This is Charley Williams. He was 94 when this photograph was taken. In the 1930s, Roosevelt put thousands and thousands of Americans back to work by building bridges and infrastructure and tunnels, but he also did something interesting, which was to hire a few hundred writers to scour America to capture the stories of ordinary Americans. Charley Williams, a poor sharecropper, wouldn't ordinarily be the subject of a big interview, but Charley had actually been a slave until he was 22 years old. And the stories that were captured of his life make up one of the crown jewels of histories, of human-lived experiences filled with ex-slaves.
這是查利•威廉姆斯 這張照片攝於他九十四歲時 上世紀三十年代 通過建造橋樑、公共建設和修築隧道的方式 羅斯福總統讓成千上萬美國人重回工作崗位 與此同時,他做了一件有趣的事 他僱傭了幾百名作家 到全國各地去蒐集普通百姓的故事 作為一個貧窮的美國佃農 查利•威廉姆斯不太可能成為此次大訪談的對象 但是,查利在二十二歲前 是一個奴隸 而且他生活中的故事 成了歷史王冠上一顆閃亮的明珠 也是這個充滿前奴隸的社會的 重要組成部分
Anna Deavere Smith famously said that there's a literature inside of each of us, and three generations later, I was part of a project called StoryCorps, which set out to capture the stories of ordinary Americans by setting up a soundproof booth in public spaces. The idea is very, very simple. You go into these booths, you interview your grandmother or relative, you leave with a copy of the interview and an interview goes into the Library of Congress. It's essentially a way to make a national oral histories archive one conversation at a time. And the question is, who do you want to remember -- if you had just 45 minutes with your grandmother? What's interesting, in conversations with the founder, Dave Isay, we always actually talked about this as a little bit of a subversive project, because when you think about it, it's actually not really about the stories that are being told, it's about listening, and it's about the questions that you get to ask, questions that you may not have permission to on any other day. I'm going to play you just a couple of quick excerpts from the project.
安娜•迪佛•史密斯曾說過一句著名的話 “本質上,我們每個人都是一部文學著作。” 三代人之後 我成了“StoryCorps”的一員 StoryCorps的目的就是 通過在公共場合建造一個隔音間 來蒐集普通美國百姓的故事 這個主意其實很簡單 你到隔間裡採訪你的祖母或其他親屬 結束後,你帶走一份訪談拷貝 而且訪談內容會進到國會圖書館裡 本質上,形成國家口述故事檔案館的重要方法 就是通過一次一個對話的方式 關鍵是,你想要記住誰呢 如果你和你祖母只有四十五分鐘時間的話 有意思的是,在和創始人戴夫•伊塞的交談中 我們總會談到這個 把牠當做一個略具顛覆性的計劃 因為,當思考到這個問題時 你會覺得,其實跟講述的故事無甚關係 聆聽才是最重要的 還有你會問到的問題 可能這些問題在其他任何場合 你都不能問 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, before we had leveled off, our level-off point was 45,000 feet, so before we had leveled off, Pedro began leaving us, and the beauty about it is that I believe that there's something after life. You can see it in Pedro.
傑西:我們起飛了,飛機正在上升 在水平飛行之前 水平飛行高度是四萬五千英尺 所以是在水平飛行之前 佩德羅就開始離我們而去 其美妙之處在於 我相信,人死後仍能有所期待 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, I always feel guilty when I say "I love you" to you, and I say it so often. I say it to remind you that as dumpy as I am, it's coming from me, it's like hearing a beautiful song from a busted old radio, and it's nice of you to keep the radio around the house.
丹尼:事情是這樣的 每當對你說“我愛你”,我就感覺內疚 而且也說的次數不少 我說“我愛你”是為了提醒你 儘管我又矮又胖,但那句話是我說的 就像用老式破收音機收聽美妙的歌曲 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, and we can leave it there. And he saved up and he purchased this, and he proposed to my mother with this, and so I thought that I would give it to you so that he could be with us for this also. So I'm going to share a mic with you right now, Debora. Where's the right finger? Debora Brakarz: (Crying) MW: Debora, will you please marry me? DB: Yes. Of course. I love you. (Kissing) MW: So kids, this is how your mother and I got married, in a booth in Grand Central Station with my father's ring. My grandfather was a cab driver for 40 years. He used to pick people up here every day. So it seems right.
