ABOUT THE SPEAKER
Christine Sun Kim - Sound artist, composer
Through visual art, composition and performance, Christine Sun Kim explores ways of transmuting sound and silence.

Why you should listen

Christine Sun Kim uses the medium of sound through technology and conceptualism in art, as it enables her to have the most direct connection to society at large.

She rationalizes and reframes her relationship with sound and spoken languages by using audience’s voice as her own, conducting a group of people to sing with facial movements (rather than sound), composing visual scores with sign language and musical symbols. These attempts are made to raise questions on ownership of sound, explore oral languages as social currency, deconstruct preconceived ideas about silence, and above all, unlearn sound etiquette.

As part of her practice, Kim borrows other people’s voices in order to have one and she does it by collaborating with artists such as Devonté Hynes, Thomas Benno Mader, Wolfgang Müller and Alison O’Daniel. Selected exhibitions and performances include: Sound Live Tokyo, Tokyo; White Space, Beijing; LEAP, Berlin; Carroll / Fletcher, London; nyMusikk, Oslo; Andquestionmark, Stockholm; Southern Exposure, San Francisco; Recess Activities, New York; Calder Foundation, New York; and the Museum of Modern Art, New York. Additionally, she was a recipient of Artist Residency at Whitney Museum, Haverford College, Southern Exposure, Arnolfini, University of Texas’ Visual Arts Center and Fellowship at TED and MIT Media Lab.

More profile about the speaker
Christine Sun Kim | Speaker | TED.com
TED Fellows Retreat 2015

Christine Sun Kim: The enchanting music of sign language

Christine Sun Kim: 手语的美妙声音

Filmed:
1,810,763 views

艺术家 Christine Sun Kim 生来失聪,她曾以为声音不会是她人生的一部分,而只属于那些有听觉的人。经过她的艺术作品,她发现美国标准手语和乐理中的类似处,她发现声音不只能听见,也能像一个想法一样被感受,看见,经历。在这个演说中,她邀请我们打开我们的双眼和双耳,一同经历视觉语言的丰富宝藏。
- Sound artist, composer
Through visual art, composition and performance, Christine Sun Kim explores ways of transmuting sound and silence. Full bio

Double-click the English transcript below to play the video.

