Jake Barton: The museum of you

翻译人员: Shengwei Cai 校对人员: Y H

This is Charley Williams.

这是查利•威廉姆斯

He was 94 when this photograph was taken.

这张照片摄于他94岁时

In the 1930s, Roosevelt put

上世纪30年代

thousands and thousands of Americans back to work

通过建造桥梁、公共建设和修筑隧道的方式

by building bridges and infrastructure and tunnels,

罗斯福总统让成千上万美国人重回工作岗位

but he also did something interesting,

与此同时，他做了一件有趣的事

which was to hire a few hundred writers

他雇佣了几百名作家

to scour America to capture the stories of ordinary Americans.

到全国各地去搜集普通百姓的故事

Charley Williams, a poor sharecropper,

作为一个贫穷的美国佃农

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

查利•威廉姆斯不太可能成为此次大访谈的对象

but Charley had actually been a slave

但是，查利在22岁前是一个奴隶

until he was 22 years old.

但是，查利在22岁前是一个奴隶

And the stories that were captured of his life

而且他生活中的故事

make up one of the crown jewels

成了历史王冠上一颗闪亮的明珠

of histories, of human-lived experiences

也是这个充满前奴隶的社会的重要组成部分

filled with ex-slaves.

也是这个充满前奴隶的社会的重要组成部分

Anna Deavere Smith famously said that

安娜•迪佛•史密斯曾说过一句著名的话

there's a literature inside of each of us,

“本质上，我们每个人都是一部文学著作。”

and three generations later, I was part of a project

三代人之后，我成了“故事集团”的一员

called StoryCorps,

三代人之后，我成了“故事集团”的一员

which set out to capture

集团的目的就是

the stories of ordinary Americans

通过在公共场合建造一个隔音间

by setting up a soundproof booth in public spaces.

来搜集普通美国百姓的故事

The idea is very, very simple.

这个主意其实很简单

You go into these booths, you interview your grandmother

你到隔间里采访你的奶奶或其他亲属

or relative, you leave with a copy of the interview

结束后，你带走一份访谈拷贝

and an interview goes into the Library of Congress.

而且访谈内容会进到国会图书馆里

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

本质上，形成国家口述故事档案馆的重要方法

one conversation at a time.

就是通过一次一个对话的方式

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

关键是，你想要记住谁呢

if you had just 45 minutes with your grandmother?

如果你和你奶奶只有45分钟时间的话

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

有意思的是，在和创始人戴夫•伊塞的交谈中

we always actually talked about this

我们总会谈到这个

as a little bit of a subversive project,

把它当做一个略具颠覆性的计划

because when you think about it,

因为，当思考到这个问题时

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

你会觉得，其实跟讲述的故事无甚关系

it's about listening,

倾听才是最重要的

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

还有你会问到的问题

questions that you may not have permission to

可能这些问题在其他任何场合你都不能问

on any other day.

可能这些问题在其他任何场合你都不能问

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

接下来，就让大家听几段项目里的录音

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

「杰西•梅伦德斯谈论诗人佩德罗•皮埃特利的最后时刻」

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

杰西：我们起飞了，飞机正在上升

before we had leveled off,

在水平飞行之前

our level-off point was 45,000 feet,

水平飞行高度是45000英尺

so before we had leveled off,

所以是在水平飞行之前

Pedro began leaving us,

佩德罗就开始离我们而去

and the beauty about it

其美妙之处在于

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

我相信，人死后仍能有所期待

You can see it in Pedro.

从佩德罗身上就能看到

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

「丹尼•佩拉萨致妻子安妮•佩拉萨，他们已婚26年」

Danny Perasa: See, the thing of it is,

丹尼：事情是这样的

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

每当对你说“我爱你”，我就感觉内疚

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

而且也说的次数不少 我说“我爱你”是为了提醒你

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

尽管我又矮又胖，但那句话是我说的

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

就像用老式破收音机收听美妙的歌曲

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

你也善良的保存着这个破收音机

(Laughter)

（笑声）

[Michael Wolmetz with his girlfriend Debora Brakarz]

「迈克尔•沃尔梅茨和女友黛博拉•布雷卡兹」

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

迈克尔：这是我父亲给我母亲的戒指

and we can leave it there.

