Ronald Rael: An architect's subversive reimagining of the US-Mexico border wall | TED

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2019-03-25 ・ TED


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Ronald Rael: An architect's subversive reimagining of the US-Mexico border wall | TED

44,715 views ・ 2019-03-25

TED


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: ν•˜μ€€ κΉ€ κ²€ν† : Jungmin Hwang
00:12
Isn't it fascinating how the simple act of drawing a line on the map
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지도에 λ‹¨μˆœνžˆ 선을 κΈ‹λŠ” κ²ƒμœΌλ‘œ
00:17
can transform the way we see and experience the world?
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μš°λ¦¬κ°€ 세상을 보고 κ²½ν—˜ν•˜λŠ” 방식을 λ°”κΏ€ 수 μžˆλ‹€λ‹ˆ 멋지지 μ•Šλ‚˜μš”?
00:21
And how those spaces in between lines, borders,
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그리고 κ·Έ μ„ κ³Ό κ΅­κ²½ μ‚¬μ΄μ˜ 곡간이
00:24
become places.
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μž₯μ†Œκ°€ λ˜λŠ” κ²ƒλ„μš”.
00:26
They become places where language and food and music
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κ·Έλ ‡κ²Œ μ–Έμ–΄, μŒμ‹, μŒμ•…, λ‹€λ₯Έ λ¬Έν™”μ˜ μ‚¬λžŒλ“€μ΄
00:31
and people of different cultures rub up against each other
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멋지고, 가끔은 μœ„μ••μ μ΄κ³ , λ•Œλ‘  μ˜ˆμƒμΉ˜ λͺ»ν•œ λ°©μ‹μœΌλ‘œ
00:34
in beautiful and sometimes violent and occasionally really ridiculous ways.
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ν•œλ° μ–½νžŒ μž₯μ†Œκ°€ λ©λ‹ˆλ‹€.
00:40
And those lines drawn on a map
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지도 μœ„μ— 그렀진 선듀은
00:43
can actually create scars in the landscape,
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μ‹€μ œλ‘œ μžμ—°μ— μƒμ²˜λ₯Ό 내기도,
00:45
and they can create scars in our memories.
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우리의 기얡에 μƒμ²˜λ₯Ό 내기도 ν•©λ‹ˆλ‹€.
00:48
My interest in borders came about
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μ œκ°€ ꡭ경에 관심을 κ°–κ²Œ 된 건
00:50
when I was searching for an architecture of the borderlands.
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ꡭ경의 건좕물을 μ°Ύμ•„ 닀닐 λ•Œμ˜€μŠ΅λ‹ˆλ‹€.
00:55
And I was working on several projects along the US-Mexico border,
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λ―Έκ΅­-λ©•μ‹œμ½” κ΅­κ²½ μ§€μ—­μ—μ„œ μ—¬λŸ¬ μž‘μ—…μ„ 진행 μ€‘μ΄μ—ˆλŠ”λ°
00:59
designing buildings made out of mud taken right from the ground.
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κ·Έ λ•…μ—μ„œ μ±„μ·¨ν•œ μ§„ν™μœΌλ‘œ 건물을 λ§Œλ“œλŠ” μž‘μ—…μ΄μ—ˆμŠ΅λ‹ˆλ‹€.
01:03
And I also work on projects that you might say immigrated to this landscape.
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또 μ—¬λŸ¬λΆ„μ΄ μƒκ°ν•˜κΈ°μ— 이 μͺ½μœΌλ‘œ μœ μž…λ˜μ—ˆλ‹€ μƒκ°ν• λ§Œν•œ μž‘μ—…λ„ ν–ˆμŠ΅λ‹ˆλ‹€.
01:07
"Prada Marfa," a land-art sculpture
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"프라닀 마λ₯΄νŒŒ"λž€ 이 λŒ€μ§€ μ‘°ν˜•λ¬Όμ€
01:09
that crosses the border between art and architecture,
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미술과 κ±΄μΆ•μ˜ 경계λ₯Ό μ΄ˆμ›”ν•˜κ³ 
01:12
and it demonstrated to me that architecture could communicate ideas
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건좕을 톡해 아이디어가 전달될 수 μžˆμŒμ„ μ•Œλ €μ£Όμ—ˆμŠ΅λ‹ˆλ‹€.
01:16
that are much more politically and culturally complex,
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그것은 μ •μΉ˜λ‚˜ λ¬Έν™”μ μœΌλ‘œ 더 λ³΅μž‘ν•˜κ³ ,
01:19
that architecture could be satirical and serious at the same time
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ν’μžμ μΈ λ™μ‹œμ— μ§„μ§€ν•˜κΈ°λ„ ν•˜λ©°,
01:24
and it could speak to the disparities between wealth and poverty
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λΉˆλΆ€ 격차λ₯Ό 보여주고,
01:27
and what's local and what's foreign.
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무엇이 전톡이고 μ™Έλž˜μΈμ§€ λ³΄μ—¬μ€λ‹ˆλ‹€.
01:30
And so in my search for an architecture of the borderlands,
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κ΅­κ²½μ§€μ—­μ˜ 건좕양식 연ꡬλ₯Ό ν•˜λ©΄μ„œ
01:34
I began to wonder,
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κΆκΈˆν•΄μ‘ŒμŠ΅λ‹ˆλ‹€.
01:35
is the wall architecture?
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이 μž₯벽도 κ±΄μΆ•λ¬ΌμΌκΉŒ?
