Jake Barton: The museum of you

52,352 views ใƒป 2013-09-10

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Gemma Lee ๊ฒ€ํ† : Joon Seung Lee
00:13
This is Charley Williams.
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์ด ์‚ฌ๋žŒ์€ ์ฐฐ๋ฆฌ ์œŒ๋ฆฌ์—„์Šค์ž…๋‹ˆ๋‹ค.
00:15
He was 94 when this photograph was taken.
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์ด ์‚ฌ์ง„์„ ์ฐ์—ˆ์„ ๋•Œ ๊ทธ๋Š” 94์‚ด์ด์—ˆ์ฃ .
00:17
In the 1930s, Roosevelt put
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1930๋…„๋Œ€ ๋ฃจ์ฆˆ๋ฒจํŠธ ๋Œ€ํ†ต๋ น์€
00:20
thousands and thousands of Americans back to work
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๋‹ค๋ฆฌ, ๊ธฐ๋ฐ˜ ์‹œ์„ค, ํ„ฐ๋„์„ ๊ฑด์„คํ•˜๋ฉด์„œ
00:22
by building bridges and infrastructure and tunnels,
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์ˆ˜์ฒœ ์ˆ˜๋งŒ์˜ ๋ฏธ๊ตญ์ธ๋“ค์—๊ฒŒ ์ผ์ž๋ฆฌ๋ฅผ ์คฌ์Šต๋‹ˆ๋‹ค.
00:24
but he also did something interesting,
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ํ•˜์ง€๋งŒ ๋ฃจ์ฆˆ๋ฒจํŠธ ๋Œ€ํ†ต๋ น์€ ํฅ๋ฏธ๋กœ์šด ์ผ๋„ ํ–ˆ๋Š”๋ฐ
00:26
which was to hire a few hundred writers
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์ˆ˜๋ฐฑ ๋ช…์˜ ์ž‘๊ฐ€๋ฅผ ๊ณ ์šฉํ•ด์„œ
00:28
to scour America to capture the stories of ordinary Americans.
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๋ฏธ๊ตญ ์ „์—ญ์„ ์ฐพ์•„๋‹ค๋‹ˆ๋ฉฐ ๋ณดํ†ต ์‚ฌ๋žŒ๋“ค์˜ ์–˜๊ธฐ๋ฅผ ๋‹ด์•„์˜ค๊ฒŒ ํ–ˆ์ฃ .
00:32
Charley Williams, a poor sharecropper,
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๊ฐ€๋‚œํ•œ ์†Œ์ž‘๋†์ธ ์ฐฐ๋ฆฌ ์œŒ๋ฆฌ์—„์Šค๋Š”
00:34
wouldn't ordinarily be the subject of a big interview,
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๋ณดํ†ต ํฐ ์ธํ„ฐ๋ทฐ ๋Œ€์ƒ์ด ๋ชป ๋ฉ๋‹ˆ๋‹ค.
00:37
but Charley had actually been a slave
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ํ•˜์ง€๋งŒ ์ฐฐ๋ฆฌ๋Š” 22์‚ด์ด ๋  ๋•Œ๊นŒ์ง€
00:39
until he was 22 years old.
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๋…ธ์˜ˆ๋กœ ์‚ด์•˜์Šต๋‹ˆ๋‹ค.
00:42
And the stories that were captured of his life
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๊ทธ์˜ ์‚ถ์„ ๋‹ด์•„๋‚ธ ์ด์•ผ๊ธฐ๋Š”
00:44
make up one of the crown jewels
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์—ญ์‚ฌ์˜ ์ •์  ํ•œ ๋ถ€๋ถ„์„ ์ฐจ์ง€ํ•ฉ๋‹ˆ๋‹ค.
00:47
of histories, of human-lived experiences
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๋…ธ์˜ˆ๋กœ ์‚ด์•˜๋˜
00:50
filled with ex-slaves.
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๊ฒฝํ—˜์œผ๋กœ ๊ฐ€๋“ํ•œ ์—ญ์‚ฌ์ฃ .
00:53
Anna Deavere Smith famously said that
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์• ๋‚˜ ๋””๋น„์–ด ์Šค๋ฏธ์Šค๋Š” ์ด๋Ÿฐ ์œ ๋ช…ํ•œ ๋ง์„ ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:55
there's a literature inside of each of us,
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์šฐ๋ฆฌ ๋ชจ๋‘ ์ž๊ธฐ ์•ˆ์— ๋ฌธํ•™์„ ๊ฐ–๊ณ  ์žˆ๋‹ค๊ตฌ์š”.
00:57
and three generations later, I was part of a project
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3์„ธ๋Œ€๊ฐ€ ํ๋ฅธ ๋’ค ์ €๋Š”
00:59
called StoryCorps,
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"์ด์•ผ๊ธฐ ๋‹จ์ฒด"๋ผ๋Š” ํ”„๋กœ์ ํŠธ๋ฅผ ํ•˜๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
01:01
which set out to capture
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์ด ํ”„๋กœ์ ํŠธ๋Š” ์—ด๋ฆฌ ๊ณต๊ฐ„์—
01:03
the stories of ordinary Americans
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๋ฐฉ์Œ ์žฅ์น˜๊ฐ€ ๋œ ์ƒ์ž๋ฅผ ์„ค์น˜ํ•ด์„œ
01:05
by setting up a soundproof booth in public spaces.
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๋ณดํ†ต ์‚ฌ๋žŒ๋“ค์˜ ์ด์•ผ๊ธฐ๋ฅผ ๋‹ด์•„๋ƒ…๋‹ˆ๋‹ค.
01:08
The idea is very, very simple.
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๋ฐœ์ƒ์€ ์•„์ฃผ, ์•„์ฃผ ๋‹จ์ˆœํ•ฉ๋‹ˆ๋‹ค.
01:09
You go into these booths, you interview your grandmother
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์ด ๊ณต๊ฐ„์— ๋“ค์–ด๊ฐ€์„œ ํ• ๋จธ๋‹ˆ๋‚˜
01:12
or relative, you leave with a copy of the interview
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์นœ์ฒ™๊ณผ ์ธํ„ฐ๋ทฐ๋ฅผ ํ•˜๋ฉด
01:14
and an interview goes into the Library of Congress.
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์ธํ„ฐ๋ทฐ ๊ธฐ๋ก์ด ๊ตญํšŒ ๋„์„œ๊ด€์œผ๋กœ ๊ฐ‘๋‹ˆ๋‹ค.
01:17
It's essentially a way to make a national oral histories archive
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๊ธฐ๋ณธ์ ์œผ๋กœ ๊ตฌ์ˆ  ์—ญ์‚ฌ์˜ ๊ตญ๊ฐ€์  ๊ธฐ๋ก์„ ๋งŒ๋“œ๋Š” ๋ฐฉ๋ฒ•์ž…๋‹ˆ๋‹ค.
01:21
one conversation at a time.
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ํ•œ ๋ฒˆ์— ํ•˜๋‚˜์˜ ๋Œ€ํ™”๋ฅผ ๊ธฐ๋กํ•˜๋Š” ๊ฑฐ์ฃ .
01:23
And the question is, who do you want to remember --
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์ค‘์š”ํ•œ ๊ฒƒ์€ ํ• ๋จธ๋‹ˆ์™€ ํ•จ๊ป˜ 45๋ถ„์„ ๋ณด๋ƒˆ์„ ๋•Œ
01:25
if you had just 45 minutes with your grandmother?
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๋ˆ„๊ตฌ๋ฅผ ๊ธฐ์–ตํ•˜๊ณ  ์‹ถ์€๊ฐ€? ์ž…๋‹ˆ๋‹ค.
01:28
What's interesting, in conversations with the founder, Dave Isay,
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์ฐฝ๋ฆฝ์ž์ธ ๋ฐ์ด๋ธŒ ์•„์ด์„ธ์ด์™€ ์–˜๊ธฐ๋ฅผ ๋‚˜๋ˆ„๋ฉด์„œ ํฅ๋ฏธ๋กœ์šด ๊ฒŒ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
01:31
we always actually talked about this
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์šฐ๋ฆฌ๋Š” ์‹ค์ œ๋กœ ๋Š˜ ์ด๊ฒƒ์— ๊ด€ํ•ด ์–˜๊ธฐํ–ˆ๋Š”๋ฐ
01:32
as a little bit of a subversive project,
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์ข€ ํŒŒ๊ฒฉ์ ์ธ ํ”„๋กœ์ ํŠธ๋กœ ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
01:34
because when you think about it,
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์ƒ๊ฐํ•ด๋ณด์‹œ๋ฉด
01:35
it's actually not really about the stories that are being told,
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๋งํ•ด์ฃผ๋Š” ์ด์•ผ๊ธฐ์— ๊ด€ํ•œ ๊ฒƒ์ด ์•„๋‹ˆ๋ผ
01:38
it's about listening,
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๋“ฃ๊ธฐ์— ๊ด€ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:39
and it's about the questions that you get to ask,
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์—ฌ๋Ÿฌ๋ถ„์ด ๋ฌป๋Š” ์งˆ๋ฌธ์— ๊ด€ํ•œ ๊ฑฐ์ฃ .
01:41
questions that you may not have permission to
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ํ‰์†Œ์—๋Š” ๋ฌผ์–ด๋ณผ ์ˆ˜ ์—†์—ˆ๋˜
01:43
on any other day.
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์งˆ๋ฌธ์— ๊ด€ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:45
I'm going to play you just a couple of quick excerpts from the project.
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์ด ํ”„๋กœ์ ํŠธ์—์„œ ๋ฐœ์ทŒํ•œ ๋ช‡ ๊ฐ€์ง€๋ฅผ ๊ฐ„๋‹จํžˆ ๋ณด์—ฌ๋“œ๋ฆฌ์ฃ .
01:50
[Jesus Melendez talking about poet Pedro Pietri's final moments]
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[์‹œ์ธ ํŽ˜๋“œ๋กœ ํ”ผ์—ํŠธ๋ฆฌ์˜ ๋งˆ์ง€๋ง‰ ์ˆœ๊ฐ„์„ ์–˜๊ธฐํ•˜๋Š” ์ง€์ ธ์Šค ๋ฉœ๋ Œ๋ฐ์ฆˆ]
01:52
Jesus Melendez: We took off, and as we were ascending,
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์ง€์ ธ์Šค: ๋น„ํ–‰๊ธฐ๊ฐ€ ์ด๋ฅ™ํ–ˆ๊ณ  ์ƒ์Šน์ค‘์ด์—ˆ์Šต๋‹ˆ๋‹ค.
01:54
before we had leveled off,
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์ˆ˜ํ‰ ๋น„ํ–‰์„ ํ•˜๋Š”
01:56
our level-off point was 45,000 feet,
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13,716 km ์ƒ๊ณต์— ์ด๋ฅด๊ธฐ ์ „์—,
01:58
so before we had leveled off,
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์ฆ‰, ์ˆ˜ํ‰ ๋น„ํ–‰์„ ์‹œ์ž‘ํ•˜๊ธฐ ์ „์—
02:00
Pedro began leaving us,
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ํŽ˜๋“œ๋กœ๊ฐ€ ์šฐ๋ฆฌ๋ฅผ ๋– ๋‚˜๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
02:02
and the beauty about it
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๊ทธ ์•„๋ฆ„๋‹ค์›€์ด๋ž€
02:05
is that I believe that there's something after life.
