Andrew Fitzgerald: Adventures in Twitter fiction

85,464 views ・ 2013-10-11

TED


请双击下面的英文字幕来播放视频。

翻译人员: Sophia Liu 校对人员: xuan wang
00:12
So in my free time outside of Twitter
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在推特之外的闲暇时间
00:15
I experiment a little bit
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我对在线讲故事
00:16
with telling stories online, experimenting
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做了一点实验,
00:19
with what we can do with new digital tools.
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看看我们能用新的数字工具做些什么。
00:21
And in my job at Twitter,
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我在推特的工作,
00:23
I actually spent a little bit of time
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实际上是花了一点时间
00:24
working with authors and storytellers as well,
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与作者和讲故事的人合作,
00:27
helping to expand out the bounds
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一起扩展
00:29
of what people are experimenting with.
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人们正在实验创造新媒介的疆域。
00:31
And I want to talk through some examples today
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我今天想谈一些
00:34
of things that people have done
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人们在网上所做的事情,
00:35
that I think are really fascinating
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我认为那实在是够吸引人的,
00:37
using flexible identity and anonymity on the web
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人们在网络上运用灵活的身份或匿名
00:41
and blurring the lines between fact and fiction.
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使事实与虚构之间的界限逐渐模糊。
00:45
But I want to start and go back to the 1930s.
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但我想先从1930年代开始。
00:47
Long before a little thing called Twitter,
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在推特这件小事发明之前,
00:49
radio brought us broadcasts
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无线电带给我们的是广播
00:52
and connected millions of people
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它以单点广播
00:55
to single points of broadcast.
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连接了数以百万计的人们。
00:57
And from those single points emanated stories.
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而从广播中播放出来的故事,
01:01
Some of them were familiar stories.
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有一些是我们熟悉的故事。
01:03
Some of them were new stories.
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有一些是新的故事。
01:05
And for a while they were familiar formats,
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有一段时间这些故事是以熟悉的方式来述说的,
01:08
but then radio began to evolve its own
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然后电台就开始进化成
01:10
unique formats specific to that medium.
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自己独特的模式。
01:13
Think about episodes that happened live on radio.
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想想在广播电台现场直播发生的情节。
01:17
Combining the live play
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结合现场表演
01:19
and the serialization of written fiction,
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和书面小说连载的模式,
01:21
you get this new format.
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就变成了一种新形式。
01:24
And the reason why I bring up radio is that I think
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我以收音机作例的原因是我认为
01:26
radio is a great example of how a new medium
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电台是证明一个新的媒介如何
01:30
defines new formats which then define new stories.
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运用新形式去讲故事的很好的例子。
01:33
And of course, today, we have an entirely new
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当然,今天,我们有全新的
01:36
medium to play with,
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媒介可供使用,
01:38
which is this online world.
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那就是互联网络世界。
01:39
This is the map of verified users on Twitter
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这是使用推特的认证用户
01:43
and the connections between them.
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以及他们之间是如何连接的地图。
01:45
There are thousands upon thousands of them.
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有成千上万的人。
01:47
Every single one of these points
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每一个点
01:49
is its own broadcaster.
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都是自己的广播站。
01:51
We've gone to this world of many to many,
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我们已经来到了一个很多人需要发声的时代,
01:55
where access to the tools is the only barrier to broadcasting.
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对连接彼此介质的使用权成为了广播的最大障碍。
01:59
And I think that we should start to see
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我认为我们应该开始看到
02:02
wildly new formats emerge
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随着人们学会如何在这个新媒体上讲故事
02:04
as people learn how to tell stories in this new medium.
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许多新模式正在应运而生。
02:07
I actually believe that we are in a wide open frontier
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我相信我们是在广泛开放
02:11
for creative experimentation, if you will,
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创新实验的前沿,
02:13
that we've explored and begun to settle
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我们已经探讨并开始定义
02:16
this wild land of the Internet
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互联网的这个广阔的土地
02:18
and are now just getting ready
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并要开始准备
02:21
to start to build structures on it,
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在互联网上建立框架,
02:23
and those structures are the new formats
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而这些框架就是互联网使我们创造
02:25
of storytelling that the Internet will allow us to create.
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新的说故事的模式。
02:29
I believe this starts with an evolution
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我相信这起源于对
02:32
of existing methods.