邁克爾:這是我父親給我母親的戒指 現在先把它放在一邊 父親省吃儉用,然后買下了這個戒指 之後用它向我母親求了婚 我想,我要把這個戒指給你 那樣父親也會與我們在一起 所以黛博拉,我現在要和你共用一個麥克風了 該戴在哪個手指上? (黛博拉哭泣中) 邁克爾:黛博拉,你願意嫁給我嗎 黛博拉:當然,我願意,我愛你 (親吻) 邁克爾:孩子們,我和你們的媽媽就這樣結婚了 在中央車站的隔音間裡,用我父親的婚戒 我爺爺當了四十年出租車司機 過去他每天都在這裡載人 看起來沒錯
Jake Barton: So I have to say I did not actually choose those individual samples to make you cry because they all make you cry. The entire project is predicated on this act of love which is listening itself. And that motion of building an institution out of a moment of conversation and listening is actually a lot of what my firm, Local Projects, is doing with our engagements in general. So we're a media design firm, and we're working with a broad array of different institutions building media installations for museums and public spaces.
傑克•巴頓:所以我得聲明一下 我並沒特地選擇這些錄音樣本來讓你們掉眼淚 但這些錄音讓你們哭了 我們整個項目都是基於這種愛的行為 也就是聆聽 出於談話及傾聽 而建造一個公共機構 大體說來,正是我們公司(Local Projects) 受委託而踐行的事 我們是一家媒體設計公司 並且和許多不同機構有合作關係 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, which we've created an engagement called Gallery One for. And Gallery One is an interesting project because it started with this massive, $350 million expansion for the Cleveland Museum of Art, and we actually brought in this piece specifically to grow new capacity, new audiences, at the same time that the museum itself is growing.
我們最近的委託方是克利夫蘭藝術博物館 我們已在那兒創建了一個 叫“第一畫廊”的互動設計 “第一畫廊”是個很有趣的項目 因為是從這個巨大的、 價值三億五千萬美元的擴展入手 給克利夫蘭藝術博物館進行設計 實際上,我們引進這個設備 特地用來創造新空間,吸引新觀眾 同時博物館也在擴大
Glenn Lowry, the head of MoMA, put it best when he said, "We want visitors to actually cease being visitors. Visitors are transient. We want people who live here, people who have ownership."
紐約現代藝術博物館(MoMA) 館長格倫•洛瑞做了最好的詮釋 他說,“我們不要讓遊客再做遊客, 遊客都是暫時的,我們需要住在這裡的、 有所有權的人。 ”
And so what we're doing is making a broad array of different ways for people to actually engage with the material inside of these galleries, so you can still have a traditional gallery experience, but if you're interested, you can actually engage with any individual artwork and see the original context from where it's from, or manipulate the work itself. So, for example, you can click on this individual lion head, and this is where it originated from, 1300 B.C. Or this individual piece here, you can see the actual bedroom. It really changes the way you think about this type of a tempera painting. This is one of my favorites because you see the studio itself. This is Rodin's bust. You get the sense of this incredible factory for creativity. And it makes you think about literally the hundreds or thousands of years of human creativity and how each individual artwork stands in for part of that story. This is Picasso, of course embodying so much of it from the 20th century.
