Jake Barton: The museum of you

譯者: Shengwei Cai 審譯者: 文进 肖

This is Charley Williams.

這是查利•威廉姆斯

He was 94 when this photograph was taken.

這張照片攝於他九十四歲時

In the 1930s, Roosevelt put

上世紀三十年代

thousands and thousands of Americans back to work

通過建造橋樑、公共建設和修築隧道的方式

by building bridges and infrastructure and tunnels,

羅斯福總統讓成千上萬美國人重回工作崗位

but he also did something interesting,

與此同時，他做了一件有趣的事

which was to hire a few hundred writers

他僱傭了幾百名作家

to scour America to capture the stories of ordinary Americans.

到全國各地去蒐集普通百姓的故事

Charley Williams, a poor sharecropper,

作為一個貧窮的美國佃農

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

查利•威廉姆斯不太可能成為此次大訪談的對象

but Charley had actually been a slave

但是，查利在二十二歲前

until he was 22 years old.

是一個奴隸

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

成了歷史王冠上一顆閃亮的明珠

of histories, of human-lived experiences

也是這個充滿前奴隸的社會的

filled with ex-slaves.

重要組成部分

Anna Deavere Smith famously said that

安娜•迪佛•史密斯曾說過一句著名的話

there's a literature inside of each of us,

“本質上，我們每個人都是一部文學著作。”

and three generations later, I was part of a project

三代人之後

called StoryCorps,

我成了“StoryCorps”的一員

which set out to capture

StoryCorps的目的就是

the stories of ordinary Americans

通過在公共場合建造一個隔音間

by setting up a soundproof booth in public spaces.

來蒐集普通美國百姓的故事

The idea is very, very simple.

這個主意其實很簡單

You go into these booths, you interview your grandmother

你到隔間裡採訪你的祖母或其他親屬

or relative, you leave with a copy of the interview

結束後，你帶走一份訪談拷貝

and an interview goes into the Library of Congress.

而且訪談內容會進到國會圖書館裡

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

本質上，形成國家口述​​故事檔案館的重要方法

one conversation at a time.

就是通過一次一個對話的方式

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

關鍵是，你想要記住誰呢

if you had just 45 minutes with your grandmother?

如果你和你祖母只有四十五分鐘時間的話

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

有意思的是，在和創始人戴夫•伊塞的交談中

we always actually talked about this

我們總會談到這個

as a little bit of a subversive project,

把牠當做一個略具顛覆性的計劃

because when you think about it,

因為，當思考到這個問題時

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

你會覺得，其實跟講述的故事無甚關係

it's about listening,

聆聽才是最重要的

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

還有你會問到的問題

questions that you may not have permission to

可能這些問題在其他任何場合

on any other day.

你都不能問

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

接下來，就讓大家聽幾段項目裡的錄音

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

「傑西•梅倫德斯談論詩人佩德羅•皮埃特利的最後時刻」

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

傑西：我們起飛了，飛機正在上升

before we had leveled off,

在水平飛行之前

our level-off point was 45,000 feet,

水平飛行高度是四萬五千英尺

so before we had leveled off,

所以是在水平飛行之前

Pedro began leaving us,

佩德羅就開始離我們而去

and the beauty about it

其美妙之處在於

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

我相信，人死後仍能有所期待

You can see it in Pedro.

從佩德羅身上就能看到

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

「丹尼•佩拉薩致妻子安妮•佩拉薩，他們已婚26年」

Danny Perasa: See, the thing of it is,

丹尼：事情是這樣的

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

每當對你說“我愛你”，我就感覺內疚

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

而且也說的次數不少 我說“我​​愛你”是為了提醒你

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

儘管我又矮又胖，但那句話是我說的

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

就像用老式破收音機收聽美妙的歌曲

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

你能好心地保存著這個破收音機真好

(Laughter)

（笑聲）

[Michael Wolmetz with his girlfriend Debora Brakarz]

「邁克爾•沃爾梅茨和女友黛博拉•布雷卡茲」

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

邁克爾：這是我父親給我母親的戒指

and we can leave it there.