00:15
Interpreter翻译员: Piano钢琴, "p,"
is my favorite喜爱 musical音乐 symbol符号.
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在钢琴乐理中,“p”是我最喜欢的音乐符号
00:19
It means手段 to play softly轻轻的.
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它表示(音乐中)弱音
00:22
If you're playing播放 a musical音乐 instrument仪器
and you notice注意 a "p" in the score得分了,
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如果你在弹奏乐器时注意到了乐谱中的“P”
00:26
you need to play softer柔和.
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那么你的(乐器)弹奏力度就要相对弱一点
00:28
Two p's普的 -- even softer柔和.
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两个P 的意思是弹奏力度还更弱
00:30
Four p's普的 -- extremely非常 soft柔软的.
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4个p的是非常弱
00:38
This is my drawing画画 of a p-tree对树,
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这是我画的有关符号“p”的树状图
00:41
which哪一个 demonstrates演示
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它表现了
00:43
no matter how many许多 thousands数千
upon thousands数千 of p's普的 there may可能 be,
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无论有多少p符号存在
00:47
you'll你会 never reach达到 complete完成 silence安静.
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你的弹奏力度也永远不会
达到完全的静默(最弱)
00:50
That's my current当前 definition定义 of silence安静:
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这是我目前对于静默(最弱)的定义
00:53
a very obscure朦胧 sound声音.
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一种非常晦涩模糊的声音
00:56
I'd like to share分享 a little bit
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现在我想分享一些
00:58
about the history历史
of American美国 Sign标志 Language语言, ASLASL,
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关于美国手语(ASL)的历史
01:01
plus a bit of my own拥有 background背景.
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和一些我的个人经历
01:05
French法国 sign标志 language语言 was brought
to America美国 during the early 1800s,
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在19世纪早期,法国手语传到了美国
01:11
and as time went by,
mixed with local本地 signs迹象,
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并且随着时间的流逝与当地手语结合
01:15
it evolved进化 into the language语言
we know today今天 as ASLASL.
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逐渐发展成为了一种新的语言,
就是我们今天所熟知的美国手语(ASL)
01:19
So it has a history历史 of about 200 years年份.
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所以美国手语的历史已经有200多年了
01:23
I was born天生 deaf,
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我出生的时候就伴随着语言和听力障碍
01:27
and I was taught to believe
that sound声音 wasn't a part部分 of my life.
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他们让我认为声音并不是我生活中的一部分
01:32
And I believed相信 it to be true真正.
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我一直认为这是对的
01:37
Yet然而, I realize实现 now
that that wasn't the case案件 at all.
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但是现在我意识到其实不是这样的
01:41
Sound声音 was very much a part部分 of my life,
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其实声音是我过去生活中非常重要的一部分
01:44
really, on my mind心神 every一切 day.
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真的,(声音)一直都在我的脑海中
01:50
As a Deaf person living活的
in a world世界 of sound声音,
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作为一名生活在声音世界里的聋哑人
01:54
it's as if I was living活的
in a foreign国外 country国家,
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这中体验仿佛就像我生活在异国他乡
盲目地遵循这个国家的规则,
风俗,行为和标准
01:57
blindly盲目地 following以下 its rules规则,
customs海关, behaviors行为 and norms规范
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02:01
without ever questioning疑问 them.
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而并不去质疑它们。
02:13
So how is it that I understand理解 sound声音?
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那么我是怎样理解声音的呢?
02:18
Well, I watch how people
behave表现 and respond响应 to sound声音.
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其实,
我会去观察人们对声音的行为举止和反应
02:22
You people are like my loudspeakers扩音器,
and amplify放大 sound声音.
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你们就像我的扩音器
帮我放大这些声音
02:26
I learn学习 and mirror镜子 that behavior行为.
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我会学习并且映射这些行为
02:28
At the same相同 time,
I've learned学到了 that I create创建 sound声音,
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与此同时,我知道自己可以创造出声音
02:31
and I've seen看到 how people respond响应 to me.
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也知道了人们是怎么反应
02:34
Thus从而 I've learned学到了, for example ...
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像这样我学到的,比如
02:36
"Don't slam猛撞 the door!"
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不要用力的关门
02:40
"Don't make too much noise噪声 when
you're eating from the potato-chip薯片 bag!"
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当你从土豆片包装袋中吃薯片时
不要发出太多的杂音
02:43
(Laughter笑声)
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(笑声)
02:44
"Don't burp饱嗝儿,
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不要打嗝
02:46
and when you're eating,
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并且当你吃东西时
02:47
make sure you don't scrape
your utensils餐具 on the plate盘子."
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要确保不要将餐具刮到你的盘子