01:39
I began to document my thoughts and visits to the wall
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μž₯벽에 κ΄€ν•œ 제 생각과 방문을
01:44
by creating a series of souvenirs
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μ €λŠ” κΈ°λ…ν’ˆλ“€μ„ λ§Œλ“€κ³  제 생각을 κΈ°λ‘ν•¨μœΌλ‘œμ¨
01:48
to remind us of the time when we built a wall
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벽을 μŒ“μ•˜μ„ λ‹Ήμ‹œ 그게 μ–Όλ§ˆλ‚˜
01:52
and what a crazy idea that was.
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말도 μ•ˆ λ˜λŠ” μƒκ°μ΄μ—ˆλŠ”μ§€ μ•Œλ¦¬κ³  μ‹Άμ—ˆμŠ΅λ‹ˆλ‹€.
01:56
I created border games,
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μ €λŠ” κ΅­κ²½ κ²Œμž„μ„ λ§Œλ“€μ—ˆμŠ΅λ‹ˆλ‹€.
01:57
(Laughter)
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(μ›ƒμŒ)
01:59
postcards,
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μ—½μ„œ,
02:01
snow globes with little architectural models inside of them,
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μž‘μ€ 건좕 λͺ¨ν˜•μ΄ λ“€μ–΄μžˆλŠ” μŠ€λ…Έμš° λ³Ό,
02:05
and maps that told the story of resilience at the wall
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μž₯벽의 단단함을 λ³΄μ—¬μ£ΌλŠ” 이야기가 적힌 지도,
02:10
and sought for ways that design could bring to light the problems
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κ΅­κ²½μž₯벽이 λ§Œλ“€μ–΄μ§μ— 따라 λ°œμƒν•  문제λ₯Ό 보여쀄
02:15
that the border wall was creating.
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λ””μžμΈ 방법도 λͺ¨μƒ‰ν–ˆμŠ΅λ‹ˆλ‹€.
02:18
So, is the wall architecture?
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κ·Έλž˜μ„œ 이 μž₯벽도 κ±΄μΆ•λ¬ΌμΌκΉŒμš”?
02:21
Well, it certainly is a design structure,
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이건 λΆ„λͺ…νžˆ μ„€κ³„λœ ꡬ쑰물이고
02:23
and it's designed at a research facility called FenceLab,
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"FenceLab" μ΄λΌλŠ” μ—°κ΅¬μ‹œμ„€μ—μ„œ
02:27
where they would load vehicles with 10,000 pounds
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μ°¨λŸ‰μ— 4.5ν†€μ˜ 짐을 μ‹£κ³ ,
02:30
and ram them into the wall at 40 miles an hour
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μ‹œμ† 65km둜 벽을 듀이 λ°›μ•„
02:32
to test the wall's impermeability.
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κ·Έ 견고함을 μ‹€ν—˜ν•˜λ©° λ§Œλ“€μ—ˆμŠ΅λ‹ˆλ‹€.
02:34
But there was also counter-research going on on the other side,
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ν•˜μ§€λ§Œ λ‹€λ₯Έ μͺ½μ—μ„  λ‹€λ₯Έ λ°©ν–₯의 쑰사가 진행 μ€‘μ΄μ—ˆλŠ”λ°
02:37
the design of portable drawbridges
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이동식 λ„κ°œκ΅μ˜€μŠ΅λ‹ˆλ‹€.
02:40
that you could bring right up to the wall
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이 λ„κ°œκ΅λ₯Ό μž₯λ²½ μœ„μ— 걸쳐
02:42
and allow vehicles to drive right over.
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μ°¨λŸ‰μ΄ λ„˜μ–΄κ°ˆ 수 μžˆμŠ΅λ‹ˆλ‹€.
02:44
(Laughter)
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(μ›ƒμŒ)
02:46
And like with all research projects, there are successes
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λͺ¨λ“  연ꡬ듀이 그렇듯이 성곡도 있고
02:49
and there are failures.
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μ‹€νŒ¨λ„ μžˆμŠ΅λ‹ˆλ‹€.
02:50
(Laughter)
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(μ›ƒμŒ)
02:52
But it's these medieval reactions to the wall --
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ν•˜μ§€λ§Œ 이 μž₯벽에 λŒ€ν•œ λ„κ°œκ΅ 같은
02:55
drawbridges, for example --
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이런 κ΅¬μ‹œλŒ€μ  λ°œμƒμ΄ κ°€λŠ₯ν•œ 건
02:57
that are because the wall itself is an arcane, medieval form of architecture.
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μž₯λ²½ μžμ²΄κ°€ μ΄ν•΄ν•˜κΈ° νž˜λ“  κ΅¬μ‹œλŒ€μŠ€λŸ° 건좕물이기 λ•Œλ¬Έμž…λ‹ˆλ‹€.
03:03
It's an overly simplistic response to a complex set of issues.
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λ³΅μž‘ν•œ λ¬Έμ œλ“€μ— λŒ€ν•œ μ§€λ‚˜μΉ˜κ²Œ λ‹¨μˆœν•œ λŒ€λ‹΅μΈ κ²ƒμž…λ‹ˆλ‹€.
03:09
And a number of medieval technologies have sprung up along the wall:
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λ§Žμ€ 쀑세 기술이 벽을 따라 μƒκ²¨λ‚¬μŠ΅λ‹ˆλ‹€.
