Walk around for four months with three wishes, and all the ideas will start to percolate up. I think everybody should do it -- think that you've got three wishes. And what would you do? It's actually a great exercise to really drill down to the things that you feel are important, and really reflect on the world around us. And thinking that, can an individual actually do something, or come up with something, that may actually get some traction out there and make a difference? Inspired by nature -- that's the theme here. And I think, quite frankly, that's where I started.
Üç ay boyunca üç dilekle etrafta dolastim, ve bütün fikirler filtreden geçmeye başladi. Bana kalirsa herkes bunu yapmali -- Üc tane dileğiniz olduğunu düşünün. Ve ne yapacaginizi? Aslinda cok iyi bir egzersiz önemli oldugunu hissetiginiz seyleri kurcalamak, ve gercekten etrafimizdaki dunyaya yansitmak. Ve bir birey gercekten birsey yapabilir mi, ya da bir fikir ortaya koyabilir mi, (ve bu fikir) aslinda bu bir surtunme ortaya cikarabilir ve bir farki yaratabilir mi? Dogadan esinlenerek -- simdiki konu bu. Ve bana kalirsa, acikcasi, bu benim baslama noktamdi.
I became very interested in the landscape as a Canadian. We have this Great North. And there was a pretty small population, and my father was an avid outdoorsman. So I really had a chance to experience that. And I could never really understand exactly what it was, or how it was informing me. But what I think it was telling me is that we are this transient thing that's happening, and that the nature that you see out there -- the untouched shorelines, the untouched forest that I was able to see -- really bring in a sense of that geological time, that this has gone on for a long time, and we're experiencing it in a different way.
Kanadali olarak peyzajla ilgilenmeye basladim. Muazzam bir Kuzeyimiz var. Ve orada küçük bir populasyon vardi, ve babam hirsli bir acik hava insaniydi. Yani benim bunu terube etme sansim oldu Ve ben hicbirzaman onun ne oldugunu ya da beni nasil bbilgilendirdigini anlayamadim. Fakat bana kalirsa bana anlattigi bizim gecici odugumuz ve disarida gordugunuz doganin -- dokunulmamis kiyiseritleri, benim gorebildigim dokunulmamis ormanlar -- jeolojik zamanin hislerini getirdi, bu uzun sure devam etti, ve bizler bunu farkli sekilde tecrube ediyoruz.
And that, to me, was a reference point that I think I needed to have to be able to make the work that I did. And I did go out, and I did this picture of grasses coming through in the spring, along a roadside. This rebirth of grass. And then I went out for years trying to photograph the pristine landscape. But as a fine-art photographer I somehow felt that it wouldn't catch on out there, that there would be a problem with trying to make this as a fine-art career. And I kept being sucked into this genre of the calendar picture, or something of that nature, and I couldn't get away from it. So I started to think of, how can I rethink the landscape? I decided to rethink the landscape as the landscape that we've transformed.
Ve bu, bana kalirsa, almam gereken bir referans noktasiydi benim isimi yapabilmek icin. Ve disariya gittim, ve baharda cimlerin cikisinin resmini yaptim yol kenari boyunca. Cimlerin yeniden dogusu. Ve daha sonra yillarca disariya gittim bozulmamis peyzajlari fotograflamaya calistim. Fakat guzel sanatlar fotografcisi olarak birsekilde hissettimki bu disarida tutunamayacak, bunu guzel sanatlar kariyeri olarak yapmak bir problem olacakti. Ve bunu takvim resmi olarak yapmakta herzaman basarisizdim, ya da onun gibi bir sey, ve bundan kurtulamadim. Ve peyzaji yeniden nasil tasavvur edebilirim diye dusunmeye basladim. peyzaji yeniden dusunmeye karar verdim bizim donusturdugumuz (farklilastirdigimiz) peyzaj olarak.
I had a bit of an epiphany being lost in Pennsylvania, and I took a left turn trying to get back to the highway. And I ended up in a town called Frackville. I got out of the car, and I stood up, and it was a coal-mining town. I did a 360 turnaround, and that became one of the most surreal landscapes I've ever seen. Totally transformed by man. And that got me to go out and look at mines like this, and go out and look at the largest industrial incursions in the landscape that I could find. And that became the baseline of what I was doing. And it also became the theme that I felt that I could hold onto, and not have to re-invent myself -- that this theme was large enough to become a life's work, to become something that I could sink my teeth into and just research and find out where these industries are.
Pensilvanyada kaybolmam uzerine biraz ilham aldim, ve otobana cikmaya calisirken sola dondum. Ve kendimi Frackville diye bir kasabada buldum. Arabadan ciktim ve ayakta durdum, ve bitr maden/komur cikarma kasavbasiydi. 360 derece dondum, ve orasi ozamana kadar gordugum en gercekustu peyzay oldu. Insanoglu tarafindan tamamen degistirilmis. Ve bunun uzerine diger madenlere gidip bakmaya basladim, ve gidip en buyuk endustriyel saldirilara bulabildigim peyzajlarda. Ve bu yaptigim seyin temelini olusturdu. Ve bu konuya tutunabilecegimi hissettim, ve kendimi yenilemeye gerek duymadan -- bu konunun hayatimin isi ocak kadar buyuk olduguna, benim tum enerjimi heyecanla harcayabilecegim birseye donusmesi ve sadece arastirma ve bu endustrilerin nerede oldugunu bulmak.
And I think one of the things I also wanted to say in my thanks, which I kind of missed, was to thank all the corporations who helped me get in. Because it took negotiation for almost every one of these photographs -- to get into that place to make those photographs, and if it wasn't for those people letting me in at the heads of those corporations, I would have never made this body of work. So in that respect, to me, I'm not against the corporation. I own a corporation. I work with them, and I feel that we all need them and they're important. But I am also for sustainability.
Ve bana kalirsa teselkkur ederken soylemek istedigim, ve bir sekilde unuttugum, soyleki iceriye girmeme izin veren kurumlara (sirketlere) tesekkur etmek istiyorum. Hemen hemen butun fotograflar icin pazarlik yapmak gerekti -- o yerlere gidip fotograflari cekebilmek icin, ve eger o insanlar beni iceriye almasalardi kurumlarin/sirketlerin baslarindaki kisiler, bu isi asla yapamazdim. Bu yonden ben sirketlere karsi degilim. Ben bir sirket sahibiyim. Ben onlarla calisiyorum, ben onlara ihtiyacim oldugunu ve onemli olduklarini dusunuyorum. Fakat ben ayni zamanda surdurulebilirlikten (kendi kendine yetme) yanayim.
So there's this thing that is pulling me in both directions. And I'm not making an indictment towards what's happening here, but it is a slow progression. So I started thinking, well, we live in all these ages of man: the Stone Age, and the Iron Age, and the Copper Age. And these ages of man are still at work today. But we've become totally disconnected from them. There's something that we're not seeing there. And it's a scary thing as well. Because when we start looking at the collective appetite for our lifestyles, and what we're doing to that landscape -- that, to me, is something that is a very sobering moment for me to contemplate.
