Jake Barton: The museum of you

Prevodilac: Stefan Zrnović Lektor: Ivana Korom

This is Charley Williams.

Ovo je Čarli Vilijams.

He was 94 when this photograph was taken.

Imao je 94 godine kada je ova fotografija snimljena.

In the 1930s, Roosevelt put

1930-ih, Ruzvelt je vratio

thousands and thousands of Americans back to work

hiljade i hiljade Amerikanaca na posao

by building bridges and infrastructure and tunnels,

građenjem mostova, infrastrukture i tunela,

but he also did something interesting,

ali je takođe uradio nešto interesantno,

which was to hire a few hundred writers

a to je da je zaposlio nekoliko stotina pisaca

to scour America to capture the stories of ordinary Americans.

da pročešljaju Ameriku kako bi ovekovečili priče običnih ljudi.

Charley Williams, a poor sharecropper,

Čarli Vilijams, siromašni napoličar

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

ne bi inače bio predmet velikog istraživanja,

but Charley had actually been a slave

ali on je zapravo bio rob

until he was 22 years old.

do svoje 22. godine.

And the stories that were captured of his life

I priče koje su ovekovečene o njegovom životu

make up one of the crown jewels

stvorile su jedan od istinskih dragulja

of histories, of human-lived experiences

istorije ljudskih iskustava

filled with ex-slaves.

ispunjene bivšim robovima.

Anna Deavere Smith famously said that

Ana Diver Smit ponosno je rekla

there's a literature inside of each of us,

da postoji književnost unutar svakog od nas

and three generations later, I was part of a project

a tri generacije kasnije, bio sam deo projekta

called StoryCorps,

pod nazivom "Tela priče"

which set out to capture

koji je osnovan da obuhvati

the stories of ordinary Americans

priče običnih Amerikanaca

by setting up a soundproof booth in public spaces.

postavljajući zvučno izolovznu kabinu na javnim mestima.

The idea is very, very simple.

Ideja je veoma, veoma jednostavna.

You go into these booths, you interview your grandmother

Uđete u te kabine, razgovarate sa svojom bakom

or relative, you leave with a copy of the interview

ili nekim rođakom, i odete sa kopijom tog razgovora

and an interview goes into the Library of Congress.

i taj intervju ide u Kongresnu bilbioteku.

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

To je zapravo način da se stvori arhiva nacionalnih usmenih priča

one conversation at a time.

jedan po jedan razgovor.

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

Pitanje je, koga biste želeli da se setite

if you had just 45 minutes with your grandmother?

ako biste imali samo 45 minuta vremena sa vašom bakom?

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

Ono što je interesantno, u razgovoru sa osnivačem Dejvom Ajsejem,

we always actually talked about this

zapravo govorili smo o tome

as a little bit of a subversive project,

kao o pomalo rušilačkom projektu,

because when you think about it,

jer kada mislite o tome,

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

ne radi se o pričama koje su ispričane,

it's about listening,

već o slušanju,

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

radi se o pitanjima koja postavljate,

questions that you may not have permission to

pitanjima za koja nemate dozvolu,

on any other day.

bilo kog drugog dana.

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

Pustiću vam samo nekoliko brzih sekvenci iz projekta.

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

[Hesus Melendez govori o poslednjim trenucima pesnika Pedra Pjetrija]

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

Hesus Mendelez: Krenuli smo, i dok smo se spuštali

before we had leveled off,

pre nego što smo se poravnali,

our level-off point was 45,000 feet,

naša ravnajuća tačka bila je 13716 metara,

so before we had leveled off,

dakle pre nego što smo poravnali

Pedro began leaving us,

Pedro je počeo da nas napušta,

and the beauty about it

i lepota u tome je

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

da verujem da postoji nešto posle života.

You can see it in Pedro.

Možete videti to u Pedru.

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

[Deni Perasa svojoj ženi Ani Perasi, u braku 26 godina]

Danny Perasa: See, the thing of it is,

Deni Perasa: Stvar je u tome,

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

da sam uvek osećao krivicu kada sam ti izgovarao "Volim te",

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

a kažem to veoma često. Kažem to da te podsetim

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

da koliko god sam blesav, to dolazi iz mene,

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

to je kao slušanje prelepe pesme sa starog i pokvarenog radija,

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

a lepo je od tebe što držiš radio u kući.