所以我們正在做的,就是運用許多不同方式 所以我們正在做的,就是運用許多不同方式 讓人們能與畫廊裡的展品進行互動 因此,你仍能以傳統的方式參觀畫廊 但是,如果你感興趣的話 你還可以和任意藝術品進行互動 看看它的原始脈絡,或者控制這個展品 比如,你可以點擊這個獅頭 這就是它發源的地方,公元前一千三百年 或者點擊這件獨立藝術品 你會看到這個實際的臥室 而且牠能改變你對這類蛋彩畫的看法 這是我最喜歡的作品之一 因為能看到工作室的原貌 這是羅丹的半身像,你們可以感受到 這個令人難以置信的、為創造而建的工廠 它會讓你直接聯想到幾千年 甚至幾萬年前人類的創造力 還有每個藝術品是怎樣代表了那段歷史 這是畢加索 當然很多是收錄自二十世紀
And so our next interface, which I'll show you, actually leverages that idea of this lineage of creativity. It's an algorithm that actually allows you to browse the actual museum's collection using facial recognition. So this person's making different faces, and it's actually drawing forth different objects from the collection that connect with exactly how she's looking. And so you can imagine that, as people are performing inside of the museum itself, you get this sense of this emotional connection, this way in which our face connects with the thousands and tens of thousands of years. This is an interface that actually allows you to draw and then draws forth objects using those same shapes. So more and more we're trying to find ways for people to actually author things inside of the museums themselves, to be creative even as they're looking at other people's creativity and understanding them.
而且我要展示的下一個界面 實際上影響了這種創造力傳承的理念 牠是一種演算法則,但卻能讓你 通過面部識別的方式瀏覽博物館內的藏品 這個人正在扮不同的鬼臉 但實際上,根據她扮的鬼臉 能夠提取出館藏中相關聯的不同物品 所以可以想見, 當人們在博物館裡“表演”時 你能感受到這種情感聯繫 這樣的話,我們的面部表情 就能與幾萬年前聯繫起來 事實上,這個界面還能讓你 反复提取出你畫出的形狀相關的物品 所以,我們正在尋求更多的方式 讓人們在博物館裡進行創作 甚至在看到別人的創意後,並將其理解 自己也會富有創造力
So in this wall, the collections wall, you can actually see all 3,000 artworks all at the same time, and you can actually author your own individual walking tours of the museum, so you can share them, and someone can take a tour with the museum director or a tour with their little cousin.
在這面藏品牆上 你能同時看到三千件藝術品 而且可以製作你的專屬博物館漫步遊 所以你才能分享它們 人們可以和館長在館內漫步遊 也可以和其小堂兄妹一起
But all the while that we've been working on this engagement for Cleveland, we've also been working in the background on really our largest engagement to date, and that's the 9/11 Memorial and Museum.
但儘管我們一直竭力完成 克利夫蘭藝術博物館的委託 同時,我們也一直致力於 迄今最大的委託 也就是9·11事件紀念博物館
So we started in 2006 as part of a team with Thinc Design to create the original master plan for the museum, and then we've done all the media design both for the museum and the memorial and then the media production. So the memorial opened in 2011, and the museum's going to open next year in 2014. And you can see from these images, the site is so raw and almost archaeological. And of course the event itself is so recent, somewhere between history and current events, it was a huge challenge to imagine how do you actually live up to a space like this, an event like this, to actually tell that story.
我們從二零零六年開始 就把牠作為團隊工作的部分 和 Thinc Design 團隊一道 為該博物館創建總體規劃圖 之後我們為該博物館和紀念館 做了所有的媒體設計,然後是媒體製作 於是該紀念館在二零一一年開館了 博物館將會在明年開館,也就是二零一四年 從這些圖片可以看出 場地還很原始,跟考古現場差不多 而且9·11事件也離我們非常近 介乎歷史和時事之間 這是個巨大的挑戰 要構建如此巨大的場館 及事故現場,還有敘述那段故事
And so what we started with was really a new way of thinking about building an institution, through a project called Make History, which we launched in 2009. So it's estimated that a third of the world watched 9/11 live, and a third of the world heard about it within 24 hours, making it really by nature of when it happened, this unprecedented moment of global awareness. And so we launched this to capture the stories from all around the world, through video, through photos, through written history, and so people's experiences on that day, which was, in fact, this huge risk for the institution to make its first move this open platform. But that was coupled together with this oral histories booth, really the simplest we've ever made, where you locate yourself on a map. It's in six languages, and you can tell your own story about what happened to you on that day. And when we started seeing the incredible images and stories that came forth from all around the world -- this is obviously part of the landing gear -- we really started to understand that there was this amazing symmetry between the event itself, between the way that people were telling the stories of the event, and how we ourselves needed to tell that story.