02:50
All of these things
I term术语 "sound声音 etiquette礼仪."
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以上的这些事情我都称作“声音礼仪”
02:55
Maybe I think about sound声音 etiquette礼仪
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也许我考虑到的声音礼仪
02:58
more than the average平均 hearing听力 person does.
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会比一般(拥有正常听力)的人们更多
03:01
I'm hyper-vigilant超警惕 around sound声音.
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我对声音非常敏感
03:07
And I'm always waiting等候
in eager急于 nervous紧张 anticipation预期
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并且自己总是保持着急切的期待
03:11
around sound声音, about what's to come next下一个.
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对于声音,和将要发生的事情
03:13
Hence于是, this drawing画画.
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因此,这张图画
03:16
TBDTBD, to be decided决定.
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TBD,表示有待确定的
03:19
TBCTBC, to be continued继续.
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TBC,表示未完待续的
03:22
TBATBA, to be announced公布.
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TBA, 表示有待宣布的
03:28
And you notice注意 the staff员工 --
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你会注意到这种五线谱
03:30
there are no notes笔记 contained in the lines线.
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并没有包含任何的注释
03:32
That's because the lines线
already已经 contain包含 sound声音
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因为这些线已经包含了声音
03:36
through通过 the subtle微妙 smudges污迹 and smears涂片.
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贯穿于由铅笔擦痕形成的污迹和污点之间
03:40
In Deaf culture文化,
movement运动 is equivalent当量 to sound声音.
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在聋哑人的文化中,
动作有和声音一样的地位
03:49
This is a sign标志 for "staff员工" in ASLASL.
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在美国手语中,这是“五线谱”的意思
03:52
A typical典型 staff员工 contains包含 five lines线.
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一个典型的五线谱包括五条线
03:55
Yet然而 for me, signing签约 it
with my thumb拇指 sticking症结 up like that
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但对于我来说,
像这样竖起我的拇指来表示它
03:58
doesn't feel natural自然.
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显得并不自然
04:00
That's why you'll你会 notice注意 in my drawings图纸,
I stick to four lines线 on paper.
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这就是为什么你会注意到我的图画中,
只用了4条线
04:05
In the year 2008, I had the opportunity机会
to travel旅行 to Berlin柏林, Germany德国,
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在2008年,
我有一个机会去德国柏林旅行
04:09
for an artist艺术家 residency住院医师 there.
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作为一名艺术家访问那里
04:12
Prior to this time,
I had been working加工 as a painter画家.
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在此之前,我做过一段时间画家
04:17
During this summer夏季, I visited参观
different不同 museums博物馆 and gallery画廊 spaces空间,
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这个夏天
我参观了很多不同的博物馆和画廊
04:21
and as I went from one place地点 to the next下一个,
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当我从一个地方启程到下一个参观点,
04:23
I noticed注意到 there was no visual视觉 art艺术 there.
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发现竟然没有视觉艺术(展览)在那里
04:26
At that time, sound声音 was trending趋势,
and this struck来袭 me ...
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那个时候,声音是流行的主题
令我痛心的是视觉艺术完全被忽视了
04:31
there was no visual视觉 art艺术,
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04:33
everything was auditory听觉.
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所有的一切都是关于听觉(艺术)
04:37
Now sound声音 has come into my art艺术 territory领土.
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现在声音已经走进了我的艺术领域
04:41
Is it going to further进一步
distance距离 me from art艺术?
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这是否将会疏远我于艺术的联系?
04:45
I realized实现 that doesn't
have to be the case案件 at all.
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我意识到不一定是这样的
04:48
I actually其实 know sound声音.
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我其实知道声音
04:49
I know it so well
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并且我非常了解它
04:52
that it doesn't have to be something
just experienced有经验的 through通过 the ears耳朵.
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声音并不全是从耳朵里所听到的东西
04:55
It could be felt tactually触觉,
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我们其实也可以从触觉上感受到它
04:58
or experienced有经验的 as a visual视觉,
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或者从视觉上
05:00
or even as an idea理念.
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又或者是一个想法
05:05
So I decided决定 to reclaim回收 ownership所有权 of sound声音
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所以我决定去收回属于我的声音
05:08
and to put it into my art艺术 practice实践.
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并且其融合进我的艺术实践中
05:13
And everything that I had been
taught regarding关于 sound声音,
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所有其他人告诉我的有关声音的一切
05:16
I decided决定 to do away with and unlearn忘记.
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我决定全部抛弃和忘却
