Jake Barton: The museum of you

52,327 views ・ 2013-09-10

TED


Please double-click on the English subtitles below to play the video.

00:13
This is Charley Williams.
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He was 94 when this photograph was taken.
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In the 1930s, Roosevelt put
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thousands and thousands of Americans back to work
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by building bridges and infrastructure and tunnels,
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but he also did something interesting,
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which was to hire a few hundred writers
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to scour America to capture the stories of ordinary Americans.
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Charley Williams, a poor sharecropper,
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wouldn't ordinarily be the subject of a big interview,
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but Charley had actually been a slave
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until he was 22 years old.
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And the stories that were captured of his life
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make up one of the crown jewels
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of histories, of human-lived experiences
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filled with ex-slaves.
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Anna Deavere Smith famously said that
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there's a literature inside of each of us,
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and three generations later, I was part of a project
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called StoryCorps,
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which set out to capture
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the stories of ordinary Americans
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by setting up a soundproof booth in public spaces.
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The idea is very, very simple.
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You go into these booths, you interview your grandmother
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or relative, you leave with a copy of the interview
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and an interview goes into the Library of Congress.
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It's essentially a way to make a national oral histories archive
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one conversation at a time.
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And the question is, who do you want to remember --
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if you had just 45 minutes with your grandmother?
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What's interesting, in conversations with the founder, Dave Isay,
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we always actually talked about this
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as a little bit of a subversive project,
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because when you think about it,
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it's actually not really about the stories that are being told,
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it's about listening,
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and it's about the questions that you get to ask,
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questions that you may not have permission to
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on any other day.
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I'm going to play you just a couple of quick excerpts from the project.
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[Jesus Melendez talking about poet Pedro Pietri's final moments]
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Jesus Melendez: We took off, and as we were ascending,
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before we had leveled off,
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our level-off point was 45,000 feet,
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so before we had leveled off,
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Pedro began leaving us,
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and the beauty about it
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is that I believe that there's something after life.
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You can see it in Pedro.
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[Danny Perasa to his wife Annie Perasa married 26 years]
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Danny Perasa: See, the thing of it is,
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I always feel guilty when I say "I love you" to you,
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and I say it so often. I say it to remind you
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that as dumpy as I am, it's coming from me,
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it's like hearing a beautiful song from a busted old radio,
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and it's nice of you to keep the radio around the house.
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(Laughter)
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[Michael Wolmetz with his girlfriend Debora Brakarz]
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Michael Wolmetz: So this is the ring that my father gave to my mother,
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and we can leave it there.
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And he saved up and he purchased this,
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and he proposed to my mother with this,
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and so I thought that I would give it to you
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so that he could be with us for this also.
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So I'm going to share a mic with you right now, Debora.
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Where's the right finger?
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Debora Brakarz: (Crying)
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MW: Debora, will you please marry me?
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DB: Yes. Of course. I love you.
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(Kissing)
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MW: So kids, this is how your mother and I got married,
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in a booth in Grand Central Station with my father's ring.
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My grandfather was a cab driver for 40 years.
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He used to pick people up here every day.
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So it seems right.
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Jake Barton: So I have to say
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I did not actually choose those individual samples to make you cry
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because they all make you cry.
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The entire project is predicated on this act of love
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which is listening itself.
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And that motion of building an institution
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out of a moment of conversation and listening
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is actually a lot of what my firm, Local Projects,
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is doing with our engagements in general.
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So we're a media design firm, and we're working
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with a broad array of different institutions
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building media installations for museums and public spaces.
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Our latest engagement is the Cleveland Museum of Art,
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which we've created an engagement called Gallery One for.
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And Gallery One is an interesting project
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because it started with this massive, $350 million expansion
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for the Cleveland Museum of Art,
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and we actually brought in this piece
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specifically to grow new capacity, new audiences,
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at the same time that the museum itself is growing.
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Glenn Lowry, the head of MoMA, put it best when he said,
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"We want visitors to actually cease being visitors.
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Visitors are transient. We want people who live here,
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people who have ownership."
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And so what we're doing is making a broad array
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of different ways for people to actually engage
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with the material inside of these galleries,
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so you can still have a traditional gallery experience,
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but if you're interested, you can actually engage
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with any individual artwork and see the original context
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from where it's from, or manipulate the work itself.
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So, for example, you can click on this individual lion head,
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and this is where it originated from, 1300 B.C.
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Or this individual piece here,
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you can see the actual bedroom. It really changes the way
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you think about this type of a tempera painting.
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This is one of my favorites because you see the studio itself.
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This is Rodin's bust. You get the sense
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of this incredible factory for creativity.
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And it makes you think about literally the hundreds
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or thousands of years of human creativity and how
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each individual artwork stands in for part of that story.
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This is Picasso,
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of course embodying so much of it from the 20th century.