(Laughter)

(Smeh)

[Michael Wolmetz with his girlfriend Debora Brakarz]

[Majkl Volmec sa svojom devojkom Deborom Brakarc]

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

Majkl Volmec: Ovo je prsten koji je moj otac dao mojoj majci

and we can leave it there.

i možemo ga ostaviti tu.

And he saved up and he purchased this,

A on je štedeo i kupio ga je,

and he proposed to my mother with this,

te je zaprosio moju majku njime,

and so I thought that I would give it to you

pa sam mislio da ti ga dam

so that he could be with us for this also.

kako bi i on bio sa nama.

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

Podeliću sa tobom mikrofon sad, Debora.

Where's the right finger?

Gde ti je desni prst?

Debora Brakarz: (Crying)

Debora Brakarc: (Plače)

MW: Debora, will you please marry me?

MV: Debora, hoćeš li se udati za mene?

DB: Yes. Of course. I love you.

DB: Da. Naravno. Volim te.

(Kissing)

(Ljubljenje)

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

MV: E pa deco, tako smo se vaša majka i ja venčali

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

u kabini u Centralnoj stanici Njujorka sa prstenom mog oca.

My grandfather was a cab driver for 40 years.

Moj deda je bio taksi vozač 40 godina.

He used to pick people up here every day.

Kupio je ljude ovde svaki dan.

So it seems right.

Deluje ispravno.

Jake Barton: So I have to say

Džejk Barton: Treba da kažem

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

da nisam zapravo izabrao ove posebne uzorke kako bih vas rasplakao

because they all make you cry.

jer vas svi rastužuju.

The entire project is predicated on this act of love

Čitav projekat je utemeljen na ovom činu ljubavi

which is listening itself.

koji je samo slušanje.

And that motion of building an institution

A taj pojam građenja institucije

out of a moment of conversation and listening

od momenta razgovora i slušanja

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

je zapravo ono što moja firma "Local Projects"

is doing with our engagements in general.

zapravo radi sa našim mušterijama.

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

Dakle mi smo firma dizajna medija i radimo

with a broad array of different institutions

sa širokom grupom različitih institucija

building media installations for museums and public spaces.

i pravimo instalacije medija za muzeje i javne prostore.

Our latest engagement is the Cleveland Museum of Art,

Naš poslednji angažman je u Klivlendskom muzeju umetnosti

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

gde smo kreirali projekat pod nazivom "Galerija 1".

And Gallery One is an interesting project

"Galerija 1" je interesantan projekat

because it started with this massive, $350 million expansion

jer je počeo sa ovom masivnom ekspanzijom od 350 miliona dolara

for the Cleveland Museum of Art,

za Klivlendski muzej umetnosti

and we actually brought in this piece

a mi smo zapravo ovo sklopili u jedan komad

specifically to grow new capacity, new audiences,

kako bismo stvorili novi kapacitet, novu publiku

at the same time that the museum itself is growing.

u isto vreme dok se i muzej razvija.

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

Glen Lauri, osnivač MoMA-e, lepo je objasnio:

"We want visitors to actually cease being visitors.

"Želimo da posetioci prestanu da budu posetioci.

Visitors are transient. We want people who live here,

Oni su prolaznici. Želimo ljude koji žive ovde,

people who have ownership."

ljude koji imaju vlasništvo."

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

A mi stvaramo široku matricu

of different ways for people to actually engage

različitih načina na koje sve ljudi mogu da se angažuju

with the material inside of these galleries,

sa materijalom unutar ovih galerija,

so you can still have a traditional gallery experience,

tako da možete imati tradicionalna galerijska iskustva

but if you're interested, you can actually engage

ali ako ste zainteresovani, možete da se angažujete

with any individual artwork and see the original context

sa bilo kojim individualnim umetničkim delom i vidite originalni kontekst

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

odakle je on ili da manipulišete delom.

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

Na primer, možete da kliknete na ovu glavu lava

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

i videćete odakle ona potiče, 1300 godina p.n.e.