05:21
I started开始 creating创建 a new body身体 of work.
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我开始创造一些新的作品
05:24
And when I presented呈现 this
to the art艺术 community社区,
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当我向艺术界展示它们时
05:27
I was blown away with the amount
of support支持 and attention注意 I received收到.
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大家的支持和关注深深地打动了我
05:32
I realized实现:
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我意识到
05:35
sound声音 is like money,
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声音就像财富
05:39
power功率, control控制 --
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权力, 支配
05:42
social社会 currency货币.
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和社会认同
05:47
In the back of my mind心神, I've always felt
that sound声音 was your thing,
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在我之前的印象中,
我总是觉得声音只是属于你们的
05:51
a hearing听力 person's人的 thing.
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属于有听觉的人
05:56
And sound声音 is so powerful强大
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声音是多么的强大
05:58
that it could either
disempowerdisempower me and my artwork艺术品,
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即可以剥夺和削弱我的一切
06:02
or it could empower授权 me.
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也可以给予我力量
06:05
I chose选择 to be empowered授权.
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我选择了让自己变得更加有力量
06:08
There's a massive大规模的 culture文化
around spoken language语言.
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口语是大多数文化的重要构成
06:13
And just because I don't use
my literal文字 voice语音 to communicate通信,
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仅仅是因为我没有使用语音去交流
06:18
in society's社会 eyes眼睛
it's as if I don't have a voice语音 at all.
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在社会的眼中
仿佛我不能表达出任何的声音
06:24
So I need to work with individuals个人
who can support支持 me as an equal等于
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所以我需要和那些
平等对待我的人一起工作
06:28
and become成为 my voice语音.
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让他们成为我的声音
06:32
And that way, I'm able能够 to maintain保持
relevancy关联 in society社会 today今天.
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正是因为这种方式,
我现今才得以保持与社会的关联性
06:36
So at school学校, at work and institutions机构,
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在学校,工作和机构中
06:39
I work with many许多
different不同 ASLASL interpreters口译.
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我与很多美国手语翻译人员工作在一起
06:43
And their voice语音 becomes
my voice语音 and identity身分.
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他们的声音成为了我的声音和身份
06:48
They help me to be heard听说.
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他们使我得以倾听外面的世界
06:54
And their voices声音 hold保持 value and currency货币.
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他们的声音蕴含了价值和认可度
07:04
Ironically讽刺地, by borrowing借款 out their voices声音,
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讽刺的是,通过借用他们的声音
07:06
I'm able能够 to maintain保持
a temporary临时 form形成 of currency货币,
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我得以维持一种临时的认可形式
07:10
kind of like taking服用 out a loan贷款
with a very high interest利益 rate.
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这有点像借高利贷的感觉
07:18
If I didn't continue继续 this practice实践,
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如果我不继续这样做
07:20
I feel that I could just
fade褪色 off into oblivion遗忘
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我感觉自己会渐渐会被遗忘
07:23
and not maintain保持
any form形成 of social社会 currency货币.
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而且再也不能保持任何形式的社会认可
07:29
So with sound声音 as my new art艺术 medium,
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所以当声音作为我的新艺术媒介时
07:32
I delved钻研 into the world世界 of music音乐.
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我陶醉于在音乐的世界当中
07:35
And I was surprised诧异 to see
the similarities相似之处 between之间 music音乐 and ASLASL.
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我很惊讶的发现音乐与手语的相似性
07:41
For example,
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比如
07:42
a musical音乐 note注意
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一个音符
07:45
cannot不能 be fully充分 captured捕获
and expressed表达 on paper.
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是不能完全被记录到纸上的
07:48
And the same相同 holds持有 true真正
for a concept概念 in ASLASL.
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对于美国手语系统来说也是这样的
07:53
They're both highly高度 spatial空间的
and highly高度 inflected屈折 --
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它们都具有高度空间感和复杂多变的性质
08:02
meaning含义 that subtle微妙 changes变化
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任何微妙的变化
08:04
can affect影响 the entire整个 meaning含义
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都会影响整个
08:06
of both signs迹象 and sounds声音.
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手语同声音的意义
08:11
I'd like to share分享 with you
a piano钢琴 metaphor隐喻,
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我想和大家分享一个有关钢琴的比喻
08:14
to have you have a better
