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 Champs-Élysées, 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）