Placeholder Image

字幕列表 影片播放

  • This is Charley Williams.

    譯者: Shengwei Cai 審譯者: 文进 肖

  • He was 94 when this photograph was taken.

    這是查利•威廉姆斯

  • In the 1930s, Roosevelt put

    這張照片攝於他九十四歲時

  • thousands and thousands of Americans back to work

    上世紀三十年代

  • by building bridges and infrastructure and tunnels,

    通過建造橋樑、公共建設和修築隧道的方式

  • but he also did something interesting,

    羅斯福總統讓成千上萬美國人重回工作崗位

  • which was to hire a few hundred writers

    與此同時,他做了一件有趣的事

  • to scour America to capture the stories of ordinary Americans.

    他僱傭了幾百名作家

  • Charley Williams, a poor sharecropper,

    到全國各地去蒐集普通百姓的故事

  • wouldn't ordinarily be the subject of a big interview,

    作為一個貧窮的美國佃農

  • but Charley had actually been a slave

    查利•威廉姆斯不太可能成為此次大訪談的對象

  • until he was 22 years old.

    但是,查利在二十二歲前

  • And the stories that were captured of his life

    是一個奴隸

  • make up one of the crown jewels

    而且他生活中的故事

  • of histories, of human-lived experiences

    成了歷史王冠上一顆閃亮的明珠

  • filled with ex-slaves.

    也是這個充滿前奴隸的社會的

  • Anna Deavere Smith famously said that

    重要組成部分

  • there's a literature inside of each of us,

    安娜•迪佛•史密斯曾說過一句著名的話

  • and three generations later, I was part of a project

    “本質上,我們每個人都是一部文學著作。”

  • called StoryCorps,

    三代人之後

  • which set out to capture

    我成了“StoryCorps”的一員

  • the stories of ordinary Americans

    StoryCorps的目的就是

  • by setting up a soundproof booth in public spaces.

    通過在公共場合建造一個隔音間

  • The idea is very, very simple.

    來蒐集普通美國百姓的故事

  • You go into these booths, you interview your grandmother

    這個主意其實很簡單

  • or relative, you leave with a copy of the interview

    你到隔間裡採訪你的祖母或其他親屬

  • and an interview goes into the Library of Congress.

    結束後,你帶走一份訪談拷貝

  • It's essentially a way to make a national oral histories archive

    而且訪談內容會進到國會圖書館裡

  • one conversation at a time.

    本質上,形成國家口述​​故事檔案館的重要方法

  • And the question is, who do you want to remember --

    就是通過一次一個對話的方式

  • if you had just 45 minutes with your grandmother?

    關鍵是,你想要記住誰呢

  • What's interesting, in conversations with the founder, Dave Isay,

    如果你和你祖母只有四十五分鐘時間的話

  • we always actually talked about this

    有意思的是,在和創始人戴夫•伊塞的交談中

  • as a little bit of a subversive project,

    我們總會談到這個

  • because when you think about it,

    把牠當做一個略具顛覆性的計劃

  • it's actually not really about the stories that are being told,

    因為,當思考到這個問題時

  • it's about listening,

    你會覺得,其實跟講述的故事無甚關係

  • and it's about the questions that you get to ask,

    聆聽才是最重要的

  • questions that you may not have permission to

    還有你會問到的問題

  • on any other day.

    可能這些問題在其他任何場合

  • I'm going to play you just a couple of quick excerpts from the project.

    你都不能問

  • [Jesus Melendez talking about poet Pedro Pietri's final moments]

    接下來,就讓大家聽幾段項目裡的錄音

  • Jesus Melendez: We took off, and as we were ascending,

    「傑西•梅倫德斯談論詩人佩德羅•皮埃特利的最後時刻」

  • before we had leveled off,

    傑西:我們起飛了,飛機正在上升

  • our level-off point was 45,000 feet,

    在水平飛行之前

  • so before we had leveled off,

    水平飛行高度是四萬五千英尺

  • Pedro began leaving us,

    所以是在水平飛行之前

  • and the beauty about it

    佩德羅就開始離我們而去

  • is that I believe that there's something after life.