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And so our next interface, which I'll show you,
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actually leverages that idea of this lineage of creativity.
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It's an algorithm that actually allows you to browse
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the actual museum's collection using facial recognition.
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So this person's making different faces,
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and it's actually drawing forth different objects
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from the collection that connect with exactly how she's looking.
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And so you can imagine that, as people are performing
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inside of the museum itself, you get this sense
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of this emotional connection,
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this way in which our face connects with the thousands
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and tens of thousands of years.
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This is an interface that actually allows you to draw
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and then draws forth objects using those same shapes.
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So more and more we're trying to find ways
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for people to actually author things inside of the museums themselves,
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to be creative even as they're looking
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at other people's creativity and understanding them.
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So in this wall, the collections wall,
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you can actually see all 3,000 artworks all at the same time,
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and you can actually author your own
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individual walking tours of the museum, so you can share them,
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and someone can take a tour with the museum director
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or a tour with their little cousin.
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But all the while that we've been working
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on this engagement for Cleveland,
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we've also been working in the background
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on really our largest engagement to date,
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and that's the 9/11 Memorial and Museum.
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So we started in 2006
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as part of a team with Thinc Design
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to create the original master plan for the museum,
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and then we've done all the media design
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both for the museum and the memorial and then the media production.
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So the memorial opened in 2011,
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and the museum's going to open next year in 2014.
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And you can see from these images,
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the site is so raw and almost archaeological.
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And of course the event itself is so recent,
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somewhere between history and current events,
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it was a huge challenge to imagine
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how do you actually live up to a space like this,
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an event like this, to actually tell that story.
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And so what we started with
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was really a new way of thinking about building an institution,
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through a project called Make History,
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which we launched in 2009.
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So it's estimated that a third of the world
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watched 9/11 live,
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and a third of the world
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heard about it within 24 hours,
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making it really by nature of when it happened,
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this unprecedented moment of global awareness.
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And so we launched this to capture the stories
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from all around the world,
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through video, through photos,
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through written history,
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and so people's experiences on that day,
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which was, in fact, this huge risk for the institution
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to make its first move this open platform.
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But that was coupled together with this oral histories booth,
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really the simplest we've ever made,
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where you locate yourself on a map.
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It's in six languages, and you can tell your own story
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about what happened to you on that day.
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And when we started seeing the incredible images
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and stories that came forth
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from all around the world --
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this is obviously part of the landing gear --
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we really started to understand
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that there was this amazing symmetry
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between the event itself,
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between the way that people were telling the stories of the event,
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and how we ourselves needed to tell that story.
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This image in particular really captured
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our attention at the time,
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because it so much sums up that event.
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This is a shot from the Brooklyn-Battery Tunnel.
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There's a firefighter that's stuck, actually, in traffic,
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and so the firefighters themselves are running
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a mile and a half to the site itself
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with upwards of 70 pounds of gear on their back.
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And we got this amazing email that said,
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"While viewing the thousands of photos on the site,
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I unexpectedly found a photo of my son.
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It was a shock emotionally, yet a blessing to find this photo,"
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and he was writing because he said,
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"I'd like to personally thank the photographer
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for posting the photo,
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as it meant more than words can describe to me
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to have access to what is probably
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the last photo ever taken of my son."
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And it really made us recognize
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what this institution needed to be
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in order to actually tell that story.
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We can't have just a historian or a curator narrating
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objectively in the third person about an event like that,
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when you have the witnesses to history
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who are going to make their way
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through the actual museum itself.
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And so we started imagining the museum,
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along with the creative team at the museum and the curators,
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thinking about how the first voice that you would hear
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inside the museum would actually be of other visitors.
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And so we created this idea of an opening gallery
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called We Remember.
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And I'll just play you part of a mockup of it,
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but you get a sense of what it's like to actually enter
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into that moment in time
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and be transported back in history.
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(Video) Voice 1: I was in Honolulu, Hawaii. Voice 2: I was in Cairo, Egypt.
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Voice 3: Sur les Champs-Élysées, à Paris. Voice 4: In college, at U.C. Berkeley.
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Voice 5: I was in Times Square. Voice 6: São Paolo, Brazil.
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(Multiple voices)
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Voice 7: It was probably about 11 o'clock at night.
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Voice 8: I was driving to work at 5:45 local time in the morning.
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Voice 9: We were actually in a meeting
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when someone barged in and said,
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"Oh my God, a plane has just crashed into the World Trade Center."
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Voice 10: Trying to frantically get to a radio.
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Voice 11: When I heard it over the radio --
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Voice 12: Heard it on the radio.
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(Multiple voices)
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Voice 13: I got a call from my father. Voice 14: The phone rang, it woke me up.
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My business partner told me to turn on the television.
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Voice 15: So I switched on the television.
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Voice 16: All channels in Italy were displaying the same thing.
