Okay, so 90 percent of my photographic process is, in fact, not photographic. It involves a campaign of letter writing, research and phone calls to access my subjects, which can range from Hamas leaders in Gaza to a hibernating black bear in its cave in West Virginia. And oddly, the most notable letter of rejection I ever received came from Walt Disney World, a seemingly innocuous site.
好的 我的攝影過程有90% 都不是攝影本身 而是不停的寫信 找資料、打電話、 與攝影對象連絡 從加薩的武裝組織哈馬斯領導者 到西維吉尼亞州 冬眠的黑熊 我收到最奇怪的 一封回絕信竟然是 迪士尼樂園寫來的 一個看似無害的地方
And it read -- I'm just going to read a key sentence: "Especially during these violent times, I personally believe that the magical spell cast upon guests who visit our theme parks is particularly important to protect and helps to provide them with an important fantasy they can escape to."
他們回覆,我念重點: 「尤其在現在的暴力時代,」 「我個人相信」 「來我們樂園玩的客人們,身上有著神奇魔法,」 「這魔法很重要,因為它幫助」 「人們逃離現實,進入一個幻想世界,」 「成為一種庇護。」
Photography threatens fantasy. They didn't want to let my camera in because it confronts constructed realities, myths and beliefs, and provides what appears to be evidence of a truth. But there are multiple truths attached to every image, depending on the creator's intention, the viewer and the context in which it is presented.
照片威脅幻想 他們不希望我拍攝 因為相機挑戰了他們所建立的現實、虛幻與信仰 提供了一種 事實的證據 但每張照片背後都有多重事實 取決於攝影者的目的、觀賞者、 及照片展現的內容
Over a five year period following September 11th, when the American media and government were seeking hidden and unknown sites beyond its borders, most notably weapons of mass destruction, I chose to look inward at that which was integral to America's foundation, mythology and daily functioning. I wanted to confront the boundaries of the citizen, self-imposed and real, and confront the divide between privileged and public access to knowledge.
911過後的五年 美國媒體、政府忙著尋找 海外那些 不為人知的地點 特別是大規模毀滅性武器 我選擇探究國內那些,對於美國基礎、 神話、每日生活而言, 所不可或缺的東西 我希望能挑戰人們自我設定的、 真實的界限 我想突破特權者和一般大眾間 取得知識的鴻溝
It was a critical moment in American history and global history where one felt they didn't have access to accurate information. And I wanted to see the center with my own eyes, but what I came away with is a photograph. And it's just another place from which to observe, and the understanding that there are no absolute, all-knowing insiders. And the outsider can never really reach the core.
當一個人自覺無法取得正確資訊 這是美國、國際史上 一個極關鍵時刻 我希望能親眼看見這一切的中心點 但我所能帶離的,只有相片 這只是其中一個地方,能讓我觀察、 並了解世上沒有所謂 絕對、無所不知的局內人 而局外人永遠無法觸及中心點
I'm going to run through some of the photographs in this series. It's titled, "An American Index of the Hidden and Unfamiliar," and it's comprised of nearly 70 images. In this context I'll just show you a few. This is a nuclear waste storage and encapsulation facility at Hanford site in Washington State, where there are over 1,900 stainless steel capsules containing nuclear waste submerged in water. A human standing in front of an unprotected capsule would die instantly. And I found one section amongst all of these that actually resembled the outline of the United States of America, which you can see here.
我要給大家看一系列照片, 標題為「美國索引-」 「不為人知的地方」 裡面有近70張照片 今天只能展示其中的一些 這是核廢料儲存、壓縮設備 在華盛頓州的漢福場址 總共有1900個 不鏽鋼容器裝著核廢料 投入水裡 如果站在未加防護的容器前會立刻死亡 我找到其中的一部份 形狀還真有點像 美國國土 如各位所看到的
And a big part of the work that is sort of absent in this context is text. So I create these two poles. Every image is accompanied with a very detailed factual text. And what I'm most interested in is the invisible space between a text and its accompanying image, and how the image is transformed by the text and the text by the image. So, at best, the image is meant to float away into abstraction and multiple truths and fantasy. And then the text functions as this cruel anchor that kind of nails it to the ground. But in this context I'm just going to read an abridged version of those texts.
我的專案很大一部分是 以文字填補照片中的空白 我創造兩個部份 每張照片旁,都以文字詳細記錄了事實 我所有興趣的是 存在於文字和照片之間的 隱形距離 以及照片轉為文字、 文字轉為照片的過程 所以,照片充其量是 抽象、多重現實、虛幻的 但文字的功能像是緊扣的錨 牢牢的抓住事實 今天的演講 我只能分享刪節的版本
This is a cryopreservation unit, and it holds the bodies of the wife and mother of cryonics pioneer Robert Ettinger, who hoped to be awoken one day to extended life in good health, with advancements in science and technology, all for the cost of 35 thousand dollars, for forever.