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์ฃฝ์Œ ๋’ค์— ๋ญ”๊ฐ€ ์žˆ๋‹ค๊ณ  ๋ฏฟ๊ฒŒ ๋งŒ๋“ค์—ˆ์ฃ .
02:08
You can see it in Pedro.
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ํŽ˜๋“œ๋กœํ•œํ…Œ์„œ ๊ทธ๊ฑธ ๋ณผ ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
02:12
[Danny Perasa to his wife Annie Perasa married 26 years]
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[๊ฒฐํ˜ผํ•œ์ง€ 26๋…„๋œ ์•„๋‚ด ์• ๋‹ˆ ํŽ˜๋ผ์‚ฌ์—๊ฒŒ ๋Œ€๋‹ˆ ํŽ˜๋ผ์‚ฌ๊ฐ€ ํ•˜๋Š” ๋ง]
02:15
Danny Perasa: See, the thing of it is,
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๋Œ€๋‹ˆ: ์—ฌ๋ณด, ์‚ฌ์‹ค
02:17
I always feel guilty when I say "I love you" to you,
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๋‚ด๊ฐ€ ์‚ฌ๋ž‘ํ•œ๋‹ค๋Š” ๋ง์„ ํ•  ๋•Œ๋งˆ๋‹ค ๋Š˜ ๋ฏธ์•ˆํ–ˆ๋‹ค์˜ค.
02:20
and I say it so often. I say it to remind you
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๊ทธ ๋ง์„ ์ž์ฃผ ํ–ˆ๋Š”๋ฐ ๋‹น์‹ ํ•œํ…Œ ์ผ๊นจ์›Œ์ฃผ๊ณ  ์‹ถ์–ด์„œ ๊ทธ๋žฌ์†Œ.
02:23
that as dumpy as I am, it's coming from me,
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์ด๋ ‡๊ฒŒ ๋Š™์—ˆ์ง€๋งŒ ๋‚˜ํ•œํ…Œ์„œ ๋‚˜์˜ค๋Š” ์†Œ๋ฆฌ๋ผ๋Š” ๊ฑธ ๋ง์ด์˜ค.
02:26
it's like hearing a beautiful song from a busted old radio,
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๋งˆ์น˜ ๋‚ก์•„๋น ์ง„ ๋ผ๋””์˜ค์—์„œ ์•„๋ฆ„๋‹ค์šด ๋…ธ๋ž˜๊ฐ€ ํ˜๋Ÿฌ๋‚˜์˜ค๋Š” ๊ฒƒ ๊ฐ™๋‹ค๊ณ ๋‚˜ ํ• ๊นŒ.
02:30
and it's nice of you to keep the radio around the house.
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๊ทธ๋Ÿฐ ๋ผ๋””์˜ค๋ฅผ ๋ฒ„๋ฆฌ์ง€ ์•Š๊ณ  ์ง‘์— ๋†”๋‘ฌ์„œ ๊ณ ๋ง™๊ตฌ๋ ค.
02:32
(Laughter)
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(์›ƒ์Œ)
02:34
[Michael Wolmetz with his girlfriend Debora Brakarz]
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[๋งˆ์ดํด ์šธ๋จธ์ธ ์™€ ์—ฌ์ž ์นœ๊ตฌ ๋ฐ๋ณด๋ผ ๋ธŒ๋ผ์นด์ฆˆ]
02:37
Michael Wolmetz: So this is the ring that my father gave to my mother,
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๋งˆ์ดํด: ์ด๊ฒƒ์€ ์šฐ๋ฆฌ ์•„๋ฒ„์ง€๊ฐ€ ์–ด๋จธ๋‹ˆ๊ป˜ ๋“œ๋ ธ๋˜ ๋ฐ˜์ง€์ธ๋ฐ
02:40
and we can leave it there.
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๋ฐ˜์ง€๋ฅผ ์—ฌ๊ธฐ ๋‘์ฃ .
02:42
And he saved up and he purchased this,
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์•„๋ฒ„์ง€๋Š” ๋ˆ์„ ๋ชจ์•„ ๋ฐ˜์ง€๋ฅผ ์‚ฌ์ฃผ๋ฉด์„œ
02:44
and he proposed to my mother with this,
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์–ด๋จธ๋‹ˆ๊ป˜ ๊ฒฐํ˜ผํ•˜์ž๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
02:45
and so I thought that I would give it to you
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๊ทธ๋ž˜์„œ ์ด ๋ฐ˜์ง€๋ฅผ ์ž๊ธฐํ•œํ…Œ ์ฃผ๊ณ  ์‹ถ์—ˆ์–ด์š”.
02:47
so that he could be with us for this also.
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์•„๋ฒ„์ง€๊ป˜์„œ๋„ ์šฐ๋ฆฌ์™€ ํ•จ๊ป˜ ํ•˜์‹ค ์ˆ˜ ์žˆ์„ ํ…Œ๋‹ˆ๊นŒ.
02:51
So I'm going to share a mic with you right now, Debora.
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๋ฐ๋ณด๋ผ์™€ ๋งˆ์ดํฌ๋ฅผ ํ•จ๊ป˜ ์“ฐ๊ฒ ์Šต๋‹ˆ๋‹ค.
02:54
Where's the right finger?
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์˜ค๋ฅธ์†์ด ์–ด๋”” ์žˆ์ง€?
02:56
Debora Brakarz: (Crying)
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๋ฐ๋ณด๋ผ: (์šธ์Œ)
02:58
MW: Debora, will you please marry me?
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๋งˆ์ดํด: ๋ฐ๋ณด๋ผ, ๋‚˜์™€ ๊ฒฐํ˜ผํ•ด์ค„๋ž˜์š”?
03:02
DB: Yes. Of course. I love you.
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๋ฐ๋ณด๋ผ: ๋„ค. ๋ฌผ๋ก ์ด์ฃ . ์‚ฌ๋ž‘ํ•ด์š”.
03:05
(Kissing)
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(์ž…๋งž์ถค)
03:08
MW: So kids, this is how your mother and I got married,
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๋งˆ์ดํด: ์–˜๋“ค์•„, ๋„ˆํฌ ์–ด๋จธ๋‹ˆ์™€ ๋‚˜๋Š” ์ด๋ ‡๊ฒŒ
03:12
in a booth in Grand Central Station with my father's ring.
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์ค‘์•™์—ญ์— ์žˆ๋Š” ๊ณต๊ฐ„ ์•ˆ์—์„œ ํ• ์•„๋ฒ„์ง€์˜ ๋ฐ˜์ง€๋ฅผ ๊ฐ–๊ณ  ๊ฒฐํ˜ผํ–ˆ๋‹จ๋‹ค.
03:16
My grandfather was a cab driver for 40 years.
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์ œ ํ• ์•„๋ฒ„์ง€๊ป˜์„œ๋Š” 40๋…„ ๋™์•ˆ ํƒ์‹œ ๊ธฐ์‚ฌ๋ฅผ ํ•˜์…จ์Šต๋‹ˆ๋‹ค.
03:18
He used to pick people up here every day.
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ํ• ์•„๋ฒ„์ง€๋Š” ๋‚ ๋งˆ๋‹ค ์ด๊ณณ์—์„œ ์†๋‹˜๋“ค์„ ํƒœ์šฐ์…จ์ฃ .
03:20
So it seems right.
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๊ทธ๋ž˜์„œ ์ ์ ˆํ•œ ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
03:22
Jake Barton: So I have to say
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์ œ์ดํฌ: ์—ฌ๋Ÿฌ๋ถ„์„ ์šธ๋ฆฌ๋ ค๊ณ 
03:24
I did not actually choose those individual samples to make you cry
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์ผ๋ถ€๋Ÿฌ ์ด๋Ÿฐ ๋ณธ๋ณด๊ธฐ๋ฅผ ๊ณ ๋ฅธ ๊ฒŒ ์•„๋‹™๋‹ˆ๋‹ค.
03:27
because they all make you cry.
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์‚ฌ์‹ค ๋ชจ๋“  ๊ธฐ๋ก์ด ์—ฌ๋Ÿฌ๋ถ„์„ ์šธ๊ฒŒ ๋งŒ๋“ค๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
03:29
The entire project is predicated on this act of love
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ํ”„๋กœ์ ํŠธ ์ „์ฒด๊ฐ€ ๋“ฃ๊ธฐ๋ผ๊ณ  ํ•˜๋Š”
03:32
which is listening itself.
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์‚ฌ๋ž‘์˜ ํ–‰๋™์„ ๋ฐ”ํƒ•์œผ๋กœ ํ•ฉ๋‹ˆ๋‹ค.
03:33
And that motion of building an institution
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๋Œ€ํ™”์™€ ๋“ฃ๊ธฐ์˜ ์ˆœ๊ฐ„์„ ๋ฐ”ํƒ•์œผ๋กœ
03:36
out of a moment of conversation and listening
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์ž‘ํ’ˆ์„ ๋งŒ๋“œ๋Š” ์ผ์ด
03:38
is actually a lot of what my firm, Local Projects,
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์ œ ํšŒ์‚ฌ์ธ "์ง€์—ญ ํ”„๋กœ์ ํŠธ"๊ฐ€
03:40
is doing with our engagements in general.
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์‹ค์ œ๋กœ ํ•˜๋Š” ์ผ์ž…๋‹ˆ๋‹ค.
03:43
So we're a media design firm, and we're working
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์ €ํฌ๋Š” ๋ฏธ๋””์–ด ์„ค๊ณ„ ํšŒ์‚ฌ์ด๊ณ 
03:45
with a broad array of different institutions
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๋ฐ•๋ฌผ๊ด€๊ณผ ๊ณต๊ณต ์žฅ์†Œ์— ๋ฏธ๋””์–ด๋ฅผ ์„ค์น˜ํ•˜๋Š”
03:47
building media installations for museums and public spaces.
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๋‹ค์–‘ํ•œ ๊ธฐ๊ด€๋“ค๊ณผ ์ผ์„ ํ•ฉ๋‹ˆ๋‹ค.
03:50
Our latest engagement is the Cleveland Museum of Art,
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์ตœ๊ทผ์— ํ•œ ์ž‘์—…์€ ํด๋ฆฌ๋ธŒ๋žœ๋“œ ๋ฏธ์ˆ ๊ด€์ธ๋ฐ
03:53
which we've created an engagement called Gallery One for.
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๋Œ€์ค‘์˜ ์ฐธ์—ฌ๋ฅผ ์œ„ํ•œ '๊ฐค๋Ÿฌ๋ฆฌ ํ•˜๋‚˜'๋ฅผ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
03:56
And Gallery One is an interesting project
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'๊ฐค๋Ÿฌ๋ฆฌ ํ•˜๋‚˜'๋Š” ์žฌ๋ฏธ์žˆ๋Š” ํ”„๋กœ์ ํŠธ์ž…๋‹ˆ๋‹ค.