    其美妙之處在於

  • You can see it in Pedro.

    我相信,人死後仍能有所期待

  • [Danny Perasa to his wife Annie Perasa married 26 years]

    從佩德羅身上就能看到

  • Danny Perasa: See, the thing of it is,

    「丹尼•佩拉薩致妻子安妮•佩拉薩,他們已婚26年」

  • I always feel guilty when I say "I love you" to you,

    丹尼:事情是這樣的

  • and I say it so often. I say it to remind you

    每當對你說“我愛你”,我就感覺內疚

  • that as dumpy as I am, it's coming from me,

    而且也說的次數不少 我說“我​​愛你”是為了提醒你

  • it's like hearing a beautiful song from a busted old radio,

    儘管我又矮又胖,但那句話是我說的

  • and it's nice of you to keep the radio around the house.

    就像用老式破收音機收聽美妙的歌曲

  • (Laughter)

    你能好心地保存著這個破收音機真好

  • [Michael Wolmetz with his girlfriend Debora Brakarz]

    (笑聲)

  • Michael Wolmetz: So this is the ring that my father gave to my mother,

    「邁克爾•沃爾梅茨和女友黛博拉•布雷卡茲」

  • and we can leave it there.

    邁克爾:這是我父親給我母親的戒指

  • And he saved up and he purchased this,

    現在先把它放在一邊

  • and he proposed to my mother with this,

    父親省吃儉用,然后買下了這個戒指

  • and so I thought that I would give it to you

    之後用它向我母親求了婚

  • so that he could be with us for this also.

    我想,我要把這個戒指給你

  • So I'm going to share a mic with you right now, Debora.

    那樣父親也會與我們在一起

  • Where's the right finger?

    所以黛博拉,我現在要和你共用一個麥克風了

  • Debora Brakarz: (Crying)

    該戴在哪個手指上?

  • MW: Debora, will you please marry me?

    (黛博拉哭泣中)

  • DB: Yes. Of course. I love you.

    邁克爾:黛博拉,你願意嫁給我嗎

  • (Kissing)

    黛博拉:當然,我願意,我愛你

  • MW: So kids, this is how your mother and I got married,

    (親吻)

  • in a booth in Grand Central Station with my father's ring.

    邁克爾:孩子們,我和你們的媽媽就這樣結婚了

  • My grandfather was a cab driver for 40 years.

    在中央車站的隔音間裡,用我父親的婚戒

  • He used to pick people up here every day.

    我爺爺當了四十年出租車司機

  • So it seems right.

    過去他每天都在這裡載人

  • Jake Barton: So I have to say

    看起來沒錯

  • I did not actually choose those individual samples to make you cry

    傑克•巴頓:所以我得聲明一下

  • because they all make you cry.

    我並沒特地選擇這些錄音樣本來讓你們掉眼淚

  • The entire project is predicated on this act of love

    但這些錄音讓你們哭了

  • which is listening itself.

    我們整個項目都是基於這種愛的行為

  • And that motion of building an institution

    也就是聆聽

  • out of a moment of conversation and listening

    出於談話及傾聽

  • is actually a lot of what my firm, Local Projects,

    而建造一個公共機構

  • is doing with our engagements in general.

    大體說來,正是我們公司(Local Projects)

  • So we're a media design firm, and we're working

    受委託而踐行的事

  • with a broad array of different institutions

    我們是一家媒體設計公司

  • building media installations for museums and public spaces.

    並且和許多不同機構有合作關係

  • Our latest engagement is the Cleveland Museum of Art,

    主要是給博物館及在公共空間安裝媒體設備

  • which we've created an engagement called Gallery One for.

    我們最近的委託方是克利夫蘭藝術博物館

  • And Gallery One is an interesting project

    我們已在那兒創建了一個 叫“第一畫廊”的互動設計

  • because it started with this massive, $350 million expansion

    “第一畫廊”是個很有趣的項目

  • for the Cleveland Museum of Art,

    因為是從這個巨大的、 價值三億五千萬美元的擴展入手

  • and we actually brought in this piece

    給克利夫蘭藝術博物館進行設計

  • specifically to grow new capacity, new audiences,

    實際上,我們引進這個設備

  • at the same time that the museum itself is growing.