於是在二零零九年 我們從一個叫做“製造歷史”的項目入手 該項目的確是一個 建造公共機構的新思路 據估計,世界上三分之一的人 觀看了9·11事件直播 三分之一的人在二十四小時內 聽說了這起事件 當它發生時,這都自然而然使得 這個空前時刻具有了全球化意識 所以我們發起這個項目, 旨在全球蒐集故事 通過錄像,通過照片 通過書本記載 所以人們那天的經歷 事實上,機構要面臨的巨大風險是第一步 即,把這些經歷放到這個開放的平台上 但還要加上這個口述故事隔間 這真的是我們做過最簡單的 你可以在地圖上給自己定位 它支援六種語言 你可以講述那天你自己經歷的事 但我們看到這些驚人的圖片 和故事 從全世界湧來的時候 (這個很明顯是起落架的殘骸) 我們才開始真正理解到 9·11事件本身 有不可思議的對稱性 人們講述故事的方式和我們需要怎樣講述之間 也存在對稱性
This image in particular really captured our attention at the time, because it so much sums up that event. This is a shot from the Brooklyn-Battery Tunnel. There's a firefighter that's stuck, actually, in traffic, and so the firefighters themselves are running a mile and a half to the site itself with upwards of 70 pounds of gear on their back. And we got this amazing email that said, "While viewing the thousands of photos on the site, I unexpectedly found a photo of my son. It was a shock emotionally, yet a blessing to find this photo," and he was writing because he said, "I'd like to personally thank the photographer for posting the photo, as it meant more than words can describe to me to have access to what is probably the last photo ever taken of my son."
尤其這張照片, 當時真的吸引了我們的注意力 因為它很好的概述了9·11事件 這個鏡頭是在砲台隧道捕捉到的 有輛消防車遇上交通堵塞 所以這些消防員就扛著超過七十磅的裝備 跑了一點五英里 到達指定地點 之後我們收到了這封不可思議的郵件 “在翻看不計其數的現場照片時, 我無意間發現一張我兒子的照片。 那是種感情衝擊, 但能發現這張照片也是件幸事。 ” 他寫郵件過來是因為他說 “我想感謝貼出這張照片 的攝影師, 這很可能是我兒子最後一張照片, 但我可以發現它, 它的意義我已經不能用語言表達。 ”
And it really made us recognize what this institution needed to be in order to actually tell that story. We can't have just a historian or a curator narrating objectively in the third person about an event like that, when you have the witnesses to history who are going to make their way through the actual museum itself.
這真的讓我們認識到 如果要講述9·11事件 這個機構應該怎麼做 我們不能只讓一個歷史學家或館長 站在第三者的角度客觀描述那樣一個事件 尤其是當那麼多歷史見證者 將要在這個博物館中 參觀的時候
And so we started imagining the museum, along with the creative team at the museum and the curators, thinking about how the first voice that you would hear inside the museum would actually be of other visitors. And so we created this idea of an opening gallery called We Remember. And I'll just play you part of a mockup of it, but you get a sense of what it's like to actually enter into that moment in time and be transported back in history.
於是我們開始構思這個博物館 和館內的創意團隊和館長們一起思考 館內的第一個聲音要怎樣 才能引起參觀者的共鳴 所以我們採取了一個開放式長廊的想法 叫做“銘記” 接下來就讓大家聽聽模擬長廊內的部分錄音 但你能體會到身處那個時刻 是怎樣的感覺 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 when someone barged in and said, "Oh my God, a plane has just crashed into the World Trade Center."
我們當時正在開會, 有人突然闖進來說 “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. My business partner told me to turn on the television.
我接到父親打來的電話 電話響了,把我吵醒 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 into that open, cavernous space. This is the so-called slurry wall. It's the original, excavated wall at the base of the World Trade Center that withstood the actual pressure from the Hudson River for a full year after the event itself. And so we thought about carrying that sense of authenticity, of presence of that moment into the actual exhibition itself. And we tell the stories of being inside the towers through that same audio collage, so you're hearing people literally talking about seeing the planes as they make their way into the building, or making their way down the stairwells. And as you make your way into the exhibition where it talks about the recovery, we actually project directly onto these moments of twisted steel all of the experiences from people who literally excavated on top of the pile itself. And so you can hear oral histories -- so people who were actually working the so-called bucket brigades as you're seeing literally the thousands of experiences from that moment.
