Aaron Koblin: Artfully visualizing our humanity

翻译人员: Diwen Mueller 校对人员: Angelia King

So I think data can actually make us more human.

我认为数据可以让我们更人性化。

We're collecting and creating all kinds of data about how we're living our lives,

我们搜集和创造着各种关于我们如何生活的数据

and it's enabling us to tell some amazing stories.

这使得我们能够讲述一些精彩的故事。

Recently, a wise media theorist Tweeted,

最近，一位聪明的媒体学家在微博上说，

"The 19th century culture was defined by the novel,

“19世纪是小说定义了文化，

the 20th century culture was defined by the cinema,

20世纪是电影定义了文化

and the culture of the 21st century

而21世纪的文化

will be defined by the interface."

将由界面来决定。”

And I believe this is going to prove true.

我相信这将成真。

Our lives are being driven by data,

我们的生活正被数据驱动着，

and the presentation of that data is an opportunity

所以数据的演示是一个机会

for us to make some amazing interfaces that tell great stories.

让我们可以制作令人惊喜的界面来生动地讲述故事。

So I'm going to show you a few of the projects

现在我将向你演示几个方案

that I've been working on over the last couple years

这些都是我过去几年里所做的

that reflect on our lives and our systems.

反映我们的生活和我们的系统。

This is a project called Flight Patterns.

这个方案叫做 “飞行模式”。

What you're looking at is airplane traffic

你现在看到的是24小时内

over North America for a 24-hour period.

飞越北美的空中交通。

As you see, everything starts to fade to black,

正如你所看到的，一切都开始变黑，

and you see people going to sleep.

人们开始入睡。

Followed by that, you see on the West coast

接着，你看西海岸

planes moving across, the red-eye flights to the East coast.

有飞机飞过，红眼航班向东海岸飞行。

And you'll see everybody waking up on the East coast,

然后是东海岸的人们开始醒来，

followed by European flights coming in the upper right-hand corner.

紧接着是欧洲的航班从右上角飞进来。

Everybody's moving from the East coast to the West coast.

大家正从东海岸飞往西海岸。

You see San Francisco and Los Angeles

看旧金山和洛杉矶

start to make their journeys down to Hawaii in the lower left-hand corner.

开始飞到左下角的夏威夷。

I think it's one thing to say there's 140,000 planes

我想大约有14万架飞机

being monitored by the federal government at any one time,

随时被联邦政府监控，

and it's another thing to see that system as it ebbs and flows.

但如果去观察这个系统的起伏，又是另外一回事。

This is a time-lapse image of that exact same data,

这是同一组数据被延时观察，

but I've color-coded it by type,

而且我还用颜色把它们区分开，

so you can see the diversity of aircraft that are in the skies above us.

因此你可以看到我们上空的飞机们是各有不同的。

And I started making these, and I put them into Google Maps

我在制作的时候，把它们放到了谷歌地图上

and allow you to zoom in and see individual airports

这能使你放大并查看每架飞机

and the patterns that are occurring there.

和这里所进行的模式。

So here we can see the white represents low altitudes,

这里我们看到的白色代表低海拔，

and the blue are higher altitudes.

蓝色代表更高一点的海拔。

And you can zoom in. This is taking a look at Atlanta.

你可以将镜头推进。看一下亚特兰大。

You can see this is a major shipping airport,

你可以看到这是一个主要的运输航空港，

and there's all kinds of activity there.

有各种各样的活动。

You can also toggle between altitude

你也可以切换海拔高度

for model and manufacturer.

查看型号和生产商。

See again, the diversity.

看，又是多样性。

And you can scroll around and see

你可以用滚动条上下查看

some of the different airports and the different patterns that they have.

一些不同的机场和它们不同的模式。

This is scrolling up the East coast.

滚动条上拉是东海岸。

You can see some of the chaos that's happening in New York

你可以看到纽约这里有一些混乱

with the air traffic controllers

空中交通管制人员

having to deal with all those major airports next to each other.

必须与那些相邻的航空港来协调。

So zooming back out real quick,

我们现在很快地把镜头缩放回来，

we see, again, the U.S. -- you get Florida down in the right-hand corner.