現在先把它放在一邊

And he saved up and he purchased this,

父親省吃儉用，然后買下了這個戒指

and he proposed to my mother with this,

之後用它向我母親求了婚

and so I thought that I would give it to you

我想，我要把這個戒指給你

so that he could be with us for this also.

那樣父親也會與我們在一起

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

所以黛博拉，我現在要和你共用一個麥克風了

Where's the right finger?

該戴在哪個手指上？

Debora Brakarz: (Crying)

（黛博拉哭泣中）

MW: Debora, will you please marry me?

邁克爾：黛博拉，你願意嫁給我嗎

DB: Yes. Of course. I love you.

黛博拉：當然，我願意，我愛你

(Kissing)

（親吻）

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

邁克爾：孩子們，我和你們的媽媽就這樣結婚了

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

在中央車站的隔音間裡，用我父親的婚戒

My grandfather was a cab driver for 40 years.

我爺爺當了四十年出租車司機

He used to pick people up here every day.

過去他每天都在這裡載人

So it seems right.

看起來沒錯

Jake Barton: So I have to say

傑克•巴頓：所以我得聲明一下

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

我並沒特地選擇這些錄音樣本來讓你們掉眼淚

because they all make you cry.

但這些錄音讓你們哭了

The entire project is predicated on this act of love

我們整個項目都是基於這種愛的行為

which is listening itself.

也就是聆聽

And that motion of building an institution

出於談話及傾聽

out of a moment of conversation and listening

而建造一個公共機構

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

大體說來，正是我們公司（Local Projects）

is doing with our engagements in general.

受委託而踐行的事

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

我們是一家媒體設計公司

with a broad array of different institutions

並且和許多不同機構有合作關係

building media installations for museums and public spaces.

主要是給博物館及在公共空間安裝媒體設備

Our latest engagement is the Cleveland Museum of Art,

我們最近的委託方是克利夫蘭藝術博物館

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

我們已在那兒創建了一個 叫“第一畫廊”的互動設計

And Gallery One is an interesting project

“第一畫廊”是個很有趣的項目

because it started with this massive, $350 million expansion

因為是從這個巨大的、 價值三億五千萬美元的擴展入手

for the Cleveland Museum of Art,

給克利夫蘭藝術博物館進行設計

and we actually brought in this piece

實際上，我們引進這個設備

specifically to grow new capacity, new audiences,

特地用來創造新空間，吸引新觀眾

at the same time that the museum itself is growing.

同時博物館也在擴大

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

紐約現代藝術博物館（MoMA） 館長格倫•洛瑞做了最好的詮釋

"We want visitors to actually cease being visitors.

他說，“我們不要讓遊客再做遊客，

Visitors are transient. We want people who live here,

遊客都是暫時的，我們需要住在這裡的、

people who have ownership."

有所有權的人。 ”

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

所以我們正在做的，就是運用許多​​不同方式

of different ways for people to actually engage

所以我們正在做的，就是運用許多​​不同方式

with the material inside of these galleries,

讓人們能與畫廊裡的展品進行互動

so you can still have a traditional gallery experience,

因此，你仍能以傳統的方式參觀畫廊

but if you're interested, you can actually engage

但是，如果你感興趣的話

with any individual artwork and see the original context

你還可以和任意藝術品進行互動

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

看看它的原始脈絡，或者控制這個展品

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

比如，你可以點擊這個獅頭

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

這就是它發源的地方，公元前一千三百年

Or this individual piece here,

或者點擊這件獨立藝術品

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

你會看到這個實際的臥室

you think about this type of a tempera painting.

而且牠能改變你對這類蛋彩畫的看法

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

這是我最喜歡的作品之一 因為能看到工作室的原貌

This is Rodin's bust. You get the sense

這是羅丹的半身像，你們可以感受到

of this incredible factory for creativity.

這個令人難以置信的、為創造而建的工廠

And it makes you think about literally the hundreds

它會讓你直接聯想到幾千年

or thousands of years of human creativity and how

甚至幾萬年前人類的創造力

each individual artwork stands in for part of that story.