现在先把它放在一边

And he saved up and he purchased this,

父亲省吃俭用，然后买下了这个戒指

and he proposed to my mother with this,

之后用它向我母亲求了婚

and so I thought that I would give it to you

我想，我要把这个戒指给你

so that he could be with us for this also.

那样父亲也会与我们在一起

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

所以黛博拉，我现在要和你共用一个麦克风了

Where's the right finger?

该戴在哪个手指上？

Debora Brakarz: (Crying)

（黛博拉哭泣中）

MW: Debora, will you please marry me?

迈克尔：黛博拉，你愿意嫁给我吗

DB: Yes. Of course. I love you.

黛博拉：当然，我愿意，我爱你

(Kissing)

（亲吻）

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

迈克尔：孩子们，我和你们的妈妈就这样结婚了

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

在中央车站的隔音间里，用我父亲的婚戒

My grandfather was a cab driver for 40 years.

我爷爷当了40年出租车司机

He used to pick people up here every day.

过去他每天都在这儿载人

So it seems right.

看起来没错

Jake Barton: So I have to say

杰克•巴顿：所以我得声明一下

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

我并没特地选择这些录音样本来让你们掉眼泪

because they all make you cry.

但这些录音让你们哭了

The entire project is predicated on this act of love

我们整个项目都是基于这种爱的行为

which is listening itself.

也就是倾听

And that motion of building an institution

出于谈话及倾听而建造一个公共机构

out of a moment of conversation and listening

出于谈话及倾听而建造一个公共机构

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

大体说来，正是我们公司（Local Projects）

is doing with our engagements in general.

受委托而践行的事

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

我们是一家媒体设计公司

with a broad array of different institutions

并且和许多不同机构有合作关系

building media installations for museums and public spaces.

主要是给博物馆及在公共空间安装媒体设备

Our latest engagement is the Cleveland Museum of Art,

我们最近的委托方是克利夫兰艺术博物馆

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

我们已在那儿创建了一个 叫“第一画廊”的互动设计

And Gallery One is an interesting project

“第一画廊”是个很有趣的项目

because it started with this massive, $350 million expansion

因为是从这个巨大的、 价值3亿5000万美元的扩展入手

for the Cleveland Museum of Art,

给克利夫兰艺术博物馆进行设计

and we actually brought in this piece

实际上，我们引进这个设备

specifically to grow new capacity, new audiences,

特地用来创造新空间，吸引新观众

at the same time that the museum itself is growing.

同时博物馆也在扩大

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

纽约现代艺术博物馆（MoMA） 馆长格伦•洛瑞做了最好的诠释

"We want visitors to actually cease being visitors.

他说，“我们不要让游客再做游客，

Visitors are transient. We want people who live here,

游客都是暂时的，我们需要住在这里的、

people who have ownership."

有所有权的人。”

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

所以我们正在做的，就是运用许多不同方式

of different ways for people to actually engage

所以我们正在做的，就是运用许多不同方式

with the material inside of these galleries,

让人们能与画廊里的展品进行互动

so you can still have a traditional gallery experience,

因此，你仍能以传统的方式参观画廊

but if you're interested, you can actually engage

但是，如果你感兴趣的话

with any individual artwork and see the original context

你还可以和任意艺术品进行互动

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

看看它的原始脉络，或者控制这个展品

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

比如，你可以点击这个狮头

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

这就是它发源的地方，公元前1300年

Or this individual piece here,

或者点击这件独立艺术品

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

你会看到这个实际的卧室

you think about this type of a tempera painting.

而且它能改变你对这类蛋彩画的看法

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

这是我最喜欢的作品之一 因为能看到工作室的原貌

This is Rodin's bust. You get the sense

这是罗丹的半身像，你们可以感受到

of this incredible factory for creativity.

这个令人难以置信的、为创造而建的工厂

And it makes you think about literally the hundreds

它会让你直接联想到几千年

or thousands of years of human creativity and how

甚至几万年前人类的创造力

each individual artwork stands in for part of that story.

还有每个艺术品是怎样代表了那段历史

This is Picasso,

这是毕加索

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

当然很多是收录自20世纪

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

而且我要展示的下一个界面

actually leverages that idea of this lineage of creativity.

实际上影响了这种创造力传承的理念

It's an algorithm that actually allows you to browse

它是一种演算法则，但却能让你

the actual museum's collection using facial recognition.