03:13
catapults that launch bales of marijuana over the wall
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예둜 νˆ¬μ„κΈ°(μƒˆμ΄)둜 μž₯λ²½ λ„ˆλ¨Έ λŒ€λ§ˆμ΄ˆ 더미λ₯Ό λ‚ λ¦¬κ±°λ‚˜,
03:16
(Laughter)
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(μ›ƒμŒ)
03:17
or cannons that shoot packets of cocaine and heroin over the wall.
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λŒ€ν¬λ‘œ 코카인과 ν—€λ‘œμΈμ„ μ˜λŠ” 기술이 μžˆμŠ΅λ‹ˆλ‹€.
03:22
Now during medieval times,
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μ‹€μ œλ‘œ 쀑세 μ‹œλŒ€μ—λŠ”
03:24
diseased, dead bodies
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병든 μ‚¬λžŒμ΄λ‚˜ μ‹œμ²΄λ₯Ό
03:26
were sometimes catapulted over walls as an early form of biological warfare,
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생물전 무기 μ‹œμ΄ˆλ‘œμ„œ μž₯λ²½ λ„ˆλ¨Έλ‘œ 날리곀 ν–ˆμŠ΅λ‹ˆλ‹€.
03:31
and it's speculated that today,
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좔츑컨데
03:34
humans are being propelled over the wall as a form of immigration.
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μš”μ¦˜μ€ μ΄λŸ¬ν•œ λ°©μ‹μœΌλ‘œ μ‚¬λžŒλ“€μ΄ μž₯벽을 λ„˜μ–΄ λ„˜μ–΄μ˜΅λ‹ˆλ‹€.
03:41
A ridiculous idea.
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말도 μ•ˆλ˜λŠ” 생각이죠,
03:43
But the only person ever known to be documented to have launched over the wall
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ν•˜μ§€λ§Œ μž₯λ²½ λ„ˆλ¨Έλ‘œ λ°œμ‚¬λΌ
03:49
from Mexico to the United States
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λ©•μ‹œμ½”μ—μ„œ 미ꡭ으둜 λ„˜μ–΄μ™€ 기둝된 μœ μΌν•œ μ‚¬λžŒμ€
03:51
was in fact a US citizen,
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사싀 λ―Έκ΅­ μ‹œλ―Όμ΄μ—ˆκ³ ,
03:53
who was given permission to human-cannonball over the wall,
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인간 ν¬νƒ„μœΌλ‘œ 정식 ν—ˆκ°€λ₯Ό 받은 μ‚¬λžŒμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
03:57
200 feet,
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60m 정도 λ‚ μ•„κ°€λ©°
03:58
so long as he carried his passport in hand
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μ—¬κΆŒμ€ 손에 κΌ­ μ₯κ³  μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
04:00
(Laughter)
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(μ›ƒμŒ)
04:03
and he landed safely in a net on the other side.
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κ·Έλ ‡κ²Œ κ·ΈλŠ” λ°˜λŒ€νŽΈ 그물에 μ•ˆμ „ν•˜κ²Œ μ°©μ§€ν–ˆμŠ΅λ‹ˆλ‹€.
04:07
And my thoughts are inspired by a quote by the architect Hassan Fathy,
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μ €λŠ” 건좕가 ν•˜μ‹Ό νŒ¨ν‹°μ˜ 말에 μ˜κ°μ„ λ°›μ•˜μŠ΅λ‹ˆλ‹€.
04:12
who said,
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κ·Έκ°€ λ§ν•˜κΈΈ,
04:13
"Architects do not design walls,
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"κ±΄μΆ•κ°€λŠ” 벽을 μ„€κ³„ν•˜μ§€ μ•Šμ§€λ§Œ
04:15
but the spaces between them."
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κ·Έ μ‚¬μ΄μ˜ 곡간을 섀계할 뿐이닀."
04:18
So while I do not think that architects should be designing walls,
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κ·Έλž˜μ„œ μ €λŠ” 건좕가가 벽이 μ•„λ‹Œ
04:21
I do think it's important and urgent that they should be paying attention
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κ·Έ 사이 곡간에 신경을 써야 ν•˜λŠ” 것이
04:25
to those spaces in between.
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μ€‘μš”ν•˜κ³  μ‹œκΈ‰ν•˜λ‹€ μƒκ°ν•©λ‹ˆλ‹€.
04:27
They should be designing for the places and the people, the landscapes
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κ±΄μΆ•κ°€λŠ” κ΅­κ²½ μž₯벽으둜 인해 μœ„ν˜‘λ°›λŠ”
04:31
that the wall endangers.
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μž₯μ†Œ, μ‚¬λžŒ, 풍경을 μœ„ν•΄ 섀계해야 ν•©λ‹ˆλ‹€.
04:34
Now, people are already rising to this occasion,
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이제 μ‚¬λžŒλ“€μ€ 이미 이 일에 λ°œλ‹μ›€ν•˜μ—¬,
04:37
and while the purpose of the wall is to keep people apart and away,
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μ‚¬λžŒμ„ ν©μ–΄μ§€κ²Œ ν•˜κ³  λ©€λ¦¬ν•˜κ²Œ ν•˜λ €λŠ” λͺ©μ κ³Ό 달리
04:42
it's actually bringing people together in some really remarkable ways,
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정말 λ†€λž„ λ§Œν•œ λ°©λ²•μœΌλ‘œ μ‚¬λžŒμ„ λͺ¨μœΌκ³  μžˆκΈ°λ„ ν•©λ‹ˆλ‹€.