    特地用來創造新空間,吸引新觀眾

  • Glenn Lowry, the head of MoMA, put it best when he said,

    同時博物館也在擴大

  • "We want visitors to actually cease being visitors.

    紐約現代藝術博物館(MoMA) 館長格倫•洛瑞做了最好的詮釋

  • Visitors are transient. We want people who live here,

    他說,“我們不要讓遊客再做遊客,

  • people who have ownership."

    遊客都是暫時的,我們需要住在這裡的、

  • And so what we're doing is making a broad array

    有所有權的人。 ”

  • of different ways for people to actually engage

    所以我們正在做的,就是運用許多​​不同方式

  • with the material inside of these galleries,

    所以我們正在做的,就是運用許多​​不同方式

  • so you can still have a traditional gallery experience,

    讓人們能與畫廊裡的展品進行互動

  • but if you're interested, you can actually engage

    因此,你仍能以傳統的方式參觀畫廊

  • with any individual artwork and see the original context

    但是,如果你感興趣的話

  • from where it's from, or manipulate the work itself.

    你還可以和任意藝術品進行互動

  • So, for example, you can click on this individual lion head,

    看看它的原始脈絡,或者控制這個展品

  • and this is where it originated from, 1300 B.C.

    比如,你可以點擊這個獅頭

  • Or this individual piece here,

    這就是它發源的地方,公元前一千三百年

  • you can see the actual bedroom. It really changes the way

    或者點擊這件獨立藝術品

  • you think about this type of a tempera painting.

    你會看到這個實際的臥室

  • This is one of my favorites because you see the studio itself.

    而且牠能改變你對這類蛋彩畫的看法

  • This is Rodin's bust. You get the sense

    這是我最喜歡的作品之一 因為能看到工作室的原貌

  • of this incredible factory for creativity.

    這是羅丹的半身像,你們可以感受到

  • And it makes you think about literally the hundreds

    這個令人難以置信的、為創造而建的工廠

  • or thousands of years of human creativity and how

    它會讓你直接聯想到幾千年

  • each individual artwork stands in for part of that story.

    甚至幾萬年前人類的創造力

  • This is Picasso,

    還有每個藝術品是怎樣代表了那段歷史

  • of course embodying so much of it from the 20th century.

    這是畢加索

  • And so our next interface, which I'll show you,

    當然很多是收錄自二十世紀

  • actually leverages that idea of this lineage of creativity.

    而且我要展示的下一個界面

  • It's an algorithm that actually allows you to browse

    實際上影響了這種創造力傳承的理念

  • the actual museum's collection using facial recognition.

    牠是一種演算法則,但卻能讓你

  • So this person's making different faces,

    通過面部識別的方式瀏覽博物館內的藏品

  • and it's actually drawing forth different objects

    這個人正在扮不同的鬼臉

  • from the collection that connect with exactly how she's looking.

    但實際上,根據她扮的鬼臉

  • And so you can imagine that, as people are performing

    能夠提取出館藏中相關聯的不同物品

  • inside of the museum itself, you get this sense

    所以可以想見,

  • of this emotional connection,

    當人們在博物館裡“表演”時

  • this way in which our face connects with the thousands

    你能感受到這種情感聯繫

  • and tens of thousands of years.

    這樣的話,我們的面部表情

  • This is an interface that actually allows you to draw

    就能與幾萬年前聯繫起來

  • and then draws forth objects using those same shapes.

    事實上,這個界面還能讓你

  • So more and more we're trying to find ways

    反复提取出你畫出的形狀相關的物品

  • for people to actually author things inside of the museums themselves,

    所以,我們正在尋求更多的方式

  • to be creative even as they're looking

    讓人們在博物館裡進行創作

  • at other people's creativity and understanding them.

    甚至在看到別人的創意後,並將其理解

  • So in this wall, the collections wall,

    自己也會富有創造力

  • you can actually see all 3,000 artworks all at the same time,

    在這面藏品牆上

  • and you can actually author your own

    你能同時看到三千件藝術品

  • individual walking tours of the museum, so you can share them,

    而且可以製作你的專屬博物館漫步遊

  • and someone can take a tour with the museum director

    所以你才能分享它們

  • or a tour with their little cousin.