understanding理解 of how ASLASL works作品.
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让你们更好地理解美国手语的表现方式
08:17
So, envision预见 a piano钢琴.
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让我们设想下有一架钢琴
08:20
ASLASL is broken破碎 down into
many许多 different不同 grammatical语法的 parameters参数.
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美国手语系统(ASL)
被分散成不同的语法单元
08:24
If you assign分配 a different不同 parameter参数
to each finger手指 as you play the piano钢琴 --
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如果你把不同的语法单元
分配到每一个手指上
08:28
such这样 as facial面部 expression表达, body身体 movement运动,
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就像你的面部表情,身体的移动
08:33
speed速度, hand shape形状 and so on,
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手速和手型等等
08:37
as you play the piano钢琴 --
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当你在弹钢琴时
08:39
English英语 is a linear线性 language语言,
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英语是一门线形语言
08:41
as if one key is being存在 pressed压制 at a time.
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好比一次只能表达一种音符一样
08:44
However然而, ASLASL is more like a chord --
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但是,美国手语更像是一种和弦
08:48
all 10 fingers手指 need
to come down simultaneously同时
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10指需要一起敲击
08:51
to express表现 a clear明确 concept概念 or idea理念 in ASLASL.
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来表达一个清晰地美国手语概念
08:57
If just one of those keys按键
were to change更改 the chord,
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如果我们用一个音符来改变和弦
09:01
it would create创建 a completely全然
different不同 meaning含义.
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那么就会创造出完全不同的含义
09:04
The same相同 applies适用 to music音乐
in regards问候 to pitch沥青, tone and volume.
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音乐的音高,音调和音量也是如此
09:12
In ASLASL, by playing播放 around with these
different不同 grammatical语法的 parameters参数,
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在美国手语中,
通过对语法单元多样地变化
09:16
you can express表现 different不同 ideas思路.
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你可以表达出不同的思想
09:17
For example, take the sign标志 TO-LOOK-ATTO-LOOK-AT.
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例如,表现”看“的手势
09:20
This is the sign标志 TO-LOOK-ATTO-LOOK-AT.
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这样就是”看“的意思
09:24
I'm looking at you.
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我在看着你
09:28
Staring凝视 at you.
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瞪着你
09:29
(Laughter笑声)
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”笑声“
09:33
(Laughter笑声)
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”笑声“
09:35
Oh -- busted破获.
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啊,糟糕了
09:38
(Laughter笑声)
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”笑声“
09:41
Uh-oh嗯,哦.
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阿欧
09:45
What are you looking at?
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你在看什么呢?
09:49
Aw, stop.
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”啊,不要这样么“
09:50
(Laughter笑声)
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”笑声“
09:52
I then started开始 thinking思维,
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然后我开始想
09:53
"What if I was to look at ASLASL
through通过 a musical音乐 lens镜片?"
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如果我从音乐的角度
看待美国手语系统会是怎样的呢?
09:57
If I was to create创建 a sign标志
and repeat重复 it over and over,
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如果我去创造一个手势然后不同的重复它
10:00
it could become成为
like a piece of visual视觉 music音乐.
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也许它会变成一段视觉音乐的形式
10:04
For example, this is the sign标志 for "day,"
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例如这是表现”天“的手势
10:07
as the sun太阳 rises上升 and sets.
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这是日出和日落(手势)
10:11
This is "all day."
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这个是表现”一整天“的手势
10:16
If I was to repeat重复 it and slow it down,
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如果我去重复它并且放慢速度
10:19
visually视觉 it looks容貌 like a piece of music音乐.
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从视觉上来看它就像是一段音乐
10:24
All ... day.
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整。。。天
10:27
I feel the same相同 holds持有 true真正
for "all night."
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我觉得”整晚“也可以这样来表现
10:33
"All night."
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”整晚“
10:35
This is ALL-NIGHTALL-NIGHT,
represented代表 in this drawing画画.
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这张图表现的就是”整晚“
10:42
And this led me to thinking思维
about three different不同 kinds of nights:
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此外我也想到了3中类型的夜晚(形式)
10:49
"last night,"
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”昨夜“
10:52
"overnight过夜,"
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”一夜(在晚上)“
10:57
(Sings辛斯) "all night long."
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(哼曲)”整整一夜“