Yani beni her iki yonden ceken birseyler var. Ve burada olanlara karsi bir suclama yapmiyorum, ama bu yavas bir ilerleme. Dusunmeye basladim, peki, biz insanogludun bulundugu asirlarda yasiyoruz: tas devri, ve demir cagi, ve bakir cagi. Ve insanoglunun bu caglari halen daha calismakta. Fakat biz onlardan tamamen koptuk. Orada gormedigimiz birseyler var. Ve bu kortucu birsey, cunku bakmaya basladigimizda yasambicimlerimize olan toplu istaha (bakmaya basladigimizda), ve bu peyzaja ne yapacagimiza -- bana kalirsa benim dikkatle izlemem icin bu cok ciddi bir an,
And through my photographs, I'm hoping to be able to engage the audiences of my work, and to come up to it and not immediately be rejected by the image. Not to say, "Oh my God, what is it?" but to be challenged by it -- to say, "Wow, this is beautiful," on one level, but on the other level, "This is scary. I shouldn't be enjoying it." Like a forbidden pleasure. And it's that forbidden pleasure that I think is what resonates out there, and it gets people to look at these things, and it gets people to enter it. And it also, in a way, defines kind of what I feel, too -- that I'm drawn to have a good life. I want a house, and I want a car. But there's this consequence out there. And how do I begin to have that attraction, repulsion? It's even in my own conscience I'm having it, and here in my work, I'm trying to build that same toggle.
Ve benim fotograflarim araciligiyla, yaptigim isin seyircilerinin ilgisini cekmeyi umuyorum, ve yanina gelip goruntuyle aninda reddedilmeyi degil. "Aman Allahim, oda nesi? " demek degil ama resim tarafindan dusundurulme -- soyle soyleme "Wow, bu guzel," bir yonden, ama obur taraftan, "Bu korkutucu. Bundan zev almamaliyim." Yasaklanmis zevk gibi. Ve bu yasaklanmis zevk disarida yankilaniyor, ve insanlari bunlara bakmaya baslatiyor, ve insanlaribunlarla ilgilendirmeye basliyor, Ve Ayrica, bir yonden de, benim neler hissetigimi anlatiyor -- iyi bir yasantiya olan ilgimi. Bir ev istiyorum, ve bir araba. Fakat bunlarin boyle bir sonucu var. Ve nasil bu cekim, itme hissini duymaya baslarim ? Kendi bilincimde dahi bunu hissediyorum, ve burada isimde, ayni
These things that I photographed -- this tire pile here had 45 million tires in it. It was the largest one. It was only about an hour-and-a-half away from me, and it caught fire about four years ago. It's around Westley, California, around Modesto. And I decided to start looking at something that, to me, had -- if the earlier work of looking at the landscape had a sense of lament to what we were doing to nature, in the recycling work that you're seeing here was starting to point to a direction. To me, it was our redemption. That in the recycling work that I was doing, I'm looking for a practice, a human activity that is sustainable. That if we keep putting things, through industrial and urban existence, back into the system -- if we keep doing that -- we can continue on. Of course, listening at the conference, there's many, many things that are coming. Bio-mimicry, and there's many other things that are coming on stream -- nanotechnology that may also prevent us from having to go into that landscape and tear it apart. And we all look forward to those things.
Bunlar fortografini cektigim seyler -- bu tekerlek yigini icinde 45 milyon tekerlek var. Bu en buyugu. Benden yanlizca 1.5 saatlik mesafede idi ve yangin oldu yaklasik dort yil once. Californiya eyalentinde wesley Modesto civarlarinda. Ve baska bir seye bakmaya karar verdim, bu sey bana kalirsa -- eger daha onceki peyzaja bakma isi dogaya yaptigmiz seye agit gibiyse, burada gordugunuz geridonusum isinde bir noktaya isaret etmeye basliyor. Bana kalirsa, bizim kefaretimiz. Genidonusum isinde yaptigim, bir eyleme bakmak, kendi kendine yetebilen insan aktivitesine. Endustriyel ve sehirsel varligimizkla bir seyleri gondermeye devam edersek, sisteme geri gondermeye -- eger bunu yapmaya devam edersek -- ozaman devam edebiliriz. Tabiki, conferansta dinledikce, bircok sey geliyor. Bio -mimicry, ve daha bircok sey gundemde -- nanoteknoloji bizim dogaya gitme ve onu mahvetmeizi engelleyebilir. Ve biz bunlar icin sabirsizlaniyoruz.
But in the meantime, these things are scaling up. These things are continuing to happen. What you're looking at here -- I went to Bangladesh, so I started to move away from North America; I started to look at our world globally. These images of Bangladesh came out of a radio program I was listening to. They were talking about Exxon Valdez, and that there was going to be a glut of oil tankers because of the insurance industries. And that those oil tankers needed to be decommissioned, and 2004 was going to be the pinnacle. And I thought, "My God, wouldn't that be something?" To see the largest vessels of man being deconstructed by hand, literally, in third-world countries. So originally I was going to go to India. And I was shut out of India because of a Greenpeace situation there, and then I was able to get into Bangladesh, and saw for the first time a third world, a view of it, that I had never actually thought was possible. 130 million people living in an area the size of Wisconsin -- people everywhere -- the pollution was intense, and the working conditions were horrible.
Fakat ayni zamanda, bu seyler ayni oranda yukseliyor. Bunlar olmaya devam ediyor. Burada goruyorsunuz --- ben Bangladese gittim Kuzey Amerikadan uzaklasmaya basladim; dunyaya global olarak bakmaya basladim. Bunlar Bangladesin rfotograflari dinledigim bir radyo programindan geliyor. Exxon Valdez hakkinda konusuyorlardi, ve azlasiyla petrol tankeri olacagini sigorta endustrileri nedeniyle. Ve bu petrol tankerlerinin tedavulden kalkmalari gerektigini ve 2004 yilinin zorve olacagini Ve ben kendikendime dusundumki "Aman Allahim, bu birsey olmaz mi? " Insanlarin en genis damarlarinin elle parcalara ayrilmasini gormek, gercekten, 3. dunya ulkelerinde. Aslinda Hindistana gidiyordum. Ve Greenpeace durumundan oturu Hindistandan atilmistim, ve sonrasinda Bangladese gidebildim, ve ilk kez 3. dunyayi gordum, ondan bir manzara, asla mumkun olmadigini dusundugum. Wisconsin buyuklugunde bir yerde 130 milyon insan yasiyordu -- heryerde insanlar -- kirlilik inanilmazdi, ve calisma kosullari korkunctu.
Here you're looking at some oil fields in California, some of the biggest oil fields. And again, I started to think that -- there was another epiphany -- that the whole world I was living in was a result of having plentiful oil. And that, to me, was again something that I started building on, and I continued to build on. So this is a series I'm hoping to have ready in about two or three years, under the heading of "The Oil Party." Because I think everything that we're involved in -- our clothing, our cars, our roads, and everything -- are directly a result. I'm going to move to some pictures of China. And for me China -- I started photographing it four years ago, and China truly is a question of sustainability in my mind,
Burada Californiyada petrol arazilarine bakiyorsunuz, en buyuk petrol arazilerinden. Ve yine, dusunmeye basladim -- baska bir tezahur vardi -- icinde yasadigim dunya fazlasiyla petrolun olusundan oturu idi. Ve bu, bana kalirsa, uzerine insa etmeye basladigim bir sey, ve insa etmeye devam ettim. Yani bu hazir olmasini umdugumbir seri yaklasik iki yada üç yıl içinde, "Petrol Partisi" adi altinda. Cunku bence mesgul oldugumuz hersey -- giysilerimiz, arabalarimiz, yollarimiz ve hersey -- direkt olarak bir sonuc. Cinden fotograflara gececegim. Ve bana kalirsa Cin -- 4 yil once fotograflamaya basladim, ve Cin benim kafamda gercekten kendi kendine yetebilirlik sorusu,
not to mention that China, as well, has a great effect on the industries that I grew up around. I came out of a blue-collar town, a GM town, and my father worked at GM, so I was very familiar with that kind of industry and that also informed my work. But you know, to see China and the scale at which it's evolving, is quite something. So what you see here is the Three Gorges Dam, and this is the largest dam by 50 percent ever attempted by man. Most of the engineers around the world left the project because they said, "It's just too big." In fact, when it did actually fill with water a year and a half ago, they were able to measure a wobble within the earth as it was spinning. It took fifteen days to fill it. So this created a reservoir 600 kilometers long, one of the largest reservoirs ever created. And what was also one of the bigger projects around that was moving 13 full-size cities up out of the reservoir, and flattening all the buildings so they could make way for the ships.