傑克•巴頓:之後你就會從那邊走到 那個空曠的穴狀空間 這就是所謂的槽壁 就是這個從世貿大廈底部掘出的牆 在9·11事件後承受了整整一年 來自哈德遜河的壓力 所以我們想,通過這種真實性 把當時的感受 體現到實物上 通過上述的合成音頻 我們在雙子塔內講述那些故事 所以當人們在館內參觀的時候 你能聽見他們說看見飛機撞上大廈 或從樓梯往下跑的事 當你走進講述重建的展廳 當你走進講述重建的展廳 我們直接把人們站在 扭曲鋼筋堆上的經歷 表現了出來 所以你們能聽見口述歷史 你們能看到在水桶傳遞隊工作的人 當你觀看源於當時的 無數經歷時
And as you leave that storytelling moment understanding about 9/11, we then turn the museum back into a moment of listening and actually talk to the individual visitors and ask them their own experiences about 9/11. And we ask them questions that are actually not really answerable, the types of questions that 9/11 itself draws forth for all of us. And so these are questions like, "How can a democracy balance freedom and security?" "How could 9/11 have happened?" "And how did the world change after 9/11?"
在走出理解9·11事件的 講故事時刻後 我們讓博物館重新回到聆聽時刻 然後和參觀者單獨交談 詢問一些他們自己的9·11事件經歷 還會問一些他們不太好回答的問題 還會問一些他們不太好回答的問題 這些問題都是由9·11事件引出的 就像如下這些問題 民主是怎麼平衡自由和安全的? 9·11事件怎麼會發生? 9·11事件後世界發生了怎樣的改變?
And so these oral histories, which we've actually been capturing already for years, are then mixed together with interviews that we're doing with people like Donald Rumsfeld, Bill Clinton, Rudy Giuliani, and you mix together these different players and these different experiences, these different reflection points about 9/11. And suddenly the institution, once again, turns into a listening experience. So I'll play you just a short excerpt of a mockup that we made of a couple of these voices, but you really get a sense of the poetry of everyone's reflection on the event.
所以這些口述歷史 這些我們蒐集多年的口述歷史 與我們所做的專訪是混在一起 比如唐納德•拉姆斯菲爾德 比爾•克林頓,魯迪•朱利安尼 你會把這些不同的9·11事件角色 體驗 和反射點糅合在一起 突然,博物館再次 投向聆聽體驗 接下來我給大家播放一段模擬節選 這個節選就是我們用其中的一些錄音做的 但它的確會讓你感受到 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, people who were there that day who immediately went to help people known and unknown to them was something that would pull us through.
當我看到現場後我就知道 那天在現場的人們 他們立即跑去幫助認識的、不認識的人 他們的行為會使我們渡過難關
Voice 4: All the outpouring of affection and emotion that came from our country was something really that will forever, ever stay with me.
所有來自我們國家的感情 和情緒傾瀉 會永遠永遠留在我心中
Voice 5: Still today I pray and think about those who lost their lives, and those who gave their lives to help others, but I'm also reminded of the fabric of this country, the love, the compassIon, the strength, and I watched a nation come together in the middle of a terrible tragedy.