通过面部识别的方式浏览博物馆内的藏品

So this person's making different faces,

这个人正在扮不同的鬼脸

and it's actually drawing forth different objects

但实际上，根据她扮的鬼脸

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

能够提取出馆藏中相关联的不同物品

And so you can imagine that, as people are performing

所以可以想见，当人们在博物馆里“表演”时

inside of the museum itself, you get this sense

所以可以想见，当人们在博物馆里“表演”时

of this emotional connection,

你能感受到这种情感联系

this way in which our face connects with the thousands

这样的话，我们的面部表情

and tens of thousands of years.

就能与几万年前联系起来

This is an interface that actually allows you to draw

事实上，这个界面还能让你

and then draws forth objects using those same shapes.

反复提取出你画出的形状相关的物品

So more and more we're trying to find ways

所以，我们正在寻求更多的方式

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

让人们在博物馆里进行创作

to be creative even as they're looking

甚至在看到别人的创意后，并将其理解

at other people's creativity and understanding them.

自己也会富有创造力

So in this wall, the collections wall,

在这面藏品墙上

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

你能同时看到3000件艺术品

and you can actually author your own

而且可以制作你的专属博物馆漫步游 所以你才能分享它们

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

而且可以制作你的专属博物馆漫步游 所以你才能分享它们

and someone can take a tour with the museum director

人们可以和馆长在馆内漫步游

or a tour with their little cousin.

也可以和其小堂兄妹一起

But all the while that we've been working

但尽管我们一直竭力完成

on this engagement for Cleveland,

克利夫兰艺术博物馆的委托

we've also been working in the background

同时，我们也一直致力于迄今最大的委托

on really our largest engagement to date,

同时，我们也一直致力于迄今最大的委托

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

也就是9·11事件纪念博物馆

So we started in 2006

我们从2006年开始

as part of a team with Thinc Design

就把它作为团队工作的部分 和Thinc Design团队一道

to create the original master plan for the museum,

为该博物馆创建总体规划图

and then we've done all the media design

之后我们为该博物馆和纪念馆

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

做了所有的媒体设计，然后是媒体制作

So the memorial opened in 2011,

于是该纪念馆在2011年开馆了

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

博物馆将会在明年开馆，也就是2014年

And you can see from these images,

从这些图片可以看出

the site is so raw and almost archaeological.

场地还很原始，跟考古现场差不多

And of course the event itself is so recent,

而且9·11事件也离我们非常近

somewhere between history and current events,

介乎历史和时事之间

it was a huge challenge to imagine

这是个巨大的挑战

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

要构建如此巨大的场馆

an event like this, to actually tell that story.

及事故现场，还有叙述那段故事

And so what we started with

于是在2009年

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

我们从一个叫做“制造历史”的项目入手

through a project called Make History,

该项目的确是一个建造公共机构的新思路

which we launched in 2009.

该项目的确是一个建造公共机构的新思路

So it's estimated that a third of the world

据估计，世界上1/3的人观看了9·11事件直播

watched 9/11 live,

据估计，世界上1/3的人观看了9/11事件直播

and a third of the world

1/3的人在24小时内听说了这起事件

heard about it within 24 hours,

1/3的人在24小时内听说了这起事件

making it really by nature of when it happened,

当它发生时，这都自然而然使得

this unprecedented moment of global awareness.

这个空前时刻具有了全球化意识

And so we launched this to capture the stories

所以我们发起这个项目，旨在全球搜集故事

from all around the world,

所以我们发起这个项目，旨在全球搜集故事

through video, through photos,

通过录像，通过照片

through written history,

通过书本记载

and so people's experiences on that day,

所以人们那天的经历

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

事实上，机构要面临的巨大风险是第一步

to make its first move this open platform.

即，把这些经历放到这个开放的平台上

But that was coupled together with this oral histories booth,

但还要加上这个口述故事隔间

really the simplest we've ever made,

这真的是我们做过最简单的

where you locate yourself on a map.

你可以在地图上给自己定点

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

它支持6种语言 你可以讲述那天你自己经历的事

about what happened to you on that day.

它支持6种语言 你可以讲述那天你自己经历的事

And when we started seeing the incredible images

但我们看到这些惊人的图片

and stories that came forth

和故事从全世界涌来的时候

from all around the world --

和故事从全世界涌来的时候

this is obviously part of the landing gear --

（这个很明显是起落架的残骸）

we really started to understand

我们才开始真正理解到

that there was this amazing symmetry

9·11事件本身有不可思议的对称性

between the event itself,

9·11事件本身有不可思议的对称性

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

人们讲述故事的方式和我们需要怎样讲述 之间也存在对称性

and how we ourselves needed to tell that story.