還有每個藝術品是怎樣代表了那段歷史

This is Picasso,

這是畢加索

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

當然很多是收錄自二十世紀

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

而且我要展示的下一個界面

actually leverages that idea of this lineage of creativity.

實際上影響了這種創造力傳承的理念

It's an algorithm that actually allows you to browse

牠是一種演算法則，但卻能讓你

the actual museum's collection using facial recognition.

通過面部識別的方式瀏覽博物館內的藏品

So this person's making different faces,

這個人正在扮不同的鬼臉

and it's actually drawing forth different objects

但實際上，根據她扮的鬼臉

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

能夠提取出館藏中相關聯的不同物品

And so you can imagine that, as people are performing

所以可以想見，

inside of the museum itself, you get this sense

當人們在博物館裡“表演”時

of this emotional connection,

你能感受到這種情感聯繫

this way in which our face connects with the thousands

這樣的話，我們的面部表情

and tens of thousands of years.

就能與幾萬年前聯繫起來

This is an interface that actually allows you to draw

事實上，這個界面還能讓你

and then draws forth objects using those same shapes.

反复提取出你畫出的形狀相關的物品

So more and more we're trying to find ways

所以，我們正在尋求更多的方式

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

讓人們在博物館裡進行創作

to be creative even as they're looking

甚至在看到別人的創意後，並將其理解

at other people's creativity and understanding them.

自己也會富有創造力

So in this wall, the collections wall,

在這面藏品牆上

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

你能同時看到三千件藝術品

and you can actually author your own

而且可以製作你的專屬博物館漫步遊

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

所以你才能分享它們

and someone can take a tour with the museum director

人們可以和館長在館內漫步遊

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

但儘管我們一直竭力完成

on this engagement for Cleveland,

克利夫蘭藝術博物館的委託

we've also been working in the background

同時，我們也一直致力於

on really our largest engagement to date,

迄今最大的委託

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

也就是9·11事件紀念博物館

So we started in 2006

我們從二零零六年開始

as part of a team with Thinc Design

就把牠作為團隊工作的部分 和 Thinc Design 團隊一道

to create the original master plan for the museum,

為該博物館創建總體規劃圖

and then we've done all the media design

之後我們為該博物館和紀念館

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

做了所有的媒體設計，然後是媒體製作

So the memorial opened in 2011,

於是該紀念館在二零一一年開館了

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

博物館將會在明年開館，也就是二零一四年

And you can see from these images,

從這些圖片可以看出

the site is so raw and almost archaeological.

場地還很原始，跟考古現場差不多

And of course the event itself is so recent,

而且9·11事件也離我們非常近

somewhere between history and current events,

介乎歷史和時事之間

it was a huge challenge to imagine

這是個巨大的挑戰

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

要構建如此巨大的場館

an event like this, to actually tell that story.

及事故現場，還有敘述那段故事

And so what we started with

於是在二零零九年

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

我們從一個叫做“製造歷史”的項目入手

through a project called Make History,

該項目的確是一個

which we launched in 2009.

建造公共機構的新思路

So it's estimated that a third of the world

據估計，世界上三分之一的人

watched 9/11 live,

觀看了9·11事件直播

and a third of the world

三分之一的人在二十四小時內

heard about it within 24 hours,

聽說了這起事件

making it really by nature of when it happened,

當它發生時，這都自然而然使得

this unprecedented moment of global awareness.

這個空前時刻具有了全球化意識

And so we launched this to capture the stories

所以我們發起這個項目，

from all around the world,

旨在全球蒐集故事

through video, through photos,

通過錄像，通過照片

through written history,

通過書本記載

and so people's experiences on that day,

所以人們那天的經歷

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

事實上，機構要面臨的巨大風險是第一步

to make its first move this open platform.

即，把這些經歷放到這個開放的平台上

But that was coupled together with this oral histories booth,

但還要加上這個口述故事隔間

really the simplest we've ever made,

這真的是我們做過最簡單的

where you locate yourself on a map.

你可以在地圖上給自己定位

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

它支援六種語言

about what happened to you on that day.