bunun yani sira Cin, ayni zamanda, etrafinda buyudugum endustriler uzerinde buyuk etkiye sahip. Ben bir mavi-yaka sehrinden geldim, bir GM (General Motors) sehri, ve babam GM de calisti, yani ben bu tip bir entustriye asinayim ve bu benim isime yansidi. Fakat bilirsiniz, Cini ve gelisme boyutunu gormek, cok sey. Burada gordugunuz There Gorges Dam (Üç Boğaz Barajı), ve bu yuzde elli insan eliyle yapilmis en buyuk baraj. Dunyadaki bircok muhendis projeyi birakti cunku "bu sadece cok buyuk" dediler Aslinda, 1.5 yil evvel aslinda su ile doldugunda, su dondunkce toprakta bir titresim olcebildiler. dolmasi 15 gun surdu. Yani bu 600 kilometre uzunlugunbda bir rezervuar olusturdu, yapilan en buyuk rezervuarlardan biri. Ve bunun etrafindaki buyuk projelerden birisi 13 tam boyutta sehrin rezervuarin yolundan kaldirilmasi, ve butun yapilarin yikilmasi boylece gemilere yol yapilmasiydi.
This is a "before and after." So that was before. And this is like 10 weeks later, demolished by hand. I think 11 of the buildings they used dynamite, everything else was by hand. That was 10 weeks later. And this gives you an idea. And it was all the people who lived in those homes, were the ones that were actually taking it apart and working, and getting paid per brick to take their cities apart. And these are some of the images from that. So I spent about three trips to the Three Gorges Dam, looking at that massive transformation of a landscape. And it looks like a bombed-out landscape, but it isn't. What it is, it's a landscape that is an intentional one. This is a need for power, and they're willing to go through this massive transformation, on this scale, to get that power.
Bu oncesi ve sonrasi. Evet bu oncesi. Ve bu 10 hafta sonrasi, insan eliyle yok edildi. Yanilmiyorsam 11 yapi icin dinamit kullandilar, onun disinda hersey elle. Bu 10 hafta sonrasi. Ve bu size bir fikir veriyor. Ve o evlerde yasayan butun insanlar, aslinda yikimi yapan onlardi ve calisan, ve sehirlerini yikmak icin tugla basina odeme alan. Ve bunlar ondan bazi fotograflar. Evet Three Gorges Dam'e üç yolculuk yaptim, yeryuzunuz devasa donusumune baktim. Bombalanmis bir yer gibi duruyor ama aslinda degil. Bu ne, bilincli yapilmis bir peyzaj. Bu güce olan ihtiyac, ve onlar bunu goze aliyorlar devasa donusum, bu derece, o gücü alabilmek icin.
And again, it's actually a relief for what's going on in China because I think on the table right now, there's 27 nuclear power stations to be built. There hasn't been one built in North America for 20 years because of the "NIMBY" problem -- "Not In My BackYard." But in China they're saying, "No, we're putting in 27 in the next 10 years." And coal-burning furnaces are going in there for hydroelectric power literally weekly. So coal itself is probably one of the largest problems. And one of the other things that happened in the Three Gorges -- a lot of the agricultural land that you see there on the left was also lost; some of the most fertile agricultural land was lost in that. And 1.2 to 2 million people were relocated, depending on whose statistics you're looking at. And this is what they were building.
Ve yine, bu aslinda Cinde olan olaylar icin bir rahatlama cunku yanilmiyorsam su anda masada, 27 adet nukleer güç istasyonu insa edilmeyi bekliyor. Kuzey Amerikada son 20 yilda bir tane bile insa edilmedi "BABO" promlemi yuzunden -- "Benim Arka Bahcemde Olmaz." Fakat Cinde diyorlarki, " Hayir biz gelecek on yilda 27 tane koyuyoruz." Ve komur yakan endustriyel firinlar oraya gidiyor hidroelektrik güç icin, neredeyse her hafta. Yani komur baslibasina en buyuk problemlerden biri. Ve Three Gorges te olan seylerden bir tanesi -- sol tarafta gordugunuz bircok tarimsal alan da yok oldu; en verimli arazilerin bir mi bunun icinde kayip oldu. 1.2 ila 25 milyon insan yeniden yerlestirildi, kimin istatistiklerine baktiginiza gore. Ve bu insa ettikleri sey.
This is Wushan, one of the largest cities that was relocated. This is the town hall for the city. And again, the rebuilding of the city -- to me, it was sad to see that they didn't really grab a lot of, I guess, what we know here, in terms of urban planning. There were no parks; there were no green spaces. Very high-density living on the side of a hill. And here they had a chance to rebuild cities from the bottom up, but somehow were not connecting with them.
Bu Wushan, yeniden yerlestirilen en buyuk sehirlerden biri. Burasi sehrin belediye binasi. Ve yine, sehrin yeniden insasi -- bana kalirsa, görmek üzücüydü galiba onlar fazla esinlenmedi bizim burada sehir planlama anlaminnda bildiklerimizden. Parklar yoktu; yesil alanlar yoktu. Tepenin eteginde cok jkala balik bir yasam alani. Ve burada bastan assagi sehirleri yeniden insa etme sanslari vardi, fakar bir sekilde onlarla baglandti kuramadilar.
Here is a sign that, translated, says, "Obey the birth control law. Build our science, civilized and advanced idea of marriage and giving birth." So here, if you look at this poster, it has all the trappings of Western culture. You're seeing the tuxedos, the bouquets. But what's really, to me, frightening about the picture and about this billboard is the refinery in the background. So it's like marrying up all the things that we have and it's an adaptation of our way of life, full stop. And again, when you start seeing that kind of embrace, and you start looking at them leading their rural lifestyle with a very, very small footprint and moving into an urban lifestyle with a much higher footprint, it starts to become very sobering.
Burada bir isaret var, cevirisi soyle, "Aile planlamasi kurallarina uyun. Bilimimizi,uygar ve gelismis evlilik, ureme anlayisimizi insa edin." Ve burada, bu postere bakarsaniz, Bati kulturunun bvutun ziynetleri var. Burada smokinler, buketler goruyorsunuz. Fakat bana kalirsa bu resimle ilgili en korkutucu sey ve bu bilbord hakkinda en korkutucu sey arka plandaki aritma tehsisi. Yani bu elimizdeki herseyi evlendirmek ve bu bizim yasam bicimimize bir adaptasyon, nokta. Ve yine, bu tip bir kabullenmeyi gormeye basladiginizda, ve onlarin koylu yasam bicimlerini surdurmeye devam ettiklerini gormeye basladigimizda çok çok küçük bir ayak iziyle ve cağdas bir yaşam bicimine gecmeyelerini cok daha buyuk bir ayak iziyle, cok uyandirici oluyor.
This is a shot in one of the biggest squares in Guangdong -- and this is where a lot of migrant workers are coming in from the country. And there's about 130 million people in migration trying to get into urban centers at all times, and in the next 10 to 15 years, are expecting another 400 to 500 million people to migrate into the urban centers like Shanghai and the manufacturing centers. The manufacturers are -- the domestics are usually -- you can tell a domestic factory by the fact that they all use the same color uniforms. So this is a pink uniform at this factory. It's a shoe factory. And they have dorms for the workers. So they bring them in from the country and put them up in the dorms.
