Aaron Koblin: Artfully visualizing our humanity

譯者: Ruoyun Hui 審譯者: Ana Choi

So I think data can actually make us more human.

我認為，數據實際上可以使人性更加突出。

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

我們時時刻刻都在創造和搜集各種有關我們如何生活的數據，

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

利用這些數據我們可以講出很精彩的故事。

Recently, a wise media theorist Tweeted,

最近，一個睿智的媒體理論家在Twitter上說：

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

「19世紀文化是小說塑造的，

the 20th century culture was defined by the cinema,

20世紀文化是電影院塑造的，

and the culture of the 21st century

而21世紀的文化

will be defined by the interface."

將被交互界面所塑造。」

And I believe this is going to prove true.

我相信這句話將來會被證實。

Our lives are being driven by data,

我們的生活正在被數據推動，

and the presentation of that data is an opportunity

表達這些數據的方式也是一個機會

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

讓我們通過精彩的展示界面來講述不平凡的故事。

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

以下我會展示我在過去的幾年間

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

製作的一些項目，

that reflect on our lives and our systems.

它們也是對我們的生活和社會系統的反思。

This is a project called Flight Patterns.

這個項目名叫航班圖案。

What you're looking at is airplane traffic

你所看到的是24小時內

over North America for a 24-hour period.

北美洲上空的交通狀況。

As you see, everything starts to fade to black,

可以看到所有地方都開始暗下去，

and you see people going to sleep.

人們去了就寢。

Followed by that, you see on the West coast

之後西海岸可以看到飛機穿過，

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

是飛向東海岸的紅眼航班。

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

還可以看到東海岸的人們醒來，

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

然後歐洲的航班從右上角飛入。

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

人們紛紛從東海岸涌向西海岸。

You see San Francisco and Los Angeles

可以看到從舊金山和洛杉磯

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

開始有航班南下飛往左下角的夏威夷。

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

我認為說任何時刻聯邦政府

being monitored by the federal government at any one time,

都在監控140,000架航班是一回事，

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

而看到這個系統中每條線的消逝和流動是另一回事。

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

這是用同一組數據製作的延時圖像，

but I've color-coded it by type,

不過我用了不同顏色來表示不同類型的飛機，

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

這就可以看出從我們上空飛過的飛機是那麼多種多樣。

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

開始做這些圖像之後，我把它們放到Google地圖中，

and allow you to zoom in and see individual airports

並且允許用戶放大圖像，看到單獨的機場

and the patterns that are occurring there.

以及那裡形成的圖案。

So here we can see the white represents low altitudes,

這裡我們可以看到白色表示低空，

and the blue are higher altitudes.

藍色表示高空。

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

你也可以放大。這裡是亞特蘭大的一瞥。

You can see this is a major shipping airport,

可以看出這是一個主要的港口機場，

and there's all kinds of activity there.

各種各樣的活動都在發生。

You can also toggle between altitude

你也可以將海拔高度

for model and manufacturer.

切換成飛機的模板或者製造商。

See again, the diversity.

同樣，可以看出其中的多樣性。

And you can scroll around and see

你也可以拖放滾動條

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

來觀察不同的機場以及它們形成的不同圖案。

This is scrolling up the East coast.

這裡我們沿東海岸向上滾動，

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

可以看到紐約所發生的一部份混亂狀況，

with the air traffic controllers

空中交通管制員

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

不得不合理協調那些密集的大機場。

So zooming back out real quick,

快速縮小回原來的尺度，

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

我們又一次看到了整個美國--右角是弗羅里達州。

Moving across to the West coast,

平移視角到西海岸，

you see San Francisco and Los Angeles --

可以看到舊金山和洛杉磯，

big low-traffic zones

以及廣闊而交通量少的地區，

across Nevada and Arizona.

橫跨內華達州和亞利桑那州。

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

那是我們所在的洛杉磯南部，還有底部的長灘市。

I started taking a look as well at different perimeters,

現在我要開始檢視其他參數了，

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

因為可以選擇你想要從數據中提取什麽。

This is looking at ascending versus descending flights.