你可以講述那天你自己經歷的事

And when we started seeing the incredible images

但我們看到這些驚人的圖片

and stories that came forth

和故事

from all around the world --

從全世界湧來的時候

this is obviously part of the landing gear --

（這個很明顯是起落架的殘骸）

we really started to understand

我們才開始真正理解到

that there was this amazing symmetry

9·11事件本身

between the event itself,

有不可思議的對稱性

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

人們講述故事的方式和我們需要怎樣講述之間

and how we ourselves needed to tell that story.

也存在對稱性

This image in particular really captured

尤其這張照片，

our attention at the time,

當時真的吸引了我們的注意力

because it so much sums up that event.

因為它很好的概述了9·11事件

This is a shot from the Brooklyn-Battery Tunnel.

這個鏡頭是在砲台隧道捕捉到的

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

有輛消防車遇上交通堵塞

and so the firefighters themselves are running

所以這些消防員就扛著超過七十磅的裝備

a mile and a half to the site itself

跑了一點五英里

with upwards of 70 pounds of gear on their back.

到達指定地點

And we got this amazing email that said,

之後我們收到了這封不可思議的郵件

"While viewing the thousands of photos on the site,

“在翻看不計其數的現場照片時，

I unexpectedly found a photo of my son.

我無意間發現一張我兒子的照片。

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

那是種感情衝擊， 但能發現這張照片也是件幸事。 ”

and he was writing because he said,

他寫郵件過來是因為他說

"I'd like to personally thank the photographer

“我想感謝貼出這張照片

for posting the photo,

的攝影師，

as it meant more than words can describe to me

這很可能是我兒子最後一張照片，

to have access to what is probably

但我可以發現它，

the last photo ever taken of my son."

它的意義我已經不能用語言表達。 ”

And it really made us recognize

這真的讓我們認識到

what this institution needed to be

如果要講述9·11事件

in order to actually tell that story.

這個機構應該怎麼做

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

我們不能只讓一個歷史學家或館長

objectively in the third person about an event like that,

站在第三者的角度客觀描述那樣一個事件

when you have the witnesses to history

尤其是當那麼多歷史見證者

who are going to make their way

將要在這個博物館中

through the actual museum itself.

參觀的時候

And so we started imagining the museum,

於是我們開始構思這個博物館

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

和館內的創意團隊和館長們一起思考

thinking about how the first voice that you would hear

館內的第一個聲音要怎樣

inside the museum would actually be of other visitors.

才能引起參觀者的共鳴

And so we created this idea of an opening gallery

所以我們採取了一個開放式長廊的想法

called We Remember.

叫做“銘記”

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

接下來就讓大家聽聽模擬長廊內的部分錄音

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

但你能體會到身處那個時刻

into that moment in time

是怎樣的感覺

and be transported back in history.

會被帶回到歷史中去

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

我在夏威夷檀香山 我在埃及開羅

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

我在巴黎香榭麗舍大街 我在加州大學伯克利分校

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

我在時代廣場 我在巴西聖保羅市

(Multiple voices)

（多重聲音）

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

大約在晚上十一點

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

我在開車上班的路上，當地時間早上五點四十五分

Voice 9: We were actually in a meeting

我們當時正在開會，

when someone barged in and said,

有人突然闖進來說

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

“天啊，一架飛機剛撞到世貿大廈上了！”

Voice 10: Trying to frantically get to a radio.

我瘋狂地尋找收音機

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

當我在收音機上聽到這個事件時

Voice 12: Heard it on the radio.

從收音機上聽到這個事件

(Multiple voices)

（多重聲音）

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

我接到父親打來的電話 電話響了，把我吵醒

My business partner told me to turn on the television.

我的生意搭檔讓我打開電視機

Voice 15: So I switched on the television.

於是我打開電視機

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

意大利的所有電視頻道都在播同一件事

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

雙子塔 雙子塔

JB: And you move from there

傑克•巴頓：之後你就會從那邊走到

into that open, cavernous space.

那個空曠的穴狀空間

This is the so-called slurry wall.