直到現在我仍會想起那些逝者 為他們祈禱 還有那些奉獻自己、幫助他人的人 但我同樣意識到了這個國家的構成 關愛、慈悲和力量 我看到一個國家在災難中 團結在一起
JB: And so as people make their way out of the museum, reflecting on the experience, reflecting on their own thoughts of it, they then move into the actual space of the memorial itself, because they've gone back up to grade, and we actually got involved in the memorial after we'd done the museum for a few years. The original designer of the memorial, Michael Arad, had this image in his mind of all the names appearing undifferentiated, almost random, really a poetic reflection on top of the nature of a terrorism event itself, but it was a huge challenge for the families, for the foundation, certainly for the first responders, and there was a negotiation that went forth and a solution was found to actually create not an order in terms of chronology, or in terms of alphabetical, but through what's called meaningful adjacency. So these are groupings of the names themselves which appear undifferentiated but actually have an order, and we, along with Jer Thorp, created an algorithm to take massive amounts of data to actually start to connect together all these different names themselves. So this is an image of the actual algorithm itself with the names scrambled for privacy, but you can see that these blocks of color are actually the four different flights, the two different towers, the first responders, and you can actually see within that different floors, and then the green lines are the interpersonal connections that were requested by the families themselves. And so when you go to the memorial, you can actually see the overarching organization inside of the individual pools themselves. You can see the way that the geography of the event is reflected inside of the memorial, and you can search for an individual name, or in this case an employer, Cantor Fitzgerald, and see the way in which all of those names, those hundreds of names, are actually organized onto the memorial itself, and use that to navigate the memorial. And more importantly, when you're actually at the site of the memorial, you can see those connections. You can see the relationships between the different names themselves. So suddenly what is this undifferentiated, anonymous group of names springs into reality as an individual life. In this case, Harry Ramos, who was the head trader at an investment bank, who stopped to aid Victor Wald on the 55th floor of the South Tower. And Ramos told Wald, according to witnesses, "I'm not going to leave you." And Wald's widow requested that they be listed next to each other.
傑克•巴頓:當遊者走出博物館 思考著9·11事件,回想著自己的想法 然後他們走到紀念館中 因為他們回顧了足夠多 其實開始建造紀念館 已經是我們建造博物館幾年之後 紀念館的原設計師麥克•埃拉德的設想圖像裡 紀念館的原設計師麥克•埃拉德的設想圖像裡 浮現出的名字都沒明顯特點,近乎隨機 的確是超出9·11恐怖襲擊本質的詩意反映 的確是超出9·11恐怖襲擊本質的詩意反映 但對所有家庭、基金會來說卻是巨大的挑戰 當然還有第一目擊者 還有協商需要進行 和不依照大事記或字母順序的建造解決方案 和不依照大事記或字母順序的建造解決方案 和不依照大事記或字母順序的建造解決方案 但是得貫穿所謂的意涵豐富的毗鄰 這些名字組看起來沒特點 但其實是有序的 我們和傑•索普一起製造了一個演算平台 讓牠承載海量的數據 來開始把所有各不相同的名字連結起來 這就是那個演算平台的圖像 名字都以密碼形式呈現 是為了保護隱私 但你們可以看到這些顏色塊 實際上是四架不同的飛機 兩座不同的塔樓,還有第一目擊者們 在不同層級之間,你能清楚的看到 這些綠線是應受害家庭要求 添上去的人際關係線 當你去到紀念館 你會發現這個拱形紀念館是在兩個單獨的泳池內部 你會發現這個拱形紀念館是在兩個單獨的泳池內部 還有9·11事件的地形分佈 是如何在紀念館內部得到體現的 而且你還能搜索任意一個名字 這裡我們以雇主坎托-菲茨杰拉德公司為例 看看這數以千計的人名 是如何井然有序的排列 在紀念館內的 然後通過它在館內找到正確方向 更重要的是,當你身處紀念館內時 你就能看到那些關係 你能清楚看出不同名字之間的關聯 所以這些沒有突出特點的名字組 就會以獨立生活經歷的方式融入現實 這里以哈里•拉莫斯為例 他曾是一個投資銀行的操盤手主管 正是他停下來救助南塔樓五十五層 的維克托•沃爾德 據目擊者稱,拉莫斯告訴沃爾德 “我不會丟下你的。” 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 to go out and capture the stories for common people. Today, of course, there's an unprecedented amount of stories for all of us that are being captured for future generations. And this is our hope, that's there's poetry inside of each of our stories.
三代人前,我們必須讓人去到全國各地 才能蒐集到普通百姓的故事 現在,我們毫無疑問能夠 為後代蒐集不可勝數的故事 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)