這是起飛航班與降落航班的比較。

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

可以看出機場的狀況如何隨時間而變化。

You see the holding patterns that start to develop

在屏幕下方，你能看到靜態的圖案

in the bottom of the screen.

開始發生變化。

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

看，最後航班其實翻轉了方向。

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

這是另一個我與麻省理工學院的Sensible Cities Lab合作的作品。

This is visualizing international communications.

這次我們用圖形展示國際通訊。

So it's how New York communicates

這就是紐約

with other international cities.

與其他國際都市之間的通訊。

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

我們在紐約的現代美術博物館架起這樣一個實況地球，

for the Design the Elastic Mind exhibition.

來參加以“描繪靈活思路”為題的展覽。

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

它每時每刻從信息源接收24小時之前的數據，

so you could see the changing relationship

因此可以看到這種不斷變化的關係，

and some demographic info

以及一些人口學信息，

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

這些信息由AT&T提供。

This is another project I worked on with Sensible Cities Lab

這是我與Sensible Cities Lab以及CurrentCity.org

and CurrentCity.org.

合作的另一項作品。

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

它可以用圖形顯示在阿姆斯特丹發出的簡訊。

So you're seeing the daily ebb and flow

你現在所看到的是每天的潮起潮落，

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

這是人們從城市的不同角落發送簡訊，

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

直到時間接近元旦，每個人都在說：「新年快樂！」

(Laughter)

（笑聲）

So this is an interactive tool

它還是個交互式工具，

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

你可以四處移動，看看城市的不同區域。

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

現在看到的是另一個節日，叫做女王節。

So again, you get this daily ebb and flow

可以再次看到一天當中

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

人們從城市各個角落發送簡訊形成的潮起潮落。

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

然後你將看到人們開始在市中心集中，

to celebrate the night before,

來慶祝節日的前夜，

which happens right here.

正是在此處。

And then you can see people celebrating the next day.

然後看到的是人們接下來的一天也在慶祝。

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

你也可以暫停，前進或後退來檢視不同時段。

So now on to something completely different.

現在看點完全不同的東西吧。

Some of you may recognize this.

有些人可能認識這個。

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

這是Baron Wolfgang von Kempelen的下象棋機器。

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

這部驚人的機器人象棋下得非常好，

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

除了一件事：它根本不是個機器人。

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

實際上，箱子里坐著一個沒有腿的人，

and controls this chess player.

他控制著下棋者。

This was the inspiration for a web service by Amazon

這是Amazon一項在線服務的靈感來源，

called the Mechanical Turk -- named after this guy.

據此，這項服務被命名為“機械土耳其人”。

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

它的誕生基於這樣的前提：有些事情人類很容易辦到，

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

對機器來說卻無比困難。

So they made this web service and said,

因此，Amazon創造出這項服務，並聲稱：

"Any programmer can write a piece of software

「任何程序員都可以寫出一小段代碼，

and tap into the minds of thousands of people."

並把它輸入數以千計的人的腦海中。」

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

我內心呆板的一面想到，“哇，這真是太神奇了，

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

我可以將想法輸入上千人的腦海里。”

And the other nerdy side of me thought,

我內心書呆子的另一面想到：

"This is horrible. This is completely bizarre.

「這真可怕，簡直是瘋狂的想法。

What does this mean for the future of mankind,

這對於人類的未來又意味著什麽呢

where we're all plugged into this borg?"

人類的未來將會變成什麽樣？」

I was probably being a little extreme.

我的想法可能有點極端，

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

但是當我們完全不瞭解自己所做事情的前因後果而僅僅付出舉手之勞時，

and we're just doing these little labors?

整件事有什麽意味呢？

So I created this drawing tool.

因此我創造了這個繪畫工具。

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

我請人們畫下一隻面朝左邊的綿羊。

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

我還表示，我會為他們的工作支付兩美分。

And I started collecting sheep.

然後我就開始收集綿羊了。

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

而且我收集了很多，很多不同的綿羊。

Lots of sheep.

許許多多的綿羊。

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

我收下了最早的10,000只羊，

and I put them on a website called TheSheepMarket.com

並把它們放上了一個名叫TheSheepMarket.com的網站，

where you can actually buy collections of 20 sheep.