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现有方式的变革。
02:33
The short story, for example,
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短篇故事,例如,
02:35
people are saying that the short story
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众人所说短篇故事
02:37
is experiencing a renaissance of sorts
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因为电子书阅读器和数字市场的产生
02:39
thanks to e-readers, digital marketplaces.
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正在经历一种复兴。
02:43
One writer, Hugh Howey, experimented
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作家Hugh Howey试验了
02:46
with short stories on Amazon
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在亚马逊网站上
02:48
by releasing one very short story called "Wool."
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发布了一个非常短的故事叫"羊毛"。
02:52
And he actually says that he didn't intend
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他说他实际上根本没打算
02:55
for "Wool" to become a series,
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把"羊毛"变成一个系列,
02:56
but that the audience loved the first story so much
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但读者那么喜欢第一个故事
02:59
they demanded more, and so he gave them more.
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他们要求续集,所以他给了读者续集。
03:01
He gave them "Wool 2," which was a little bit longer than the first one,
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他又写了“羊毛2”,比“羊毛1”篇幅长一些,
03:05
"Wool 3," which was even longer,
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"羊毛 3"更长一些,
03:07
culminating in "Wool 5,"
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最终在"羊毛 5 ”达到顶峰
03:08
which was a 60,000-word novel.
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一个 6万字的小说。
03:11
I think Howey was able to do all of this because
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我认为Howey能够做到这一切都是因为
03:15
he had the quick feedback system of e-books.
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电子书的快速回馈功能。
03:18
He was able to write and publish
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他能在相对较短的时间内
03:20
in relatively short order.
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撰写以及发布。
03:22
There was no mediator between him and the audience.
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在他和他的读者之间没有中介物做阻碍。
03:25
It was just him directly connected with his audience
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他和他的读者
03:27
and building on the feedback and enthusiasm
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通过读者给予的回馈和热情
03:30
that they were giving him.
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直接连系起来。
03:31
So this whole project was an experiment.
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所以这整个项目是一项实验。
03:33
It started with the one short story,
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它开始于一个短篇故事,
03:35
and I think the experimentation actually became
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我觉得实验实际上成为了
03:38
a part of Howey's format.
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Howey模式的一部分。
03:40
And that's something that this medium enabled,
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这就是这一媒介所赋予的,
03:43
was experimentation being a part of the format itself.
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并在成为这一个媒介的一部分。
03:47
This is a short story by the author Jennifer Egan
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这是Jennifer Egan的一个短篇故事
03:50
called "Black Box."
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叫做"黑箱"。
03:52
It was originally written
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它起初是
03:53
specifically with Twitter in mind.
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明确与推特有关的故事
03:55
Egan convinced The New Yorker
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Egan 说服纽约客杂志
03:57
to start a New Yorker fiction account
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启动一个纽约客小说帐户
04:00
from which they could tweet
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在这个账户里他们可以通过推特发布
04:02
all of these lines that she created.
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所有她撰写的故事。
04:03
Now Twitter, of course, has a 140-character limit.
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推特当然有140个的字符限制。
04:07
Egan mocked that up just writing manually
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Egan直接用手写的方式在
04:10
in this storyboard sketchbook,
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写生簿上涂写
04:13
used the physical space constraints
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运用这些方框里
04:16
of those storyboard squares
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物理空间的限制
04:17
to write each individual tweet,
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写入每一个独立的推文,
04:19
and those tweets ended up becoming
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而这些超过六百篇的推文最终都变成了
04:22
over 600 of them that were serialized by The New Yorker.
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纽约客杂志上的连载。
04:26
Every night, at 8 p.m., you could tune in
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每天晚上八点,你都可以调到
04:29
to a short story from The New Yorker's fiction account.
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纽约客小说账号的短篇故事。
04:33
I think that's pretty exciting:
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我认为这是很令人兴奋的:
04:34
tune-in literary fiction.
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收看文学小说。
04:37
The experience of Egan's story, of course,
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Egan的故事,当然,
04:40
like anything on Twitter, there were multiple ways to experience it.
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有很多种方法来实现它。
04:43
You could scroll back through it,
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你可以回看它,
04:45
but interestingly, if you were watching it live,
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但有趣的是,如果看这个故事的直播,
04:48
there was this suspense that built
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它本身造成了一种悬念
04:50
because the actual tweets,
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因为当你阅读他们的时候
04:53
you had no control over when you would read them.