Or this individual piece here,

Ili ovaj posebni delić ovde,

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

možete videti spavaću sobu. To zaista menja način

you think about this type of a tempera painting.

na koji vidite ovu vrstu slike rađene temperom.

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

Ova mi je omiljena jer vidite čitav atelje.

This is Rodin's bust. You get the sense

Ovo je Rodenova bista.

of this incredible factory for creativity.

Shvatite ovu neverovatnu fabriku kreativnosti.

And it makes you think about literally the hundreds

Ono vas tera da mislite bukvalno o stotinama

or thousands of years of human creativity and how

ili hiljadama godina ljudske kreativnosti i kako se

each individual artwork stands in for part of that story.

svako individualno delo uklapa u deo te priče.

This is Picasso,

Ovo je Pikaso,

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

naravno obuhvatajući toliko toga iz 20. veka.

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

Naš sledeći interfejs, koji ću vam pokazati

actually leverages that idea of this lineage of creativity.

zapravo podstiče ideju porekla kreativnosti.

It's an algorithm that actually allows you to browse

To je algoritam koji vam omogućava da pretražujete

the actual museum's collection using facial recognition.

prave muzejske kolekcije koristeći prepoznavanje lica.

So this person's making different faces,

Ova osoba pravi različite grimase,

and it's actually drawing forth different objects

i to crta različite objekte

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

iz kolekcije koja je povezana tačno sa njenim izgledom.

And so you can imagine that, as people are performing

Možete zamisliti da, dok ljudi to izvode

inside of the museum itself, you get this sense

unutar samog muzeja, osećate

of this emotional connection,

ovu emocionalnu vezu,

this way in which our face connects with the thousands

na način na koji se naše lice povezuje sa hiljadama

and tens of thousands of years.

i desetinama hiljada godina.

This is an interface that actually allows you to draw

Ovo je interfejs koji vam omogućava da nacrtate

and then draws forth objects using those same shapes.

a potom on prikazuje objekat koristeći iste te oblike.

So more and more we're trying to find ways

Sve više se trudimo da nađemo načine

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

da ljudi budu autori dela unutar samih muzeja,

to be creative even as they're looking

da budu kreativni čak i gledajući

at other people's creativity and understanding them.

kreativnost drugih ljudi i shvatajući ih.

So in this wall, the collections wall,

Na ovom zidu, zidu kolecije,

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

možete zapravo videti svih 3000 umetničkih dela u isto vreme,

and you can actually author your own

gde možete biti autor vaših ličnih

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

individualnih hodajućih tura po muzeju, možete ih deliti,

and someone can take a tour with the museum director

a neko može krenuti u razgledanje sa kustosom

or a tour with their little cousin.

ili sa njihovim malim rođakom.

But all the while that we've been working

Ali dok smo radili

on this engagement for Cleveland,

na ovom projektu za Klivlend,

we've also been working in the background

radili smo takođe u pozadini

on really our largest engagement to date,

na našem najvećem projektu,

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

a to je memorijal i muzej za 11. septembar.

So we started in 2006

Počeli smo 2006. godine

as part of a team with Thinc Design

kao deo tima sa Thinc Design-om

to create the original master plan for the museum,

kako bismo stvorili originalni master plan muzeja,

and then we've done all the media design

a potom smo radili na čitavom dizajnu medija

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

i za muzej i za memorijal, a zatim za produkciju medija.

So the memorial opened in 2011,

Memorijal je otvoren 2011. godine,

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

a muzej će se otvoriti sledeće, 2014. godine.

And you can see from these images,

Sa ovih slika možete videti,

the site is so raw and almost archaeological.

da je prostor tako sirov i gotovo arheološki.

And of course the event itself is so recent,

Naravno, čitav događaj je prilično nov,

somewhere between history and current events,

negde između istorije i trenutnih događaja,

it was a huge challenge to imagine

te je bio veliki izazov zamisliti

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

kako zapravo oživeti ovakvo mesto

an event like this, to actually tell that story.

i ovakve događaje, da bismo ispričali priču.