Bu Guangdong un en buyuk meydanlarindan birinin fotografi -- ve burasi koylerden gelen iscilerin bulundugu yer. Ve burada 130 milyon insan gocmen sehir merkezlerine gitmeye calisiyorlar, gelecek 10 15 yil icerisinde, tahminlere gore 400 ila 500 milyon insanin gocmesi Sanghai ve uretim merkezleri gibi yerlere (gocmesi bekleniyor). Uretim yerleri -- yerliler genelde -- domestik bir fabrikayi anlayabilirsiniz hepsi ayni renk uniformalari kullaniyrolar. Burasi pembe uniforma fabrikasi. Bu bir ayakkabi fabrikasi. Ve calisanlar icin yurtlari var. Yani onlari koylerden getirip yurtlara yerlestiryorlar.
This is one of the biggest shoe factories, the Yuyuan shoe factory near Shenzhen. It has 90,000 employees making shoes. This is a shift change, one of three. There's two factories of this scale in the same town. This is one with 45,000, so every lunch, there's about 12,000 coming through for lunch. They sit down; they have about 20 minutes. The next round comes in. It's an incredible workforce that's building there. Shanghai -- I'm looking at the urban renewal in Shanghai, and this is a whole area that will be flattened and turned into skyscrapers in the next five years.
Bu en buyuk ayakkabi fabrikasi, Yuyuyan ayakkabi fabrikasi. Shanzen yakinlarinda, 90,000 isci ayakkabi yapiyor. Bu bir nobet degisimi, üçünden biri. Ayni sehirde bu olcude iki adet fabrika var. Bu 45,000 den bir tanesi, yani her oglen yemeginde, 12,000 kisi yemege geliyor. Oturuyorlar, yaklasik 20 dakikalari var. Diger boluk geliyor. Inanilmaz bir işgücü. oradaki bina. Shanghai -- Shanghai deki kentsel donusume bakiyorum, ve burasi duzlenecek buyuk bir alan gelecek 5 yilda gokdelenlere donusecek.
What's also happening in Shanghai is -- China is changing because this wouldn't have happened five years ago, for instance. This is a holdout. They're called dengzahoos -- they're like pin tacks to the ground. They won't move. They're not negotiating. They're not getting enough, so they're not going to move. And so they're holding off until they get a deal with them. And they've been actually quite successful in getting better deals because most of them are getting a raw deal. They're being put out about two hours -- the communities that have been around for literally hundreds of years, or maybe even thousands of years, are being broken up and spread across in the suburban areas outside of Shanghai. But these are a whole series of guys holding out in this reconstruction of Shanghai. Probably the largest urban-renewal project, I think, ever attempted on the planet.
Sanghayda olan baska bir sey ise -- Cin degisiyor cunku bu bes sene evvel mumkun olmazdi (bes sene) ornek olarak. Bu bir bekleme. Dengzahoos olarak adlandiriliyorlar -- yeredeki sikkeler gibiler. Hareket etmeyecekler. Pazarlik yapmiyorlar. Yeterince almiyorlar, dolayisiyla hareket etmeyecekler. Ve anlasmaya varana kadar bekletiyorlar. Ve iyi anlasmalar almakta oldukca basarililar cunku bircogu cig anlasmaya variyorlar. Yaklasik iki saat boyunca disarida bekletiliyorlar yuzlerce yildir etrafinda bulunduklari topluluklardan, belkide binlerce yil, yikiliyor ve baska yerlere dagitiliyor Shanghai disinda. Fakat butun bu insanlar Sanhayin yeniden insasini sabirla bekliyorlar. Muhtemelen en buyuk kentsel donusum projesi, bana kalirsa dunya uzerinde girisimde bulunulan.
And then the embrace of the things that they're replacing it with -- again, one of my wishes, and I never ended up going there, was to somehow tell them that there were better ways to build a house. The kinds of collisions of styles and things were quite something, and these are called the villas. And also, like right now, they're just moving. The scaffolding is still on, and this is an e-waste area, and if you looked in the foreground on the big print, you'd see that the industry -- their industry -- they're all recycling. So the industry's already growing around these new developments.
Ve sonrasinda degiltirdikleri seylekrin kabullenilmesi -- yine, dileklerimden bir tanesi, ve oraya gidemedim, bir sekilde onlara bir ev insa etmenin daha iyi yollari oldugunu anlatmak. Stillerin cakismasi ve aslinda bir seylere degmesi ve bunlar villlalar olarak adlandiriliyor. Ve yine, su anda, sadece hareket ediyorlar. Iskele halen ayakta, ve bu bir e-atik alani, ve bu buyuk resimdeki onplana bakarsaniz, goreceksinizki endustrileri -- onlarin endustrileri -- onlarin hepsi geri donusum yapiyor. Yani endustriler zaten buyuyor bu yeni yapilasmalarda.
This is a five-level bridge in Shanghai. Shanghai was a very intriguing city -- it's exploding on a level that I don't think any city has experienced. In fact, even Shenzhen, the economic zone -- one of the first ones -- 15 years ago was about 100,000 people, and today it boasts about 10 to 11 million. So that gives you an idea of the kinds of migrations and the speed with which -- this is just the taxis being built by Volkswagen. There's 9,000 of them here, and they're being built for most of the big cities, Beijing and Shanghai, Shenzhen. And this isn't even the domestic car market; this is the taxi market. And what we would see here as a suburban development -- a similar thing, but they're all high-rises. So they'll put 20 or 40 up at a time, and they just go up in the same way as a single-family dwelling would go up here in an area.
Bu Sangayda 5 katli bir kopru. Sangay cok merak uyandirici bir sehirdi -- Patliyor daha once hic bir sehire olmadigi kadar. Aslinda, Senzen dahi, ekonomik bolge -- ilklerden biri -- 15 yil once100,000 insan, ve bugun 10 ila 11 milyona ulasiyor. Ve bununla gocme cesitlerini ve hizini anlayabilirsiniz -- bu sadece Volkswagen tarafindan uretilen taksiler. Burada 9,000 tanesi var, ve genelde buyuk sehirler icin uretiliyorlar, Pekin ve Sangay, Senzen. Ve bu yerli araba marketi bile degil; be taksi marketi. Ve burada gordugumuz varos bir yerleske -- benzer senaryo, fakat hepsi yuksek binalar. Ve bir seferde 20 ila 40 tane insa edecekler, ve ayni sekilde yukselecekler tek bir aile yapisinin burada yukseldigi gibi.
And the density is quite incredible. And one of the things in this picture that I wanted to point out is that when I saw these kinds of buildings, I was shocked to see that they're not using a central air-conditioning system; every window has an air conditioner in it. And I'm sure there are people here who probably know better than I do about efficiencies, but I can't imagine that every apartment having its own air conditioner is a very efficient way to cool a building on this scale. And when you start looking at that, and then you start factoring up into a city the size of Shanghai, it's literally a forest of skyscrapers. It's breathtaking, in terms of the speed at which this city is transforming. And you can see in the foreground of this picture, it's still one of the last areas that was being held up. Right now that's all cleared out -- this was done about eight months ago -- and high-rises are now going up into that central spot. So a skyscraper is built, literally, overnight in Shanghai.