這是一個超低溫冷凍法容器 裡面放的是人體冷凍法先驅 羅伯特·艾丁格的妻子與母親 他希望有天能用先進的科技, 喚起並延續她們的生命,重獲健康 這項過程35000美元
This is a 21-year-old Palestinian woman undergoing hymenoplasty. Hymenoplasty is a surgical procedure which restores the virginal state, allowing her to adhere to certain cultural expectations regarding virginity and marriage. So it essentially reconstructs a ruptured hymen, allowing her to bleed upon having sexual intercourse, to simulate the loss of virginity.
這是一名21歲的巴勒斯坦少女 接受處女膜修補手術 這是一項用來恢復處女之身的手術 讓她能夠滿足特定文化對於 貞潔和婚姻的要求 它修復破裂的處女膜 讓她能在性交時流血 模擬失去貞操的過程
This is a jury simulation deliberation room, and you can see beyond that two-way mirror jury advisers standing in a room behind the mirror. And they observe deliberations after mock trial proceedings so that they can better advise their clients how to adjust their trial strategy to have the outcome that they're hoping for. This process costs 60,000 dollars.
這是一個陪審團審議的模擬室 這雙向玻璃鏡的後面 陪審團顧問站在鏡後 他們在模擬審判之後 觀察陪審團審議過程 以提供當事人更好的建議,並調整他們法庭上的策略 並獲得他們所期望的結果 這過程需要6萬美元
This is a U.S. Customs and Border Protection room, a contraband room, at John F. Kennedy International Airport. On that table you can see 48 hours' worth of seized goods from passengers entering in to the United States. There is a pig's head and African cane rats. And part of my photographic work is I'm not just documenting what's there. I do take certain liberties and intervene. And in this I really wanted it to resemble an early still-life painting, so I spent some time with the smells and items.
這裡是美國海關暨邊境保安局 在甘迺迪國際機場的違禁品室 那張桌子上是48小時內 從入境美國的乘客上,搜出的禁品 其中有個豬頭和非洲蔗鼠 我攝影的時候 並非只是旁觀的紀錄 我會適時的介入 我希望將這張照片拍出 早期的靜物畫的感覺 所以我花了點時間聞味道與觀察物品
This is the exhibited art on the walls of the CIA in Langley, Virginia, their original headquarters building. And the CIA has had a long history with both covert and public cultural diplomacy efforts. And it's speculated that some of their interest in the arts was designed to counter Soviet communism and promote what it considered to be pro-American thoughts and aesthetics. And one of the art forms that elicited the interest of the agency, and had thus come under question, is abstract expressionism.
這是CIA在維吉尼亞州蘭里(原始總部) 的展示藝術牆 CIA在秘密、公開文化外交上 有很長的歷史 有人推測,他們的藝術喜好 是用來抵制蘇聯共產主義 並推廣所謂親美的 想法與美學 其中一種藝術形式引起CIA興趣 後來受到質疑,就是抽象表現主義
This is the Forensic Anthropology Research Facility, and on a six acre plot there are approximately 75 cadavers at any given time that are being studied by forensic anthropologists and researchers who are interested in monitoring a rate of corpse decomposition. And in this particular photograph the body of a young boy has been used to reenact a crime scene.
這是法醫人類學研究機構 在這6英畝地 有約75具屍體 是法醫人類學家研究的對象 研究家會監控這些屍體 分解的速度 這張照片是一個小男孩的屍體 被用來重現犯罪現場
This is the only federally funded site where it is legal to cultivate cannabis for scientific research in the United States. It's a research crop marijuana grow room.
這是唯一聯邦資助的 合法種植大麻地點 以作為全美研究用途 這是研究用大麻的種植室
And part of the work that I hope for is that there is a sort of disorienting entropy where you can't find any discernible formula in how these things -- they sort of awkwardly jump from government to science to religion to security -- and you can't completely understand how information is being distributed.
我想傳遞的是 這種迷惘的無序狀態, 人們無法分辨出這些事情的模式 好像從政府跳到科學、 又跳到宗教、安全保障 令人根本無法理解 資訊傳播的方式
These are transatlantic submarine communication cables that travel across the floor of the Atlantic Ocean, connecting North America to Europe. They carry over 60 million simultaneous voice conversations, and in a lot of the government and technology sites there was just this very apparent vulnerability. This one is almost humorous because it feels like I could just snip all of that conversation in one easy cut. But stuff did feel like it could have been taken 30 or 40 years ago, like it was locked in the Cold War era and hadn't necessarily progressed.