11:00
(Laughter笑声)
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”笑声“
11:07
I feel like the third第三 one has
a lot more musicality音乐性 than the other two.
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我感觉第三种(夜晚的形式)
比前两者具备更强的音乐表现力
11:11
(Laughter笑声)
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”笑声“
11:13
This represents代表 how time
is expressed表达 in ASLASL
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这张图表明了美国手语系统中
表达时间的方式
11:16
and how the distance距离 from your body身体
can express表现 the changes变化 in time.
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与你肢体不同的距离
是可以表现出不同的时间变化的
11:20
For example,
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例如
11:22
1H is one hand, 2H is two hand,
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"1H"是一只手的意思,"2H"是两只手
11:25
present当下 tense紧张 happens发生 closest最近的
and in front面前 of the body身体,
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贴近你身体的前侧可以表现现在时
11:29
future未来 is in front面前 of the body身体
and the past过去 is to your back.
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身体前侧用来表达将来时,
过去时是身体后侧
11:36
So, the first example
is "a long time ago."
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第一个例子是”很久以前“
11:40
Then "past过去,"
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紧接着是”过去“
11:44
"used to"
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”过去经常“
11:46
and the last one, which哪一个 is my favorite喜爱,
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然后最后一个是我最喜欢的
11:48
with the very romantic浪漫
and dramatic戏剧性 notion概念 to it,
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因为它具有非常浪漫和令人注目的概念
11:50
"once一旦 upon a time."
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”从前“
11:52
(Laughter笑声)
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”笑声“
11:57
"Common共同 time"
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”四分之四拍“
12:00
is a musical音乐 term术语
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是一个音乐术语
12:02
with a specific具体 time signature签名
of four beats节拍 per measure测量.
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意思是在一定时间内打四次节拍
12:07
Yet然而 when I see the word "common共同 time,"
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然而当我看到”四分之四拍“
12:09
what automatically自动 comes to mind心神 for me
is "at the same相同 time."
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脑海里总是自动联想到”于此同时“这个词
12:13
So notice注意 RHRH: right hand, LHLH: left hand.
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所以注意”RH“代表右手,”LH“代表左手
12:17
We have the staff员工
across横过 the head and the chest胸部.
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五线谱在我的头部和胸前
12:20
[Head: RHRH, Flash claw]
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头部:右手,紧握成爪型
12:21
[Common共同 time]
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”四分之四拍“
12:22
[Chest胸部: LHLH, Flash claw]
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胸前,左手,紧握成爪型
12:25
I'm now going to demonstrate演示
a hand shape形状 called the "flash claw."
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我现在来描述一下”flash claw“的手形
12:30
Can you please follow跟随 along沿 with me?
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请大家跟我一起来做
12:33
Everybody每个人, hands up.
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请大家把手举起来
12:38
Now we're going to do it
in both the head and the chest胸部,
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现在我们在头部和胸前做这个动作
12:41
kind of like "common共同 time"
or at the same相同 time.
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有点像”四分之四拍“或者”与此同时“
12:47
Yes, got it.
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对啦,就是这样
12:49
That means手段 "to fall秋季 in love"
in International国际 [Sign标志].
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这个意思”相爱“(在国际手语系统里)
12:52
(Laughter笑声)
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”笑声“
12:54
International国际 [Sign标志], as a note注意,
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国际手语就像一个音符
12:55
is a visual视觉 tool工具 to help communicate通信
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是一种视觉工具来促进
12:58
across横过 cultures文化 and sign标志 languages语言
around the world世界.
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跨文化和手语系统的交流
13:01
The second第二 one I'd like
to demonstrate演示 is this --
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那么第二个手语动作是这个
13:04
please follow跟随 along沿 with me again.
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请大家再次跟随我做出动作
13:10
And now this.
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现在变成这样
13:17
This is "colonization定植" in ASLASL.
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在美国手语中这是”殖民“的意思
13:20
(Laughter笑声)
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”笑声“
13:23
Now the third第三 --
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第三个
13:24
please follow跟随 along沿 again.
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请再次跟随我的动作
13:31
And again.
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再次
13:36
This is "enlightenment启示" in ASLASL.
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在美国手语中它代表了”启示“的意思