這就是所謂的槽壁

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

就是這個從世貿大廈底部掘出的牆

that withstood the actual pressure from the Hudson River

在9·11事件後承受了整整一年

for a full year after the event itself.

來自哈德遜河的壓力

And so we thought about carrying that sense of authenticity,

所以我們想，通過這種真實性

of presence of that moment

把當時的感受

into the actual exhibition itself.

體現到實物上

And we tell the stories of being inside the towers

通過上述的合成音頻

through that same audio collage,

我們在雙子塔內講述那些故事

so you're hearing people literally talking about

所以當人們在館內參觀的時候

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

你能聽見他們說看見飛機撞上大廈

or making their way down the stairwells.

或從樓梯往下跑的事

And as you make your way into the exhibition

當你走進講述重建的展廳

where it talks about the recovery,

當你走進講述重建的展廳

we actually project directly onto these moments

我們直接把人們站在

of twisted steel all of the experiences from people

扭曲鋼筋堆上的經歷

who literally excavated on top of the pile itself.

表現了出來

And so you can hear oral histories --

所以你們能聽見口述歷史

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

你們能看到在水桶傳遞隊工作的人

as you're seeing literally the thousands of experiences

當你觀看源於當時的

from that moment.

無數經歷時

And as you leave that storytelling moment

在走出理解9·11事件的

understanding about 9/11,

講故事時刻後

we then turn the museum back into a moment of listening

我們讓博物館重新回到聆聽時刻

and actually talk to the individual visitors

然後和參觀者單獨交談

and ask them their own experiences about 9/11.

詢問一些他們自己的9·11事件經歷

And we ask them questions that are actually

還會問一些他們不太好回答的問題

not really answerable, the types of questions

還會問一些他們不太好回答的問題

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

這些問題都是由9·11事件引出的

And so these are questions like,

就像如下這些問題

"How can a democracy balance freedom and security?"

民主是怎麼平衡自由和安全的？

"How could 9/11 have happened?"

9·11事件怎麼會發生？

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

9·11事件後世界發生了怎樣的改變？

And so these oral histories,

所以這些口述歷史

which we've actually been capturing already for years,

這些我們蒐集多年的口述歷史

are then mixed together with interviews

與我們所做的專訪是混在一起

that we're doing with people like Donald Rumsfeld,

比如唐納德•拉姆斯菲爾德

Bill Clinton, Rudy Giuliani,

比爾•克林頓，魯迪•朱利安尼

and you mix together these different players

你會把這些不同的9·11事件角色

and these different experiences,

體驗

these different reflection points about 9/11.

和反射點糅合在一起

And suddenly the institution, once again,

突然，博物館再次

turns into a listening experience.

投向聆聽體驗

So I'll play you just a short excerpt

接下來我給大家播放一段模擬節選

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

這個節選就是我們用其中的一些錄音做的

but you really get a sense

但它的確會讓你感受到

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

其中每個人對9·11事件沉思的詩意

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

9·11事件不僅是紐約的不幸遭遇

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

它是我們共享的東西，是連結我們的東西

Voice 3: And I knew when I saw that,

當我看到現場後我就知道

people who were there that day who immediately

那天在現場的人們

went to help people known and unknown to them

他們立即跑去幫助認識的、不認識的人

was something that would pull us through.

他們的行為會使我們渡過難關

Voice 4: All the outpouring of affection and emotion

所有來自我們國家的感情

that came from our country was something really

和情緒傾瀉

that will forever, ever stay with me.

會永遠永遠留在我心中

Voice 5: Still today I pray and think about those

直到現在我仍會想起那些逝者

who lost their lives,

為他們祈禱

and those who gave their lives to help others,

還有那些奉獻自己、幫助他人的人

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

但我同樣意識到了這個國家的構成

the love, the compassIon, the strength,

關愛、慈悲和力量

and I watched a nation come together

我看到一個國家在災難中

in the middle of a terrible tragedy.