這些是海底通訊電纜 橫渡整個大西洋 連結北美與歐洲 傳遞著超過6千萬即時通話 在很多政府、科技場所可以看到 它明顯的脆弱性 這張很好笑,我覺得隨便一剪 就可以切斷所有通訊一樣 但它其實看起來很像30、40年前 停留在冷戰時期的東西, 沒有什麼進展
This is a Braille edition of Playboy magazine. (Laughter) And this is ... a division of the Library of Congress produces a free national library service for the blind and visually impaired, and the publications they choose to publish are based on reader popularity. And Playboy is always in the top few. (Laughter) But you'd be surprised, they don't do the photographs. It's just the text. (Laughter)
這是花花公子雜誌的點字版 (笑聲) 國會圖書館的其中一館 為盲人、視力守損的人 提供的免費圖書服務 他們是依照讀者歡迎度 來出版點字書的 而花花公子總在前幾名 (笑聲) 感到意外的是,裡面並沒有圖片,只有文字 (笑聲)
This is an avian quarantine facility where all imported birds coming into America are required to undergo a 30-day quarantine, where they are tested for diseases including Exotic Newcastle Disease and Avian Influenza. This film shows the testing of a new explosive fill on a warhead. And the Air Armament Center at Eglin Air Force Base in Florida is responsible for the deployment and testing of all air-delivered weaponry coming from the United States. And the film was shot on 72 millimeter, government-issue film. And that red dot is a marking on the government-issue film.
這是家禽檢疫所 所有進口美國的鳥類 都需要30天的隔離 並檢疫 包含新城病(急性家禽疾病) 和禽流感 這段影片是 彈頭的爆炸測試 位於佛州埃格林空軍基地 的航空武器中心 他們負責部署、測試 所有美國的空投武器 所有美國的空投武器 這影片是用政府規定的72釐米鏡頭拍攝的 那紅點是官方影片的標誌
All living white tigers in North America are the result of selective inbreeding -- that would be mother to son, father to daughter, sister to brother -- to allow for the genetic conditions that create a salable white tiger. Meaning white fur, ice blue eyes, a pink nose. And the majority of these white tigers are not born in a salable state and are killed at birth. It's a very violent process that is little known. And the white tiger is obviously celebrated in several forms of entertainment. Kenny was born. He actually made it to adulthood. He has since passed away, but was mentally retarded and suffers from severe bone abnormalities.
北美現在的白老虎 都是選擇性近親交配的結果 可能是母子交配、 父女交配、兄弟姐妹交配 只為了讓生下來的 白老虎有賣相 像是白色的毛、冰藍眼睛、粉紅鼻子 大部分的白老虎 如果出生後不能拿來賣 就會被當場殺死 這是鮮少人知道的殘忍過程 白老虎常被拿來做娛樂用途 Kenny出生後幸運活到成年 現在已經去世了 他有心智障礙 以及嚴重骨骼異常
This, on a lighter note, is at George Lucas' personal archive. This is the Death Star. And it's shown here in its true orientation. In the context of "Star Wars: Return of the Jedi," its mirror image is presented. They flip the negative. And you can see the photoetched brass detailing, and the painted acrylic facade. In the context of the film, this is a deep-space battle station of the Galactic Empire, capable of annihilating planets and civilizations, and in reality it measures about four feet by two feet. (Laughter)
介紹輕鬆一點的 這是喬治·盧卡斯的私人收藏 這是死星 這是它真實的方向 在星際大戰:絕地大反攻裡 其實是它的鏡像 他們將它水平翻轉 各位可以看到黃銅模型蝕刻的細節 和壓克力外觀 在電影中 它是銀河帝國製造的終極武器 可以消滅整個星球 但事實上它只有4乘2英尺大 (笑聲)
This is at Fort Campbell in Kentucky. It's a Military Operations on Urbanized Terrain site. Essentially they've simulated a city for urban combat, and this is one of the structures that exists in that city. It's called the World Church of God. It's supposed to be a generic site of worship. And after I took this photograph, they constructed a wall around the World Church of God to mimic the set-up of mosques in Afghanistan or Iraq. And I worked with Mehta Vihar who creates virtual simulations for the army for tactical practice. And we put that wall around the World Church of God, and also used the characters and vehicles and explosions that are offered in the video games for the army. And I put them into my photograph.