再来看一下在右下角的美国－佛罗里达州。

Moving across to the West coast,

飞越到西海岸，

you see San Francisco and Los Angeles --

你看旧金山和洛杉矶－

big low-traffic zones

巨大的大流量区域

across Nevada and Arizona.

在内华达州和亚利桑那州之间穿梭往来。

And that's us down there in L.A. and Long Beach on the bottom.

这是我们所处的洛杉矶，和下方的长滩。

I started taking a look as well at different perimeters,

开始看一下周边，

because you can choose what you want to pull out from the data.

因为你能选择你想调出来的数据资料。

This is looking at ascending versus descending flights.

这是对比起飞和降落的航班。

And you can see, over time, the ways the airports change.

正如你所看到，随着时间推移，机场的变化。

You see the holding patterns that start to develop

你看在屏幕下方，

in the bottom of the screen.

控制模式在变化。

And you can see, eventually the airport actually flips directions.

你可以看到，最终机场的方向翻转。

So this is another project that I worked on with the Sensible Cities Lab at MIT.

这是我接过的另一个项目，是与麻省理工的感应城市实验室（Seanseable City Lab)合作.

This is visualizing international communications.

这是可视化国际通讯。

So it's how New York communicates

这是纽约同其他国际城市

with other international cities.

的通讯数据。

And we set this up as a live globe in the Museum of Modern Art in New York

我们在纽约的现代艺术博物馆里把这个架设成一个活球体

for the Design the Elastic Mind exhibition.

为了展览弹性思维的设计。

And it had a live feed with a 24-hour offset,

它即时接收新数据，有24小时时差的偏移，

so you could see the changing relationship

所以你可以看到这些关系变化

and some demographic info

和一些来源于AT&T数据的

coming through AT&T's data and revealing itself.

人口统计信息。

This is another project I worked on with Sensible Cities Lab

这是另外一个和感应城市实验室合作的案子

and CurrentCity.org.

CurrentCity.org。

And it's visualizing SMS messages being sent in the city of Amsterdam.

它可视化在阿姆斯特丹发出的所有手机短信。

So you're seeing the daily ebb and flow

你看到的是每天人们从不同城市发送手机短信

of people sending SMS messages from different parts of the city,

频繁度的上下变化，

until we approach New Year's Eve, where everybody says, "Happy New Year!"

直到接近元旦，大家都在说，“新年快乐！”

(Laughter)

（笑声）

So this is an interactive tool

这是一个互动的工具

that you can move around and see different parts of the city.

你可以四处移动去看城市的不同区域。

This is looking at another event. This is called Queen's Day.

这是统计另外一个节日。所谓的“女王日”。

So again, you get this daily ebb and flow

再一次的，你可以看到每天人们从城市不同角落

of people sending SMS messages from different parts of the city.

发送手机短信的变化

And then you're going to see people start to gather in the center of the city

然后你可以看到人们开始聚集在城市中心

to celebrate the night before,

在前一天晚上，一起庆祝女王日，

which happens right here.

就在这里。

And then you can see people celebrating the next day.

然后你可以看到人们第二天也在庆祝。

And you can pause it and step back and forth and see different phases.

你可以在任何地方暂停，或者倒退，或者快进，可以查看不同阶段。

So now on to something completely different.

现在来看看一个完全不同的东西。

Some of you may recognize this.

有的人也许认识这个。

This is Baron Wolfgang von Kempelen's mechanical chess playing machine.

这是沃尔夫冈·冯·肯佩伦发明的土耳其行棋傀儡。

And it's this amazing robot that plays chess extremely well,

正是这个惊人的机器人下棋下得非常好，

except for one thing: it's not a robot at all.

除了：它根本不是一个机器人。

There's actually a legless man that sits in that box

实际上是一个没有双腿的人坐在柜子里面

and controls this chess player.

操纵这个下棋傀儡。

This was the inspiration for a web service by Amazon

这给亚马逊网站的一种网络服务提供了灵感

called the Mechanical Turk -- named after this guy.

为纪念那个傀儡，这种网络服务被称为“土耳其机器人”。

And it's based on the premise that there are certain things

原理是基于有一些事情

that are easy for people, but really difficult for computers.