Ve yogunluk inanilmaz. Ve bu resimde belirtmek istedigim bir nnokta boyle binalar gordugum zaman suna sok olmustum merkezi havalandirma (klima) sistemi kullanmiyorlar; her bir pencerenin kendi icinde havalandirma sistemi var. Ve eminimki burada bazi insanlar effektiflik durumunu benden daha iyi bilyorlardir, fakat her apartmanin kendi havalandirma sistemi oldugunu hayal edemiyorum boyle bir binayi sogutmak icin cok effektif bir yontem Ve buna bakmaya basladiginizda, Sangay buyuklugundeki bir sehire fabrika gibi insa etmeye basladiginnizda, bu gercekten gokdelen ormani. Bu nefes kesici, bu sehrin donusum hizini goze aldiginizda. Ve bu resmin onunde gorebilirsiniz, burasi donusturulmeyen alanlardan birtanesi. Su anda hepsi temizlendi -- yaklasik 8 ay evvel -- ve yuksek binalar simdi merkezi noktaya dogru ilerliyor. Yani Sangayda bir gokdelen kelimenin tam anlamiyla bir gecede insa ediliyor.
Most recently I went in, and I started looking at some of the biggest industries in China. And this is Baosteel, right outside of Shanghai. This is the coal supply for the steel factory -- 18 square kilometers. It's an incredibly massive operation, I think 15,000 workers, five cupolas, and the sixth one's coming in here. So they're building very large blast furnaces to try to deal with the demand for steel in China. So this is three of the visible blast furnaces within that shot. And again, looking at these images, there's this constant, like, haze that you're seeing. This is going to show you, real time, an assembler. It's a circuit breaker. 10 hours a day at this speed. I think one of the issues that we here are facing with China, is that they're using a lot of the latest production technology.
Yakin gecmiste gittim ve bakmaya basladim Cindeki en buyun endustrilerden birine. Ve bu Baosteel, Sangayin hemen disinda. Bu fabrikanin komur deposu -- 18 kilometre kare. Bu inanilmaz derecede devasa bir operasyon, yanilmiyorsam 15,000 isci, bes kasa ve altincisi buraya geliyor. Yani cok buyuk patlama firinlari insa ediyorlar Cinde demir icin olan taleple basa cikabilmek icin Ve bu gorunurdeki firinlardan üç tanesi. Ve yine, bu resimlere bakarken, gorunen devamli bir sis var. Bu size es zamanli bir birlestirici gosterecek. Bu devre kiricisi. Gunde 10 saat buhizla. Bana kalirsa Cinde onumuze cikan problemlerden biri en son uretim teknolojisini kullaniyor olmalari.
In that one, there were 400 people that worked on the floor. And I asked the manager to point out five of your fastest producers, and then I went and looked at each one of them for about 15 or 20 minutes, and picked this one woman. And it was just lightning fast; the way she was working was almost unbelievable. But that is the trick that they've got right now, that they're winning with, is that they're using all the latest technologies and extrusion machines, and bringing all the components into play, but the assembly is where they're actually bringing in -- the country workers are very willing to work. They want to work. There's a massive backlog of people wanting their jobs. That condition's going to be there for the next 10 to 15 years if they realize what they want, which is, you know, 400 to 500 million more people coming into the cities.
Bunda 400 kisi yerde calisiyor Ve ben 5 tane en hizli ureticlerini gostermesi icin sefe ricada bulundum, ve sonrasinda gitim ve herbirine 15 ila 20 dakika boyunca baktim, ve bu kadini sectim. Ve gercekten simsek gibiydi; calisma bicimi neredeyse inanilmazdi. Fakat bu su anda ellerinde olan numara, bununla kazaniyorlar, en son teknolojileri ve ekstrüzyon makinelerini kullaniyorlar, ve butun bilesenleri oyuna sokuyorlar, fakat birlesim aslinda yaptiklari sey -- koyluler calismaya istekli. Calismak istiyorlar. devasa bir birikim var insanlar islerini istiyorlar. Bu durum gelecek 10 ila 15 yil boyunca orada olacak eger ne istediklerini anlarlarsa, bilirsiniz 400 ila 5001 milyon insan daha sehirlere geliyor.
In this particular case -- this is the assembly line that you saw; this is a shot of it. I had to use a very small aperture to get the depth of field. I had to have them freeze for 10 seconds to get this shot. It took me five fake tries because they were just going. To slow them down was literally impossible. They were just wound up doing these things all day long, until the manager had to, with a stern voice, say, "Okay, everybody freeze." It wasn't too bad, but they're driven to produce these things at an incredible rate.
Bu durumda -- bu gordugunuz birlestirme bolumu; bu ondan bir kare. Cok küçük bir cap kullanmak zorunda kaldim alanin derinligini alabilmak icin. Onlari 10 saniyeligine sabit birakmak zorunda kaldim bu kareyi alabilmak icin. 5 kere basarisiz deneme yapmak zorunda kaldim cunku sadece gidiyorlardi. onlari yavaslatmak imkansizdi. Onlar sadece bunlari butun gun bitirmek icin, yonetici kati bir sesle, "Evet, herkez donsun" diyene kadar. Cokta kotu degildi, fakat bunlari inanilmaz hizla uretmeye baglilar.
This is a textile mill doing synthetic silk, an oil byproduct. And what you're seeing here is, again, one of the most state-of-the-art textile mills. There are 500 of these machines; they're worth about 200,000 dollars each. So you have about 12 people running this, and they're just inspecting it -- and they're just walking the lines. The machines are all running, absolutely incredible to see what the scale of industries are. And I started getting in further and further into the factories. And that's a diptych. I do a lot of pairings to try and get the sense of scale in these places. This is a line where they get the threads and they wind the threads together, pre-going into the textile mills.
Bu bir tekstil mili sentetik ipek, petrol yanurunu. Ve burada gordugunuz, yine, son teknoloji tekstik mili. Burada 500 tane makina var; herbiri 200,000 dolar civarinda. Ve 12 kisi bunu isletiyor, ve onlar sadece bunu kontrol ediyorlar -- ve sacede komutlari takip ediyorlar. Butun makineler calisiyor, bu endustrilerin olceklerini gormek inanilmaz birsey. Ve sonrasida fabrikalara daha fazla ilgilenmeye basladim. Ve bu iki yonlu bir resim. Ben bircok eslestirmeler yapiyorum bu yerlerin olceklerinin hissini vermek icin. Burasi dislilerin yapildigi bolum ve dislileri beraber sogutuyorlar, tekstil millerine gidiyor.
Here's something that's far more labor-intensive, which is the making of shoes. This floor has about 1,500 workers on this floor. The company itself had about 10,000 employees, and they're doing domestic shoes. It was very hard to get into the international companies because I had to get permission from companies like Nike and Adidas, and that's very hard to get. And they don't want to let me in. But the domestic was much easier to do. It just gives you a sense of, again -- and that's where, really, the whole migration of jobs started going over to China and making the shoes. Nike was one of the early ones. It was such a high labor component to it that it made a lot of sense to go after that labor market.
Burada daha insan gücüne ihtiyac duyulan baska bir sey var, Ayakkabilarin yapimi. Bu katta yaklasik 1,500 calisan var. Fabrikanin 10,000 tane calisani var, ve yerli ayakkabilari yapiyorlar, Uluslararasi sirketlerin icine girmek cok zor cunku Nike ve Addidas gibi fabrikalardan izin almam gerekiyordu, ve bunu almak cok zor. Ve onlar benim iceri girmemi istemiyorlar. Fakat yerli olana girmek cok daha kolay. Size yeniden soyle bir izlenim veriyor -- ve bu, gercekten, bu gocmen calisanlarin Cinde baslama noktasi ve ayakkabi yapimi. Nike en once oraya gidenlerden. Cok yuksek bir isci faktoru var boylelikle isci pazarinin ardindan gitmek mantikli oldu.