03:58
because it started with this massive, $350 million expansion
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ํด๋ฆฌ๋ธŒ๋žœ๋“œ ๋ฏธ์ˆ ๊ด€์„ ํ™•์žฅํ•˜๊ธฐ ์œ„ํ•ด
04:02
for the Cleveland Museum of Art,
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3์–ต5์ฒœ๋งŒ๋ถˆ์ด๋ผ๋Š” ์—„์ฒญ๋‚œ ๊ธฐ๊ธˆ์œผ๋กœ ์‹œ์ž‘ํ–ˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
04:04
and we actually brought in this piece
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์ด ์ž‘ํ’ˆ์„ ๋“ค์—ฌ์˜จ ๊นŒ๋‹ญ์€
04:06
specifically to grow new capacity, new audiences,
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๋ฏธ์ˆ ๊ด€์ด ์ปค๊ฐ€๋ฉด์„œ ๊ทธ์™€ ๋™์‹œ์—
04:08
at the same time that the museum itself is growing.
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์ƒˆ๋กœ์šด ์—ญ๋Ÿ‰์„ ํ‚ค์šฐ๊ณ  ์ƒˆ๋กœ์šด ๊ด€๋žŒ๊ฐ์„ ๋Š˜๋ ค๊ฐ€๊ธฐ ์œ„ํ•ด์„œ์ž…๋‹ˆ๋‹ค.
04:11
Glenn Lowry, the head of MoMA, put it best when he said,
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๋‰ด์š• ํ˜„๋Œ€ ๋ฏธ์ˆ ๊ด€ ๊ด€์žฅ์ธ ๊ธ€๋ Œ ๋กœ๋ฆฌ๋Š” ์ด๋ ‡๊ฒŒ ํ‘œํ˜„ํ•ฉ๋‹ˆ๋‹ค.
04:13
"We want visitors to actually cease being visitors.
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"์šฐ๋ฆฌ๋Š” ๊ด€๋žŒ๊ฐ์ด ๊ด€๋žŒ๊ฐ์œผ๋กœ ๋‚จ์ง€ ์•Š๊ธฐ๋ฅผ ๋ฐ”๋ž๋‹ˆ๋‹ค.
04:16
Visitors are transient. We want people who live here,
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๊ด€๋žŒ๊ฐ์€ ์ž ์‹œ ๋จธ๋ฌผ์ฃ . ์šฐ๋ฆฌ๋Š” ์‚ฌ๋žŒ๋“ค์ด ์ด๊ณณ์— ์‚ด๋ฉด์„œ
04:18
people who have ownership."
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์†Œ์œ ๊ถŒ์„ ๊ฐ€์ง€๊ธฐ๋ฅผ ๋ฐ”๋ž๋‹ˆ๋‹ค."
04:20
And so what we're doing is making a broad array
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๊ฐ€ ํ•˜๋Š” ์ผ์€
04:22
of different ways for people to actually engage
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์‚ฌ๋žŒ๋“ค์ด ์ „์‹œ๊ด€ ์•ˆ์— ์žˆ๋Š” ์ž‘ํ’ˆ๋“ค์—
04:24
with the material inside of these galleries,
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์‹ค์ œ๋กœ ์ฐธ์—ฌํ•  ์ˆ˜ ์žˆ๋Š” ๋‹ค์–‘ํ•œ ๋ฐฉ๋ฒ•์„ ๋งŒ๋“œ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:26
so you can still have a traditional gallery experience,
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๊ทธ๋ž˜์„œ ์ „์‹œ๊ด€์„ ์˜ˆ์ „์ฒ˜๋Ÿผ ๊ตฌ๊ฒฝํ•  ์ˆ˜๋„ ์žˆ์ง€๋งŒ
04:29
but if you're interested, you can actually engage
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๊ด€์‹ฌ์ด ์žˆ๋‹ค๋ฉด
04:31
with any individual artwork and see the original context
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์˜ˆ์ˆ  ์ž‘ํ’ˆ ํ•˜๋‚˜ํ•˜๋‚˜์— ์‹ค์ œ๋กœ ์ฐธ์—ฌํ•˜๊ฑฐ๋‚˜
04:34
from where it's from, or manipulate the work itself.
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์›๋ž˜ ๋‚ด์šฉ์„ ๋ณด๊ฑฐ๋‚˜ ์ž‘ํ’ˆ ์ž์ฒด๋ฅผ ์กฐ์ž‘ํ•ด๋ณผ ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
04:37
So, for example, you can click on this individual lion head,
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์˜ˆ๋ฅผ ๋“ค๋ฉด, ์ด ์‚ฌ์ž ๋จธ๋ฆฌ๋ฅผ ํด๋ฆญํ•  ์ˆ˜ ์žˆ๋Š”๋ฐ
04:39
and this is where it originated from, 1300 B.C.
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์ด๊ฒƒ์€ ๊ธฐ์›์ „ 1300๋…„์— ๋‚˜์˜จ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:43
Or this individual piece here,
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์•„๋‹ˆ๋ฉด ์ด ์ž‘ํ’ˆ์€
04:45
you can see the actual bedroom. It really changes the way
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์‹ค์ œ ์นจ์‹ค์„ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:47
you think about this type of a tempera painting.
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์ด๋Ÿฐ ํ˜•ํƒœ์˜ ํ…œํŽ˜๋ผ ๊ทธ๋ฆผ์— ๋Œ€ํ•œ ์—ฌ๋Ÿฌ๋ถ„์˜ ์ƒ๊ฐ์„ ๋ฐ”๊ฟ€ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:51
This is one of my favorites because you see the studio itself.
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์ด๊ฑด ์ œ๊ฐ€ ์ข‹์•„ํ•˜๋Š” ์ž‘ํ’ˆ์ธ๋ฐ ์ž‘์—…์‹ค ์ž์ฒด๋ฅผ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:53
This is Rodin's bust. You get the sense
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์ด๊ฒƒ์€ ๋กœ๋Œ•์˜ ํ‰์ƒ์ž…๋‹ˆ๋‹ค.
04:55
of this incredible factory for creativity.
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์ฐฝ์ž‘์„ ์œ„ํ•œ ์—„์ฒญ๋‚œ ๊ณต์žฅ์˜ ๋Š๋‚Œ์„ ๊ฐ€์งˆ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:57
And it makes you think about literally the hundreds
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์ด๊ฒƒ์€ ์ˆ˜๋งŒ๋…„์ด ๋˜๋Š” ์ฐฝ์˜๋ ฅ์˜ ์—ญ์‚ฌ์™€
04:59
or thousands of years of human creativity and how
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์–ด๋–ป๊ฒŒ ํ•ด์„œ ์ž‘ํ’ˆ ํ•˜๋‚˜ํ•˜๋‚˜๊ฐ€
05:02
each individual artwork stands in for part of that story.
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๊ทธ ์ด์•ผ๊ธฐ์˜ ์ผ๋ถ€๊ฐ€ ๋˜์—ˆ๋Š”์ง€ ์ƒ๊ฐํ•˜๊ฒŒ ๋งŒ๋“ญ๋‹ˆ๋‹ค.
05:05
This is Picasso,
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์ด๊ฒƒ์€ ํ”ผ์นด์†Œ์ธ๋ฐ
05:06
of course embodying so much of it from the 20th century.
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๋Œ€๋ถ€๋ถ„์ด 20์„ธ๊ธฐ์— ๊ตฌ์ฒดํ™”๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
05:09
And so our next interface, which I'll show you,
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๋‹ค์Œ์— ๋ณด์—ฌ๋“œ๋ฆด ์ธํ„ฐํŽ˜์ด์Šค๋Š”
05:11
actually leverages that idea of this lineage of creativity.
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์‹ค์ œ๋กœ ์ด๋Ÿฐ ์ฐฝ์˜๋ ฅ์„ ์ƒ์Šน์‹œํ‚ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
05:15
It's an algorithm that actually allows you to browse
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์–ผ๊ตด ์ธ์‹์„ ํ†ตํ•ด ์‹ค์ œ
05:18
the actual museum's collection using facial recognition.
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๋ฐ•๋ฌผ๊ด€์˜ ์†Œ์žฅํ’ˆ์„ ๋ณผ ์ˆ˜ ์žˆ๋Š” ์•Œ๊ณ ๋ฆฌ์ฆ˜์ž…๋‹ˆ๋‹ค.
05:21
So this person's making different faces,
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์ด ๋ถ„์ด ๋‹ค๋ฅธ ํ‘œ์ •์„ ์ง“๊ณ  ์žˆ๋Š”๋ฐ
05:23
and it's actually drawing forth different objects
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๊ทธ๋…€๊ฐ€ ์ง“๋Š” ํ‘œ์ •๊ณผ ๊ด€๋ จ๋œ ์ž‘ํ’ˆ๋“ค์„
05:26
from the collection that connect with exactly how she's looking.
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๋ฐ•๋ฌผ๊ด€์˜ ์†Œ์žฅํ’ˆ์—์„œ ์‹ค์ œ๋กœ ๊บผ๋‚ด์˜ฌ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
05:29
And so you can imagine that, as people are performing
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๊ทธ๋ž˜์„œ ์‚ฌ๋žŒ๋“ค์ด ๋ฏธ์ˆ ๊ด€ ์•ˆ์—์„œ ํ•˜๋Š” ํ–‰๋™์— ๋”ฐ๋ผ
05:33
inside of the museum itself, you get this sense
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์ง์ ‘ ์–ด๋–ค ๊ฐ์ •์ ์ธ
05:36
of this emotional connection,
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๊ต๋ฅ˜๋ฅผ ๋Š๋‚„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
05:37
this way in which our face connects with the thousands
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์ด๋ ‡๊ฒŒ ํ•ด์„œ ์šฐ๋ฆฌ ์–ผ๊ตด์ด
05:39
and tens of thousands of years.
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์ˆ˜์ฒœ ์ˆ˜๋งŒ ๋…„์„ ์ด์–ด์ค๋‹ˆ๋‹ค.
05:41
This is an interface that actually allows you to draw
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์ด ์ธํ„ฐํŽ˜์ด์Šค์—์„œ ์—ฌ๋Ÿฌ๋ถ„์ด ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๋ฉด
05:43
and then draws forth objects using those same shapes.
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๊ฐ™์€ ๊ผด์„ ๊ฐ€์ง„ ์ž‘ํ’ˆ์„ ๋ถˆ๋Ÿฌ์˜ต๋‹ˆ๋‹ค.