对于人们来讲很简单，但对于电脑来说就很困难。

So they made this web service and said,

所以他们创立了这个网络服务，为了，

"Any programmer can write a piece of software

“任何编程人员都可以编写软件

and tap into the minds of thousands of people."

并且可以利用成百上千的智力资源。”

The nerdy side of me thought, "Wow, this is amazing.

我古怪的一方面认为，“哇，太神奇了。

I can tap into thousands of people's minds."

我可以利用成百上千的智力资源。”

And the other nerdy side of me thought,

但我古怪的另一方面会认为，

"This is horrible. This is completely bizarre.

“太糟糕了。这完全是疯狂。

What does this mean for the future of mankind,

这对未来的人类会有怎样的影响，

where we're all plugged into this borg?"

我们都将被模式化？”

I was probably being a little extreme.

我可能有点太极端。

But what does this mean when we have no context for what it is that we're working on,

但是当我们对于所做的工作，前因后果及其背景不了解的时候，

and we're just doing these little labors?

我们只是做着份内的这点苦工，这又意味着什么？

So I created this drawing tool.

所以我设计了这个制图工具。

I asked people to draw a sheep facing to the left.

我请人们画一只面向左边的羊。

And I said, "I'll pay you two cents for your contribution."

我说，“为此我支付你2美分。”

And I started collecting sheep.

然后我开始收集羊。

And I collected a lot, a lot of different sheep.

我收集了很多不同的羊。

Lots of sheep.

很多很多。

I took the first 10,000 sheep that I collected,

我把我收集的一万只羊，

and I put them on a website called TheSheepMarket.com

放到一个叫做TheSheepMarket.com（羊市场）的网页上

where you can actually buy collections of 20 sheep.

在这里你实际上可以购买20只羊的画图。

You can't pick individual sheep,

你不可以逐一挑选，

but you can buy a single plate block of stamps as a commodity.

但是作为商品，你可以买一版贴纸（有20只羊）。

And juxtaposed against this grid,

移动鼠标，

you see actually, by rolling over each individual one,

你可以看到每只羊的放大效果和绘图过程，

the humanity behind this hugely mechanical process.

这个巨大的机械过程背后的人性化。

I think there's something really interesting

我觉得有意思的是

to watching people as they go through this creative toil --

观看在这背后人们的创作过程－

something we can all relate to,

或多或少都有点同感，

this creative process of trying to come up with something from nothing.

这个创造的过程，是从无到有。

I think it was really interesting to juxtapose this humanity

比起大量的工业化生产

versus this massive distributed grid.

手工制造要有意思得多。

Kind of amazing what some people did.

我惊叹于人们的贡献。

So here's a few statistics from the project.

从这个项目中有几组数据。

Approximate collection rate of 11 sheep per hour,

大概每小时收集11只羊，

which would make a working wage of 69 cents per hour.

也就是每小时的工资是69美分。

There were 662 rejected sheep

有662只羊被拒

that didn't meet "sheep-like" criteria and were thrown out of the flock.

因为它们没有达到羊的标准，所以被剔除了。

(Laughter)

（笑声）

The amount of time spent drawing ranged from four seconds to 46 minutes.

绘画所用的时间从4秒到46分钟不等。

That gives you an idea of the different types of motivations and dedication.

也就是说，人们有不同的动机和投入。

And there were 7,599 people that contributed to the project,

7599个人参与了这个项目，

or were unique IP addresses --

或者说7599个独立IP地址－

so about how many people contributed.

参与的人数大概就是这个。

But only one of them out of the 7,599 said this.

7599人中只有一个这样问了。 （为什么，为什么你在做这个？）

(Laughter)

（笑声）

Which I was pretty surprised by.

对此，我非常讶异。

I expected people to be wondering, "Why did I draw a sheep?"

我期待人们会问，“为什么我画羊？”

And I think it's a pretty valid question.

我认为这是一个很合理的问题。

And there's a lot of reasons why I chose sheep.

我选择羊的原因有很多。

Sheep were the first animal

羊是第一个

to be raised from mechanically processed byproducts,

用机械加工出的副产品饲养出来的动物，

the first to be selectively bred for production traits,

第一个为了生产性质而被选择性繁殖的，

the first animal to be cloned.