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你是没有办法控制这些推文的。
04:55
They were coming at a pretty regular clip,
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他们在一个平均的剪辑速度上进行,
04:57
but as the story was building,
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但是随着故事逐渐的推进,
05:00
normally, as a reader, you control how fast you move through a text,
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通常,作为一个读者,你可以控制阅读文本的速度,
05:03
but in this case, The New Yorker did,
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但在这种情况下,纽约客杂志所做的是,
05:05
and they were sending you bit by bit by bit,
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他们给你一点,一点,再一点,
05:08
and you had this suspense of waiting for the next line.
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让读者有悬念并且期待下一行。
05:12
Another great example of fiction
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另外一个在推特上关于小说和短篇故事的
05:15
and the short story on Twitter,
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一个很好的例子是,
05:17
Elliott Holt is an author who wrote a story called "Evidence."
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作家Elliott Holt, 他写了一个故事叫《证据》(Evidence)。
05:20
It began with this tweet: "On November 28
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这个故事始于这则推文:“十一月二十八日,
05:23
at 10:13 p.m.,
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晚上十点十三分,
05:25
a woman identified as Miranda Brown,
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一个女人,认定为米兰达布朗,
05:27
44, of Brooklyn, fell to her death
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四十四岁,来自布鲁克利,
05:30
from the roof of a Manhattan hotel."
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从曼哈顿酒店屋顶坠楼身亡"。
05:32
It begins in Elliott's voice,
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开始是Elliott的声音,
05:34
but then Elliott's voice recedes,
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然后Elliott的声音褪去,
05:36
and we hear the voices of Elsa, Margot and Simon,
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我们看到的是Elsa, Margot和Simon,
05:39
characters that Elliott created on Twitter
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这些Elliott在推特上特别创建的角色
05:42
specifically to tell this story,
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专门来讲述这个故事,
05:44
a story from multiple perspectives
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故事从许多个视角进行讲述
05:47
leading up to this moment at 10:13 p.m.
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最终引领读者到达了晚上十点十三分,
05:50
when this woman falls to her death.
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也就是这个女人坠楼身亡的时间。
05:52
These three characters brought an authentic vision
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这三个角色使这个故事从多方视角进行述说,
05:55
from multiple perspectives.
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给读者带来了一种真实感。
05:57
One reviewer called Elliott's story
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一个批评家说Elliott的故事
05:59
"Twitter fiction done right," because she did.
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是“名符其实的推特小说,” 因为她做到了。
06:02
She captured that voice
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她捕捉到了那个声音
06:04
and she had multiple characters and it happened in real time.
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并且她有许多角色, 这个故事也发生在真实的时间内。
06:07
Interestingly, though, it wasn't just
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有趣的是,这不仅仅只是
06:10
Twitter as a distribution mechanism.
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将推特作为一个发布故事的机制。
06:12
It was also Twitter as a production mechanism.
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也将推特作为一个产生故事的机制。
06:14
Elliott told me later
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Elliott后来告诉我
06:15
she wrote the whole thing with her thumbs.
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她用她的大拇指写了整个故事。
06:19
She laid on the couch and just went back and forth
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她在沙发上坐定,也就只是
06:23
between different characters
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在不同的角色间来来回回
06:25
tweeting out each line, line by line.
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一行一行的发推文。
06:28
I think that this kind of spontaneous creation
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我认为这种同步性创造
06:30
of what was coming out of the characters' voices
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故事中角色们的推文
06:33
really lent an authenticity to the characters themselves,
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赋予了这些角色本身的真实性
06:36
but also to this format that she had created
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并且也对这个她在推特上创造的
06:39
of multiple perspectives in a single story on Twitter.
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用多重视角讲述一个故事的方式赋予了真实性。
06:43
As you begin to play with flexible identity online,
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当你在网络上运用灵活的身份,
06:46
it gets even more interesting
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并与真实世界开始互动的时候,
06:47
as you start to interact with the real world.
