbaria.

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Because it's not, the barbaria we have today, it's perhaps not the barbaria we think.

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There is different type of barbaria.

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That's why we must adapt.

164
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That means, when barbaria is back, forget the beautiful chairs, forget the beautiful hotel,

165
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forget design, even -- I'm sorry to say -- forget art.

166
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Forget all that. There is priority; there is urgency.

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You must go back to politics, you must go back to radicalization,

168
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I'm sorry if that's not very English.

169
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You must go back to fight, to battle.

170
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That's why today I'm so ashamed to make this job.

171
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That's why I am here, to try to do it the best possible.

172
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But I know that even I do it the best possible

173
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-- that's why I'm the best -- it's nothing.

174
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Because it's not the right time.

175
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That's why I say that. I say that, because, I repeat, nothing exist if it's not in the good rhythym,

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the rhythym of our beautiful dream, of this civilization.

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And because we must all work to finish this story.

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Because the scenario of this civilization

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-- about love, progress, and things like that -- it's OK,

180
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but there is so many different, other scenarios of other civilizations.

181
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This scenario, of this civilization, was about becoming powerful, intelligent,

182
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like this idea we have invented, this concept of God.

183
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We are God now. We are. It's almost done.

184
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We have just to finish the story.

185
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That is very, very important.

186
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And when you don't understand really what's happened,

187
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you cannot go and fight and work and build and things like that.

188
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You go to the future back, back, back, back, like that.

189
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And you can fall, and it's very dangerous.

190
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No, you must really understand that.

191
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Because we have almost finished, I'll repeat this story.

192
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And the beauty of this, in perhaps 50 years, 60 years, we can finish completely this civilization,

193
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and offer to our children the possibility to invent a new story,

194
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a new poetry, a new romanticism.

195
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With billions of people who have been born, worked, lived and died before us,

196
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these people who have worked so much,

197
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we have now bring beautiful things, beautiful gifts, we know so many things.

198
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We can say to our children, OK, done, that was our story. That passed.

199
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Now you have a duty: invent a new story. Invent a new poetry.

200
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The only rule is, we have not to have any idea about the next story.

201
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We give you white pages. Invent.

202
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We give you the best tools, the best tools, and now, do it.

203
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That's why I continue to work, even if it's for toilet brush.