人们讲述故事的方式和我们需要怎样讲述 之间也存在对称性

This image in particular really captured

尤其这张照片，当时真的吸引了我们的注意力

our attention at the time,

尤其这张照片，当时真的吸引了我们的注意力

because it so much sums up that event.

因为它很好的概述了9·11事件

This is a shot from the Brooklyn-Battery Tunnel.

这个镜头是在炮台隧道捕捉到的

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

有辆消防车遇上交通堵塞

and so the firefighters themselves are running

所以这些消防员就扛着超过70磅的装备 跑了1.5英里到达指定地点

a mile and a half to the site itself

所以这些消防员就扛着超过70磅的装备 跑了1.5英里到达指定地点

with upwards of 70 pounds of gear on their back.

所以这些消防员就扛着超过70磅的装备 跑了1.5英里到达指定地点

And we got this amazing email that said,

之后我们收到了这封不可思议的邮件

"While viewing the thousands of photos on the site,

“在翻看不计其数的现场照片时，

I unexpectedly found a photo of my son.

我无意间发现一张儿子的照片。

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

那是种感情冲击， 但能发现这张照片也是件幸事。”

and he was writing because he said,

他写邮件过来是因为他说

"I'd like to personally thank the photographer

“我想感谢贴出这张照片的摄影师，

for posting the photo,

“我想感谢贴出这张照片的摄影师，

as it meant more than words can describe to me

这很可能是我儿子最后一张照片，

to have access to what is probably

但我可以发现它，

the last photo ever taken of my son."

它的意义之于我已经不能用语言表达。”

And it really made us recognize

这真的让我们认识到

what this institution needed to be

如果要讲述9·11事件，这个机构应该怎么做

in order to actually tell that story.

如果要讲述9·11事件，这个机构应该怎么做

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

我们不能只让一个历史学家或馆长

objectively in the third person about an event like that,

站在第三者的角度客观描述那样一个事件

when you have the witnesses to history

尤其是当那么多历史见证者

who are going to make their way

将要在这个博物馆中参观的时候

through the actual museum itself.

将要在这个博物馆中参观的时候

And so we started imagining the museum,

于是我们开始构思这个博物馆

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

和馆内的创意团队和馆长们一起思考

thinking about how the first voice that you would hear

馆内的第一个声音要怎样才能引起参观者的共鸣

inside the museum would actually be of other visitors.

馆内的第一个声音要怎样才能引起参观者的共鸣

And so we created this idea of an opening gallery

所以我们采取了一个开放式长廊的想法

called We Remember.

叫做“铭记”

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

接下来就让大家听听模拟长廊内的部分录音

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

但你能体会到身处那个时刻是怎样的感觉

into that moment in time

但你能体会到身处那个时刻是怎样的感觉

and be transported back in history.

会被带回到历史中去

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

我在夏威夷檀香山 我在埃及开罗

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

我在巴黎香榭丽舍大街 我在加州大学伯克利分校

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

我在时代广场 我在巴西圣保罗市

(Multiple voices)

（多重声音）

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

大约在晚上11点

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

我在开车上班的路上，当地时间早上5点45分

Voice 9: We were actually in a meeting

我们当时正在开会，有人突然闯进来说

when someone barged in and said,

我们当时正在开会，有人突然闯进来说

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

“天啊，一架飞机刚撞到世贸大厦上了！”

Voice 10: Trying to frantically get to a radio.

我疯狂地寻找收音机

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

当我在收音机上听到这个事件时

Voice 12: Heard it on the radio.

从收音机上听到这个事件

(Multiple voices)

（多重声音）

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

我接到父亲打来的电话 电话响了，把我吵醒

My business partner told me to turn on the television.

我的生意伙伴让我打开电视机

Voice 15: So I switched on the television.

于是我打开电视机

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

意大利的所有电视频道都在播同一件事

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

双子塔 双子塔

JB: And you move from there

杰克•巴顿：之后你就会从那边走到

into that open, cavernous space.

那个空旷的穴状空间

This is the so-called slurry wall.