第一个被克隆的动物。

Obviously, we think of sheep as followers.

显然，我们认为羊是追随者。

And there's this reference to "Le Petit Prince"

《小王子》里提到

where the narrator asks the prince to draw a sheep.

小王子要求飞行员画一只羊。

He draws sheep after sheep.

他画了一只又一只羊。

The narrator's only appeased when he draws a box.

小王子只有在飞行员画了一个盒子后才感到满足。

And he says, "It's not about a scientific rendering of a sheep.

他还说，“这不是让你科学地定义一只羊。

It's about your own interpretation and doing something different."

而是关于你对羊的认识，与众不同的看法。”

And I like that.

我喜欢这观点。

So this is a clip from Charlie Chaplin's "Modern Times."

这是一段短片，节选自查理·卓别林的“摩登时代”。

It's showing Charlie Chaplin dealing with some of the major changes

它展示了查理·卓别林在工业革命期间

during the Industrial Revolution.

怎么处理一些重大的变化。

So there were no longer shoe makers,

皮鞋制作者这一行当已经不存在了，

but now there are people slapping soles on people's shoes.

但却需要人制作放置鞋子里的鞋垫。

And the whole idea of one's relationship to their work changed a lot.

人们与工作之间的关系改变了很多。

So I thought this was an interesting clip

我觉得这个短片很有趣

to divide into 16 pieces

于是就想把它分隔成16份

and feed into the Mechanical Turk with a drawing tool.

与一些绘画制作工具一起上传到“土耳其机器人”。

This basically allowed -- what you see on the left side is the original frame,

这可以让你同时对比－左边是原画

and on the right side you see that frame

右边你看到的

as interpreted by 16 people

是被这16个人诠释的画

who have no idea what it is they're doing.

他们都不知道他们在制作什么。

And this was the inspiration for a project

这正是整个项目的创意

that I worked on with my friend Takashi Kawashima.

我和朋友Takashi Kawashima一起合作。

We decided to use the Mechanical Turk for exactly what it was meant for,

我们打算利用“土耳其机器人”（网络服务）

which is making money.

来赚钱。

So we took a hundred dollar bill and divided it into 10,000 teeny pieces,

我们把一张100美元的纸币，等分成1万份，

and we fed those into the Mechanical Turk.

上传到“土耳其机器人”。

We asked people to draw what it was that they saw.

我们征集人来画出他们所看到的画面。

But here there was no sheep-like criteria.

没有固定标准。

People, if they drew a stick figure or a smiley face,

人们可以画笑脸或者简笔人物画，

it actually made it into the bill.

然后再把所有人的作品集合起来组成一张新的100美元纸币。

So what you see is actually a representation of how well people did

你看到的是大家的作品

what it was they were asked to do.

他们是按照要求做的。

So we took these hundred dollar bills,

我们把这些百元钞票

and we put them on a website called TenThousandsCents.com,

放到了TenThousandsCents.com的网页上，

where you can browse through and see all the individual contributions.

你可以浏览和细看每个人的创作。

And you can also trade real hundred-dollar bills for fake hundred-dollar bills

你也可以花一百美元的真钞来购买这张“假钞”

and make a donation to the Hundred Dollar Laptop Project,

所得款项将会被捐给“百元电脑计划”

which is now known as One Laptop Per Child.

也叫做“每童一机”计划。

This is again showing all the different contributions.

这是一个展示多样化的作品。

You see some people did beautiful stipple renderings,

你看，有人制作了非常漂亮的点画效果图，

like this one on top --

比如说上面这个－

spent a long time making realistic versions.

花了很长时间来画写真版。

And other people would draw stick figures or smiley faces.

其他人画简笔人物画或者笑脸。

Here on the right-hand side in the middle

中间右手边

you see this one guy writing, "$0.01!!! Really?"

你看这人写到，“一美分！！！真的？”

That's all I'm getting paid for this?

就为这个赚一美分？

(Laughter)

（笑声）

So the last Mechanical Turk project I'm going to talk to you about

我最后要讲的土耳其机器人项目

is called Bicycle Built for 2000.

叫做“2000人的自行车”。

This is a collaboration with my friend Daniel Massey.

我和朋友丹尼尔·马赛合作。

You may recognize these two guys.