And so what we started with

Ono što smo počeli

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

je bilo istinski novi način razmišljanja o građenju institucije

through a project called Make History,

kroz projekat pod imenom "Stvorite Istoriju",

which we launched in 2009.

koji smo započeli 2009. godine

So it's estimated that a third of the world

Procenjuje se da je trećina sveta

watched 9/11 live,

uživo videla napad 11.septembra,

and a third of the world

a trećina sveta

heard about it within 24 hours,

je čula za to u roku od 24 sata,

making it really by nature of when it happened,

čineći ga, prirodno u trenutku kada se to dogodilo,

this unprecedented moment of global awareness.

jedinstvenim događajem globalne osvešćenosti.

And so we launched this to capture the stories

Dakle, započeli smo ovaj projekat kako bismo ovekovečili priče

from all around the world,

širom sveta,

through video, through photos,

kroz video klipove, slike,

through written history,

pisanu istoriju,

and so people's experiences on that day,

tako da su ljudska iskustva tog dana,

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

koji je bio, ogorman rizik za instituciju

to make its first move this open platform.

da napravi svoj prvi potez ka ovoj otvorenoj platformi.

But that was coupled together with this oral histories booth,

Ali to je spojeno zajedno sa usmenim pričama u kabinama,

really the simplest we've ever made,

najjednostavnijim koje smo ikada stvorili

where you locate yourself on a map.

u kojima locirate sebe na mapi.

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

Postoji na 6 jezika i možete ispričati svoju sopstvenu priču

about what happened to you on that day.

o tome što vam se dogodilo tog dana.

And when we started seeing the incredible images

Kada smo počeli da gledamo te neverovatne slike

and stories that came forth

i priče koje su napravljene

from all around the world --

širom sveta -

this is obviously part of the landing gear --

ovo je očigledno deo stajnog trapa vazduhoplova -

we really started to understand

počeli smo da shvatamo

that there was this amazing symmetry

da postoji fenomenalna simetrija

between the event itself,

između samog događaja,

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

između načina na koji su ljudi pričali svoje priče događaja

and how we ourselves needed to tell that story.

i kako je trebalo da sami sebi ispričamo tu priču.

This image in particular really captured

Ova slika je posebno privukla

our attention at the time,

našu pažnju tada,

because it so much sums up that event.

jer toliko sumira taj događaj.

This is a shot from the Brooklyn-Battery Tunnel.

Ovo je snimak iz bruklinskog tunela.

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

Tu je vatrogasac koji je zaglavljen u saobraćaju,

and so the firefighters themselves are running

tako da su ostali vatrogasci trčali

a mile and a half to the site itself

dva i po kilometra do mesta

with upwards of 70 pounds of gear on their back.

sa oko 35kg opreme na svojim leđima.

And we got this amazing email that said,

Stigao nam je ovaj fantastičan imejl koji kaže:

"While viewing the thousands of photos on the site,

"Gledajući hiljade fotografija na ovom sajtu,

I unexpectedly found a photo of my son.

neočekivano sam pronašao sliku svog sina.

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

Bio sam emocionalno šokiran, čak blagoslovljen što sam našao tu sliku,"

and he was writing because he said,

i pisao jer je rekao:

"I'd like to personally thank the photographer

"Voleo bih lično da zahvalim fotografu

for posting the photo,

za postavljanje ove slike,

as it meant more than words can describe to me

jer mi znači više nego što mogu reči da opišu,

to have access to what is probably

da imam pristup onome što je verovatno

the last photo ever taken of my son."

poslednja slika mog sina."

And it really made us recognize

To nam je zaista omogućilo da prepoznamo

what this institution needed to be

šta je ova institucija trebalo da bude

in order to actually tell that story.

kako bi ispričala tu priču.

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

Ne možemo da imamo samo istoričara ili kustosa koji priča,

objectively in the third person about an event like that,

objektivno u 3. licu o ovakvom događaju,

when you have the witnesses to history

kada imate svedoka priče

who are going to make their way

koji će proći

through the actual museum itself.

kroz sam muzej.

And so we started imagining the museum,

Stoga smo počeli da zamišljamo muzej

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

zajedno sa kreativnim timom u muzeju i kustosima,

thinking about how the first voice that you would hear

razmišljajući o tome kako bi prvi glas koji biste čuli

inside the museum would actually be of other visitors.

unutar muzeja zapravo bili glasovi drugih posetilaca.