團結在一起

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

傑克•巴頓：當遊者走出博物館

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

思考著9·11事件，回想著自己的想法

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

然後他們走到紀念館中

because they've gone back up to grade,

因為他們回顧了足夠多

and we actually got involved in the memorial

其實開始建造紀念館

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

已經是我們建造博物館幾年之後

The original designer of the memorial, Michael Arad,

紀念館的原設計師麥克•埃拉德的設想圖像裡

had this image in his mind of all the names appearing

紀念館的原設計師麥克•埃拉德的設想圖像裡

undifferentiated, almost random,

浮現出的名字都沒明顯特點，近乎隨機

really a poetic reflection on top of the nature

的確是超出9·11恐怖襲擊本質的詩意反映

of a terrorism event itself,

的確是超出9·11恐怖襲擊本質的詩意反映

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

但對所有家庭、基金會來說卻是巨大的挑戰

certainly for the first responders,

當然還有第一目擊者

and there was a negotiation that went forth

還有協商需要進行

and a solution was found

和不依照大事記或字母順序的建造解決方案

to actually create not an order in terms of chronology,

和不依照大事記或字母順序的建造解決方案

or in terms of alphabetical,

和不依照大事記或字母順序的建造解決方案

but through what's called meaningful adjacency.

但是得貫穿所謂的意涵豐富的毗鄰

So these are groupings of the names themselves

這些名字組看起來沒特點

which appear undifferentiated but actually have an order,

但其實是有序的

and we, along with Jer Thorp, created an algorithm

我們和傑•索普一起製造了一個演算平台

to take massive amounts of data

讓牠承載海量的數據

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

來開始把所有各不相同的名字連結起來

So this is an image of the actual algorithm itself

這就是那個演算平台的圖像

with the names scrambled for privacy,

名字都以密碼形式呈現 是為了保護隱私

but you can see that these blocks of color

但你們可以看到這些顏色塊

are actually the four different flights,

實際上是四架不同的飛機

the two different towers, the first responders,

兩座不同的塔樓，還有第一目擊者們

and you can actually see within that different floors,

在不同層級之間，你能清楚的看到

and then the green lines are the interpersonal connections

這些綠線是應受害家庭要求

that were requested by the families themselves.

添上去的人際關係線

And so when you go to the memorial,

當你去到紀念館

you can actually see the overarching organization

你會發現這個拱形紀念館是在兩個單獨的泳池內部

inside of the individual pools themselves.

你會發現這個拱形紀念館是在兩個單獨的泳池內部

You can see the way that the geography of the event

還有9·11事件的地形分佈

is reflected inside of the memorial,

是如何在紀念館內部得到體現的

and you can search for an individual name,

而且你還能搜索任意一個名字

or in this case an employer, Cantor Fitzgerald,

這裡我們以雇主坎托-菲茨杰拉德公司為例

and see the way in which all of those names,

看看這數以千計的人名

those hundreds of names, are actually organized

是如何井然有序的排列

onto the memorial itself,

在紀念館內的

and use that to navigate the memorial.

然後通過它在館內找到正確方向

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

更重要的是，當你身處紀念館內時

of the memorial, you can see those connections.

你就能看到那些關係

You can see the relationships between the different names themselves.

你能清楚看出不同名字之間的關聯

So suddenly what is this undifferentiated, anonymous

所以這些沒有突出特點的名字組

group of names springs into reality as an individual life.

就會以獨立生活經歷的方式融入現實

In this case, Harry Ramos,

這里以哈里•拉莫斯為例

who was the head trader at an investment bank,

他曾是一個投資銀行的操盤手主管

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

正是他停下來救助南塔樓五十五層 的維克托•沃爾德

And Ramos told Wald, according to witnesses,

據目擊者稱，拉莫斯告訴沃爾德

"I'm not going to leave you."

“我不會丟下你的。”

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

於是沃爾德的遺孀要求 把他們的名字列在一起

Three generations ago, we had to actually get people

三代人前，我們必須讓人去到全國各地

to go out and capture the stories for common people.

才能蒐集到普通百姓的故事

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

現在，我們毫無疑問能夠

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

為後代蒐集不可勝數的故事

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

我們的願望就是 讓每一個故事都能從本質上體現出詩意

Thank you very much.

謝謝大家

(Applause)

（掌聲）