05:47
So more and more we're trying to find ways
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์‚ฌ๋žŒ๋“ค์ด ๋ฐ•๋ฌผ๊ด€ ์•ˆ์— ์žˆ๋Š” ์ž‘ํ’ˆ์„
05:49
for people to actually author things inside of the museums themselves,
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์Šค์Šค๋กœ ๋งŒ๋“œ๋Š” ๋ฐฉ๋ฒ•์„ ๋” ๋งŽ์ด ์ฐพ์Œ์œผ๋กœ์จ
05:52
to be creative even as they're looking
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์‚ฌ๋žŒ๋“ค์€ ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์˜ ์ฐฝ์˜๋ ฅ์„ ๋ณด๋ฉด์„œ
05:54
at other people's creativity and understanding them.
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๊ทธ๋“ค์„ ์ดํ•ดํ•˜๊ณ  ์ฐฝ์˜์ ์ด ๋˜๋Š” ๊ฑฐ์ฃ .
05:56
So in this wall, the collections wall,
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๊ทธ๋ž˜์„œ ์ด ๋ฒฝ, ์†Œ์žฅํ’ˆ ๋ฒฝ์—์„œ
05:59
you can actually see all 3,000 artworks all at the same time,
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์—ฌ๋Ÿฌ๋ถ„์€ 3์ฒœ ์ž‘ํ’ˆ์„ ๋ชจ๋‘ ํ•œ๊บผ๋ฒˆ์— ๋ณผ ์ˆ˜ ์žˆ๊ณ 
06:02
and you can actually author your own
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๋˜ ๋ฐ•๋ฌผ๊ด€ ์•ˆ์—์„œ '๋‘˜๋Ÿฌ๋ณด๊ธฐ'๋ฅผ
06:04
individual walking tours of the museum, so you can share them,
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์Šค์Šค๋กœ ๋งŒ๋“ค์–ด์„œ ๊ณต์œ ํ•  ์ˆ˜๋„ ์žˆ๊ณ 
06:07
and someone can take a tour with the museum director
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์–ด๋–ค ์‚ฌ๋žŒ๋“ค์€ ๋ฐ•๋ฌผ๊ด€ ๊ด€์žฅ์ด๋‚˜
06:10
or a tour with their little cousin.
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์ž์‹ ์˜ ์–ด๋ฆฐ ์‚ฌ์ดŒ๊ณผ ํ•จ๊ป˜ '๋‘˜๋Ÿฌ๋ณด๊ธฐ'๋ฅผ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
06:13
But all the while that we've been working
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์šฐ๋ฆฌ๋Š” ํด๋ฆฌ๋ธŒ๋žœ๋“œ ๋ฏธ์ˆ ๊ด€์„ ์œ„ํ•œ
06:14
on this engagement for Cleveland,
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์ฐธ์—ฌํ˜• ์ž‘์—…์„ ํ•˜๋ฉด์„œ
06:16
we've also been working in the background
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ํ•œํŽธ์œผ๋กœ๋Š”
06:17
on really our largest engagement to date,
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์ง€๊ธˆ๊นŒ์ง€ ํ•œ ์ผ ์ค‘์—์„œ ๊ฐ€์žฅ ํฐ ๊ทœ๋ชจ๋กœ ์ผ์„ ํ•˜๊ณ  ์žˆ๋Š”๋ฐ
06:19
and that's the 9/11 Memorial and Museum.
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๊ทธ๊ฑด 9/11 ๊ธฐ๋… ๋ฏธ์ˆ ๊ด€์ž…๋‹ˆ๋‹ค.
06:23
So we started in 2006
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์šฐ๋ฆฌ๋Š” 2006๋…„
06:25
as part of a team with Thinc Design
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"์”ฝํฌ ๋””์ž์ธ" ํŒ€์˜ ์ผ์›์œผ๋กœ
06:28
to create the original master plan for the museum,
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๋ฏธ์ˆ ๊ด€์„ ์œ„ํ•œ ์ฒญ์‚ฌ์ง„์„ ๋งŒ๋“œ๋Š” ์ผ์„ ์‹œ์ž‘ํ–ˆ๊ณ 
06:30
and then we've done all the media design
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๋ฏธ์ˆ ๊ด€, ๊ธฐ๋…๊ด€, ๋ฏธ๋””์–ด ์ œ์ž‘์„ ์œ„ํ•œ
06:32
both for the museum and the memorial and then the media production.
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๋ชจ๋“  ๋ฏธ๋””์–ด๋ฅผ ์„ค๊ณ„ํ–ˆ์Šต๋‹ˆ๋‹ค.
06:35
So the memorial opened in 2011,
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๊ทธ๋ž˜์„œ ๊ธฐ๋…๊ด€์ด 2011๋…„์— ๋ฌธ์„ ์—ด์—ˆ๊ณ 
06:38
and the museum's going to open next year in 2014.
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๋ฐ•๋ฌผ๊ด€์€ 2014๋…„์— ๊ณต๊ฐœ๋  ์˜ˆ์ •์ž…๋‹ˆ๋‹ค.
06:40
And you can see from these images,
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์ด ์‚ฌ์ง„์—์„œ ๋ณด์‹œ๋‹ค์‹œํ”ผ
06:41
the site is so raw and almost archaeological.
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๊ทธ๊ณณ์€ ์›๋ž˜ ์ƒํƒœ๋Œ€๋กœ์ด๊ณ  ๋งˆ์น˜ ๊ณ ๊ณ ํ•™ ๋ฐœ๊ตด์žฅ์†Œ ๊ฐ™์Šต๋‹ˆ๋‹ค.
06:45
And of course the event itself is so recent,
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๋ฌผ๋ก  ์‚ฌ๊ฑด ์ž์ฒด๊ฐ€ ์ตœ๊ทผ์— ์ผ์–ด๋‚ฌ๊ณ 
06:47
somewhere between history and current events,
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์—ญ์‚ฌ์™€ ํ˜„์žฌ ์‚ฌ์ด์˜ ์–ด๋””์ฏค์— ์žˆ์Šต๋‹ˆ๋‹ค.
06:50
it was a huge challenge to imagine
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์ด๋Ÿฐ ๊ณต๊ฐ„์— ๋Œ€ํ•œ ๊ธฐ๋Œ€์—
06:51
how do you actually live up to a space like this,
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์–ด๋–ป๊ฒŒ ๋ถ€์‘ํ•ด์•ผ ํ• ์ง€, ์ด์•ผ๊ธฐ๋ฅผ ์–ด๋–ป๊ฒŒ ํ’€์–ด๋‚˜๊ฐ€์•ผ ํ• ์ง€
06:54
an event like this, to actually tell that story.
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์ƒ์ƒํ•˜๋Š” ๊ฒƒ์€ ํฐ ๋„์ „์ด์—ˆ์Šต๋‹ˆ๋‹ค.
06:56
And so what we started with
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๊ฐ€ ์‹œ์ž‘ํ•œ ๊ฒƒ์€
06:58
was really a new way of thinking about building an institution,
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'์—ญ์‚ฌ๋ฅผ ๋งŒ๋“ค๋‹ค'๋ผ๋Š” ํ”„๋กœ์ ํŠธ๋ฅผ ํ†ตํ•ด
07:02
through a project called Make History,
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์ „์‹œํ’ˆ์„ ๋งŒ๋“ค์–ด๋‚˜๊ฐ€๋Š” ์ƒˆ๋กœ์šด ๋ฐฉ์‹์ธ๋ฐ
07:03
which we launched in 2009.
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2009๋…„์— ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:05
So it's estimated that a third of the world
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์„ธ๊ณ„์˜ 1/3 ์ด
07:08
watched 9/11 live,
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9/11 ์„ ์ƒ๋ฐฉ์†ก์œผ๋กœ ์ง€์ผœ๋ดค๊ณ 
07:10
and a third of the world
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๋‚˜๋จธ์ง€ 1/3 ์€
07:11
heard about it within 24 hours,
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24์‹œ๊ฐ„ ์•ˆ์— ๊ทธ ์ผ์„ ๋“ค์—ˆ๋‹ค๊ณ  ์ถ”์ •ํ•ฉ๋‹ˆ๋‹ค.
07:13
making it really by nature of when it happened,
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์‚ฌ๊ฑด์ด ์ผ์–ด๋‚œ ์ˆœ๊ฐ„์„
07:15
this unprecedented moment of global awareness.
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์ „์„ธ๊ณ„๊ฐ€ ๋™์‹œ์— ์ธ์‹ํ•œ ์ „๋ก€์—†๋Š” ์ˆœ๊ฐ„์ด ๋˜์–ด๋ฒ„๋ฆฐ ๊ฒƒ์ด์ฃ .
07:18
And so we launched this to capture the stories
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๊ทธ๋ž˜์„œ ์ €ํฌ๋Š” ์ „์„ธ๊ณ„์—์„œ ๋‚˜์˜จ
07:21
from all around the world,
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์ด์•ผ๊ธฐ๋ฅผ ๋‹ด์•„๋‚ด๊ธฐ ์œ„ํ•ด
07:22
through video, through photos,
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๋น„๋””์˜ค, ์‚ฌ์ง„,
07:23
through written history,
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๊ธ€์›”์„ ๋ชจ์œผ๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:25
and so people's experiences on that day,
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๊ทธ๋‚  ์‚ฌ๋žŒ๋“ค์ด ๊ฒฝํ—˜ํ•œ ๊ฒƒ์€
07:26
which was, in fact, this huge risk for the institution
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์‚ฌ์‹ค ์ „์‹œํšŒ ์ฃผ์ฒด๋กœ์„œ ์ด๋ ‡๊ฒŒ ์—ด๋ฆฐ ํ˜•ํƒœ๋กœ
07:28
to make its first move this open platform.
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์ฒซ ๊ฑธ์Œ์„ ๋–ผ๊ธฐ์—๋Š” ํฐ ๋ถ€๋‹ด์ด์—ˆ์Šต๋‹ˆ๋‹ค.
07:31
But that was coupled together with this oral histories booth,
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์šฐ๋ฆฌ๊ฐ€ ์ง€๊ธˆ๊นŒ์ง€ ๋งŒ๋“  ๊ฒƒ ์ค‘์—์„œ ๊ฐ€์žฅ ๋‹จ์ˆœํ•˜์ง€๋งŒ
07:34
really the simplest we've ever made,
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์ด๋ ‡๊ฒŒ ๊ตฌ์ˆ ํ•˜๋Š” ์—ญ์‚ฌ ๊ณต๊ฐ„๊ณผ ํ•จ๊ป˜
07:35
where you locate yourself on a map.
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์—ฌ๋Ÿฌ๋ถ„์€ ์ง€๋„์— ์—ฌ๋Ÿฌ๋ถ„์˜ ์œ„์น˜๋ฅผ ํ‘œ์‹œํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
07:36
It's in six languages, and you can tell your own story
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6๊ฐœ ์–ธ์–ด๋กœ ๋˜์–ด ์žˆ์–ด์„œ
07:39
about what happened to you on that day.