04:46
holding social events like binational yoga classes along the border,
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ꡭ경을 따라 μ΄μ€‘κ΅­μ μ˜ 발레 μˆ˜μ—…κ³Ό 같은 사ꡐ ν™œλ™μ„ ν•˜κΈ°λ„ ν•©λ‹ˆλ‹€.
04:49
to bring people together across the divide.
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뢄열을 λ„˜μ–΄ μ‚¬λžŒλ“€μ„ ν•œ 곳에 λͺ¨μœΌκΈ°λ„ ν•˜μ£ .
04:52
I call this the monument pose.
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μ €λŠ” 이것을 κΈ°λ…ν¬μ¦ˆλΌκ³  λΆ€λ¦…λ‹ˆλ‹€.
04:54
(Laughter)
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(μ›ƒμŒ)
04:56
And have you ever heard of "wall y ball"?
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"λ²½κ³Ό 곡"에 λŒ€ν•΄ λ“€μ–΄λ³Έ 적이 μžˆλ‚˜μš”?
04:59
(Laughter)
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(μ›ƒμŒ)
05:01
It's a borderland version of volleyball, and it's been played since 1979
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1979λ…„λΆ€ν„° μžˆμ—ˆλ˜ κ΅­κ²½μ„  λ°°κ΅¬νŒμž…λ‹ˆλ‹€.
05:06
(Laughter)
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(μ›ƒμŒ)
05:08
along the US-Mexico border
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λ―Έκ΅­-λ©•μ‹œμ½” ꡭ경을 따라
05:09
to celebrate binational heritage.
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두 λ‚˜λΌμ˜ μœ μ‚°μ„ κΈ°λ…ν•˜μ£ .
05:12
And it raises some interesting questions, right?
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μ΄λŠ” ν₯미둜운 μ§ˆλ¬Έλ“€μ„ λΆˆλŸ¬μ˜΅λ‹ˆλ‹€.
05:14
Is such a game even legal?
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이 κ²Œμž„μ€ ν•©λ²•μΌκΉŒμš”?
05:18
Does hitting a ball back and forth over the wall constitute illegal trade?
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벽을 λ„˜μ–΄ 곡을 μ•žλ’€λ‘œ μΉ˜λŠ” 것은 λΆˆλ²• 무역 μ•„λ‹κΉŒμš”?
05:21
(Laughter)
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(μ›ƒμŒ)
05:23
The beauty of volleyball is that it transforms the wall
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배ꡬ의 아름닀움이 μž₯벽의 의미λ₯Ό λ³€ν™”μ‹œμΌ°μŠ΅λ‹ˆλ‹€.
05:28
into nothing more than a line in the sand
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λͺ¨λž˜μ˜ ν•œ 쀄에 λΆˆκ³Όν•˜κ²Œ λ§μž…λ‹ˆλ‹€.
05:31
negotiated by the minds and bodies and spirits of players on both sides.
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μ–‘μΈ‘ μ„ μˆ˜λ“€μ΄ ν•œ 마음과 μ •μ‹ μœΌλ‘œ μ •ν•œ κ²½κΈ° 기쀀선이라 λ³Ό 수 μžˆλŠ” 것이죠.
05:36
And I think it's exactly these kinds of two-sided negotiations
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μ‚¬λžŒμ„ λ‚˜λˆ„λŠ” 벽을 μ—†μ• κΈ° μœ„ν•΄μ„œλŠ”
05:40
that are needed to bring down walls that divide.
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이런 μ–‘μΈ‘ ν˜‘μƒμ΄ κΌ­ ν•„μš”ν•˜λ‹€κ³  μƒκ°ν•©λ‹ˆλ‹€.
05:44
Now, throwing the ball over the wall is one thing,
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λ²½ λ„ˆλ¨Έλ‘œ 곡을 λ˜μ§€λŠ” 건 μΌμ’…μ˜ 놀이라고 λ³Ό 수 있죠.
05:47
but throwing rocks over the wall
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κ·ΈλŸ¬λ‚˜ λ²½ λ„ˆλ¨Έλ‘œ λŒμ„ λ˜μ§€λŠ” 행동은
05:50
has caused damage to Border Patrol vehicles
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κ΅­κ²½ μˆœμ°°μ°¨μ— ν”Όν•΄λ₯Ό μ£Όμ—ˆκ³ 
05:53
and have injured Border Patrol agents,
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κ΅­κ²½ 순찰 μš”μ›λ“€μ€ λΆ€μƒλ‹Ήν–ˆμŠ΅λ‹ˆλ‹€.
05:56
and the response from the US side has been drastic.
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이에 λ―Έκ΅­ 츑은 κ³Όκ²©ν•œ λ°˜μ‘μ„ λ³΄μ˜€μŠ΅λ‹ˆλ‹€.
05:59
Border Patrol agents have fired through the wall,
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κ΅­κ²½ 순찰 μš”μ›μ€ 벽을 λš«λŠ” 총탄을 μ˜μ•„
06:02
killing people throwing rocks on the Mexican side.
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λŒμ„ λ˜μ§€λŠ” λ©•μ‹œμ½” μ‚¬λžŒλ“€μ„ μ£½μ˜€μŠ΅λ‹ˆλ‹€.
06:06
And another response by Border Patrol agents
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κ΅­κ²½ 순찰 μš”μ›λŒ€μ˜ λ‹€λ₯Έ λŒ€μ‘μ€
06:09
is to erect baseball backstops to protect themselves and their vehicles.