这就是所谓的槽壁

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

就是这个从世贸大厦底部掘出的墙

that withstood the actual pressure from the Hudson River

在9·11事件后承受了整整一年

for a full year after the event itself.

来自哈德逊河的压力

And so we thought about carrying that sense of authenticity,

所以我们想，通过这种真实性

of presence of that moment

把当时的感受体现到实物上

into the actual exhibition itself.

把当时的感受体现到实物上

And we tell the stories of being inside the towers

通过上述的合成音频 我们在双子塔内讲述那些故事

through that same audio collage,

通过上述的合成音频 我们在双子塔内讲述那些故事

so you're hearing people literally talking about

所以当人们在馆内参观的时候

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

你能听见他们说看见飞机撞上大厦

or making their way down the stairwells.

或从楼梯往下跑的事

And as you make your way into the exhibition

当你走进讲述重建的展厅

where it talks about the recovery,

当你走进讲述重建的展厅

we actually project directly onto these moments

我们直接把人们站在 扭曲钢筋堆上的经历表现了出来

of twisted steel all of the experiences from people

我们直接把人们站在 扭曲钢筋堆上的经历表现了出来

who literally excavated on top of the pile itself.

我们直接把人们站在 扭曲钢筋堆上的经历表现了出来

And so you can hear oral histories --

所以你们能听见口述历史

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

你们能看到在水桶传递队工作的人

as you're seeing literally the thousands of experiences

当你观看源于当时的无数经历时

from that moment.

当你观看源于当时的无数经历时

And as you leave that storytelling moment

在走出理解9·11事件的讲故事时刻后

understanding about 9/11,

在走出理解9·11事件的讲故事时刻后

we then turn the museum back into a moment of listening

我们让博物馆重新回到倾听时刻

and actually talk to the individual visitors

然后和参观者单独交谈

and ask them their own experiences about 9/11.

询问一些他们自己的9·11事件经历

And we ask them questions that are actually

还会问一些他们不太好回答的问题

not really answerable, the types of questions

还会问一些他们不太好回答的问题

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

这些问题都是由9·11事件引出的

And so these are questions like,

就像如下这些问题

"How can a democracy balance freedom and security?"

民主是怎么平衡自由和安全的？

"How could 9/11 have happened?"

9·11事件怎么会发生？

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

9·11事件后世界发生了怎样的改变？

And so these oral histories,

所以这些口述历史

which we've actually been capturing already for years,

这些我们搜集多年的口述历史

are then mixed together with interviews

与我们所做的专访是混在一起

that we're doing with people like Donald Rumsfeld,

比如唐纳德•拉姆斯菲尔德

Bill Clinton, Rudy Giuliani,

比尔•克林顿，鲁迪•朱利安尼

and you mix together these different players

你会把这些不同的9·11事件角色、体验

and these different experiences,

你会把这些不同的9·11事件角色、体验

these different reflection points about 9/11.

和反射点糅合在一起

And suddenly the institution, once again,

突然，博物馆再次转向了倾听体验

turns into a listening experience.

突然，博物馆再次转向了倾听体验

So I'll play you just a short excerpt

接下来我给大家播放一段模拟节选

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

这个节选就是我们用其中的一些录音做的

but you really get a sense

但它的确会让你感受到

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

其中每个人对9·11事件沉思的诗意

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

9·11事件不仅是纽约的不幸遭遇

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

它是我们共享的东西，是连结我们的东西

Voice 3: And I knew when I saw that,

当我看到现场后我就知道

people who were there that day who immediately

那天在现场的人们

went to help people known and unknown to them

他们立即跑去帮助认识的、不认识的人

was something that would pull us through.

他们的行为会使我们渡过难关

Voice 4: All the outpouring of affection and emotion

所有来自我们国家的感情和情绪倾泻

that came from our country was something really

所有来自我们国家的感情和情绪倾泻

that will forever, ever stay with me.

会永远永远留在我心中

Voice 5: Still today I pray and think about those

直到现在 我仍会想起那些逝者，为他们祈祷

who lost their lives,

直到现在 我仍在回忆那些逝者，为他们祈祷

and those who gave their lives to help others,

还有那些奉献自己、帮助他人的人

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

但我同样意识到了这个国家的构成

the love, the compassIon, the strength,

关爱、慈悲和力量

and I watched a nation come together

我看到一个国家在灾难中团结在一起

in the middle of a terrible tragedy.