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๊ทธ๋‚  ์—ฌ๋Ÿฌ๋ถ„ํ•œํ…Œ ์–ด๋–ค ์ผ์ด ์ผ์–ด๋‚ฌ๋Š”์ง€ ๊ฐ์ž์˜ ์ด์•ผ๊ธฐ๋ฅผ ๋งํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
07:41
And when we started seeing the incredible images
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์ „์„ธ๊ณ„์—์„œ ๋‚˜์˜จ
07:44
and stories that came forth
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๋ฏฟ๊ธฐ ์–ด๋ ค์šด ์‚ฌ์ง„๊ณผ
07:45
from all around the world --
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์ด์•ผ๊ธฐ๋ฅผ ๋ณด๋ฉด์„œ
07:47
this is obviously part of the landing gear --
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-- ์ด๊ฒƒ์€ ๋ถ„๋ช…ํžˆ ์ฐฉ๋ฅ™ ์žฅ์น˜์˜ ์ผ๋ถ€๊ตฐ์š”.--
07:49
we really started to understand
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์šฐ๋ฆฌ๋Š” ์‚ฌ๊ฑด ๊ทธ ์ž์ฒด์™€
07:51
that there was this amazing symmetry
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์‚ฌ๋žŒ๋“ค์ด ์‚ฌ๊ฑด์„ ์–˜๊ธฐํ•˜๋Š” ๋ฐฉ์‹,
07:53
between the event itself,
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์šฐ๋ฆฌ๊ฐ€ ๊ทธ ์–˜๊ธฐ๋ฅผ ์–ด๋–ป๊ฒŒ
07:55
between the way that people were telling the stories of the event,
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ํ’€์–ด๋‚˜๊ฐ€์•ผ ํ•˜๋Š”์ง€ ์‚ฌ์ด์—์„œ
07:57
and how we ourselves needed to tell that story.
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๋†€๋ผ์šด ๋Œ€์นญ์„ฑ์„ ๋ฐœ๊ฒฌํ–ˆ์Šต๋‹ˆ๋‹ค.
08:00
This image in particular really captured
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์ด ์‚ฌ์ง„์€ ํŠนํžˆ
08:02
our attention at the time,
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์šฐ๋ฆฌ์˜ ์ฃผ์˜๋ฅผ ๋Œ์—ˆ๋Š”๋ฐ
08:03
because it so much sums up that event.
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๊ทธ ์‚ฌ๊ฑด์„ ๊ฐ€์žฅ ์ž˜ ๋‚˜ํƒ€๋‚ด์ฃผ๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
08:06
This is a shot from the Brooklyn-Battery Tunnel.
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๋ธŒ๋ฃฉํด๋ฆฐ ๋ฐฐํ„ฐ๋ฆฌ ํ„ฐ๋„์—์„œ ์ฐ์€ ์‚ฌ์ง„์ž…๋‹ˆ๋‹ค.
08:09
There's a firefighter that's stuck, actually, in traffic,
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์†Œ๋ฐฉ๊ด€์ด ์‹ค์ œ๋กœ ๊ตํ†ต ์ฒด์ฆ์— ๋ง‰ํ˜€
08:12
and so the firefighters themselves are running
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์‚ฌ๊ฑด ์žฅ์†Œ๊นŒ์ง€
08:15
a mile and a half to the site itself
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2.7 km๋ฅผ ๋›ฐ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
08:16
with upwards of 70 pounds of gear on their back.
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๋“ฑ์—๋Š” 35 kg ์ƒ๋‹น์˜ ์†Œ๋ฐฉ ์žฅ๋น„๋ฅผ ์งŠ์–ด์ง€๊ณ  ์žˆ์ฃ .
08:19
And we got this amazing email that said,
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์šฐ๋ฆฌ๋Š” ๋†€๋ผ์šด ์ด๋ฉ”์ผ์„ ๋ฐ›์•˜์Šต๋‹ˆ๋‹ค.
08:22
"While viewing the thousands of photos on the site,
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"์‚ฌ๊ฑด ์žฅ์†Œ์— ๊ด€ํ•œ ์‚ฌ์ง„ ์ˆ˜์ฒœ ์žฅ์„ ๋ณด๋ฉด์„œ
08:24
I unexpectedly found a photo of my son.
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์ €๋Š” ๊ธฐ๋Œ€ํ•˜์ง€๋„ ์•Š์•˜๋˜ ์•„๋“ค์˜ ์‚ฌ์ง„์„ ๋ดค์Šต๋‹ˆ๋‹ค.
08:27
It was a shock emotionally, yet a blessing to find this photo,"
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๊ฐ€์Šด์ด ๋ฏธ์–ด์งˆ ๋“ฏ ํ–ˆ์ง€๋งŒ ์ด ์‚ฌ์ง„์„ ์ฐพ์•„์„œ ํ–‰๋ณตํ–ˆ์Šต๋‹ˆ๋‹ค."
08:30
and he was writing because he said,
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๊ทธ๋Š” ์ด๋ ‡๊ฒŒ ์ผ์Šต๋‹ˆ๋‹ค.
08:31
"I'd like to personally thank the photographer
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"์ €๋Š” ๊ฐœ์ธ์ ์œผ๋กœ
08:33
for posting the photo,
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์ด ์‚ฌ์ง„์„ ์˜ฌ๋ ค์ค€ ๋ถ„๊ป˜ ๊ฐ์‚ฌ๋“œ๋ฆฌ๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
08:34
as it meant more than words can describe to me
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์–ด์ฉŒ๋ฉด ์ด ์‚ฌ์ง„์ด์•ผ๋ง๋กœ
08:37
to have access to what is probably
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์ œ ์•„๋“ค์˜ ๋งˆ์ง€๋ง‰ ์ˆœ๊ฐ„์„ ์ฐ์€ ๊ฒƒ์ด๊ธฐ ๋•Œ๋ฌธ์—
08:38
the last photo ever taken of my son."
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๋ง๋กœ ๋‹คํ•  ์ˆ˜ ์—†์„ ๋งŒํผ ์†Œ์ค‘ํ•˜๋‹ˆ๊นŒ์š”."
08:43
And it really made us recognize
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๊ทธ๋ž˜์„œ ๊ทธ ์ผ์€ ์šฐ๋ฆฌ๊ฐ€
08:45
what this institution needed to be
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์ด์•ผ๊ธฐ๋ฅผ ์‚ฌ์‹ค๋Œ€๋กœ ๋งํ•˜๊ธฐ ์œ„ํ•ด์„œ
08:48
in order to actually tell that story.
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์ „์‹œ ์ฃผ์ฒด๋กœ์„œ ํ•ด์•ผ ํ•  ๋ฐ”๋ฅผ ๊ฐ์ธ์‹œ์ผœ ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค.
08:50
We can't have just a historian or a curator narrating
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๊ทธ๋Ÿฌํ•œ ์‚ฌ๊ฑด์— ๋Œ€ํ•ด์„œ ์—ญ์‚ฌ๊ฐ€๋‚˜ ํ๋ ˆ์ดํ„ฐ๊ฐ€
08:54
objectively in the third person about an event like that,
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๊ฐ๊ด€์ ์ธ ์ œ 3์ž ์ž…์žฅ์—์„œ ์ด์•ผ๊ธฐํ•˜๊ฒŒ๋” ํ•  ์ˆ˜ ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
08:57
when you have the witnesses to history
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์—ญ์‚ฌ์˜ ์ฆ์ธ๋“ค์ด
09:00
who are going to make their way
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์‹ค์ œ ๋ฐ•๋ฌผ๊ด€ ๊ทธ ์ž์ฒด๋ฅผ
09:01
through the actual museum itself.
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๋งŒ๋“ค์–ด ๋‚˜๊ฐˆ ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
09:04
And so we started imagining the museum,
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ๋ฐ•๋ฌผ๊ด€์˜ ์ฐฝ์ž‘ํŒ€๊ณผ ํ๋ ˆ์ดํ„ฐ์™€ ํ•จ๊ป˜
09:06
along with the creative team at the museum and the curators,
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๋ฐ•๋ฌผ๊ด€์„ ์ƒ์ƒํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
09:09
thinking about how the first voice that you would hear
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์—ฌ๋Ÿฌ๋ถ„์ด ๋ฐ•๋ฌผ๊ด€์— ๋“ค์–ด๊ฐ€์„œ ์ฒ˜์Œ ๋“ฃ๋Š” ๋ชฉ์†Œ๋ฆฌ๊ฐ€
09:11
inside the museum would actually be of other visitors.
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์‹ค์ œ๋กœ ๋‹ค๋ฅธ ๋ฐฉ๋ฌธ๊ฐ์˜ ๋ชฉ์†Œ๋ฆฌ๋ผ๋ฉด ์–ด๋–จ๊นŒ ๋ผ๊ตฌ์š”.
09:13
And so we created this idea of an opening gallery
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” '์šฐ๋ฆฌ๋Š” ๊ธฐ์–ตํ•ฉ๋‹ˆ๋‹ค.'๋ผ๋Š”
09:16
called We Remember.
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์—ด๋ฆฐ ์ „์‹œ๊ด€์„ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
09:17
And I'll just play you part of a mockup of it,
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์‹œ์ œํ’ˆ์„ ์ž ์‹œ ๋“ค๋ ค๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
09:19
but you get a sense of what it's like to actually enter
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์—ฌ๋Ÿฌ๋ถ„์€ ์‹ค์ œ๋กœ ๊ทธ ๋‹น์‹œ๋กœ ๋Œ์•„๊ฐ€์„œ
09:21
into that moment in time
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์–ด๋–ป๊ฒŒ ๋Š๋ผ๋Š”์ง€
09:22
and be transported back in history.
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์—ญ์‚ฌ์†์œผ๋กœ ๋˜๋Œ์•„๊ฐˆ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
09:26
(Video) Voice 1: I was in Honolulu, Hawaii. Voice 2: I was in Cairo, Egypt.
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(๋™์˜์ƒ) ๋ชฉ์†Œ๋ฆฌ 1: ์ €๋Š” ํ•˜์™€์ด ํ˜ธ๋†€๋ฃฐ๋ฃจ์— ์žˆ์—ˆ์–ด์š”. ๋ชฉ์†Œ๋ฆฌ 2: ์ €๋Š” ์ด์ง‘ํŠธ ์นด์ด๋กœ์— ์žˆ์—ˆ์ฃ .
09:29
Voice 3: Sur les Champs-ร‰lysรฉes, ร  Paris. Voice 4: In college, at U.C. Berkeley.
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๋ชฉ์†Œ๋ฆฌ 3: ์ €๋Š” ํŒŒ๋ฆฌ ์ƒน์ ค๋ฆฌ์ œ ๊ฑฐ๋ฆฌ์— ์žˆ์—ˆ์–ด์š”. ๋ชฉ์†Œ๋ฆฌ 4: ๋ฒ„ํด๋ฆฌ ๋Œ€ํ•™
09:33
Voice 5: I was in Times Square. Voice 6: Sรฃo Paolo, Brazil.
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๋ชฉ์†Œ๋ฆฌ 5: ํƒ€์ž„์ฆˆ ์Šคํ€˜์–ด์— ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค. ๋ชฉ์†Œ๋ฆฌ 6: ๋ธŒ๋ผ์งˆ ์ƒํŒŒ์˜ฌ๋กœ.