那裡你可以以20只為單位買下這些綿羊，

You can't pick individual sheep,

不能挑選單獨的綿羊，

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

但可以買下一批綿羊，作為商品。

And juxtaposed against this grid,

把它們並排放在這些格子里，

you see actually, by rolling over each individual one,

指針劃過每隻綿羊時，你可以切實看到

the humanity behind this hugely mechanical process.

這個相當機械化的過程背後的人性。

I think there's something really interesting

我覺得觀察人們如何完成這項艱難的創作

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

十分有趣，我們每個人都可以參與，

something we can all relate to,

從一無所有入手，

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

最終努力完成創作過程。

I think it was really interesting to juxtapose this humanity

我覺得將這樣的人性與批量製造的方格

versus this massive distributed grid.

互相對比很有意思。

Kind of amazing what some people did.

人們所做的事某種程度上真是令人驚奇。

So here's a few statistics from the project.

這裡有項目中的一些統計數據。

Approximate collection rate of 11 sheep per hour,

平均每小時大約收到11只綿羊，

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

也就意味著每小時付出69美分工資。

There were 662 rejected sheep

一共有662只被我們棄置的綿羊，

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

因為它們不符合我們“像綿羊”的標準，被從羊群中剔除了。

(Laughter)

（笑聲）

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

作畫所花費的時間從幾秒鐘到46分鐘不等，

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

體現出人們的動力與投入各有不同。

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

參與這個項目的一共有7,599人，

or were unique IP addresses --

或者說7,599個不同的IP地址，

so about how many people contributed.

也就大約是參與的人數。

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

但是7,599個人當中只有一個人這樣說：

(Laughter)

（笑聲）

Which I was pretty surprised by.

這令我十分驚訝。

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

我原本以為人們會疑惑：我爲什麽要畫綿羊？

And I think it's a pretty valid question.

我也認為這是個很正當的提問。

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

我選擇綿羊的原因有很多。

Sheep were the first animal

綿羊是第一種作為工業化生產的副產品

to be raised from mechanically processed byproducts,

而被飼養的動物；

the first to be selectively bred for production traits,

第一種為獲得生產特性而被選擇性育種；

the first animal to be cloned.

也是第一種被克隆(無性繁殖)的動物。

Obviously, we think of sheep as followers.

顯然，我們總將綿羊視為追隨者。

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

還有《小王子》中所提到的，

where the narrator asks the prince to draw a sheep.

作者讓小王子畫一隻綿羊。

He draws sheep after sheep.

他畫了一隻又一隻綿羊，

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

直到他畫了一個箱子作者才滿意。

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

他說，「這不是一隻綿羊的科學描繪，

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

而是關於你自己的理解，做些不同的事情。」

And I like that.

我非常喜歡這段。

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

這是Charlie Chaplin的《摩登時代》中的一段，

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

展示Charlie Chaplin面對工業革命帶來的一些巨大變化時

during the Industrial Revolution.

是如何應對的。

So there were no longer shoe makers,

現在已經沒有制鞋匠了，

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

是人們在其他人的鞋底上打鞋底。

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

人們與它們的工作間的整個關係有了很大改變。

So I thought this was an interesting clip

因此我認為這是一段有趣的影片，

to divide into 16 pieces

我把它分成16部份，

and feed into the Mechanical Turk with a drawing tool.

與繪畫工具一起放上“機械土耳其人”。

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

它主要用來——你在左側看到的是原作，

and on the right side you see that frame

右边是16个人

as interpreted by 16 people

對它的不同闡釋。

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

他們完全不瞭解自己在做什麽。

And this was the inspiration for a project

這是我與一位朋友Takashi Kawashima合作的

that I worked on with my friend Takashi Kawashima.

另一個項目的靈感來源。

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

我們決定使用“機械土耳其人”最合適的功能，

which is making money.

那就是製造金錢。

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

所以我們拿來一張一百美元的鈔票，將它分成10,000塊碎片，

and we fed those into the Mechanical Turk.