你可能认识这两个人。

This is Max Mathews and John Kelly from Bell Labs in the '60s,

这是60年代贝尔实验室的麦克斯·马休斯和约翰·凯利

where they created the song "Daisy Bell,"

他们共同创作了这首歌“黛西·贝尔（雏菊）”

which was the world's first singing computer.

世界上第一首电脑合成语音录制的歌曲。

You may recognize it from "2001: A Space Odyssey."

你也许是从电影《2001：太空漫游》里面认识这首歌的。

When HAL's dying at the end of the film he starts singing this song,

当智能机器人HAL将死时，他唱的就是这首“黛西·贝尔”

as a reference to when computers became human.

让人联想到电脑变成人的时刻。

So we resynthesized this song.

于是我们人工合成了这首歌。

This is what that sounded like.

这是那首歌。

We broke down all the individual notes

我们分解了这首歌里的

in the singing as well as the phonemes in the singing.

每个音符以及每个音素，把它们独立出来。

Daisy Bell: ♫ Daisy, Daisy ... ♫

黛西·贝尔：♫雏菊，雏菊⋯⋯♫

Aaron Koblin: And we took all of those individual pieces,

考博林：我们把所有的独立出来的音符和音素，

and we fed them into another Turk request.

上传到“土耳其机器人”。

This is what it would look like if you went to the site.

你打开网页后看到的就是这样。

You type in your code,

输入你的号码

but you first test your mic.

先测试下你的话筒。

You'd be fed a simple audio clip.

你会收到一份简单的视频短片。

(Honk)

（某一音素）

And then you'd do your best to recreate that with your own voice.

然后你用你的嗓音去尽量创作。

After previewing it and confirming it's what you submitted,

在你预览、确认你的作品后，

you could submit it into the Mechanical Turk with no other context.

即使不知道整个策划，你依然可以直接发送给“土耳其机器人”

And this is what we first got back from the very first set of submissions.

这是我们收集到的第一批成品。

Recording: ♫ Daisy, Daisy ♫

音乐：♫雏菊，雏菊♫

♫ give me your answer do ♫

♫给我你肯定的回答♫

♫ I'm half crazy ♫

♫我处于半疯狂中♫

♫ all for the love of you ♫

♫全因为对你的爱♫

♫ It can't be a stylish marriage ♫

♫没有时髦的婚礼♫

♫ I can't afford a carriage ♫

♫我给不起四轮马车♫

♫ But you'll look sweet upon the seat ♫

♫但是在双人自行车后座上♫

♫ of a bicycle built for two ♫

♫你看上去会很甜蜜♫

AK: So James Surowieki has this idea of the wisdom of crowds,

考博林：于是詹姆士·苏洛维耶基有了这个集合众人智慧的想法，

that says that a whole bunch of people are smarter than any individual.

所谓的三个臭皮匠，赛过一个诸葛亮。

We wanted to see how this applies to collaborative, distributed music making,

我们想试试看这个应用到分布式合作的音乐制作上，

where nobody has any idea what it is they're working on.

当人们不知道他们在为什么工作时

So if you go to the BicycleBuiltforTwoThousand.com

如果你访问网站BicycleBuiltforTwoThousand.com

you can actually hear what all this sounds like together.

你可以听到所有声音合在一起的效果。

I'm sorry for this.

对这音效，我很抱歉。

(Noise)

（噪音）

Chorus: ♫ Daisy, Daisy ♫

合唱：♫雏菊，雏菊♫

♫ Give me your answer do ♫

♫给我你肯定的回答♫

♫ I'm half crazy ♫

♫我处于半疯狂中♫

♫ all for the love of you ♫

♫全是因为你的爱♫

♫ It can't be a stylish marriage ♫

♫不需要新潮的婚礼♫

♫ I can't afford a carriage ♫

♫我承担不了运费♫

♫ But you'd look sweet upon the seat ♫

♫但是在双人自行车后座上♫

♫ of a bicycle built for two ♫

♫你应该看上去很甜蜜♫

AK: So stepping back for a quick second,

考博林：先回神一会儿，

when I was at UCLA going to grad school,

我在加利福尼亚大学洛杉矶分校念研究生的时候，

I was also working at a place called the Center for Embedded Network Sensing.