This is a high-tech mobile phone: Bird mobile phone, one of the largest mobile makers in China. I think mobile phone companies are popping up, literally, on a weekly basis, and they have an explosive growth in mobile phones. This is a textile where they're doing shirts -- Youngor, the biggest shirt factory and clothing factory in China. And this next shot here is one of the lunchrooms. Everything is very efficient. While setting up this shot, people on average would spend eight to 10 minutes having a lunch. This was one of the biggest factories I've ever seen. They make coffeemakers here, the biggest coffeemaker and the biggest iron makers -- they make 20 million of them in the world. There's 21,000 employees. This one factory -- and they had several of them -- is half a kilometer long. These are just recently shot -- I just came back about a month ago, so you're the first ones to be seeing these, these new factory pictures I've taken.
Bu yuksek teknoloji cep telefonu: Kus cep telefonu, Cindeki en buyuk cep telefonu yapicilarindan. Bana kalirsa cep telefonu fabrikalari ortaya cikiyor, tam anlamiyla, haftalik olarak, ve cep telefonlarinda patlama gibi buyume yaniyor. Burasi gomlek yapilan tekstil -- Youngor, Cindeki en buyuk gomlek ve elbise fabrikasi. Ve buradki bir sonraki kare yemekhanelerden bir tanesi. Hersek cok effektif. Bu fotografi kurarken, insanlar oglen yemegi icin oratalama 8-10 dakika harciyorlardi. Bu ozamana kadar gordugum en buyuk fabrikalardan bir tanesi idi. Burada kahve makineleri yapiyorlar, en buyuk kahve makinesi ve en buyuk demir makineleri -- Dunyadaki 20 milyon kahve makinasi burada yapiliyor. 21,000 iscisi var. Bu bir fabrika -- ve bunlardan birkac tane var -- bu yarim kilometre uzunlugunda. Bunlar yakinda cekildi -- sadece 1 ay once geri geldim, yani bunlari ilk goren sizlersiniz, bunlar yeni cektigim fabrika resimleri.
So it's taken me almost a year to gain access into these places. The other aspect of what's happening in China is that there's a real need for materials there. So a lot of the recycled materials that are collected here are being recycled and taken to China by ships. That's cubed metal. This is armatures, electrical armatures, where they're getting the copper and the high-end steel from electrical motors out, and recycling them. This is certainly connected to California and Silicon Valley. But this is what happens to most of the computers. Fifty percent of the world's computers end up in China to be recycled.
Yani buraya girmek icin izin almak bana bir yila mal oldu. Cinde olanlarin baska boyutu ise burada materyallere gercekten ihtiyac duyulmasi. Evet bircok geridonusturulmus materyal burada toplaniyor geri donustuluyor ve Cine gemilerle yollaniyor. Bu kupler halinde metal. Bunlar armaturler, elektriksel armaturler, bunlardan yuksel kalite demir veya bakir elde ediyorlar elektrik motorlari cikariyor ve geri donusume dahil ediyorlar. Bu kesinlikle Kaliforniyadaki Silkon Vadisi ile iliskili. Fakat bir cok bilgisayara olan bu. Dunyadaki bilgisayarlarin yuzde ellisi geridonusum icin Cine gidiyor.
It's referred to as "e-waste" there. And it is a bit of a problem. The way they recycle the boards is that they actually use the coal briquettes, which are used all through China, but they heat up the boards, and with pairs of pliers they pull off all the components. They're trying to get all the valued metals out of those components. But the toxic smells -- when you come into a town that's actually doing this kind of burning of the boards, you can smell it a good five or 10 kilometers before you get there. Here's another operation. It's all cottage industries, so it's not big places -- it's all in people's front porches, in their backyards, even in their homes they're burning boards,
Orada "e-atik" olarak nitelendiriliyor. Ve biraz problemli. Tablolari geri donusturme sekilleri aslinda komur biriketleri kullaniyorlar, Butun cinde kullaniliyor, fakat tablolari isitiyorlar, ve istifleyici ciftlerle bilesenleri cikariyorlar. Butun degerli metalleri cikarmaya calisiyorlar. Fakat toksik kokular -- bir sehire gittiginiz zaman sehirde tablolar yakiliyorsa, sehire girmeden 5 ya da 10 kilometre once kokuyu hissedebilirsiniz. Buda baska bir operasyo. Bu yazlik ev endustrisi, yani cok buyuk yerler degil -- hersey insanlarin on bahcelerinde, arka bahcelerinde, hatta evlerinin icinde tablolari yakiyorlar,
if there's a concern for somebody coming by -- because it is considered in China to be illegal, doing it, but they can't stop the product from coming in. This portrait -- I'm not usually known for portraits, but I couldn't resist this one, where she's been through Mao, and she's been through the Great Leap Forward, and the Cultural Revolution, and now she's sitting on her porch with this e-waste beside her. It's quite something. This is a road where it's been shored up by computer boards in one of the biggest towns where they're recycling. So that's the photographs that I wanted to show you.
eger gelen birine dair bir endise varsa -- cunku Cinde bunlari yapmak yasalara aykiri, fakan urunlerin gelisini engelleyemiyorlar. Bu portre -- ben genelde portrelerlerim yuzunden taninmam, fakat buna direnebilirim, o Mao yu gormus, ve Great Leap Forward (Buyuk iileri atilim ) i gormus, ve Cultural Revolution (Kulturel Degisimi) Ve bu e-atik yanibasinda. Bu birseyler anlatiyor. Burasi bilgisayar tablolarindan olusmus bir yol geridonusum yapilan sehirlerin en buyuklerinden. Evet bunlar sizlere gostermek istedigim fotograflar
(Applause)
(Alkışlar)
I want to dedicate my wishes to my two girls. They've been sitting on my shoulder the whole time while I've been thinking. One's Megan, the one of the right, and Katja there. And to me the whole notion -- the things I'm photographing are out of a great concern about the scale of our progress and what we call progress. And as much as there are great things around the corner -- and it's palpable in this room -- of all of the things that are just about to break that can solve so many problems, I'm really hoping that those things will spread around the world and will start to have a positive effect. And it isn't something that isn't just affecting our world, but it starts to go up -- because I think we can start correcting our footprint and bring it down -- but there's a growing footprint that's happening in Asia, and is growing at a rapid, rapid rate, and so I don't think we can equalize it. So ultimately the strategy, I think, here is that we have to be very concerned about their evolution, because it is going to be connected to our evolution as well.
Dileklerimi kizlarima addetmek istiyorum. Bunlari dusunurken omuzlarimda oturuyorlardi Bir tanesi Megan, sagda olan, ve Katja orada. Ve bence butun fikir -- fotografladigim seyler endiselerimden oturu kalkinmamizin boyutu ve kalkinmak olarak adlandirdigimiz eylem. Koseyi donunce cok buyuk seyler oldugu gibi -- ve bu salonda bu asikar -- bulunmak uzere olan hersey bircok problemi cozebilecek seyler, gercekten bunlarin dunyaya yayilmasdini umuyorum ve pozitif bit etki yaratmasini. Ve sadece bizim dunyamizi etkileyen birsey degil fakat yukariya gitmeye basliyor -- cunku duzeltmeye baslayabilecegimizi dusunuyorum ayak izimizi ve assagiya dusurebiliriz -- fakat buyuyen bir ayak izi var Bu Asyada oluyor, hizlica , hizli bir oranda, buyuyor ve bence bunu esitleyemeyiz. Ve tamamen strateji, Bana kalirsa, burada bizler bunun evriminden dolayyi endise duymaliyiz, cunku bizim evrimimizlede bu bağlantili olacak.