這是肯塔基州的坎貝爾堡 城市巷戰訓練基地 他們模擬出一個城市 作為城市戰訓練 這是該城其中一個建築 叫作「上帝的世界教堂」 本來只是一個普通的禮拜堂 我拍完這照片後 他們在世界教堂四周建起牆 來模仿在阿富汗、伊拉克的清真寺 我與Mehta Vihar合作 他專門負責軍隊實戰練習的 視覺模擬 我們在世界教堂四周築牆 並加入人物、交通工具、爆炸效果 便成軍人的電玩遊戲 我將他們一同收進照片中
This is live HIV virus at Harvard Medical School, who is working with the U.S. Government to develop sterilizing immunity.
這是活的愛滋病毒 哈佛醫學院與美國政府的研究 研發消除性免疫療法
And Alhurra is a U.S. Government- sponsored Arabic language television network that distributes news and information to over 22 countries in the Arab world. It runs 24 hours a day, commercial free. However, it's illegal to broadcast Alhurra within the United States. And in 2004, they developed a channel called Alhurra Iraq, which specifically deals with events occurring in Iraq and is broadcast to Iraq.
自由之聲是美國政府贊助的 阿拉伯語電視台 在超過22個阿拉伯國家播出新聞資訊 一天24小時,沒有廣告 但自由之聲的播出在美國是非法的 但在2004年他們開發了自由之聲伊拉克頻道 專門報導在伊拉克發生的事件 並只在伊拉克播出
Now I'm going to move on to another project I did. It's titled "The Innocents." And for the men in these photographs, photography had been used to create a fantasy. Contradicting its function as evidence of a truth, in these instances it furthered the fabrication of a lie. I traveled across the United States photographing men and women who had been wrongfully convicted of crimes they did not commit, violent crimes.
接下來我要談的是我的另一個專案 「無罪者」 對這些照片中的男子來說 攝影已經成為想像的產物 與它原本提供證據的功能牴觸 並進而成為捏造謊言的工具 我走遍美國 拍攝因為被誤判的無辜者 他們為自己從未犯過暴力罪行受罪
I investigate photography's ability to blur truth and fiction, and its influence on memory, which can lead to severe, even lethal consequences. For the men in these photographs, the primary cause of their wrongful conviction was mistaken identification. A victim or eyewitness identifies a suspected perpetrator through law enforcement's use of images. But through exposure to composite sketches, Polaroids, mug shots and line-ups, eyewitness testimony can change.
我調查了攝影模糊是非的能力 和它對於記憶的影響 結果是嚴重、甚至可致命的 照片中這些男人 被誤判最主要原因是 身分誤認 受害人、目擊證人 指認出犯罪嫌疑人 執法機關利用影像協助 但透過合成的草圖、 拍立得、罪犯檔案的照片、列隊認人, 目擊證人的證詞是可以改變的
I'll give you an example from a case. A woman was raped and presented with a series of photographs from which to identify her attacker. She saw some similarities in one of the photographs, but couldn't quite make a positive identification. Days later, she is presented with another photo array of all new photographs, except that one photograph that she had some draw to from the earlier array is repeated in the second array. And a positive identification is made because the photograph replaced the memory, if there ever was an actual memory.
我舉個例子 一個被強暴的女人,看到一系列指認照片 來辨認攻擊她的人 她看到其中一張照片疑似她的攻擊者 但無法確定 幾天後她又面對一系列新的 指認照片 但她之前有印象的那照片 被重複放到第二系列 第二次她就可以正確指認 因為照片已經取代原本的記憶 又或許本來是沒有記憶的
Photography offered the criminal justice system a tool that transformed innocent citizens into criminals, and the criminal justice system failed to recognize the limitations of relying on photographic identifications.
照片變成了刑事司法體系 一種讓無辜者變成罪犯的工具 而刑事司法體系,無法意識到用相片來指認嫌犯 所帶來局限性
Frederick Daye, who is photographed at his alibi location, where 13 witnesses placed him at the time of the crime. He was convicted by an all-white jury of rape, kidnapping and vehicle theft. And he served 10 years of a life sentence. Now DNA exonerated Frederick and it also implicated another man who was serving time in prison. But the victim refused to press charges because she claimed that law enforcement had permanently altered her memory through the use of Frederick's photograph.
這是Fredrick Day在他的不在場證明現場 有13個人證明案發當時他在這裡 他被全為白人的陪審團判有罪 罪行有強暴、綁架、偷車 無期徒刑中他服了10年 後來DNA證據宣佈Fredrick無罪 此證據還暗示另一個 在監獄服刑的嫌犯 受害者後來拒絕提出告訴 因為她認為執法機關 利用Fredrick的照片,已經永久的改變了她的記憶
Charles Fain was convicted of kidnapping, rape and murder of a young girl walking to school. He served 18 years of a death sentence. I photographed him at the scene of the crime at the Snake River in Idaho. And I photographed all of the wrongfully convicted at sites that came to particular significance in the history of their wrongful conviction. The scene of arrest, the scene of misidentification, the alibi location. And here, the scene of the crime, it's this place to which he's never been, but changed his life forever. So photographing there, I was hoping to highlight the tenuous relationship between truth and fiction, in both his life and in photography.