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μš”μ›κ³Ό μ°¨λ₯Ό λ³΄ν˜Έν•˜κΈ° μœ„ν•΄ 야ꡬ λ°±λ„€νŠΈλ₯Ό μ„Έμš°λŠ” κ²ƒμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
06:13
And these backstops became a permanent feature
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μ΄λŠ” μƒˆ 벽을 건좕할 λ•Œλ§ˆλ‹€ μ„Έμ›Œμ§€λ©°
06:16
in the construction of new walls.
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영ꡬ적인 μš”μ†Œκ°€ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
06:19
And I began to wonder if, like volleyball,
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μ €λŠ” λ‹€μ‹œ ν•œ 번 κΆκΈˆν•΄μ‘ŒμŠ΅λ‹ˆλ‹€. μ•žμ˜ 배ꡬ μ‚¬λ‘€μ²˜λŸΌ
06:22
maybe baseball should be a permanent feature at the border,
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경계 κ·Όμ²˜μ—μ„œ 야ꡬ κ²½κΈ°κ°€ μ—΄λ¦¬κ²Œ 되고
06:26
and walls could start opening up,
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λ‹«ν˜€ 있던 벽이 μ—΄λ¦¬κ²Œ λœλ‹€λ©΄,
06:28
allowing communities to come across and play,
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λ§Žμ€ μ‚¬λžŒλ“€μ΄ μ™€μ„œ μ°Έμ—¬ν•  κ²ƒμž…λ‹ˆλ‹€.
06:31
and if they hit a home run,
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λ§Œμ•½ 그듀이 ν™ˆλŸ°μ„ μΉœλ‹€λ©΄,
06:33
maybe a Border Patrol agent would pick up the ball and throw it
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κ΅­κ²½ 순찰 μš”μ›μ€ κ·Έ 곡을 집어 λ˜μ Έμ„œ
06:36
back over to the other side.
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μ•„λ§ˆ λ‹€μ‹œ λ°˜λŒ€νŽΈμœΌλ‘œ 보낼 것이죠.
06:39
A Border Patrol agent buys a raspado, a frozen treat,
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κ΅­κ²½ 순찰 μš”μ›μ€ 뢈과 λͺ‡ ν”ΌνŠΈ 떨어진 곳에 μžˆλŠ”
06:43
from a vendor just a couple feet away,
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νŒλ§€μƒμ—κ²Œ λΌμŠ€νŒŒλ„(μŠ¬λŸ¬μ‹œ)λ₯Ό μ‚½λ‹ˆλ‹€.
06:46
food and money is exchanged through the wall,
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벽을 사이에 두고 돈과 μŒμ‹μ΄ κ΅ν™˜λ©λ‹ˆλ‹€.
06:49
an entirely normal event made illegal by that line drawn on a map
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이런 μ§€κ·Ήνžˆ ν‰λ²”ν•œ 일이 지도에 그렀진 μ„ κ³Ό
06:56
and a couple millimeters of steel.
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λͺ‡ λ°€λ¦¬λ―Έν„°μ˜ κ°•μ² λ‘œ 인해 λΆˆλ²•ν™”λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
06:59
And this scene reminded me of a saying:
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이 μž₯면을 보며 μ €λŠ” 이 말이 λ– μ˜¬λžμŠ΅λ‹ˆλ‹€.
07:02
"If you have more than you need, you should build longer tables
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"λ§Œμ•½ 당신이 ν•„μš” μ΄μƒμ˜ 것을 가지고 μžˆλ‹€λ©΄
07:05
and not higher walls."
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높은 벽이 μ•„λ‹Œ κΈ΄ ν…Œμ΄λΈ”μ„ λ§Œλ“€μ–΄μ•Ό ν•œλ‹€."
07:06
So I created this souvenir to remember the moment that we could share
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κ·Έλž˜μ„œ μ €λŠ” ꡭ경을 λ„˜μ–΄ μŒμ‹κ³Ό λŒ€ν™”λ₯Ό λ‚˜λˆ„λŠ” μ‹œκ°„μ„
07:10
food and conversation across the divide.
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κΈ°μ–΅ν•˜κΈ° μœ„ν•΄ 이 κΈ°λ…ν’ˆμ„ λ§Œλ“€μ—ˆμŠ΅λ‹ˆλ‹€.
07:13
A swing allows one to enter and swing over to the other side
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이 κ·Έλ„€λ₯Ό νƒ€λŠ” μ‚¬λžŒμ€ λ°˜λŒ€νŽΈμœΌλ‘œ λ“€μ–΄κ°”λ‹€κ°€
07:17
until gravity deports them back to their own country.
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쀑λ ₯으둜 인해 λ‹€μ‹œ 자ꡭ으둜 λŒμ•„μ˜€κ²Œ λ©λ‹ˆλ‹€.
07:20
The border and the border wall
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κ΅­κ²½κ³Ό μž₯벽은
07:23
is thought of as a sort of political theater today,
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μ˜€λŠ˜λ‚  μ •μΉ˜κ·Ήμ—μ„œμ˜ μ†Œμž¬κ°€ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
07:28
so perhaps we should invite audiences to that theater,
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κ·Έλž˜μ„œ μ–΄μ©Œλ©΄ μš°λ¦¬κ°€ 관객듀을 κ·Ήμž₯으둜 μ΄ˆλŒ€ν•΄μ•Ό ν•  것 κ°™μŠ΅λ‹ˆλ‹€.