So part of my thinking, and part of my wishes, is sitting with these thoughts in mind, and thinking about, "How is their life going to be when they want to have children, or when they're ready to get married 20 years from now -- or whatever, 15 years from now?" And to me that has been the core behind most of my thinking -- in my work, and also for this incredible chance to have some wishes. Wish one: world-changing. I want to use my images to persuade millions of people to join in the global conversation on sustainability. And it is through communications today that I believe that that is not an unreal idea. Oh, and I went in search -- I wanted to put what I had in mind, hitch it onto something. I didn't want a wish just to start from nowhere.
Yani benim dusuncemin bir kizmi, ve dileklerimin bir kismi, bu dusuncelerle kafamda yer aliyor, ve hakkinda dusundukce, "Onlarin hayatlari kendi cocuklarini istediklerinde nasil olacak, ya da bundan 20 yil sonra evlenmeye karar hazir olduklarinda -- ya da herneyse bundan 15 yil sonra?" Ve bence benim isim icin, ve ayrica dilekte bulunmak uzere sunulan bu inanilmaz firsat icin. Dilek bir: dunyayi degistirmek. Resimlerimi kullanmak istiyorum milyonlarca insani kendi kendine yetebilirlik diyaloguna dahil olmaya ikna edebilmek icin. Ve bugunlerde iletisim ile bunun mumkun olduguna iunaniyorum. Oh, arastirma yaptim -- aklimda olanlari koymak istiyordum, birseyin uzerine baglamak icin. Bir dilegim hicbiryerden baslamasini istemedim.
One of them I'm starting from almost nothing, but the other one, I wanted to find out what's going on that's working right now. And Worldchanging.com is a fantastic blog, and that blog is now being visited by close to half-a-million people a month. And it just started about 14 months ago. And the beauty of what's going on there is that the tone of the conversation is the tone that I like. What they're doing there is that they're not -- I think the environmental movement has failed in that it's used the stick too much; it's used the apocalyptic tone too much; it hasn't sold the positive aspects of being environmentally concerned and trying to pull us out. Whereas this conversation that is going on in this blog is about positive movements, about how to change our world in a better way, quickly. And it's looking at technology, and it's looking at new energy-saving devices, and it's looking at how to rethink and how to re-strategize the movement towards sustainability.
Bir tanesinde neredeyse hicbbiryerden basliyorum, fakar oburunde, neler olup bittigini anlamak istedim. Ve Worlchanging.com mukemmel bir blog, ve bu blog yaklasik ayda yarim milyon insan tarafindan ziyaret ediliyor. Ve sadece 14 ay evvel baslatildi. Ve burada olan guzel sey ise iletisimin tonu benim sevdigim turden. Burada yaptiklari -- bana kalirsa cevre icin olan örgütlenme basarisizlikla sonuçlandı ve bu hareket sirasinda damga cfazlasiyla kullanildi; vahiysel ton fazlasiyla kullanildi; pozitif taraflari satilamadi cevre hakkinda endiselenmenin (pozitif taraflar). Fakat bu blogda gecen iletisimde potitif hareketler uzerine, hizlica dunyamizi nasil daha iyiye cevirebilecegimize dair. Ve teknolojiye bakiyor, ve enerji tasarruflu yeni aletlere bakiyor, stratejisini yeniden sekillendirmeye bakiyor kendi kendine yetebilme jarektinin stratejisini.
And so for me, one of the things that I thought would be to put some of my work in the service of promoting the Worldchanging.com website. Some of you might know, he's a TEDster -- Stephen Sagmeister and I are working on some layouts. And this is still in preliminary stages; these aren't the finals. But these images, with Worldchanging.com, can be placed into any kind of media. They could be posted through the Web; they could be used as a billboard or a bus shelter, or anything of that nature. So we're looking at this as trying to build out. And what we ended up discussing was that in most media you get mostly an image with a lot of text, and the text is blasted all over.
Ve bana kalirsa, dusundugum seylerden bir tanesi isimin bir kismini bunu desteklemek icin ortaya koymak Worldchanging.com websitesini desteklemek icin. Bazilariniz bilir, TEDcilerden Stephen Sagmeister ve ben bazi modeller uzerine calisiyoruz. Ve bu halen baslangic seviyesinde; bunlar en son halleri degil. Fakat bu resimler, Worldchanging.com ile, herhangi bir medyaya yerlestirilebilir. Web uzerinden postalanabilir; bilbord ya da otobus duraklarinda kullanilabilir, ya da herhangi bir sekilde. Yani biz buna bakiyoruz. Ve tartistigimiz sey medyada genelde bir resimi bircok yaziyla beraber goruyorsunuz, ve yazi heryerde.
What was unusual, according to Stephen, is less than five percent of ads are actually leading with image. And so in this case, because it's about a lot of these images and what they represent, and the kinds of questions they bring up, that we thought letting the images play out and bring someone to say, "Well, what's Worldchanging.com, with these images, have to do?" And hopefully inspire people to go to that website. So Worldchanging.com, and building that blog, and it is a blog, and I'm hoping that it isn't -- I don't see it as the kind of blog where we're all going to follow each other to death. This one is one that will spoke out, and will go out, and to start reaching. Because right now there's conversations in India, in China, in South America -- there's entries coming from all around the world. I think there's a chance to have a dialogue, a conversation about sustainability at Worldchanging.com. And anything that you can do to promote that would be fantastic.
Stephen a gore alisilagelmedik olan, yuzde besten daha az reklamda resimler onu cekiyordu. Ve yani bu durumda, cunku bu bircok resimlerde ve sunulan sey, ve getirdikleri soru isretleri, resimlerin basrolde olmasina izin vermek ve birilerinin soyle soylemesine "Evet, Worldchanging.com nedir, bu resimlerle ne alakasi var?" Ve umarim insanlari bu websitesine gitmek icin ikna etmek. Evet Worldchanging.com ve bu blogu yapmak ve bu bir blog, ve umuyorumki degildir -- bunu bir cesit birbirimizi olene kadar takip edecegiz seklinde bir blog olarak gormuyorum. Bu konusacak turden, ve yuruyecek, ve ulasmaya baslayacak. Cunku su anda diyaloglar var Hisdistanda, Cinde, Guney Amerikada -- Dunyanin dort bir yanindan gelen yorumlar var. bana kalirsa bir diyalog icin firsat var, Worldchanging.com da kendi kendine yetebilirlik icin bir sohbet (firsati var). Ve sizin destekleriniz mukkemmel olur.
Wish two is more of the bottom-up, ground-up one that I'm trying to work with. And this one is: I wish to launch a groundbreaking competition that motivates kids to invest ideas on, and invent ideas on, sustainability. And one of the things that came out -- Allison, who actually nominated me, said something earlier on in a brainstorming. She said that recycling in Canada had a fantastic entry into our psyche through kids between grade four and six. And you think about it, you know, grade four -- my wife and I, we say age seven is the age of reason, so they're into the age of reason. And they're pre-puberty. So it's this great window where they actually are -- you can influence them. You know what happens at puberty? You know, we know that from earlier presentations.
Ikinci dilegim daha gercekci , uzendinde calistigim. Ve bu: iddeali bir yarisma ilan etmek istiyorum cocuklari kendi kendine yetebilirlik hakkinda dusunmeye ve fikir uretmeye motive eden. Ve gelenlerden bir tanesi -- Allison aslinda beni nomine eden daha once birsey soyledi beyin firtinasi hakkinda. Soyle soyledi Kanadada geridonusum 4 ve 6. sinif cocuklarindan gelen bizim pisikolojimize katkisi olmus. Ve bunun hakkinda dusununce, bilirsiniz, 4. sinif -- esim ve ben 7 yasinin neden yasi oldugunu soyluyoruz, yani onlar neden yasindalar. Ve ergenlik oncesindeler. Yani orada buyuk bir firsat va onlar-- onlari etkileyebilirsiniz. Ergenlikte neler oldugunu bilirsinz? Bilirsiniz, daha onceki sunumlardan biliyoruz.