我們將這些碎片放到了“機械土耳其人”上。

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

我們請人們畫下他們所看到的東西，

But here there was no sheep-like criteria.

但這次沒有什麽“像綿羊”的標準。

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

如果有人畫下小棍人或者笑臉，

it actually made it into the bill.

程序實際上也把圖像放入了鈔票中。

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

所以你看到的實際上是人們所做的。

what it was they were asked to do.

這也就是他們所要做的。

So we took these hundred dollar bills,

因此我們拿出些一百美元鈔票，

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

把它們放在TenThousandsCents.com網站上，

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

在那裡你可以瀏覽、查看每個人的貢獻。

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

你也可以用真實的百元鈔票購買虛擬的鈔票，

and make a donation to the Hundred Dollar Laptop Project,

向一百美元手提電腦項目捐贈。

which is now known as One Laptop Per Child.

該項目目前被叫做“每個孩子一本筆記本電腦”。

This is again showing all the different contributions.

這再次展示了各種不同貢獻。

You see some people did beautiful stipple renderings,

你看到有些人所做的漂亮的點刻法渲染，

like this one on top --

就像頂部的這一個作者--

spent a long time making realistic versions.

花了很多時間完成現實主義的版本。

And other people would draw stick figures or smiley faces.

另一些人只畫些簡筆畫或者笑臉。

Here on the right-hand side in the middle

中央的右上角這裡

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

你可以看見有個傢伙在寫：「1美分!!!真的嗎？」

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

我所做的一切就是爲了拿這點錢？

(Laughter)

（笑聲）

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

我將要向你們介紹的最後一個“機械土耳其人”項目

is called Bicycle Built for 2000.

叫做“兩千人的自行車”。

This is a collaboration with my friend Daniel Massey.

這是我與我的朋友Daniel Massey合作完成的。

You may recognize these two guys.

你可能認識這兩個人。

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

他們是60年代貝爾實驗室的Max Mathews和John Kelly,

where they created the song "Daisy Bell,"

他們創作了一首叫做《黛西·貝爾》的歌，

which was the world's first singing computer.

這是世界上第一台會唱歌的電腦。

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

它出現在電影《2001：太空漫遊》裡，

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

當結尾HAL即將死去時，他開始唱這首歌，

as a reference to when computers became human.

以紀念電腦初次展示人性的時刻。

So we resynthesized this song.

因此我們重新編排了這首歌。

This is what that sounded like.

它聽起來是這樣的。

We broke down all the individual notes

我們把這首歌中的

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

每一個音符和音節都拆開。

Daisy Bell: ♫ Daisy, Daisy ... ♫

Daisy Bell（唱歌）：黛西，黛西...

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

我們分離出每一個片段，

and we fed them into another Turk request.

並把它們輸入另一項”機械土耳其人“任務中。

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

如果你登陸網站，看到的就是這樣的界面。

You type in your code,

你需要輸入你的號碼，

but you first test your mic.

但首先要測試你的麥克風。

You'd be fed a simple audio clip.

你會聽到一段簡單的音頻。

(Honk)

（嘟）

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

之後你應該盡力用自己的聲音去模仿它。

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

在預覽以及確認你的錄音后，

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

你可以在對上文下理一無所知的情況下將錄音提交給“機械土耳其人”。

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

這是我們從第一批提交的錄音中得到的：

Recording: ♫ Daisy, Daisy ♫

錄音：（歌詞）黛西，黛西

♫ give me your answer do ♫

（歌詞）告訴我你的答案

♫ I'm half crazy ♫

（歌詞）我已神魂顛倒

♫ all for the love of you ♫

（歌詞）只因對你的愛

♫ It can't be a stylish marriage ♫

（歌詞）這不是華貴姻緣

♫ I can't afford a carriage ♫

（歌詞）我買不起馬車

♫ But you'll look sweet upon the seat ♫

（歌詞）但你在兩個人的單車後座上

♫ of a bicycle built for two ♫

（歌詞）模樣會無比甜美

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

因此James Surowieki對於群體智慧有這樣的理解：

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

一群人的集合比其中任何單獨一個人都要聰明。

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

我們想看看這個理論如何在人們完全不知道自己在做什麽時

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

應用於音樂的協同創作。

So if you go to the BicycleBuiltforTwoThousand.com

所以如果你登陸BicycleBuiltforTwoThousand.com

you can actually hear what all this sounds like together.