09:36
(Multiple voices)
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(์—ฌ๋Ÿฌ ์‚ฌ๋žŒ๋“ค ๋ชฉ์†Œ๋ฆฌ)
09:41
Voice 7: It was probably about 11 o'clock at night.
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๋ชฉ์†Œ๋ฆฌ 7: ์•„๋งˆ ๋ฐค 11์‹œ์ฏค ๋˜์—ˆ์„ ๊ฒ๋‹ˆ๋‹ค.
09:43
Voice 8: I was driving to work at 5:45 local time in the morning.
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๋ชฉ์†Œ๋ฆฌ 8: ์ €๋Š” ์ƒˆ๋ฒฝ 5์‹œ 45๋ถ„์— ์ฐจ๋ฅผ ๋ชฐ๊ณ  ์ผํ„ฐ๋กœ ๊ฐ€๋Š” ์ค‘์ด์—ˆ์ฃ .
09:47
Voice 9: We were actually in a meeting
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๋ชฉ์†Œ๋ฆฌ 9: ์šฐ๋ฆฌ๋Š” ๊ทธ๋•Œ ํšŒ์˜๋ฅผ ํ•˜๊ณ  ์žˆ์—ˆ๋Š”๋ฐ
09:48
when someone barged in and said,
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๋ˆ„๊ฐ€ ๋ฌธ์„ ์—ด๊ณ  ๋“ค์–ด์˜ค๋”๋‹ˆ
09:50
"Oh my God, a plane has just crashed into the World Trade Center."
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"๋ง™์†Œ์‚ฌ, ๋น„ํ–‰๊ธฐ๊ฐ€ ๋ฐฉ๊ธˆ ์„ธ๊ณ„ ๋ฌด์—ญ ์„ผํ„ฐ์— ๋ถ€๋”ชํ˜”์–ด์š”."
09:54
Voice 10: Trying to frantically get to a radio.
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๋ชฉ์†Œ๋ฆฌ 10: ๋†€๋ผ์„œ ๋ผ๋””์˜ค๋ฅผ ํ‹€๋ ค๊ณ  ํ–ˆ์Šต๋‹ˆ๋‹ค.
09:56
Voice 11: When I heard it over the radio --
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๋ชฉ์†Œ๋ฆฌ 11: ๋ผ๋””์˜ค๋ฅผ ๋“ค์—ˆ์„ ๋•Œ
09:58
Voice 12: Heard it on the radio.
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๋ชฉ์†Œ๋ฆฌ 12: ๋ผ๋””์˜ค๋กœ ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
09:59
(Multiple voices)
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(์—ฌ๋Ÿฌ ์‚ฌ๋žŒ๋“ค ๋ชฉ์†Œ๋ฆฌ)
10:01
Voice 13: I got a call from my father. Voice 14: The phone rang, it woke me up.
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๋ชฉ์†Œ๋ฆฌ 13: ์•„๋ฒ„์ง€๊ป˜์„œ ์ „ํ™”๋ฅผ ํ•˜์…จ์–ด์š”. ๋ชฉ์†Œ๋ฆฌ 14: ์ „ํ™”๊ฐ€ ์šธ๋ ค์„œ ์ž ์—์„œ ๊นผ์ฃ .
10:04
My business partner told me to turn on the television.
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๋™์—…์ž๊ฐ€ ํ‹ฐ๋ธŒ์ด๋ฅผ ์ผœ๋ณด๋ผ๊ณ  ํ•˜๋”๊ตฐ์š”.
10:06
Voice 15: So I switched on the television.
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๋ชฉ์†Œ๋ฆฌ 15: ๊ทธ๋ž˜์„œ ํ‹ฐ๋ธŒ์ด๋ฅผ ์ผฐ์Šต๋‹ˆ๋‹ค.
10:08
Voice 16: All channels in Italy were displaying the same thing.
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๋ชฉ์†Œ๋ฆฌ 16: ์ดํƒˆ๋ฆฌ์•„์˜ ์ „์ฑ„๋„์ด ๋˜‘๊ฐ™์€ ๊ฒƒ์„ ๋ณด์—ฌ์ฃผ๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
10:10
Voice 17: The Twin Towers. Voice 18: The Twin Towers.
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๋ชฉ์†Œ๋ฆฌ 17: ์Œ๋™์ด ๋นŒ๋”ฉ ๋ชฉ์†Œ๋ฆฌ 18: ์Œ๋™์ด ๋นŒ๋”ฉ
10:13
JB: And you move from there
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์ œ์ดํฌ: ์—ฌ๋Ÿฌ๋ถ„์€ ๊ฑฐ๊ธฐ์„œ ๋‚˜์•„๊ฐ€์„œ
10:14
into that open, cavernous space.
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๋™๊ตด๊ณผ ๊ฐ™์€ ์—ด๋ฆฐ ๊ณต๊ฐ„์œผ๋กœ ๋“ค์–ด์„ญ๋‹ˆ๋‹ค.
10:16
This is the so-called slurry wall.
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์ด๊ณณ์€ ์Šฌ๋Ÿฌ๋ฆฌ ๋ฒฝ์ด๋ผ๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
10:18
It's the original, excavated wall at the base of the World Trade Center
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์„ธ๊ณ„ ๋ฌด์—ญ ์„ผํ„ฐ ์ง€ํ•˜์—์„œ ๋ฐœ๊ตด๋œ ์›๋ž˜์˜ ๋ฒฝ์ธ๋ฐ
10:21
that withstood the actual pressure from the Hudson River
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์‚ฌ๊ฑด์ด ์ผ์–ด๋‚œ ๋’ค์—๋„ ๊ผฌ๋ฐ• 1๋…„ ๋™์•ˆ
10:24
for a full year after the event itself.
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ํ—ˆ๋“ ์Šจ ๊ฐ•์˜ ์ˆ˜์••์„ ๊ฒฌ๋ŽŒ๋‚ด๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
10:26
And so we thought about carrying that sense of authenticity,
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ๊ทธ ์ˆœ๊ฐ„์ด ์‹ค์กดํ•˜๋Š”
10:30
of presence of that moment
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์ง„์งœ ๋Š๋‚Œ์„
10:32
into the actual exhibition itself.
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์‹ค์ œ ์ „์‹œ๊ด€์œผ๋กœ ์˜ฎ๊ฒจ์˜ค๋ ค๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
10:34
And we tell the stories of being inside the towers
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ๊ฐ™์€ ๋ฐฉ์‹์œผ๋กœ ์†Œ๋ฆฌ๋ฅผ ๋ชจ์•„์„œ
10:36
through that same audio collage,
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๊ฑด๋ฌผ ์•ˆ์—์„œ ์žˆ์—ˆ๋˜ ์ด์•ผ๊ธฐ๋‚˜
10:38
so you're hearing people literally talking about
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์‚ฌ๋žŒ๋“ค์ด ๋น„ํ–‰๊ธฐ๊ฐ€ ๊ฑด๋ฌผ๋กœ ๋‚ ์•„๊ฐ€๋Š” ๊ฒƒ์„
10:40
seeing the planes as they make their way into the building,
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๋งํ•˜๊ฑฐ๋‚˜
10:43
or making their way down the stairwells.
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๊ณ„๋‹จ์œผ๋กœ ๋‚ด๋ ค๊ฐ€๋Š” ์ด์•ผ๊ธฐ๋ฅผ ํ•˜์ฃ .
10:45
And as you make your way into the exhibition
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๊ทธ๋ฆฌ๊ณ  ์—ฌ๋Ÿฌ๋ถ„์ด ์ „์‹œ๊ด€์„ ์ง€๋‚˜๊ฐ€๋ฉด์„œ
10:47
where it talks about the recovery,
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๋ณต๊ตฌ์— ๊ด€ํ•œ ์ด์•ผ๊ธฐ๋ฅผ ํ•  ๋•Œ์ฏค์ด๋ฉด
10:49
we actually project directly onto these moments
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์ด๋Ÿฐ ์ˆœ๊ฐ„๋“ค์„
10:51
of twisted steel all of the experiences from people
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๊ตฌ๋ถ€๋Ÿฌ์ง„ ๊ฐ•์ฒ  ์œ„๋กœ ๋น„์ถฐ์„œ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค.
10:55
who literally excavated on top of the pile itself.
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์‚ฌ๋žŒ๋“ค์ด ์ž”ํ•ด ๋”๋ฏธ ์œ„์—์„œ ๋ฐœ๊ตดํ•ด๋‚ธ๊ฑฐ์ฃ .
10:58
And so you can hear oral histories --
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๊ทธ๋ž˜์„œ ๋ˆ„๊ตฐ๊ฐ€๊ฐ€ ๋งํ•ด์ฃผ๋Š” ์—ญ์‚ฌ๋ฅผ ๋“ค์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
11:00
so people who were actually working the so-called bucket brigades
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์–‘๋™์ด ๋ถ€๋Œ€๋กœ ์ผํ•œ ์‚ฌ๋žŒ๋“ค์ด
11:02
as you're seeing literally the thousands of experiences
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๊ทธ ์ˆœ๊ฐ„ ์ˆ˜์ฒœ ๋ช…์ด ๊ฒฝํ—˜ํ•œ
11:06
from that moment.
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์ด์•ผ๊ธฐ๋ฅผ ๋“ค์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
11:07
And as you leave that storytelling moment
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์—ฌ๋Ÿฌ๋ถ„์ด 9/11์— ๋Œ€ํ•ด ์ดํ•ด๋ฅผ ํ•˜๊ฒŒ ๋œ
11:09
understanding about 9/11,
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์ด์•ผ๊ธฐ ๋ฐฉ์„ ๋– ๋‚˜๋ฉด์„œ
11:11
we then turn the museum back into a moment of listening
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๊ทธ ๋‹ค์Œ์—๋Š” ๋ฐ•๋ฌผ๊ด€์„ ๋“ฃ๋Š” ์ˆœ๊ฐ„์œผ๋กœ ๋ฐ”๊ฟ‰๋‹ˆ๋‹ค.
11:14
and actually talk to the individual visitors
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๊ทธ๋ž˜์„œ ์‹ค์ œ๋กœ ๊ฐœ์ธ ๋ฐฉ๋ฌธ๊ฐ๋“ค์—๊ฒŒ
11:17
and ask them their own experiences about 9/11.
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9/11์— ๊ด€ํ•œ ๊ทธ๋“ค์˜ ๊ฒฝํ—˜์„ ๋ฌผ์–ด๋ณด๋Š” ๊ฑฐ์ฃ .
11:20
And we ask them questions that are actually
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์‚ฌ๋žŒ๋“ค์—๊ฒŒ ์งˆ๋ฌธ์„ ๋˜์ง€๋Š”๋ฐ
11:21
not really answerable, the types of questions
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๊ทธ ์งˆ๋ฌธ๋“ค์€ ๋‹ตํ•  ์ˆ˜ ์žˆ๋Š” ๊ฒƒ๋“ค์ด ์•„๋‹™๋‹ˆ๋‹ค.