And so we created this idea of an opening gallery

Smislili smo ideju otvaranja galerije

called We Remember.

pod nazivom "Sećamo se".

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

Pustiću vam samo deo primera,

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

ali ćete osetiti kako je to ući

into that moment in time

u momenat u vremenu

and be transported back in history.

i biti vraćen u prošlost.

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

(Video) Glas 1: Bio sam u Honoluluu, na Havajima. Glas 2: Ja sam bio u Kairu, u Egiptu.

Voice 3: Sur les Champs-Élysées, à Paris. Voice 4: In college, at U.C. Berkeley.

Glas 3: Na Jelisejskim poljima, u Parizu. Glas 4: Na koledžu, na Univerzitetu u Berkliju.

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

Glas 5: Bila sam na Tajms Skveru. Glas 6: Sao Paolo, Brazil.

(Multiple voices)

(Više glasova)

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

Glas 7: Bilo je verovatno oko 11 sati noću.

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

Glas 8: Vozila sam ka poslu oko 5:45 ujutru po lokalnom vremenu.

Voice 9: We were actually in a meeting

Glas 9: Bili smo na sastanku

when someone barged in and said,

kada je neko upao i rekao:

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

"O Bože, avion je upravo udario u Svetski trgovinski centar."

Voice 10: Trying to frantically get to a radio.

Glas 10: Silno sam pokušavala da dođem do radija.

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

Glas 11: Kada sam to čuo preko radija -

Voice 12: Heard it on the radio.

Glas 12: Čuo na radiju.

(Multiple voices)

(VIše glasova)

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

Glas 13: Zvao me je otac. Glas 14: Probudio me je telefon.

My business partner told me to turn on the television.

Poslovni partner mi je rekao da uključim televizor.

Voice 15: So I switched on the television.

Glas 15: Pa sam upalila televizor.

Voice 16: All channels in Italy were displaying the same thing.

Glas 16: Svi kanali u Italiji prikazivali su istu stvar.

Voice 17: The Twin Towers. Voice 18: The Twin Towers.

Glas 17: Kule bliznakinje. Glas 18: Kule bliznakinje.

JB: And you move from there

DžB: Sad se prebacujemo odatle

into that open, cavernous space.

u taj otvoreni, duboki prostor.

This is the so-called slurry wall.

To je takozvani zid od maltera.

It's the original, excavated wall at the base of the World Trade Center

To je originalni, iskopani zid iz osnove Svetskog trgovinskog centra

that withstood the actual pressure from the Hudson River

koji je odoleo pritisku reke Hadson

for a full year after the event itself.

tokom čitave godine nakon nemilog događaja.

And so we thought about carrying that sense of authenticity,

Stoga smo razmišljali o zadržavanju tog osećaja autentičnosti

of presence of that moment

ili prisutnosti tog događaja

into the actual exhibition itself.

unutar same izložbe.

And we tell the stories of being inside the towers

Pričamo priče o trenucima unutar kula

through that same audio collage,

kroz taj isti audio kolaž,

so you're hearing people literally talking about

gde čujete ljude kako bukvalno govore

seeing the planes as they make their way into the building,

o avionima kako lete ka zgradama

or making their way down the stairwells.

ili beže niz stepenice.

And as you make your way into the exhibition

Dok prolazite kroz izložbu,

where it talks about the recovery,

gde se govori o oporavku,

we actually project directly onto these moments

mi zapravo projektujemo direktno na te momente

of twisted steel all of the experiences from people

uvrnutog čelika, sva iskustva ljudi

who literally excavated on top of the pile itself.

koji su doslovno isplivali na vrh same gomile.

And so you can hear oral histories --

Možete čuti usmene priče -

so people who were actually working the so-called bucket brigades

od ljudi koji su zapravo radili u takozvanim brigadama kanti

as you're seeing literally the thousands of experiences

gde vidite hiljade iskustava

from that moment.

iz tog momenta.