我同时在嵌入式网络传感中心工作。

And I was writing software to visualize laser scanners.

那是我在编写可视激光扫描仪。

So basically motion through 3D space.

所以基本上是探测三维空间里的运动。

And this was seen by a director in L.A. named James Frost

洛杉矶的詹姆斯·弗罗斯特导演看到后

who said, "Wait a minute.

说，“等一下。

You mean we can shoot a music video without actually using any video?"

你的意思是我们可以不用任何影片视频来拍一支音乐录影带？”

So we did exactly that.

我们照做了。

We made a music video for one of my favorite bands, Radiohead.

我们制作了我最喜爱的乐队－电台司令 的一首音乐录影带。

And I think one of my favorite parts of this project

我最喜欢的部分

was not just shooting a video with lasers,

不仅是用激光来拍影片，

but we also open sourced it,

而且是公开征集，

and we made it released as a Google Code project,

我们在谷歌代码上发布了这个项目，

where people could download a bunch of the data and some source code

在那里人们可以下载一堆数据和源代码

to build their own versions of it.

用以制作他们心目中的版本。

And people were making some amazing things.

人们确实制作了一些令人称奇的东西。

This is actually two of my favorites:

这是我最喜欢的其中两个：

the pin-board Thom Yorke and a LEGO Thom Yorke.

针版的汤姆·约克和乐高积木版的汤姆·约克。

A whole YouTube channel of people submitting really interesting content.

整个YouTube网站，有很多人建议了非常有趣的内容。

More recently, somebody even 3D-printed Thom Yorke's head,

最近，有人居然三维印刷出汤姆·约克的头像，

which is a little creepy, but pretty cool.

这令人毛骨悚然，但也很酷。

So with everybody making so much amazing stuff

每个人都制作惊人的东西

and actually understanding what it was they were working on,

同时也知道他们在做什么，

I was really interested in trying to make a collaborative project

我因此非常感兴趣把这些东西收集起来

where people were working together to build something.

把所有人聚集起来一起来制作点什么东西

And I met a music video director named Chris Milk.

我遇到了音乐录影带导演克里斯·缪克。

And we started bouncing around ideas

我们开始寻找创意

to make a collaborative music video project.

来制作一个集合的音乐录影带。

But we knew we really needed the right person

我们知道我们需要找到对的人

to kind of rally behind and build something for.

来支持和制作这个东西。

So we put the idea on the back burner for a few months.

所以我们把这个想法暂时搁置了几个月。

And he ended up talking to Rick Rubin,

结果他后来遇到了里克·鲁宾，

who was finishing up Johnny Cash's final album

他就是那个约翰·卡什最后一张专辑的制作人

called "Ain't No Grave."

那张专辑叫《没有坟墓》

The lyrics to the leading track are "Ain't no grave can hold my body down."

歌词是“没有坟墓能容纳我的身体”。

So we thought this was the perfect

我们认为这是一个难得的机会

project to build a collaborative memorial

去集合关于约翰·卡什的回忆

and a virtual resurrection for Johnny Cash.

和虚拟再现约翰·卡什。

So I teamed up with my good friend Ricardo Cabello, also known as Mr. doob,

所以我与我的好朋友利差多·卡贝洛（也叫大麻先生）共同合作，

who's a much better programmer than I am,

他是比我更优秀的编程人员，

and he made this amazing Flash drawing tool.

他制作了这个出色的Flash绘画工具

As you know,

你知道的，

an animation is a series of images.

动画就是一系列的图像。

So what we did was cross-cut a bunch of archival footage of Johnny Cash,

所以我们从约翰·卡什的档案影片中截了许多单幅图，

and at eight frames a second,

每秒8帧图，

we allowed individuals to draw a single frame

我们分配给不同的人，每人画一张图

that would get woven into

然后再编入

this dynamically changing music video.

这个动态变化的音乐录影带里。

So I don't have time to play the entire thing for you,

这里我没有时间把整个作品播放给您，

but I want to show you two short clips.

但是我想向您展示两个短片。

One is the beginning of the music video.