07:32
to a binational theater where people can come together
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μ‚¬λžŒλ“€κ³Ό 배우, μŒμ•…κ°€λ“€μ΄ λͺ¨λ‘
07:35
with performers, musicians.
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ν•œ 데 λͺ¨μΌ 수 μžˆλŠ” 양ꡭ적 κ·Ήμž₯으둜 λ§μž…λ‹ˆλ‹€.
07:38
Maybe the wall is nothing more than an enormous instrument,
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μ•„λ§ˆλ„ μž₯벽은 κ±°λŒ€ν•œ 악기에 μ§€λ‚˜μ§€ μ•Šμ„ κ²ƒμž…λ‹ˆλ‹€.
07:41
the world's largest xylophone, and we could play down this wall
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μ„Έμƒμ—μ„œ κ°€μž₯ 큰 μ‹€λ‘œν° 벽을 가지고 놀고,
07:45
with weapons of mass percussion.
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λ“œλŸΌμ²˜λŸΌ λ²½λ₯Ό λ‘λ“œλ¦¬λ©° 놀 μˆ˜λ„ μžˆμŠ΅λ‹ˆλ‹€.
07:47
(Laughter)
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(μ›ƒμŒ)
07:50
When I envisioned this binational library,
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μ œκ°€ 이 양ꡭ적 λ„μ„œκ΄€μ„ λ– μ˜¬λ Έμ„ λ•Œ
07:52
I wanted to imagine a space where one could share
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μ €λŠ” μš°λ¦¬κ°€ 뢄열을 λ„˜μ–΄ μ±…κ³Ό 정보듀을
07:56
books and information and knowledge across a divide,
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κ³΅μœ ν•˜λŠ” 곡간을 μƒμƒν•˜μ˜€μŠ΅λ‹ˆλ‹€.
08:01
where the wall was nothing more than a bookshelf.
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μž₯벽이 μ±…μž₯ κ·Έ 이상도, μ΄ν•˜λ„ μ•„λ‹Œ κ³³ 말이죠.
08:04
And perhaps the best way to illustrate the mutual relationship that we have
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λ―Έκ΅­κ³Ό λ©•μ‹œμ½”μ˜ μƒν˜Έ 관계λ₯Ό μ„€λͺ…ν•΄μ£ΌλŠ”
08:08
with Mexico and the United States
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κ°€μž₯ 쒋은 방법은
08:10
is by imagining a teeter-totter,
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ν‹°ν„° ν† ν„°(μ‹œμ†Œ)λ₯Ό μƒμƒν•˜λŠ” κ²ƒμž…λ‹ˆλ‹€.
08:13
where the actions on one side had a direct consequence
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ν•œμͺ½μ˜ 행동이 λ°˜λŒ€μͺ½μ—
08:16
on what happens on the other side,
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직접적인 κ²°κ³Όλ₯Ό κ°€μ Έμ˜€μ£ .
08:18
because you see, the border itself
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λ³΄μ‹œλ‹€μ‹œν”Ό, κ΅­κ²½ μžμ²΄κ°€ 사싀상
08:20
is both a symbolic and literal fulcrum for US-Mexico relations,
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λ―Έκ΅­-λ©•μ‹œμ½” κ΄€κ³„μ˜ λΉ„μœ μ , μ‹€μ§ˆμ μΈ λ°›μΉ¨μ μž…λ‹ˆλ‹€.
08:25
and building walls between neighbors severs those relationships.
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이웃 사이에 벽을 μŒ“λŠ” ν–‰μœ„λŠ” 이 관계λ₯Ό λ‹¨μ ˆμ‹œν‚΅λ‹ˆλ‹€.
08:30
You probably remember this quote, "Good fences make good neighbors."
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"쒋은 μšΈνƒ€λ¦¬κ°€ 쒋은 이웃을 λ§Œλ“ λ‹€." λΌλŠ” 말을 κΈ°μ–΅ν•˜μ‹œλ‚˜μš”?
08:34
It's often thought of as the moral of Robert Frost's poem "Mending Wall."
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λ‘œλ²„νŠΈ ν”„λ‘œμŠ€νŠΈμ˜ μ‹œ "Mending Wall (λ²½ 고치기)"의 κ΅ν›ˆμœΌλ‘œ κΌ½νžˆλŠ” λ§μž…λ‹ˆλ‹€.
08:39
But the poem is really about questioning the need for building walls at all.
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ν•˜μ§€λ§Œ 이 μ‹œλŠ” 벽을 μ„Έμš°λŠ” 것이 μ •λ§λ‘œ ν•„μš”ν•œμ§€λ₯Ό 꼬집고 μžˆμŠ΅λ‹ˆλ‹€.
08:44
It's really a poem about mending human relationships.
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이 μ‹œλŠ” 사싀 인간관계λ₯Ό κ³ μΉ˜λŠ” 것에 λŒ€ν•œ μ‹œμž…λ‹ˆλ‹€.
08:47
My favorite line is the first one:
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μ œκ°€ κ°€μž₯ μ’‹μ•„ν•˜λŠ” μ‹œν–‰μ€ 첫번째 ν–‰μž…λ‹ˆλ‹€.
08:49
"Something there is that doesn't love a wall."
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"무언가 벽을 μ‚¬λž‘ν•˜μ§€ μ•ŠμŠ΅λ‹ˆλ‹€."
08:53
Because if there's one thing that's clear to me --
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μ™œλƒν•˜λ©΄ 벽으둜 μ •μ˜λ˜λŠ” 두 곡간은 μ—†λ‹€λŠ” 것이
08:55
there are not two sides defined by a wall.