And as you leave that storytelling moment

Dok napuštate taj momenat pripovedanja,

understanding about 9/11,

razumevajući 11. septembar

we then turn the museum back into a moment of listening

mi vraćamo muzej u momenat slušanja

and actually talk to the individual visitors

i zapravo govorimo svakom posetiocu

and ask them their own experiences about 9/11.

i pitamo ih o njihovim ličnim iskustvima o 11. septembru.

And we ask them questions that are actually

Pitamo ih pitanja koja

not really answerable, the types of questions

nemaju odgovor, tipove pitanja

that 9/11 itself draws forth for all of us.

koja 11. septembar približavaju svima nama.

And so these are questions like,

To su pitanja poput:

"How can a democracy balance freedom and security?"

"Kako demokratija može da izbalansira slobodu i sigurnost?"

"How could 9/11 have happened?"

"Kako je mogao da se dogodi 11. septembar?"

"And how did the world change after 9/11?"

"Kako se svet promenio posle 11. septembra?"

And so these oral histories,

Dakle, postoje usmene priče,

which we've actually been capturing already for years,

koje smo zapravo snimali godinama,

are then mixed together with interviews

a zatim mešali zajedno sa intervjuima,

that we're doing with people like Donald Rumsfeld,

koje radimo sa ljudima poput Donalda Ramsfelda,

Bill Clinton, Rudy Giuliani,

Bila Klintona, Rudija Đulijanija,

and you mix together these different players

i mešamo te različite izvođače

and these different experiences,

i ta različita iskustva,

these different reflection points about 9/11.

različita razmišljanja o 11. septembru.

And suddenly the institution, once again,

Odjednom se institucija opet

turns into a listening experience.

pretvara u iskustvo slušanja.

So I'll play you just a short excerpt

Pustiću vam kratak segment

of a mockup that we made of a couple of these voices,

uzorka koji smo napravili od nekoliko glasova

but you really get a sense

ali ćete osetiti

of the poetry of everyone's reflection on the event.

poetiku svačijeg viđenja događaja.

(Video) Voice 1: 9/11 was not just a New York experience.

(Video) Glas1: 11. septembar nije bio samo iskustvo Njujorka.

Voice 2: It's something that we shared, and it's something that united us.

Glas 2: To je stvar koju smo podelili, nešto što nas je ujedinilo.

Voice 3: And I knew when I saw that,

Glas 3: I kada sam video

people who were there that day who immediately

da ljudi koji su bili tu tog dana i koji su momentalno

went to help people known and unknown to them

pristigli da pomognu ljudima, poznatim i nepoznatim

was something that would pull us through.

znao sam da je to nešto što će nas sve zajedno izvući.

Voice 4: All the outpouring of affection and emotion

Glas 4: Sav izliv naklonosti i emocija

that came from our country was something really

koji je isplivao iz naše države bio je nešto

that will forever, ever stay with me.

što će zauvek ostati u meni.

Voice 5: Still today I pray and think about those

Glas 5: I dalje danas se molim i mislim o onima

who lost their lives,

koji su izgubili svoje živote,

and those who gave their lives to help others,

i onima koji su dali svoje živote kako bi pomogli drugima,

but I'm also reminded of the fabric of this country,

ali takođe se podsećam sastavnih elemenata ove države,

the love, the compassIon, the strength,

ljubavi, saosećanja, snage.

and I watched a nation come together

Gledao sam naciju koja se udružuje

in the middle of a terrible tragedy.

usred užasne tragedije.

JB: And so as people make their way out of the museum,

DžB: Dok ljudi izlaze iz muzeja,

reflecting on the experience, reflecting on their own thoughts of it,

razmišljajući o iskustvu, o sopstvenim mislima o tome,

they then move into the actual space of the memorial itself,

pomeraju se u sam prostor memorijala,

because they've gone back up to grade,

jer smo se vratili gore

and we actually got involved in the memorial

i zapravo smo uključeni u memorijal,

after we'd done the museum for a few years.

nakon što smo uradili muzej za nekoliko godina.