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它变得越发有趣。
06:49
Things like Invisible Obama
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就像在2012年选举期推特上出现的
06:51
or the famous "binders full of women"
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“隐形奥巴马”(Invisible Obama)
06:53
that came up during the 2012 election cycle,
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或者著名的“装满女性简历的档案” (罗姆尼竞选时回答男女薪金公平性的引语,被推特、脸书上的网名调侃)
06:56
or even the fan fiction universe of "West Wing" Twitter
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甚至是“白宫风云”(电视秀)在推特上的粉丝专页
07:00
in which you have all of these accounts
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在这里,你能找到在"白宫风云"里
07:02
for every single one of the characters in "The West Wing,"
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所有角色的推特账号,
07:05
including the bird that taps at Josh Lyman's window
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甚至包括在某一集里
07:09
in one single episode. (Laughter)
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停在Josh Lyman窗口的一只鸟。(笑声)
07:13
All of these are rapid iterations on a theme.
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所有这些都是关于一个主题的复述。
07:16
They are creative people experimenting
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他们是一群有创意的人
07:19
with the bounds of what is possible in this medium.
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对于在这媒介上可能性的探索。
07:22
You look at something like "West Wing" Twitter,
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你可以看到在“白宫风云”推特上
07:23
in which you have these fictional characters
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这些虚拟角色
07:26
that engage with the real world.
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与真实世界进行互动。
07:28
They comment on politics,
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他们对政治进行评论,
07:30
they cry out against the evils of Congress.
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与国会的邪恶进行抗争。
07:34
Keep in mind, they're all Democrats.
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请记住,他们都是民主党人。
07:36
And they engage with the real world.
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他们与真实的世界进行互动
07:39
They respond to it.
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做出反应。
07:41
So once you take flexible identity,
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所以一旦你采取灵活的身份,
07:43
anonymity, engagement with the real world,
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匿名,与现实世界互动
07:46
and you move beyond simple homage or parody
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你就超越了简单的敬意或模仿
07:49
and you put these tools to work in telling a story,
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而把这些工具都用来讲述一个故事,
07:53
that's when things get really interesting.
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事情就变得有趣起来。
07:55
So during the Chicago mayoral election
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所以在芝加哥市长选举期间,
07:57
there was a parody account.
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有一个模仿账户
07:59
It was Mayor Emanuel.
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就是Emanuel市长。
08:00
It gave you everything you wanted from Rahm Emanuel,
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这个账户给你所有你想要 从Rahm Emanuel那里了解的事情
08:04
particularly in the expletive department.
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尤其是以脏话调侃的形式。
08:07
This foul-mouthed account
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这个满嘴脏话的账户
08:09
followed the daily activities of the race,
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追踪竞选的日常活动,
08:13
providing commentary as it went.
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随着活动的进行给予评论。
08:15
It followed all of the natural tropes
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它一开始还遵守着
08:17
of a good, solid Twitter parody account,
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一个好的推特模仿账户该有的守则,
08:20
but then started to get weird.
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然后就开始变得很奇怪。
08:23
And as it progressed, it moved from this commentary
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随着它的进展,它从评论性演变到了
08:27
to a multi-week, real-time science fiction epic
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一个多周的、 实时的虚拟小说
08:32
in which your protagonist, Rahm Emanuel,
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在这里面主角,Rahm Emanuel,
08:35
engages in multi-dimensional travel on election day,
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在选举日期间去各种旅行,
08:39
which is -- it didn't actually happen.
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这是— — 实际上不会发生的事。
08:42
I double checked the newspapers.
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我翻阅了报纸新闻。
08:45
And then, very interestingly, it came to an end.
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然后,非常有趣的是,它结束了。
08:49
This is something that doesn't usually happen
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这是一个推特模拟账户
08:51
with a Twitter parody account.
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通常不会发生的事情。
08:52
It ended, a true narrative conclusion.
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它结束了,一个真实的叙述性结论。
08:56
And so the author, Dan Sinker, who was a journalist,
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所以作者,Dan Sinker,是一名记者,
08:59
who was completely anonymous this whole time,
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在这段时间内,是完全匿名的
09:02
I think Dan -- it made a lot of sense for him
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我想对于Dan来说,这是很有意义的,
09:05
to turn this into a book,
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他想要把这变成一本书,
09:07
because it was a narrative format in the end,
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因为它是以一种叙述手法画下一个句点的,
09:10
and I think that turning it into a book
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而且我认为,把它变成一本书
09:13
is representative of this idea that he had created something new
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代表着他创造的一种新形式
09:16
that needed to be translated into previous formats.