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λΆ„λͺ…ν•˜κΈ° λ•Œλ¬Έμž…λ‹ˆλ‹€.
08:58
This is one landscape, divided.
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이것은 ν•˜λ‚˜μ˜ λ‚˜λˆ„μ–΄μ§„ ν’κ²½μž…λ‹ˆλ‹€.
09:01
On one side, it might look like this.
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ν•œ μͺ½μ€ μ΄λ ‡κ²Œ 보일 μˆ˜λ„ μžˆμŠ΅λ‹ˆλ‹€.
09:03
A man is mowing his lawn while the wall is looming in his backyard.
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λ‚¨μžκ°€ λ’·λ§ˆλ‹Ήμ— μžˆλŠ” 벽을 등지고 풀을 깎고 μžˆλ„€μš”.
09:07
And on the other side, it might look like this.
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μž₯벽의 λ‹€λ₯Έ μͺ½μ—μ„œλŠ” μ΄λ ‡κ²Œ 보이기도 ν•©λ‹ˆλ‹€.
09:09
The wall is the fourth wall of someone's house.
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이 벽은 λˆ„κ΅°κ°€μ˜ μ§‘μ˜ λ„€ 번째 벽이죠.
09:13
But the reality is that the wall is cutting through people's lives.
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ν•˜μ§€λ§Œ ν˜„μ‹€μ€ κ·Έ 벽이 μ‚¬λžŒλ“€μ˜ 일상을 κ°ˆλΌλ†“κ³  μžˆλ‹€λŠ” κ²ƒμž…λ‹ˆλ‹€.
09:18
It is cutting through our private property,
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그것은 우리의 μ‚¬μœ  μž¬μ‚°κ³Ό,
09:21
our public lands,
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우리의 κ³΅μœ μ§€μ™€,
09:22
our Native American lands, our cities,
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우리의 아메리카 원주민 λ•…κ³Ό λ„μ‹œλ“€,
09:25
a university,
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λŒ€ν•™,
09:27
our neighborhoods.
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이웃 λ§ˆμ„λ“€μ„ λ‹¨μ ˆμ‹œν‚€κ³  μžˆμŠ΅λ‹ˆλ‹€.
09:29
And I couldn't help but wonder
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μ €λŠ” κΆκΈˆμ¦μ„ 참을 수 μ—†μ—ˆμŠ΅λ‹ˆλ‹€.
09:30
what it would be like if the wall cut through a house.
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λ§Œμ•½ 벽이 집을 κ΄€ν†΅ν•œλ‹€λ©΄ μ–΄λ–»κ²Œ μƒκ²Όμ„κΉŒ?
09:34
Remember those disparities between wealth and poverty?
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λΉˆλΆ€κ²©μ°¨λ₯Ό κΈ°μ–΅ν•˜μ‹œλ‚˜μš”?
09:37
On the right is the average size of a house in El Paso, Texas,
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였λ₯Έμͺ½μ€ ν…μ‚¬μŠ€ μ£Ό μ—˜νŒŒμ†Œμ˜ 평균적인 집 크기이고,
09:40
and on the left is the average size of a house in Juarez.
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μ™Όμͺ½μ€ ν›„μ•„λ ˆμ¦ˆμ˜ 평균적인 집 ν¬κΈ°μž…λ‹ˆλ‹€.
09:43
And here, the wall cuts directly through the kitchen table.
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그리고 이곳에, 벽이 μ •ν™•νžˆ 식탁을 λš«μŠ΅λ‹ˆλ‹€.
09:47
And here, the wall cuts through the bed in the bedroom.
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그리고 이곳에, 벽이 μΉ¨μ‹€μ˜ μΉ¨λŒ€λ₯Ό λš«μŠ΅λ‹ˆλ‹€.
09:51
Because I wanted to communicate how the wall is not only dividing places,
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μ €λŠ” 벽이 곡간 뿐만이 μ•„λ‹ˆλΌ
09:55
it's dividing people, it's dividing families.
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μ‚¬λžŒλ“€κ³Ό κ°€μ‘±λ§ˆμ € λΆ„μ—΄μ‹œν‚¨λ‹€λŠ” 것을 λ‚˜νƒ€λ‚΄κ³  μ‹Άμ—ˆμŠ΅λ‹ˆλ‹€.
09:58
And the unfortunate politics of the wall
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λΆˆν–‰νžˆλ„ μž₯벽을 λ‘˜λŸ¬μ‹Ό μ˜€λŠ˜λ‚ μ˜ μ •μΉ˜λŠ”
10:00
is today, it is dividing children from their parents.
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아이듀을 λΆ€λͺ¨μ™€ λ–¨μ–΄μ§€κ²Œ ν•©λ‹ˆλ‹€.
10:04
You might be familiar with this well-known traffic sign.
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μ—¬λŸ¬λΆ„μ€ 이 ν‘œμ§€νŒμ΄ μ΅μˆ™ν•  κ²ƒμž…λ‹ˆλ‹€.
10:07
It was designed by graphic designer John Hood,
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κ·Έλž˜ν”½ λ””μžμ΄λ„ˆ μ‘΄ ν›„λ“œκ°€ λ””μžμΈν–ˆμŠ΅λ‹ˆλ‹€.
10:11
a Native American war veteran
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κ·ΈλŠ” 아메리카 원주민인 μ°Έμ „μš©μ‚¬μ΄μž
10:12
working for the California Department of Transportation.