一个是这个音乐录影带的开头。

And that's going to be followed by a short clip

然后是一个短片

of people who have already contributed to the project

关于那些已经投入到这个项目里来的制图者

talking about it briefly.

简短的讲评。

(Music)

（音乐）

(Video) Johnny Cash: ♫ There ain't no grave ♫

（视频）约翰·卡什：♫没有坟墓♫

♫ can hold my body down ♫

♫能容纳我的身体♫

♫ There ain't no grave ♫

♫没有坟墓♫

♫ can hold body down ♫

♫能容纳我的身体♫

♫ When I hear the trumpet sound ♫

♫当我听到喇叭声♫

♫ I'm going to ride right out of the ground ♫

♫我将要升出地面♫

♫ Ain't no grave ♫

♫没有坟墓♫

♫ can hold my body ... ♫

♫能容纳我的身体⋯⋯♫

(Applause)

（掌声）

AK: What better way to pay tribute to the man

考博林：为他的歌曲制作点什么，

than to make something for one of his songs.

是比较好的一种方式来向他致敬。

Collaborator: I felt really sad when he died.

522号画作者）：他死的时候我真的很伤心。

And I just thought it'd be wonderful,

我以为，贡献点什么来纪念他

it'd be really nice to contribute something to his memory.

将会很棒，很不错 。

Collaborator Two: It really allows

329号画作者：这种方式

this last recording of his

使他最后录制的作品

to be a living, breathing memorial.

成为一个赋有生命的纪念。

Collaborator Three: For all of the frames to be drawn by fans,

851号画作者：歌迷们画的所有画，

each individual frame,

每一幅画，

it's got a very powerful feeling to it.

都具有非常强烈的感情。

Collaborator Four: I've seen everybody

225号画作者：我看到人们来自于

from Japan, Venezuela, to the States,

日本，委内瑞拉，美国

to Knoxville, Tennessee.

还有田纳西州的诺克斯维尔。

Collaborator Five: As much as is different from frame to frame,

998号画作者：只要是不同于其他的画，

it really is personal.

它就是个人作品。

Collaborator Six: Watching the video in my room,

583号画作者：在我房间里看这段视频，

I could see me not understanding at the beginning of it.

我自己刚开始也不明白。

And I just worked and worked through problems,

我只是工作，解决问题，

until my little wee battles that I was fighting within the picture

直到有天凌晨，我纠结于我分配到的那幅画

all began to resolve themselves.

突然一切问题都开始自行解决

You can actually see the point when I know what I'm doing,

我了解了我正在做什么，

and a lot of light and dark comes into it.

茅塞顿开。

And in a weird way,

以一种奇怪的方式，

that's what I actually like about Johnny Cash's music as well.

那也是我为什么喜欢约翰·卡什的音乐。

It's the sum total of his life,

这是对他一生的一个小总结，

all the things that had happened --

这都是发生过的事件－

the bad things, the good things.

坏的，好的。

You're hearing a person's life.

你在听的是一个人的一生。

AK: So if you go to the website JohnnyCashProject.com,

考博林：如果你去网站JohnnyCashProject.com

what you'll see is the video playing above.

你会在那里看到这个短片

And below it are all the individual frames

短片下面是每位参与这个项目的

that people have been submitting to the project.

人的图像。

So this isn't finished at all,

这是个未完成的项目，

but it's an ongoing project where people can continue to collaborate.

一个还在进行当中的合作项目。

If you roll over any one of those individual thumbnails,

如果滑动鼠标到任何一个简图，

you can see the person who drew that individual thumbnail

你可以看到制作该简图的人

and where they were located.

以及该制作人所处的方位。

And if you find one that you're interested in,

如果你找感兴趣的，

you can actually click on it and open up an information panel

还可以点击然后打开相关信息版块

where you're able to rate that frame,

在那里，你可以评分

which helps it bubble up to the top.

以此来帮它上榜。

And you can also see the way that it was drawn.

你也可以看到该图像的制作过程。

Again, you can get the playback and personal contribution.

你还可以回放

In addition to that, it's listed, the artist's name, the location,

此外，还有艺术家们的名字和所在地，

how long they spent drawing it.

以及他们制作该图像所花费的时间长短。

And you can pick a style. So this one was tagged "Abstract."