11:23
that 9/11 itself draws forth for all of us.
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9/11 ์ž์ฒด๊ฐ€ ์šฐ๋ฆฌํ•œํ…Œ ๋Œ์–ด๋‚ด๋Š” ๊ฒƒ๋“ค.
11:26
And so these are questions like,
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์งˆ๋ฌธ๋“ค์€ ์ด๋ ‡์Šต๋‹ˆ๋‹ค.
11:28
"How can a democracy balance freedom and security?"
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"๋ฏผ์ฃผ์ฃผ์˜๊ฐ€ ์–ด๋–ป๊ฒŒ ์ž์œ ์™€ ์•ˆ๋ณด ์‚ฌ์ด์—์„œ ๊ท ํ˜•์„ ์žก์„ ์ˆ˜ ์žˆ์„๊นŒ?"
11:31
"How could 9/11 have happened?"
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"9/11 ์ด ์–ด๋–ป๊ฒŒ ๋ฐœ์ƒํ–ˆ๋Š”๊ฐ€?"
11:35
"And how did the world change after 9/11?"
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"9/11 ์ดํ›„์— ์„ธ์ƒ์ด ์–ด๋–ป๊ฒŒ ๋‹ฌ๋ผ์กŒ๋Š”๊ฐ€?"
11:37
And so these oral histories,
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๊ทธ๋ž˜์„œ ์ด๋Ÿฐ ๊ตฌ์ˆ  ์—ญ์‚ฌ๋ฅผ
11:38
which we've actually been capturing already for years,
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์‹ค์ œ๋กœ ์šฐ๋ฆฌ๋Š” ๋ช‡ ๋…„๋™์•ˆ ๋‹ด์•„๋‚ด๊ณ  ์žˆ๋Š”๋ฐ
11:41
are then mixed together with interviews
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๊ทธ๊ฒƒ๋“ค์ด ๋‹ค๋ฅธ ์ธํ„ฐ๋ทฐ
11:43
that we're doing with people like Donald Rumsfeld,
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๋„๋„๋“œ ๋Ÿผ์ŠคํŽ ๋“œ, ๋ฃจ๋”” ์ฅด๋ฆฌ์•„๋‹ˆ์™€ ๊ฐ™์€
11:45
Bill Clinton, Rudy Giuliani,
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์‚ฌ๋žŒ๋“ค์˜ ์ธํ„ฐ๋ทฐ์™€ ์„ž์—ฌ์„œ
11:47
and you mix together these different players
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๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค,
11:49
and these different experiences,
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๋‹ค๋ฅธ ๊ฒฝํ—˜๋“ค,
11:50
these different reflection points about 9/11.
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9/11 ์— ๋Œ€ํ•œ ๋‹ค๋ฅธ ์‹œ์ ์„ ์„ž์Šต๋‹ˆ๋‹ค.
11:53
And suddenly the institution, once again,
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๊ทธ๋Ÿฌ๋ฉด ๊ฐ‘์ž๊ธฐ ์ด ์ „์‹œ๊ด€์€ ๋‹ค์‹œ ํ•œ ๋ฒˆ
11:55
turns into a listening experience.
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๋“ฃ๋Š” ๊ฒฝํ—˜์ด ๋ฉ๋‹ˆ๋‹ค.
11:57
So I'll play you just a short excerpt
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์ด ๋ชฉ์†Œ๋ฆฌ๋ฅผ ํ•ฉํ•ด์„œ
11:59
of a mockup that we made of a couple of these voices,
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์งง๊ฒŒ ํŽธ์ง‘ํ•œ ๊ฒƒ์„ ๋“ค๋ ค๋“œ๋ฆฌ์ฃ .
12:01
but you really get a sense
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๊ทธ ์‚ฌ๊ฑด์— ๋Œ€ํ•œ ๋ชจ๋“  ์‚ฌ๋žŒ๋“ค์˜
12:02
of the poetry of everyone's reflection on the event.
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์‹œ๋ฅผ ๋“ฃ๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
12:06
(Video) Voice 1: 9/11 was not just a New York experience.
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(๋™์˜์ƒ) ๋ชฉ์†Œ๋ฆฌ 1: 9/11 ์€ ๋‰ด์š•๋งŒ์˜ ๊ฒฝํ—˜์ด ์•„๋‹™๋‹ˆ๋‹ค.
12:10
Voice 2: It's something that we shared, and it's something that united us.
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๋ชฉ์†Œ๋ฆฌ 2: ๊ทธ๊ฑด ์šฐ๋ฆฌ๊ฐ€ ๊ณต์œ ํ•œ ๊ฒƒ์ด๊ณ  ์šฐ๋ฆฌ๋ฅผ ํ•˜๋‚˜๋กœ ๋งŒ๋“  ์‚ฌ๊ฑด์ž…๋‹ˆ๋‹ค.
12:14
Voice 3: And I knew when I saw that,
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๋ชฉ์†Œ๋ฆฌ 3: ์ œ๊ฐ€ ๊ทธ๊ฒƒ์„ ๋ดค์„ ๋•Œ
12:15
people who were there that day who immediately
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๊ทธ๋‚  ๊ทธ๊ณณ์— ์žˆ๋˜ ์‚ฌ๋žŒ๋“ค์€ ๊ณง๋ฐ”๋กœ
12:17
went to help people known and unknown to them
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์ž์‹ ์ด ์•„๋Š” ์‚ฌ๋žŒ์ด๋“ , ๋ชจ๋ฅด๋Š” ์‚ฌ๋žŒ์ด๋“  ๊ด€๊ณ„์—†์ด ๋ชจ๋“  ์‚ฌ๋žŒ๋“ค์„ ๋„์šฐ๋ ค๊ณ  ๊ฐ”์Šต๋‹ˆ๋‹ค.
12:20
was something that would pull us through.
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๊ทธ ์‚ฌ์‹ค์ด ์šฐ๋ฆฌ๋ฅผ ๊ฐ๋™ํ•˜๊ฒŒ ๋งŒ๋“ค์—ˆ์ฃ .
12:22
Voice 4: All the outpouring of affection and emotion
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๋ชฉ์†Œ๋ฆฌ 4: ์šฐ๋ฆฌ๋‚˜๋ผ์—์„œ ์Ÿ์•„์ ธ๋‚˜์˜จ
12:25
that came from our country was something really
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๋ชจ๋“  ์• ์ •๊ณผ ๊ฐ์ •์€ ์ •๋ง
12:27
that will forever, ever stay with me.
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์˜์›ํžˆ ๋ชป ์žŠ์„ ๊ฒ๋‹ˆ๋‹ค.
12:30
Voice 5: Still today I pray and think about those
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๋ชฉ์†Œ๋ฆฌ 5: ์˜ค๋Š˜๋„ ์ €๋Š”
12:32
who lost their lives,
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๋ชฉ์ˆจ์„ ์žƒ์€ ์‚ฌ๋žŒ๋“ค์„ ์œ„ํ•ด ๊ธฐ๋„ํ•˜๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
12:33
and those who gave their lives to help others,
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๋‹ค๋ฅธ ์‚ฌ๋žŒ์„ ๋„์šฐ๋ ค๋‹ค ์ž๊ธฐ ๋ชฉ์ˆจ์„ ์žƒ์€ ์‚ฌ๋žŒ๋“ค์„ ์œ„ํ•ด์„œ.
12:36
but I'm also reminded of the fabric of this country,
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ํ•˜์ง€๋งŒ ์ €๋Š” ์ด ๋‚˜๋ผ์˜ ๊ตฌ์กฐ
12:40
the love, the compassIon, the strength,
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์‚ฌ๋ž‘, ์ž๋น„, ์šฉ๊ธฐ๋ฅผ ๊ธฐ์–ตํ•˜๊ณ 
12:42
and I watched a nation come together
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์ด๋Ÿฐ ๋น„๊ทน์˜ ์ˆœ๊ฐ„์—๋„
12:44
in the middle of a terrible tragedy.
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๋‚˜๋ผ๊ฐ€ ํ•˜๋‚˜๋กœ ๋˜๋Š” ๊ฒƒ์„ ๋ณด์—ฌ์คฌ์Šต๋‹ˆ๋‹ค.
12:50
JB: And so as people make their way out of the museum,
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์ œ์ดํฌ: ๊ทธ๋ž˜์„œ ์‚ฌ๋žŒ๋“ค์ด ๋ฐ•๋ฌผ๊ด€์„ ์ง€๋‚˜๊ฐ€๋ฉด์„œ
12:52
reflecting on the experience, reflecting on their own thoughts of it,
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๊ฒฝํ—˜์„ ๋Œ์ด์ผœ๋ณด๊ณ  ๊ทธ์— ๋Œ€ํ•œ ์ž๊ธฐ ์ƒ๊ฐ์„ ๋Œ์ด์ผœ๋ณด๊ณ 
12:55
they then move into the actual space of the memorial itself,
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๊ทธ ๋‹ค์Œ์—๋Š” ๊ธฐ๋…๋น„๊ฐ€ ์žˆ๋Š”
12:58
because they've gone back up to grade,
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๊ณต๊ฐ„์œผ๋กœ ๋“ค์–ด๊ฐ‘๋‹ˆ๋‹ค.
13:01
and we actually got involved in the memorial
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์šฐ๋ฆฌ๋Š” ๋ช‡ ๋…„๋™์•ˆ ๋ฐ•๋ฌผ๊ด€์„ ์ž‘์—…ํ•œ ๋’ค
13:03
after we'd done the museum for a few years.
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๊ธฐ๋…๋น„์— ์ฐธ๊ฐ€ํ•˜๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
13:05
The original designer of the memorial, Michael Arad,
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๊ธฐ๋…๋น„๋ฅผ ์ฒ˜์Œ ์„ค๊ณ„ํ•œ ์‚ฌ๋žŒ์€ ๋งˆ์ดํด ์•„๋ผ๋“œ์ธ๋ฐ
13:08
had this image in his mind of all the names appearing
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์‚ฌ๋žŒ๋“ค์˜ ์ด๋ฆ„์„ ์ฐจ๋ณ„ํ•˜์ง€ ์•Š๊ณ 
13:10
undifferentiated, almost random,
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์•„๋ฌด๋Ÿฐ ๊ตฌ๋ถ„์—†์ด, ๋ฌด์ž‘์œ„๋กœ ํ‘œ์‹œํ•˜๋Š” ๊ฒƒ์„ ๋– ์˜ฌ๋ ธ์Šต๋‹ˆ๋‹ค.
13:13
really a poetic reflection on top of the nature
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ํ…Œ๋Ÿฌ๋ฆฌ์ฆ˜์ด๋ž€ ์‚ฌ๊ฑด์˜ ํŠน์„ฑ ์œ„๋กœ
13:16
of a terrorism event itself,
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์•„์ฃผ ์‹œ์ ์œผ๋กœ ๋ฐ˜์˜ํ•˜๋Š” ๊ฑฐ์ฃ .