你可以親自聽到這些聲音合起來的樣子。

I'm sorry for this.

我對此十分抱歉。

(Noise)

（噪聲）

Chorus: ♫ Daisy, Daisy ♫

合唱：黛西，黛西

♫ Give me your answer do ♫

（歌詞）告訴我你的答案

♫ I'm half crazy ♫

（歌詞）我已神魂顛倒

♫ all for the love of you ♫

（歌詞）只因對你的愛

♫ It can't be a stylish marriage ♫

（歌詞）這不是華貴姻緣

♫ I can't afford a carriage ♫

（歌詞）我買不起馬車

♫ But you'd look sweet upon the seat ♫

（歌詞）但你在兩個人的單車後座上

♫ of a bicycle built for two ♫

（歌詞）模樣會無比甜美

AK: So stepping back for a quick second,

時間上後退一點，

when I was at UCLA going to grad school,

當我在加州大學洛杉磯分校讀研究生時，

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

曾在一個叫做內嵌式網絡感測中心的地方工作。

And I was writing software to visualize laser scanners.

我為一台可視化激光掃描儀編寫程序。

So basically motion through 3D space.

本質上就是三維空間內的運動。

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

這被洛杉磯一位叫James Frost的導演看到了，

who said, "Wait a minute.

他說：「等等，

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

你的意思是我們可以製作一部實際上沒有使用視頻的音樂視頻？」

So we did exactly that.

實際上我們就這麼做了。

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

我們為我最喜歡的樂隊之一，Radiohead，製作了一部音樂視頻。

And I think one of my favorite parts of this project

而我認為這個項目最讓我喜歡的部分

was not just shooting a video with lasers,

並不只是用激光拍攝視頻，

but we also open sourced it,

而是我們將它開源了。

and we made it released as a Google Code project,

我們將它作為一項Google Code項目發布了，

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

這樣人們就可以下載一部分數據以及源代碼，

to build their own versions of it.

來搭建他們自己的版本。

And people were making some amazing things.

人們確實做出了一些令人驚奇的事情。

This is actually two of my favorites:

這是我最喜歡的兩個：

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

插針板Thom Yorke和樂高積木Thom Yorke

A whole YouTube channel of people submitting really interesting content.

有一個YouTube頻道充滿人們提交的有趣的內容。

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

最近，甚至有人打印出了Thom Yorke的三維頭像，

which is a little creepy, but pretty cool.

有點詭異，但確實很酷。

So with everybody making so much amazing stuff

因此，當我看到人們製造這麼多神奇的內容

and actually understanding what it was they were working on,

並切實理解到他們在做什麼時，

I was really interested in trying to make a collaborative project

我真的很有興趣去搭建一個協作項目，

where people were working together to build something.

讓人們共同努力進行創作。

And I met a music video director named Chris Milk.

我遇到了一個音樂視頻導演，他叫Chris Milk。

And we started bouncing around ideas

我們圍繞搭建一個協作音樂視頻項目

to make a collaborative music video project.

而冒出各種想法。

But we knew we really needed the right person

但我們知道實際上需要的是一個合適的人

to kind of rally behind and build something for.

能夠在某種程度上讓人們集合起來，為他創造些什麼。

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

因此在醞釀了幾個月之後，他終於拿出主意，

And he ended up talking to Rick Rubin,

與Rick Rubin進行了交談，

who was finishing up Johnny Cash's final album

此人當時正為Johnny Cash的最後一張名叫《Ain‘t No Grave》

called "Ain't No Grave."

的專輯做收尾工作。

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

主打歌的歌詞是“沒有墳墓可以讓我的身體安眠。”

So we thought this was the perfect

因此我們認為這會是一個完美的項目

project to build a collaborative memorial

來共同紀念Johnny Cash，

and a virtual resurrection for Johnny Cash.