你可以选择风格。例如这个归类为“抽象派”。

But there's a bunch of different styles.

有很多不同的风格。

And you can sort the video a number of different ways.

你可以通过不同的分类方式来查找图像。

You can say, "I want to see the pointillist version

你可以说，“我想看这个点彩画版本

or the sketchy version or the realistic version.

或者是素描版本，或者是真实版本。

And then this is, again, the abstract version,

然后这个是抽象版本，

which ends up getting a little bit crazy.

结果弄得有点疯狂。

So the last project I want to talk to you about is another collaboration with Chris Milk.

最后我想探讨的项目，是另外一个我和克里斯·缪克的合作

And this is called "The Wilderness Downtown."

名字是“市区荒野”。

It's an online music video for the Arcade Fire.

它是乐队拱廊之火的在线音乐录影带。

Chris and I were really amazed

克里斯和我

by the potential now with modern web browsers,

都对现在网页浏览器的潜力感到惊讶，

where you have HTML5 audio and video

你有HTML5的音频和视频

and the power of JavaScript to render amazingly fast.

JavaScript的速度就呈现得很快。

And we wanted to push the idea of the music video that was meant for the Web

我们想推广这样的想法，就是音乐录影带和网络本来就是天作之合

beyond the four-by-three or sixteen-by-nine window

超越镜头的限制

and try to make it play out and choreograph throughout the screen.

努力使其得以发挥，并编排整个屏幕视觉效果。

But most importantly, I think,

但最重要的，

we really wanted to make an experience that was unlike the Johnny Cash Project,

我们想要尝试一下跟约翰·卡什那个项目不一样的东西，

where you had a small group of people spending a lot of time

一小群人集合大量的时间

to contribute something for everyone.

来为大家呈献上点什么东西。

What if we had a very low commitment,

如果我们花很少的投入，

but delivered something individually unique to each person who contributed?

却可以让每个制作者都制作出很独特的作品？

So the project starts off by asking you to enter the address

所以这个项目首先要求你输入

of the home where you grew up.

你家乡的地址。

And you type in the address --

你输入地址－

it actually creates a music video specifically for you,

然后利用谷歌地图和街道景观，

pulling in Google maps and Streetview images

为你制作出一份独特的音乐录影带

into the experience itself.

使你身临其景之中。

So this should really be seen at home with you typing in your own address,

你回家输入地址后应该可以看到这个，

but I'm going to give you a little preview of what you can expect.

我现在就给你预览下你将看到的东西。

(Video) Win Butler: ♫ Now our lives are changing fast ♫

（影片）温·巴特勒：♫现在我们的生活变化迅速♫

♫ Now our lives are changing fast ♫

♫现在我们的生活变化迅速♫

♫ Hope that something pure can last ♫

♫希望那些纯净能延续♫

♫ Hope that something pure can last ♫

♫希望那些纯净能延续♫

♫ Ooh we used to wait ♫

♫喔 我们曾等待♫

♫ Ooh we used to wait ♫

♫喔 我们曾等待♫

♫ Ooh we used to wait ♫

♫喔 我们曾等待♫

♫ Sometimes it never came ♫

♫有时，它根本不曾来过♫

♫ Sometimes it never came ♫

♫有时，它根本不曾来过♫

♫ Still moving through the pain ♫

♫仍然正试图走出伤悲♫

♫ We used to wait for it ♫

♫喔 我们曾等待♫

♫ We used to wait for it ♫

♫喔 我们曾等待♫

♫ We used to wait for it ♫

♫喔 我们曾等待♫

AK: So I think, if there's one thing to take away from my talk today,

考博林：所以我认为，如果我今天的演讲有一处可取的话，

it's that an interface can be a powerful narrative device.

那就是，界面可以是一个很强大的叙事设备。

And as we collect more and more personally and socially relevant data,

当我们搜集越来越多的个人数据和相关的社会数据，

we have an opportunity, and maybe even an obligation,

我们有一个机会，也许是一个责任，

to maintain the humanity and tell some amazing stories

那就是当我们探索和累积的同时，

as we explore and collaborate together.

也要维续人类并传承那些惊人的故事。

Thanks a lot.

非常感谢！

(Applause)

（鼓掌）