    人們可以和館長在館內漫步遊

  • But all the while that we've been working

    也可以和其小堂兄妹一起

  • on this engagement for Cleveland,

    但儘管我們一直竭力完成

  • we've also been working in the background

    克利夫蘭藝術博物館的委託

  • on really our largest engagement to date,

    同時,我們也一直致力於

  • and that's the 9/11 Memorial and Museum.

    迄今最大的委託

  • So we started in 2006

    也就是9·11事件紀念博物館

  • as part of a team with Thinc Design

    我們從二零零六年開始

  • to create the original master plan for the museum,

    就把牠作為團隊工作的部分 和 Thinc Design 團隊一道

  • and then we've done all the media design

    為該博物館創建總體規劃圖

  • both for the museum and the memorial and then the media production.

    之後我們為該博物館和紀念館

  • So the memorial opened in 2011,

    做了所有的媒體設計,然後是媒體製作

  • and the museum's going to open next year in 2014.

    於是該紀念館在二零一一年開館了

  • And you can see from these images,

    博物館將會在明年開館,也就是二零一四年

  • the site is so raw and almost archaeological.

    從這些圖片可以看出

  • And of course the event itself is so recent,

    場地還很原始,跟考古現場差不多

  • somewhere between history and current events,

    而且9·11事件也離我們非常近

  • it was a huge challenge to imagine

    介乎歷史和時事之間

  • how do you actually live up to a space like this,

    這是個巨大的挑戰

  • an event like this, to actually tell that story.

    要構建如此巨大的場館

  • And so what we started with

    及事故現場,還有敘述那段故事

  • was really a new way of thinking about building an institution,

    於是在二零零九年

  • through a project called Make History,

    我們從一個叫做“製造歷史”的項目入手

  • which we launched in 2009.

    該項目的確是一個

  • So it's estimated that a third of the world

    建造公共機構的新思路

  • watched 9/11 live,

    據估計,世界上三分之一的人

  • and a third of the world

    觀看了9·11事件直播

  • heard about it within 24 hours,

    三分之一的人在二十四小時內

  • making it really by nature of when it happened,

    聽說了這起事件

  • this unprecedented moment of global awareness.

    當它發生時,這都自然而然使得

  • And so we launched this to capture the stories

    這個空前時刻具有了全球化意識

  • from all around the world,

    所以我們發起這個項目,

  • through video, through photos,

    旨在全球蒐集故事

  • through written history,

    通過錄像,通過照片

  • and so people's experiences on that day,

    通過書本記載

  • which was, in fact, this huge risk for the institution

    所以人們那天的經歷

  • to make its first move this open platform.

    事實上,機構要面臨的巨大風險是第一步

  • But that was coupled together with this oral histories booth,

    即,把這些經歷放到這個開放的平台上

  • really the simplest we've ever made,

    但還要加上這個口述故事隔間

  • where you locate yourself on a map.

    這真的是我們做過最簡單的

  • It's in six languages, and you can tell your own story

    你可以在地圖上給自己定位

  • about what happened to you on that day.

    它支援六種語言

  • And when we started seeing the incredible images

    你可以講述那天你自己經歷的事

  • and stories that came forth

    但我們看到這些驚人的圖片

  • from all around the world --

    和故事

  • this is obviously part of the landing gear --

    從全世界湧來的時候

  • we really started to understand

    (這個很明顯是起落架的殘骸)

  • that there was this amazing symmetry

    我們才開始真正理解到

  • between the event itself,

    9·11事件本身

  • between the way that people were telling the stories of the event,

    有不可思議的對稱性

  • and how we ourselves needed to tell that story.

    人們講述故事的方式和我們需要怎樣講述之間

  • This image in particular really captured

    也存在對稱性

  • our attention at the time,

    尤其這張照片,

  • because it so much sums up that event.

    當時真的吸引了我們的注意力

  • This is a shot from the Brooklyn-Battery Tunnel.