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Voice 17: The Twin Towers. Voice 18: The Twin Towers.
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JB: And you move from there
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into that open, cavernous space.
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This is the so-called slurry wall.
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It's the original, excavated wall at the base of the World Trade Center
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that withstood the actual pressure from the Hudson River
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for a full year after the event itself.
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And so we thought about carrying that sense of authenticity,
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of presence of that moment
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into the actual exhibition itself.
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And we tell the stories of being inside the towers
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through that same audio collage,
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so you're hearing people literally talking about
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seeing the planes as they make their way into the building,
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or making their way down the stairwells.
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And as you make your way into the exhibition
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where it talks about the recovery,
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we actually project directly onto these moments
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of twisted steel all of the experiences from people
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who literally excavated on top of the pile itself.
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And so you can hear oral histories --
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so people who were actually working the so-called bucket brigades
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as you're seeing literally the thousands of experiences
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from that moment.
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And as you leave that storytelling moment
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understanding about 9/11,
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we then turn the museum back into a moment of listening
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and actually talk to the individual visitors
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and ask them their own experiences about 9/11.
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And we ask them questions that are actually
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not really answerable, the types of questions
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that 9/11 itself draws forth for all of us.
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And so these are questions like,
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"How can a democracy balance freedom and security?"
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"How could 9/11 have happened?"
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"And how did the world change after 9/11?"
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And so these oral histories,
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which we've actually been capturing already for years,
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are then mixed together with interviews
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that we're doing with people like Donald Rumsfeld,
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Bill Clinton, Rudy Giuliani,
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and you mix together these different players
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and these different experiences,
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these different reflection points about 9/11.
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And suddenly the institution, once again,
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turns into a listening experience.
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So I'll play you just a short excerpt
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of a mockup that we made of a couple of these voices,
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but you really get a sense
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of the poetry of everyone's reflection on the event.
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(Video) Voice 1: 9/11 was not just a New York experience.
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Voice 2: It's something that we shared, and it's something that united us.
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Voice 3: And I knew when I saw that,
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people who were there that day who immediately
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went to help people known and unknown to them
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was something that would pull us through.
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Voice 4: All the outpouring of affection and emotion
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that came from our country was something really
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that will forever, ever stay with me.
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Voice 5: Still today I pray and think about those
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who lost their lives,
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and those who gave their lives to help others,
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but I'm also reminded of the fabric of this country,
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the love, the compassIon, the strength,
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and I watched a nation come together
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in the middle of a terrible tragedy.
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JB: And so as people make their way out of the museum,
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reflecting on the experience, reflecting on their own thoughts of it,
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they then move into the actual space of the memorial itself,
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because they've gone back up to grade,
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and we actually got involved in the memorial
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after we'd done the museum for a few years.
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The original designer of the memorial, Michael Arad,
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had this image in his mind of all the names appearing
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undifferentiated, almost random,
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really a poetic reflection on top of the nature
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of a terrorism event itself,
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but it was a huge challenge for the families, for the foundation,
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certainly for the first responders,
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and there was a negotiation that went forth
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and a solution was found
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to actually create not an order in terms of chronology,
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or in terms of alphabetical,
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but through what's called meaningful adjacency.
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So these are groupings of the names themselves
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which appear undifferentiated but actually have an order,
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and we, along with Jer Thorp, created an algorithm
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to take massive amounts of data
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to actually start to connect together all these different names themselves.
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So this is an image of the actual algorithm itself
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with the names scrambled for privacy,
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but you can see that these blocks of color
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are actually the four different flights,
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the two different towers, the first responders,
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and you can actually see within that different floors,
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and then the green lines are the interpersonal connections
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that were requested by the families themselves.
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And so when you go to the memorial,
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you can actually see the overarching organization
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inside of the individual pools themselves.
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You can see the way that the geography of the event
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is reflected inside of the memorial,
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and you can search for an individual name,
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or in this case an employer, Cantor Fitzgerald,
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and see the way in which all of those names,
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those hundreds of names, are actually organized
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onto the memorial itself,
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and use that to navigate the memorial.
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And more importantly, when you're actually at the site
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of the memorial, you can see those connections.
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You can see the relationships between the different names themselves.
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So suddenly what is this undifferentiated, anonymous
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group of names springs into reality as an individual life.
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In this case, Harry Ramos,
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who was the head trader at an investment bank,
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who stopped to aid Victor Wald on the 55th floor of the South Tower.
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And Ramos told Wald, according to witnesses,
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"I'm not going to leave you."
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And Wald's widow requested that they be listed next to each other.
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Three generations ago, we had to actually get people
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to go out and capture the stories for common people.
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Today, of course, there's an unprecedented amount of stories
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for all of us that are being captured for future generations.
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And this is our hope, that's there's poetry inside of each of our stories.
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Thank you very much.
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(Applause)
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Original video on YouTube.com
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