The original designer of the memorial, Michael Arad,

Originalni projektant memorijala, Majkl Arad,

had this image in his mind of all the names appearing

imao je u glavi sliku svih imena koja se pojavljuju

undifferentiated, almost random,

nepromenjena, gotovo nasumična,

really a poetic reflection on top of the nature

poetično razmatranje iznad

of a terrorism event itself,

samog terorističkog napada,

but it was a huge challenge for the families, for the foundation,

ali je bilo veliki izazov za porodice, organizacije

certainly for the first responders,

posebno za ljude koji su se prvi odazvali,

and there was a negotiation that went forth

a postojala su i pregovaranja

and a solution was found

ali nađeno je rešenje

to actually create not an order in terms of chronology,

ne da se stvori hronološki

or in terms of alphabetical,

ili alfabetski red,

but through what's called meaningful adjacency.

već kroz nešto što se zove "smisleno susedstvo".

So these are groupings of the names themselves

Dakle ovo je grupisanje imena

which appear undifferentiated but actually have an order,

koja se čine nepovezana, ali imaju redosled

and we, along with Jer Thorp, created an algorithm

a mi smo zajedno sa Džerom Torpom stvorili algoritam

to take massive amounts of data

koji bi uzeo ogromne količine podataka

to actually start to connect together all these different names themselves.

da bi se započelo povezivanje svih tih različitih imena.

So this is an image of the actual algorithm itself

Ovo je slika samog algoritma

with the names scrambled for privacy,

gde su imena sakrivena zbog privatnosti

but you can see that these blocks of color

ali takođe možete videti da su ove grupe boja

are actually the four different flights,

ustvari 4 različita leta,

the two different towers, the first responders,

dve različite kule, prvi odazivači,

and you can actually see within that different floors,

a možete videti i kroz različite spratove,

and then the green lines are the interpersonal connections

a zelene linije su međuljudske veze

that were requested by the families themselves.

koje su porodice same zahtevale.

And so when you go to the memorial,

Kada odete u memorijal,

you can actually see the overarching organization

možete videti sveobuhvatnu organizaciju

inside of the individual pools themselves.

unutar individualnih područja.

You can see the way that the geography of the event

možete videti način na koji se geografija događaja

is reflected inside of the memorial,

odražava u memorijalu

and you can search for an individual name,

i možete da pretražujete imena pojedinaca,

or in this case an employer, Cantor Fitzgerald,

ili u ovom slučaju radnika, Kantora Ficdžeralda

and see the way in which all of those names,

i da vidite način na koji su sva ta imena,

those hundreds of names, are actually organized

te hiljade imena zapravo organizovana

onto the memorial itself,

u sam memorijal,

and use that to navigate the memorial.

i koristite ih za navigaciju kroz memorijal.

And more importantly, when you're actually at the site

Ono što je još važnije, kada ste na prostoru

of the memorial, you can see those connections.

memorijala, možete videti te veze.

You can see the relationships between the different names themselves.

Možete videti veze između različitih imena.

So suddenly what is this undifferentiated, anonymous

Iznenada, ono što je nejasna, anonimna

group of names springs into reality as an individual life.

grupa imena, povezuje se u realnost kao jedan život.

In this case, Harry Ramos,

U ovom slučaju Hari Ramos,

who was the head trader at an investment bank,

koji je bio glavni trgovac u investicionoj banci,

who stopped to aid Victor Wald on the 55th floor of the South Tower.

koji se zaustavio da pomogne Viktoru Voldu na 55. spratu Južne kule.

And Ramos told Wald, according to witnesses,

Ramos je rekao Voldu, sudeći prema svedocima:

"I'm not going to leave you."

"Neću te ostaviti!"

And Wald's widow requested that they be listed next to each other.

A Valdova udovica je zahtevala da budu navedeni jedan pored drugog.

Three generations ago, we had to actually get people

Pre tri generacije, morali smo da teramo ljude

to go out and capture the stories for common people.

da izađu i ovekoveče priče običnih ljudi.

Today, of course, there's an unprecedented amount of stories

Danas naravno postoji neverovatna količina priča

for all of us that are being captured for future generations.

svih nas koje se snimaju za buduće generacije.

And this is our hope, that's there's poetry inside of each of our stories.

Ovo je naša nada, da unutar svake priče postoji poezija.

Thank you very much.

Hvala vam mnogo.

(Applause)

(Aplauz)