讓他以虛擬形象回歸。

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

因此我和好朋友Ricardo Cabello，又名“杜博先生”一起，

who's a much better programmer than I am,

他編程比我在行得多，

and he made this amazing Flash drawing tool.

編寫了這個神奇的Flash繪畫工具。

As you know,

如你所知,

an animation is a series of images.

動畫就是一系列變換的圖片。

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

因此我們從Johnny Cash的一段連續影片中截圖，

and at eight frames a second,

每秒八幀。

we allowed individuals to draw a single frame

我們允許每個人畫下其中的一幀，

that would get woven into

用來編入

this dynamically changing music video.

這段處於動態變化之中的音樂視頻里。

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

我沒有足夠的時間展示整個項目，

but I want to show you two short clips.

不過我想給你們看兩個片段。

One is the beginning of the music video.

一是音樂視頻的開頭。

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

之後是一段已經參與到這個項目中的人們

of people who have already contributed to the project

對於它作

talking about it briefly.

簡短的談論。

(Music)

（音樂）

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

（視頻）Johnny Cash: 沒有一座墳墓

♫ can hold my body down ♫

能將我的身軀安放

♫ There ain't no grave ♫

沒有一座墳墓

♫ can hold body down ♫

能將我的身軀安放

♫ When I hear the trumpet sound ♫

當我聽到審判的喇叭聲響

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

我將會徑直衝出地面

♫ Ain't no grave ♫

沒有一座墳墓

♫ can hold my body ... ♫

能將我的身軀安放……

(Applause)

（掌聲）

AK: What better way to pay tribute to the man

要向一個人致敬，還有什麽方法

than to make something for one of his songs.

能比用他自己的一首歌進行創作更好呢？

Collaborator: I felt really sad when he died.

參與者：他去世時我真的很傷心，

And I just thought it'd be wonderful,

我覺得能為紀念他做出一點貢獻

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

真的是非常美好，非常棒的一件事。

Collaborator Two: It really allows

參與者二：這個項目實實在在地

this last recording of his

將他最後這一張唱片

to be a living, breathing memorial.

變成了有血有肉的紀念。

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

參與者三：所有這些喜愛他的人所畫的圖畫，

each individual frame,

單獨的每一幀，

it's got a very powerful feeling to it.

都有一種強烈的情感在裏面。

Collaborator Four: I've seen everybody

參與者四：我看到過各種人，

from Japan, Venezuela, to the States,

來自日本，委內瑞拉，直到美國，

to Knoxville, Tennessee.

直到田納西州的諾克西維爾。

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

參與者五：只要每一幀與另一幀有所不同，

it really is personal.

它就確實體現著個人特質。

Collaborator Six: Watching the video in my room,

參與者六：在我自己的房間里看這段視頻時，

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

一開始我不理解它，

And I just worked and worked through problems,

我只是努力攻克一個又一個難題，

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

直到畫面中我種種細微的掙扎

all began to resolve themselves.

全部開始顯現出來。

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

所以當我明白自己在做什麽時就確實看懂了要點，

and a lot of light and dark comes into it.

很多的明暗都圍繞它產生。

And in a weird way,

很怪異地，

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

這也是我最喜歡Johnny Cash的音樂的原因。

It's the sum total of his life,

這是他全部生命的總和，

all the things that had happened --

所有曾經發生過的事情——

the bad things, the good things.

有壞事，有好事。

You're hearing a person's life.

你是在傾聽一段人生。

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

如果你登陸網站JohnnyCashProject.com，

what you'll see is the video playing above.

就會看到我剛剛播放的那段視頻。

And below it are all the individual frames

下面是單獨的每一幀，

that people have been submitting to the project.

由參與這個項目的眾人提交。

So this isn't finished at all,

所以這個項目根本沒有結束，

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

它是持續進行的，每個人都可以繼續參與其中。

If you roll over any one of those individual thumbnails,

如果你用光標劃過這些小圖標中的任何一個，

you can see the person who drew that individual thumbnail

你都可以看到創作這幅圖的人

and where they were located.

以及他們所處的位置。

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

如果發現一幅讓你感興趣的，

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

可以單擊它，打開信息板面，

where you're able to rate that frame,

在這裡為那一幀評分，

which helps it bubble up to the top.