So my thinking here is that we try to motivate those kids to start driving home ideas. Let them understand what sustainability is, and that they have a vested interest in it to happen. And one of the ways I thought of doing it is to use my prize, so I would take 30,000 or 40,000 dollars of the winnings, and the rest is going to be to manage this project, but to use that as prizes for kids to get into their hands. But the other thing that I thought would be fantastic was to create these -- call them "prize targets." And so one could be for the best sustainable idea for an in-school project, the best one for a household project, or it could be the best community project for sustainability.
Yani benim buradaki dusuncem biz bu cocuklari motive etmeye calisiyoruz fikir yurutmeleri icin. Onlara kendi kendine yetebilirligi anlatalim, ve onlarin kazanilmis bir ilgileri olacak. Ve bunu yapabilmenin bir yoluda benim odulumu kullanmak, kazanimlarin 30,000 ya da 40,000 dolarini alirdim, ve geri kalani bu projeyi yonetmek icin kullanilacak, fakat bunu cocuklara odul olarak kullanmak ellerine gecebilmesi icin. Fakat mukemmel olacagini dusundugum bir baska sey bunlari olusturmak -- "odul hedefleri olarak adlandirmak" Ve yani bir tanesi en iyi yetinebilirlik odulu icin olabilir okul ici bir proje icin, evde yapilma en iyi proje, yada yetinebilirlik icin sunulmus en iyi toplum projesi
And I also thought there should be a nice prize for the best artwork for "In My World." And what would happen -- it's a scalable thing. And if we can get people to put in things -- whether it's equipment, like a media lab, or money to make the prize significant enough -- and to open it up to all the schools that are public schools, or schools that are with kids that age, and make it a wide-open competition for them to go after those prizes and to submit them. And the prize has to be a verifiable thing, so it's not about just ideas. The art pieces are about the ideas and how they present them and do them, but the actual things have to be verifiable. In that way, what's happening is that we're motivating a certain age group to start thinking. And they're going to push that up, from the bottom -- up into, I believe, into the households. And parents will be reacting to it, and trying to help them with the projects.
Ve bana kalirsa birde iyi odul olmali "Benim Dunyamda" icin en iyi sanatsal calisma. Ve neler olur -- bu olceklendirilebilir bir sey. Ve biz eger insanlarin birseyler ortaya koymasini saglarsak -- ekipman gibi, medya laboratuvari gibi, ya odulu iyi yapabilecek kadar para -- ve bunu butun devlet okullarina acmak, ya a o yasta olan cocuklarin bulundugu okullara, ve onlar icin acik bir yarisma haline getirebilmek o odullerin arkasindan gitmek ve onlari gondermek. Ve odul onaylanabilir olmali, boylelikle bu yanlizca fikirler hakkinda olmamali Sanat parcalari fikirler ve onlari nasil ifade ettikleri ile alakali ve yapalim, fakat asil seyler gerceklestirilebilir olmali. Boylece, aslinda olan sey belli bir yas grubunu dusunmeye baslamalari icin motive ediyoruz. Ve onlar bunu yukariya itecekler, dipten -- yukari, Ben hanelere inaniyorum. Ve aileler buna tepki gostereceklerdir, ve onlara projeleri icin yardim etmeye calisacaklardir.
And I think it starts to motivate the whole idea towards sustainability in a very positive way, and starts to teach them. They know about recycling now, but they don't really, I think, get sustainability in all the things, and the energy footprint, and how that matters. And to teach them, to me, would be a fantastic wish, and it would be something that I would certainly put my shoulder into. And again, in "In My World," the competition -- we would use the artwork that comes in from that competition to promote it. And I like the words, "in my world," because it gives possession of the world to the person who's doing it. It is my world; it's not someone else's. I want to help it; I want to do something with it. So I think it has a great opportunity to engage the imaginations -- and great ideas, I think, come from kids -- and engage their imagination into a project, and do something for schools. I think all schools could use extra equipment, extra cash -- it's going to be an incentive for them to do that. And these are some of the ideas in terms of where we could possibly put in some promotion for "In My World."
Ve bana kalirsa yetinebilirlik fikrini motive etmeye basliyor cok pozitif bir yonden, ve onlara ofretmeye basliyor. Geridonusum hakkinda birseyler biliyorlar su anda, fakat bana kalirsa herseyde kendi kendine yetebilirlik ne anlamiyorlar, ve enerji ayakizi , ve bu neden onemli. Ve bunu onlara ogretmek bana kalirsa sahane bir dilek, ve bu kesinlikle benim omuzumu koyailecegim bir sey olurdu. Ve yine, "Benim Dunyamda " yarismasinda -- bu yarismadan gelen sanat eserlerini yarismayi desteklemek icin kullanabiliriz. Ve "benim dunyamda " kelimelerini seviyorum cunku bunu yapan kisiye dunyayi mulk olarak veriyor. Bu benim dunyam; baskasinin degil. Ona yardim etmek istiyorum; Onunla bir sey yapmak istiyorum. Yani bana kalirsa bu muazzam bir firsat cocuklardan gelen hayalleri ve cok iyi fikirleri isin icine almak icin -- ve onlarin hayallerini projeye dahil etmeleri, okullar icin birseyler yapmalari. Bana kalirsa butun okullar fazla ekipmani, fazla paray kullanabilir -- bu onlarin bunu yapmari icin tesvik edici bir sey olacak. Ve bunlar bazi fikirler "Benim Dunyamda " icin destek toplayabilecegimiz.
And wish three is: Imax film. So I was told I should do one for myself, and I've always wanted to actually get involved with doing something. And the scale of my work, and the kinds of ideas I'm playing with -- when I first saw an Imax film, I almost immediately thought, "There's a real resonance between what I'm trying to do and the scale of what I try to do as a photographer." And I think there's a real possibility to reach new audiences if I had a chance. So I'm looking, really, for a mentor, because I just had my birthday. I'm 50, and I don't have time to go back to school right now -- I'm too busy. So I need somebody who can put me on a quick catch-up course on how to do something like that, and lead me through the maze of how one does something like this. That would be fantastic. So those are my three wishes.
Ve üçüncü dilek: Imax filimi. Kendimin icin bir tane yapmam soylendi, ve herzaman birseyler yapmaya dahil olmak istemisimdir. Ve benim isimin derecesi, ve oynadigim fikirler - Ilk Imax filimini izledigim zaman, hemen hemen aninda dusundumki, " Burada yamak istedigim seyle alakali bir benzesme var ve bir fotografci olarak yapmak istedigim seyin derecesi. " Ve bana kalirsa burada gercek bir firsat var yeni seyircilere ulasabilmek icin , eger firsatim olsaydi. Evet bir kilavuz aruyorum cunku yakin gecmiste dogum gunumdu. 50 yasimdayim, ve okula geri donmek icin vakim yok su anda-- Cok mesgulum. Yani birilerine ihtiyacim var hizli bir kurs ile bana nasil boyle bir sey yapabilecegimi öğretecek, ve bana biirinin nasıl boyle bir sey yapabilecegini gosteren yolda kilavuzluk edecek. Bu şahane olurdu. Ve bunlar benim üç dilegim.
(Applause)
(Alkışlar)