我看到一个国家在灾难中团结在一起

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

杰克•巴顿：当游者走出博物馆

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

思考着9·11事件，回想着自己的想法

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

然后他们走到纪念馆中

because they've gone back up to grade,

因为他们回顾了足够多

and we actually got involved in the memorial

其实开始建造纪念馆

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

已经是我们建造博物馆几年之后

The original designer of the memorial, Michael Arad,

纪念馆的原设计师麦克•埃拉德的设想图像里

had this image in his mind of all the names appearing

纪念馆的原设计师麦克•埃拉德的设想图像里

undifferentiated, almost random,

浮现出的名字都没明显特点，近乎随机

really a poetic reflection on top of the nature

的确是超出9·11恐怖袭击本质的诗意反映

of a terrorism event itself,

的确是超出9·11恐怖袭击本质的诗意反映

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

但对所有家庭、基金会来说却是巨大的挑战

certainly for the first responders,

当然还有第一目击者

and there was a negotiation that went forth

还有协商需要进行

and a solution was found

和不依照大事记或字母顺序的建造解决方案

to actually create not an order in terms of chronology,

和不依照大事记或字母顺序的建造解决方案

or in terms of alphabetical,

和不依照大事记或字母顺序的建造解决方案

but through what's called meaningful adjacency.

但是得贯穿所谓的意涵丰富的毗邻

So these are groupings of the names themselves

这些名字组看起来没特点，但其实是有序的

which appear undifferentiated but actually have an order,

这些名字组看起来没特点，但其实是有序的

and we, along with Jer Thorp, created an algorithm

我们和杰•索普一起制造了一个演算平台

to take massive amounts of data

让它承载海量的数据

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

来开始把所有各不相同的名字连结起来

So this is an image of the actual algorithm itself

这就是那个演算平台的图像

with the names scrambled for privacy,

名字都以密码形式呈现 是为了保护隐私

but you can see that these blocks of color

但你们可以看到这些颜色块

are actually the four different flights,

实际上是四架不同的飞机

the two different towers, the first responders,

两座不同的塔楼，还有第一目击者们

and you can actually see within that different floors,

在不同层级之间，你能清楚的看到

and then the green lines are the interpersonal connections

这些绿线是应受害家庭要求

that were requested by the families themselves.

添上去的人际关系线

And so when you go to the memorial,

当你去到纪念馆

you can actually see the overarching organization

你会发现这个拱形纪念馆是在两个单独泳池内部

inside of the individual pools themselves.

你会发现这个拱形纪念馆是在两个单独泳池内部

You can see the way that the geography of the event

还有9·11事件的地形分布

is reflected inside of the memorial,

是如何在纪念馆内部得到体现的

and you can search for an individual name,

而且你还能搜索任意一个名字

or in this case an employer, Cantor Fitzgerald,

这里我们以雇主坎托-菲茨杰拉德公司为例

and see the way in which all of those names,

看看这数以千计的人名

those hundreds of names, are actually organized

是如何井然有序的排列在纪念馆内的

onto the memorial itself,

是如何井然有序的排列在纪念馆内的

and use that to navigate the memorial.

然后通过它在馆内找到正确方向

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

更重要的是，当你身处纪念馆内时

of the memorial, you can see those connections.

你就能看到那些关系

You can see the relationships between the different names themselves.

你能清楚看出不同名字之间的关联

So suddenly what is this undifferentiated, anonymous

所以这些没有突出特点的名字组

group of names springs into reality as an individual life.

就会以独立生活经历的方式融入现实

In this case, Harry Ramos,

这里以哈里•拉莫斯为例

who was the head trader at an investment bank,

他曾是一个投资银行的操盘手主管

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

正是他终止了对南塔楼55层 维克托•沃尔德的援助

And Ramos told Wald, according to witnesses,

据目击者称，拉莫斯告诉沃尔德

"I'm not going to leave you."

“我不会丢下你的。”

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

于是沃尔德的遗孀要求 把他们的名字列在一起

Three generations ago, we had to actually get people

三代人前，我们必须让人去到全国各地

to go out and capture the stories for common people.

才能搜集到普通百姓的故事

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

现在，我们毫无疑问能够

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

为后代搜集不可胜数的故事

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

我们的愿望就是 让每一个故事都能从本质上体现出诗意

Thank you very much.

谢谢大家

(Applause)

（掌声）