得分高的圖畫會浮到頂上。

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

你也可以查看它的創作過程。

Again, you can get the playback and personal contribution.

也可以看到重播，以及個人貢獻。

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

隨此以外,還有列着圖像創作者的名字，地點，

how long they spent drawing it.

作畫所用的時間。

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

你還可以選擇風格。例如這個被加上了“抽象”標籤。

But there's a bunch of different styles.

但其實有許多不同的風格。

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

你可以用很多不同的方法組合這段視頻。

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

比如說，「我想看看分色畫法的版本，

or the sketchy version or the realistic version.

或者寫生風格版本，或者現實主義版本。」

And then this is, again, the abstract version,

這裡又是抽象的版本，

which ends up getting a little bit crazy.

結尾的方式有點瘋狂。

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

最後一個我想向你們介紹的是另一個與Chris Milk合作的項目。

And this is called "The Wilderness Downtown."

叫做“鬧市荒原”。

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

它是“拱廊之火”樂隊的一個線上音樂視頻。

Chris and I were really amazed

現代網頁瀏覽器的潛力

by the potential now with modern web browsers,

令Chris和我都十分著迷，

where you have HTML5 audio and video

你可以使用HTML5添加音頻和視頻，

and the power of JavaScript to render amazingly fast.

以及JavaScript出色的渲染速度。

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

於是我們打算推廣為網絡量身定做的音樂視頻理念，

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

突破4:3或者16:9窗口，

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

試著讓音樂大聲播放，讓舞蹈動作充滿屏幕。

But most importantly, I think,

但我覺得，最重要的在於，

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

我們真的想要創造一種與Johnny Cash項目不同的體驗，

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

那個項目中，一小部份人花費了大量時間

to contribute something for everyone.

來為每一個人貢獻作品。

What if we had a very low commitment,

如果我們只需要非常小的付出，

but delivered something individually unique to each person who contributed?

而讓每一個參與者都能得到個人化的、獨特的東西呢？

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

因此這個項目首先要求你輸入

of the home where you grew up.

你在成長的家的地址。

And you type in the address --

輸入地址之後——

it actually creates a music video specifically for you,

它實際上創造出一段專門為你打造的音樂視頻，

pulling in Google maps and Streetview images

將Google地圖和Streetview圖像

into the experience itself.

加入到體驗之中。

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

所以你確實應該在家裡輸入你自己的地址來欣賞它，

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

不過我要給你們一點小小的預告。

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

（視頻） Win Butler: 現在我們的生活飛速改變

♫ Now our lives are changing fast ♫

（歌詞）現在我們的生活飛速改變

♫ Hope that something pure can last ♫

（歌詞）但願有些純淨可以留存

♫ Hope that something pure can last ♫

（歌詞）但願有些純淨可以留存

♫ Ooh we used to wait ♫

（歌詞）噢，我們曾習慣等待

♫ Ooh we used to wait ♫

（歌詞）噢，我們曾習慣等待

♫ Ooh we used to wait ♫

（歌詞）噢，我們曾習慣等待

♫ Sometimes it never came ♫

（歌詞）有時希望永遠不來

♫ Sometimes it never came ♫

（歌詞）有時希望永遠不來

♫ Still moving through the pain ♫

（歌詞）仍然在痛苦中前行

♫ We used to wait for it ♫

（歌詞）我們曾習慣等它到來

♫ We used to wait for it ♫

（歌詞）我們曾習慣等它到來

♫ We used to wait for it ♫

（歌詞）We used to wait for it

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

所以我覺得，如果我今天的演講中有什麽值得回味的話，

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

就是交互介面可以成為一種強大的敘述裝置。

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

隨著我們所收集的與個人和社會相關的數據越來越多，

we have an opportunity, and maybe even an obligation,

我們就有機會，或者甚至有一種責任，

to maintain the humanity and tell some amazing stories

通過共同的探索與合作，保持人性，

as we explore and collaborate together.

講述這些神奇的故事。

Thanks a lot.

非常感謝。

(Applause)

（掌聲）