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μΊ˜λ¦¬ν¬λ‹ˆμ•„ κ΅ν†΅λΆ€μ—μ„œ μΌν•˜μ‹œλŠ” λΆ„μž…λ‹ˆλ‹€.
10:16
And he was tasked with creating a sign to warn motorists
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κ·ΈλŠ” κ³ μ†λ„λ‘œ μ˜†μ— μžˆλŠ” μ΄λ―Όμžλ“€μ— λŒ€ν•΄
10:19
of immigrants who were stranded alongside the highway
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μš΄μ „μžμ—κ²Œ κ²½κ³ ν•˜λŠ” ν‘œμ§€νŒμ„ λ§Œλ“œλŠ” 일을 λ§‘μ•˜μŠ΅λ‹ˆλ‹€.
10:22
and who might attempt to run across the road.
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μ΄λ―Όμžλ“€μ΄ λ„λ‘œλ₯Ό κ±΄λ„ˆλ €λŠ” μ‹œλ„λ₯Ό ν•  수 있기 λ•Œλ¬Έμ΄μ£ .
10:26
Hood related the plight of the immigrant today
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ν›„λ“œλŠ” μ˜€λŠ˜λ‚  이주민의 κ³€κ²½κ³Ό
10:29
to that of the Navajo during the Long Walk.
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λ‚˜λ°”ν˜Έμ‘±μ΄ λ‘± μ›Œν¬λ•Œ κ²ͺ던 곀경을 μ—°κ²°μ‹œμΌ°μŠ΅λ‹ˆλ‹€.
10:33
And this is really a brilliant piece of design activism.
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μ΄λŠ” λ””μžμΈ μš΄λ™μ˜ 맀우 ν›Œλ₯­ν•œ μž‘ν’ˆμž…λ‹ˆλ‹€.
10:37
And he was very careful
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그리고 κ·ΈλŠ”
10:38
in thinking about using a little girl with pigtails, for example,
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땋은 머리λ₯Ό ν•œ μ—¬μžμ•„μ΄λ₯Ό μ‚¬μš©ν•˜λŠ” 것에 λŒ€ν•΄ 맀우 μ‹ μ€‘ν•˜κ²Œ μƒκ°ν–ˆμŠ΅λ‹ˆλ‹€.
10:42
because he thought that's who motorists might empathize with the most,
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μ™œλƒν•˜λ©΄ μš΄μ „μžλ“€μ΄ κ°€μž₯ 곡감할 뢀뢄이라 μƒκ°ν–ˆκΈ° λ•Œλ¬Έμž…λ‹ˆλ‹€.
10:46
and he used the silhouette of the civil rights leader Cesar Chavez
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그리고 κ·ΈλŠ” μ•„λΉ μ˜ λͺ¨μŠ΅μ„ λ§Œλ“€κΈ° μœ„ν•΄ λ―ΌκΆŒμš΄λ™κ°€μ˜ λŒ€ν‘œμΈ
10:51
to create the head of the father.
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μ„Έμžλ₯΄ 차베슀의 싀루엣을 μ‚¬μš©ν•˜μ˜€μŠ΅λ‹ˆλ‹€.
10:53
I wanted to build upon the brilliance of this sign
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μ €λŠ” 이 ν‘œμ§€νŒμ„ λ°”νƒ•μœΌλ‘œ
10:57
to call attention to the problem of child separation at the border,
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κ΅­κ²½μ—μ„œμ˜ 아동 뢄리 λ¬Έμ œμ— λŒ€ν•œ 경각심을 일깨우렀 λ…Έλ ₯ν–ˆμŠ΅λ‹ˆλ‹€.
11:00
and I made one very simple move.
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그리고 μ €λŠ” μ•„μ£Ό κ°„λ‹¨ν•œ λ™μž‘μ„ μ·¨ν–ˆμŠ΅λ‹ˆλ‹€.
11:02
I turned the families to face each other.
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가쑱듀을 μ„œλ‘œ λ§ˆμ£Όλ³΄λ„λ‘ ν•œ 것이죠.
11:05
And in the last few weeks,
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μ§€λ‚œ λͺ‡ μ£Ό λ™μ•ˆ,
11:06
I've had the opportunity to bring that sign back to the highway
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μ €λŠ” ν•œ 이야기λ₯Ό μ „λ‹¬ν•˜κΈ° μœ„ν•΄
11:09
to tell a story,
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이 ν‘œμ§€νŒμ„ κ³ μ†λ„λ‘œμ— λ‹€μ‹œ μ„€μΉ˜ν•  수 μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
11:11
the story of the relationships that we should be mending
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μš°λ¦¬κ°€ κ°œμ„ ν•΄μ•Ό ν•˜λŠ” 관계듀에 λŒ€ν•œ 이야기 말이죠.
11:15
and a reminder that we should be designing
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λ‚˜λˆ„μ–΄μ§„ λ‚˜λΌκ°€ μ•„λ‹Œ κ²°ν•©λœ ν•˜λ‚˜μ˜ κ΅­κ°€λ₯Ό
11:17
a reunited states and not a divided states.
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섀계해야 ν•œλ‹€λŠ” 것을 μƒκΈ°μ‹œν‚€κΈ° μœ„ν•΄μ„œμš”.
11:21
Thank you.
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κ°μ‚¬ν•©λ‹ˆλ‹€.
11:22
(Applause)
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(λ°•μˆ˜)
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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