    因為它很好的概述了9·11事件

  • There's a firefighter that's stuck, actually, in traffic,

    這個鏡頭是在砲台隧道捕捉到的

  • and so the firefighters themselves are running

    有輛消防車遇上交通堵塞

  • a mile and a half to the site itself

    所以這些消防員就扛著超過七十磅的裝備

  • with upwards of 70 pounds of gear on their back.

    跑了一點五英里

  • And we got this amazing email that said,

    到達指定地點

  • "While viewing the thousands of photos on the site,

    之後我們收到了這封不可思議的郵件

  • I unexpectedly found a photo of my son.

    “在翻看不計其數的現場照片時,

  • It was a shock emotionally, yet a blessing to find this photo,"

    我無意間發現一張我兒子的照片。

  • and he was writing because he said,

    那是種感情衝擊, 但能發現這張照片也是件幸事。 ”

  • "I'd like to personally thank the photographer

    他寫郵件過來是因為他說

  • for posting the photo,

    “我想感謝貼出這張照片

  • as it meant more than words can describe to me

    的攝影師,

  • to have access to what is probably

    這很可能是我兒子最後一張照片,

  • the last photo ever taken of my son."

    但我可以發現它,

  • And it really made us recognize

    它的意義我已經不能用語言表達。 ”

  • what this institution needed to be

    這真的讓我們認識到

  • in order to actually tell that story.

    如果要講述9·11事件

  • We can't have just a historian or a curator narrating

    這個機構應該怎麼做

  • objectively in the third person about an event like that,

    我們不能只讓一個歷史學家或館長

  • when you have the witnesses to history

    站在第三者的角度客觀描述那樣一個事件

  • who are going to make their way

    尤其是當那麼多歷史見證者

  • through the actual museum itself.

    將要在這個博物館中

  • And so we started imagining the museum,

    參觀的時候

  • along with the creative team at the museum and the curators,

    於是我們開始構思這個博物館

  • thinking about how the first voice that you would hear

    和館內的創意團隊和館長們一起思考

  • inside the museum would actually be of other visitors.

    館內的第一個聲音要怎樣

  • And so we created this idea of an opening gallery

    才能引起參觀者的共鳴

  • called We Remember.

    所以我們採取了一個開放式長廊的想法

  • And I'll just play you part of a mockup of it,

    叫做“銘記”

  • but you get a sense of what it's like to actually enter

    接下來就讓大家聽聽模擬長廊內的部分錄音

  • into that moment in time

    但你能體會到身處那個時刻

  • and be transported back in history.

    是怎樣的感覺

  • (Video) Voice 1: I was in Honolulu, Hawaii. Voice 2: I was in Cairo, Egypt.

    會被帶回到歷史中去

  • Voice 3: Sur les Champslysées, à Paris. Voice 4: In college, at U.C. Berkeley.

    我在夏威夷檀香山 我在埃及開羅

  • Voice 5: I was in Times Square. Voice 6: São Paolo, Brazil.

    我在巴黎香榭麗舍大街 我在加州大學伯克利分校

  • (Multiple voices)

    我在時代廣場 我在巴西聖保羅市

  • Voice 7: It was probably about 11 o'clock at night.

    (多重聲音)

  • Voice 8: I was driving to work at 5:45 local time in the morning.

    大約在晚上十一點

  • Voice 9: We were actually in a meeting

    我在開車上班的路上,當地時間早上五點四十五分

  • when someone barged in and said,

    我們當時正在開會,

  • "Oh my God, a plane has just crashed into the World Trade Center."

    有人突然闖進來說

  • Voice 10: Trying to frantically get to a radio.

    “天啊,一架飛機剛撞到世貿大廈上了!”

  • Voice 11: When I heard it over the radio --

    我瘋狂地尋找收音機

  • Voice 12: Heard it on the radio.

    當我在收音機上聽到這個事件時

  • (Multiple voices)

    從收音機上聽到這個事件

  • Voice 13: I got a call from my father. Voice 14: The phone rang, it woke me up.

    (多重聲音)

  • My business partner told me to turn on the television.

    我接到父親打來的電話 電話響了,把我吵醒