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被转化到了前一种形式。
09:20
One of my favorite examples
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一个我最喜欢的例子之一是
09:22
of something that's happening on Twitter right now,
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现在在推特上正在进行的事,
09:24
actually, is the very absurdist Crimer Show.
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实际上就是那个荒诞的Crimer Show.
09:29
Crimer Show tells the story
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Crimer Show讲的是一个
09:31
of a supercriminal and a hapless detective
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超级罪犯和一个倒霉侦探
09:34
that face off in this exceptionally strange lingo,
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像在上电视节目一样,
09:38
with all of the tropes of a television show.
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进行着一些非常奇怪的对话。
09:40
Crimer Show's creator has said that
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Crimer Show的主创说
09:42
it is a parody of a popular type of show in the U.K.,
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这是对英国的一种流行表演的模仿,
09:47
but, man, is it weird.
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但是,老兄,这可真奇怪。
09:50
And there are all these times where Crimer,
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Crimer,这个超级罪犯,
09:52
the supercriminal, does all of these TV things.
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做的这些个电视行为。
09:54
He's always taking off his sunglasses
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他总是拿下他的太阳镜
09:56
or turning to the camera,
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或是转身对着相机,
09:59
but these things just happen in text.
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但这些事情只是发生在文本中。
10:02
I think borrowing all of these tropes from television
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我想借用这些电视上的行为
10:05
and additionally presenting each Crimer Show
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放在每一集
10:08
as an episode, spelled E-P-P-A-S-O-D, "eppasod,"
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Crimer Show里面
10:14
presenting them as episodes
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并将它们视为情节
10:16
really, it creates something new.
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真的,它在创建一个新的东西。
10:19
There is a new "eppasod" of Crimer Show
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每一天推特上都上演着
10:22
on Twitter pretty much every day,
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Crimer Show的新一集。
10:24
and they're archived that way.
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并且以这种方式存储下来。
10:26
And I think this is an interesting experiment in format.
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我认为这是在对于模式的一种很好的实验。
10:29
Something totally new has been created here
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一个全新的模式出现了,
10:31
out of parodying something on television.
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模仿电视上发生的一切。
10:35
I think in nonfiction real-time storytelling,
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我认为在非小说类作品中实时讲故事,
10:37
there are a lot of really excellent examples as well.
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真的有很多很好的例子。
10:40
RealTimeWWII is an account
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RealTimeWWII 是一个
10:42
that documents what was happening on this day 60 years ago
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记录60 年前的今天发生了什么的账号,
10:46
in exceptional detail, as if
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它记录的格外详细,
10:49
you were reading the news reports from that day.
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就像你在阅读在那天的新闻报道一样。
10:51
And the author Teju Cole has done
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作者Teju Cole
10:53
a lot of experimentation with putting a literary twist
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对于将新闻事件的文学性报道
10:56
on events of the news.
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做了许多实验。
10:58
In this particular case, he's talking about drone strikes.
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比如说,这里他在讲无人机轰炸。
11:02
I think that in both of these examples,
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我认为,在这些例子里
11:05
you're beginning to see ways in which
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你开始看到人们运用非小说类作品内容
11:07
people are telling stories with nonfiction content
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在说故事
11:10
that can be built into new types
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这可以以一种新的虚构故事的模式
11:12
of fictional storytelling.
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来进行。
11:15
So with real-time storytelling,
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所以有了实时讲故事,
11:18
blurring the lines between fact and fiction,
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事实与虚构之间的界限逐渐模糊,
11:20
the real world and the digital world,
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真实的世界和数字世界,
11:22
flexible identity, anonymity,
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灵活的身份,匿名性,
11:26
these are all tools that we have accessible to us,
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这些我们可以使用的工具,
11:29
and I think that they're just the building blocks.
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而我认为他们只是其中的一小部分而已。
11:31
They are the bits that we use
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他们是我们
11:34
to create the structures, the frames,
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构造结构、框架的一小部分,
11:37
that then become our settlements on this
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它将会成为我们在之上建立的
11:40
wide open frontier for creative experimentation.
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创新实验的广泛开放前沿。
11:43
Thank you.
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谢谢。
11:44
(Applause)
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(掌声)
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