13:18
but it was a huge challenge for the families, for the foundation,
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ํ•˜์ง€๋งŒ ๊ฐ€์กฑ๋“ค๊ณผ ์žฌ๋‹จ
13:21
certainly for the first responders,
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ํŠนํžˆ ์ฒซ ๋ฐ˜์‘์„ ๋ณด์—ฌ์ค€ ใ…ก์‚ฌ๋žŒ๋“คํ•œํ…Œ๋Š” ์ปค๋‹ค๋ž€ ๋„์ „์ด์—ˆ๊ณ 
13:23
and there was a negotiation that went forth
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๊ทธ๋ž˜์„œ ํ˜‘์ƒ์ด ์ง„ํ–‰๋˜์—ˆ๋Š”๋ฐ
13:25
and a solution was found
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ํ•ด๊ฒฐ์ฑ…์€
13:27
to actually create not an order in terms of chronology,
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์‹œ๊ฐ„์ด ํ๋ฅด๋Š” ์ˆœ์„œ๋Œ€๋กœ๋‚˜
13:30
or in terms of alphabetical,
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์•ŒํŒŒ๋ฒณ ์ˆœ์„œ๊ฐ€ ์•„๋‹ˆ๋ผ
13:31
but through what's called meaningful adjacency.
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์˜๋ฏธ์žˆ๋Š” ์ธ์ ‘์„ฑ์œผ๋กœ ๋‚˜ํƒ€๋‚ด๋Š” ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
13:33
So these are groupings of the names themselves
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๊ทธ๋ž˜์„œ ์ด๊ฒƒ๋“ค์ด ์ด๋ฆ„์„ ํ•œ๋ฐ ๋ฌถ์€ ์กฐํ•ฉ์ธ๋ฐ
13:36
which appear undifferentiated but actually have an order,
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์–ผํ•๋ณด๋ฉด ์ฐจ์ด๊ฐ€ ์—†์–ด๋ณด์ด์ง€๋งŒ ์‹ค์ œ๋กœ๋Š” ์ˆœ์„œ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
13:39
and we, along with Jer Thorp, created an algorithm
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์šฐ๋ฆฌ๋Š” ์ ธ ํ† ํ”„์™€ ํ•จ๊ป˜ ์•Œ๊ณ ๋ฆฌ์ฆ˜์„ ๋งŒ๋“ค๊ณ 
13:42
to take massive amounts of data
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์—„์ฒญ๋‚œ ์–‘์˜ ์ž๋ฃŒ๋ฅผ ์ž…๋ ฅํ•ด์„œ
13:44
to actually start to connect together all these different names themselves.
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์„œ๋กœ ๋‹ค๋ฅธ ์ด๋ฆ„์„ ๋ชจ๋‘ ์—ฐ๊ฒฐ์ง“๊ฒŒ ํ–ˆ์Šต๋‹ˆ๋‹ค.
13:47
So this is an image of the actual algorithm itself
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์ด๊ฒƒ์ด ์‹ค์ œ ์•Œ๊ณ ๋ฆฌ์ฆ˜์„ ๋ณด์—ฌ์ฃผ๋Š” ์‚ฌ์ง„์ธ๋ฐ
13:50
with the names scrambled for privacy,
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์‚ฌ์ƒํ™œ ๋ณดํ˜ธ๋ฅผ ์œ„ํ•ด ์ด๋ฆ„์€ ๊ฐ€๋ ธ์ง€๋งŒ
13:53
but you can see that these blocks of color
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์ƒ‰๊น” ์กฐ๊ฐ๋“ค์ด
13:55
are actually the four different flights,
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์‹ค์ œ๋กœ 4๊ฐœ์˜ ๋‹ค๋ฅธ ๋น„ํ–‰๊ธฐ์ด๊ณ 
13:57
the two different towers, the first responders,
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์Œ๋™์ด ๋นŒ๋”ฉ, ์ตœ์ดˆ์˜ ๊ตฌ์กฐ๋Œ€์›๋“ค๋กœ์„œ
14:00
and you can actually see within that different floors,
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๋‹ค๋ฅธ ์ธต ์•ˆ์—์„œ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
14:02
and then the green lines are the interpersonal connections
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๋…น์ƒ‰ ์„ ๋“ค์€ ์‚ฌ๋žŒ๋“ค ์‚ฌ์ด์˜ ๊ด€๋ จ์„ฑ์ธ๋ฐ
14:05
that were requested by the families themselves.
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๊ฐ€์กฑ๋“ค์ด ์š”์ฒญํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
14:08
And so when you go to the memorial,
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๊ธฐ๋…๊ด€์— ๊ฐ€์‹œ๋ฉด
14:11
you can actually see the overarching organization
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๊ฐ๊ฐ์˜ ์ž๋ฃŒ ์•ˆ์—์„œ
14:13
inside of the individual pools themselves.
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๊ทธ์™€ ๊ด€๋ จ๋œ ์•„์ฃผ ์ค‘์š”ํ•œ ์กฐ์ง์„ ์‹ค์ œ๋กœ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
14:16
You can see the way that the geography of the event
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์—ฌ๋Ÿฌ๋ถ„์€ ์‚ฌ๊ฑด์ด ์ง€๋ฆฌ์ ์œผ๋กœ
14:19
is reflected inside of the memorial,
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์–ด๋–ป๊ฒŒ ๊ธฐ๋…๊ด€ ์•ˆ์—์„œ ๋ฐ˜์˜๋˜์—ˆ๋Š”์ง€ ๋ณผ ์ˆ˜ ์žˆ๊ณ 
14:22
and you can search for an individual name,
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๊ฐœ์ธ์˜ ์ด๋ฆ„์„ ๊ฒ€์ƒ‰ํ•˜๊ฑฐ๋‚˜
14:23
or in this case an employer, Cantor Fitzgerald,
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์ด ๊ฒฝ์šฐ๋Š” ๊ณ ์šฉ์ฃผ์ธ ์บ”ํ„ฐ ํ”ผ์ธ ์ œ๋ž„๋“œ์™€
14:26
and see the way in which all of those names,
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๋ชจ๋“  ์ด๋ฆ„๋“ค,
14:28
those hundreds of names, are actually organized
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์ˆ˜๋ฐฑ ๋ช…์˜ ์ด๋ฆ„๋“ค์ด ์‹ค์ œ๋กœ
14:31
onto the memorial itself,
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๊ธฐ๋…๊ด€์— ๊ตฌ์„ฑ๋˜์–ด ์žˆ๊ณ 
14:32
and use that to navigate the memorial.
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๊ทธ๊ฑธ ์ด์šฉํ•ด์„œ ๊ธฐ๋…๊ด€์„ ๊ตฌ๊ฒฝํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
14:35
And more importantly, when you're actually at the site
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๋” ์ค‘์š”ํ•œ ๊ฒƒ์€ ๊ธฐ๋…๊ด€์ด ์žˆ๋Š” ๊ณณ์— ๊ฐ€์‹œ๋ฉด
14:37
of the memorial, you can see those connections.
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๊ทธ๋Ÿฌํ•œ ์—ฐ๊ฒฐ์„ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
14:38
You can see the relationships between the different names themselves.
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๋‹ค๋ฅธ ์ด๋ฆ„๋“ค ์‚ฌ์ด์˜ ์—ฐ๊ฒฐ๋„ ๋ณด์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
14:42
So suddenly what is this undifferentiated, anonymous
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๊ทธ๋ž˜์„œ ์ฐจ์ด๊ฐ€ ๋‚˜์ง€ ์•Š๊ณ  ์ต๋ช…์ด์—ˆ๋˜ ์ด๋ฆ„๋“ค์ด
14:45
group of names springs into reality as an individual life.
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ํ•˜๋‚˜ํ•˜๋‚˜์˜ ์‚ถ์œผ๋กœ ํ˜„์‹คํ™”๋ฉ๋‹ˆ๋‹ค.
14:50
In this case, Harry Ramos,
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์ด ๊ฒฝ์šฐ ํ•ด๋ฆฌ ๋ผ๋ชจ์Šค๋Š”
14:52
who was the head trader at an investment bank,
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ํˆฌ์ž ์€ํ–‰์˜ ์ค‘๊ฐœ์ธ์ด์—ˆ๋Š”๋ฐ
14:54
who stopped to aid Victor Wald on the 55th floor of the South Tower.
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๋‚จ์ชฝ ํƒ‘ 55์ธต์—์„œ ๋น…ํ„ฐ ์™ˆ๋“œ๋ฅผ ๋„์šฐ๋ ค๊ณ  ๋ฉˆ์ท„์Šต๋‹ˆ๋‹ค.
14:59
And Ramos told Wald, according to witnesses,
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๋ชฉ๊ฒฉ์ž์— ๋”ฐ๋ฅด๋ฉด ๋ผ๋ชจ์Šค๋Š” ์™ˆ๋“œ์—๊ฒŒ ์ด๋ ‡๊ฒŒ ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
15:02
"I'm not going to leave you."
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"๋‹น์‹ ์„ ๋ฒ„๋ฆฌ๊ณ  ๋– ๋‚˜์ง€ ์•Š๊ฒ ์Šต๋‹ˆ๋‹ค."
15:05
And Wald's widow requested that they be listed next to each other.
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๊ทธ๋ž˜์„œ ์™ˆ๋“œ์˜ ๋ฏธ๋ง์ธ์€ ๊ทธ๋“ค์˜ ์ด๋ฆ„์ด ๋‚˜๋ž€ํžˆ ์žˆ๋„๋ก ์š”์ฒญํ–ˆ์Šต๋‹ˆ๋‹ค.
15:10
Three generations ago, we had to actually get people
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3 ์„ธ๋Œ€ ์ „์—๋Š” ์‚ฌ๋žŒ๋“ค์„ ๋‚ด๋ณด๋‚ด์„œ
15:13
to go out and capture the stories for common people.
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์ผ๋ฐ˜์ธ์˜ ์ด์•ผ๊ธฐ๋ฅผ ๋‹ด์•„์˜ค๊ฒŒ ํ–ˆ์Šต๋‹ˆ๋‹ค.
15:17
Today, of course, there's an unprecedented amount of stories
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์˜ค๋Š˜๋‚ ์€ ๋ฏธ๋ž˜ ์„ธ๋Œ€๋ฅผ ์œ„ํ•ด ๋‹ด์•„๋‚ผ
15:20
for all of us that are being captured for future generations.
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์ „๋ก€์—†์ด ๋งŽ์€ ์ด์•ผ๊ธฐ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
15:24
And this is our hope, that's there's poetry inside of each of our stories.
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋“ค ์ด์•ผ๊ธฐ ์†์—๋Š” ์ €๋งˆ๋‹ค ์‹œ๊ฐ€ ๋‹ด๊ฒจ ์žˆ๊ธฐ๋ฅผ ๋ฐ”๋ž๋‹ˆ๋‹ค.
15:28
Thank you very much.
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์ •๋ง ๊ณ ๋ง™์Šต๋‹ˆ๋‹ค.
15:29
(Applause)
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(๋ฐ•์ˆ˜)

Original video on YouTube.com
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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