Charles Faine因綁架、強姦、謀殺 一名上學途中的女學生 被判死刑,坐了18年牢 這是我後來拍攝他在愛達荷州的 蛇河(犯罪現場)的照片 我拍攝這些被誤判的人 重回到那改變他們一生 非常重要的地點 像是逮捕地點、錯認地點 不在場證明地點 而這張照片,就在這個犯罪現場 他從沒有到過這裡,但卻改變了他的一生 我希望利用這張照片,強調 他的人生和攝影這種 事實-虛幻的脆弱關係
Calvin Washington was convicted of capital murder. He served 13 years of a life sentence in Waco, Texas.
Calvin Washington被判蓄意謀殺 他在德州的韋科坐了無期徒刑中的13年牢
Larry Mayes, I photographed at the scene of arrest, where he hid between two mattresses in Gary, Indiana, in this very room to hide from the police. He ended up serving 18 and a half years of an 80 year sentence for rape and robbery. The victim failed to identify Larry in two live lineups and then made a positive identification, days later, from a photo array.
這是Larry Mays在他的逮捕地點 他當時躲在兩張床墊中間 (印第安納州 蓋瑞) 這是同一個房間 他因為強姦、搶劫被判80年刑 最後坐了18.5年牢 受害人在兩次的列隊認人 都沒指認Larry 後來是幾天後的指認照片裡 指認出他
Larry Youngblood served eight years of a 10 and half year sentence in Arizona for the abduction and repeated sodomizing of a 10 year old boy at a carnival. He is photographed at his alibi location.
Larry Youngblood被判10.5年,在亞利桑那坐了8年牢 罪行是在嘉年華裡綁架、雞姦 一名10歲男童 這是他的不在場證明地點
Ron Williamson. Ron was convicted of the rape and murder of a barmaid at a club, and served 11 years of a death sentence. I photographed Ron at a baseball field because he had been drafted to the Oakland A's to play professional baseball just before his conviction. And the state's key witness in Ron's case was, in the end, the actual perpetrator.
Ron Williamson因姦殺一名酒吧女服務生 被判死刑 後來蹲了11年牢 我拍攝Ron在棒球場的照片 因為他在判刑前, 才剛被選入奧克蘭運動家隊,準備開始職棒生涯 而當時的污點證人 才是真正的凶手
Ronald Jones served eight years of a death sentence for rape and murder of a 28-year-old woman. I photographed him at the scene of arrest in Chicago.
Ronald Jones因姦殺一名28歲婦女 被判死刑,坐了8年牢 這是他在芝加哥的逮捕地點
William Gregory was convicted of rape and burglary. He served seven years of a 70 year sentence in Kentucky.
William Gregory因強暴、盜竊罪 被判70年徒刑,蹲了7年牢 (肯塔基州)
Timothy Durham, who I photographed at his alibi location where 11 witnesses placed him at the time of the crime, was convicted of 3.5 years of a 3220 year sentence, for several charges of rape and robbery. He had been misidentified by an 11-year-old victim.
這是Timothy Durham在他的不在場證明地點 有11個人證明案發當時他在這裡 被判3220年徒刑 坐了3.5年牢 罪行是強暴與搶劫 因為該案的11歲受害者認錯人
Troy Webb is photographed here at the scene of the crime in Virginia. He was convicted of rape, kidnapping and robbery, and served seven years of a 47 year sentence. Troy's picture was in a photo array that the victim tentatively had some draw toward, but said he looked too old. The police went and found a photograph of Troy Webb from four years earlier, which they entered into a photo array days later, and he was positively identified.
這是Troy Webb在維吉尼亞州犯罪現場的照片 他因強暴、綁架、搶劫 被判47徒刑,坐了7年牢 Troy的照片是指認照片裡其中一張 但受害人看著照片,並不確定 覺得他看起來太老 後來警方找出Troy Webb 四年前的照片 又放進指認照片裡 他因此被指認出來
Now I'm going to leave you with a self portrait. And it reiterates that distortion is a constant, and our eyes are easily deceived. That's it. Thank you. (Applause)
最後給各位看這張自畫像 它說明了相片的扭曲是經常發生的 而我們的雙眼可以輕易蒙蔽 謝謝大家 (掌聲)