13:39
So let's do all three together一起.
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那么请让我们连贯的做出三个动作
13:43
"Fall秋季 in love,"
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”坠入爱河“
13:45
"colonization定植"
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”殖民“
13:47
and "enlightenment启示."
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和”启示“
13:50
Good job工作, everyone大家.
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大家都做的很好
13:51
(Laughter笑声)
223
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”笑声“
13:53
Notice注意 how all three signs迹象
are very similar类似,
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值得注意的是无论这三种手势有多麽相近
13:55
they all happen发生 at the head and the chest胸部,
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你都要在头部和胸前做出它们(这些动作)
13:57
but they convey传达 quite相当 different不同 meanings含义.
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但是它们又传达了想到不同的含义
13:59
So it's amazing惊人 to see
how ASLASL is alive and thriving,
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所以美国手语的发展和壮大真的很令人惊讶
14:03
just like music音乐 is.
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就像音乐一样
14:06
However然而, in this day and age年龄,
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但是在这个时代
14:09
we live生活 in a very audio-centric以音频为中心 world世界.
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我们生活在以声音为核心的世界里
14:11
And just because ASLASL has no sound声音 to it,
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因为美国手语并没有融合声音元素在其中
14:15
it automatically自动 holds持有 no social社会 currency货币.
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自然而然造成了它没有得到社会认可
14:19
We need to start开始 thinking思维 harder更难
about what defines定义 social社会 currency货币
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我们需要开始进一步的去思考如何定义社会认可
14:24
and allow允许 ASLASL to develop发展
its own拥有 form形成 of currency货币 --
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并且允许美国手语建立一种特有的的认可形式
14:27
without sound声音.
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在没有声音元素融入的环境下
14:30
And this could possibly或者 be a step
to lead to a more inclusive包括的 society社会.
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这样做可以很大程度上提升社会的包容性
14:38
And maybe people will understand理解
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也许人们以后会理解
14:40
that you don't need
to be deaf to learn学习 ASLASL,
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即使不是聋哑人也可以学习美国手语
14:44
nor也不 do you have to be hearing听力
to learn学习 music音乐.
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也并不只有听力健全的人才可以学习音乐
14:48
ASLASL is such这样 a rich丰富 treasure宝藏
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美国手语是一笔宝贵的财富
14:51
that I'd like you
to have the same相同 experience经验.
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我希望你们也都能体会到这一点
14:54
And I'd like to invite邀请 you
to open打开 your ears耳朵,
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我诚挚的邀请你们打开双耳
14:57
to open打开 your eyes眼睛,
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睁开自己的双眼
14:59
take part部分 in our culture文化
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融入到我们的文化中去
15:00
and experience经验 our visual视觉 language语言.
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然后感受(我们的)视觉语言的魅力
15:03
And you never know,
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你永远不会知道
15:04
you might威力 just fall秋季 in love with us.
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你有可能就会爱上了我们(和手语文化)
15:06
(Applause掌声)
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(鼓掌)
15:08
Thank you.
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谢谢大家
15:10
Denise丹尼斯 Kahler-Braaten凯勒 - 布拉滕: Hey, that's me.
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Denise Kahler-Braaten(手语翻译):这是我
15:12
(Applause掌声)
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(鼓掌)
Translated by kaidong Yao
Reviewed by chordy left

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ABOUT THE SPEAKER
Christine Sun Kim - Sound artist, composer
Through visual art, composition and performance, Christine Sun Kim explores ways of transmuting sound and silence.

Why you should listen

Christine Sun Kim uses the medium of sound through technology and conceptualism in art, as it enables her to have the most direct connection to society at large.

She rationalizes and reframes her relationship with sound and spoken languages by using audience’s voice as her own, conducting a group of people to sing with facial movements (rather than sound), composing visual scores with sign language and musical symbols. These attempts are made to raise questions on ownership of sound, explore oral languages as social currency, deconstruct preconceived ideas about silence, and above all, unlearn sound etiquette.

As part of her practice, Kim borrows other people’s voices in order to have one and she does it by collaborating with artists such as Devonté Hynes, Thomas Benno Mader, Wolfgang Müller and Alison O’Daniel. Selected exhibitions and performances include: Sound Live Tokyo, Tokyo; White Space, Beijing; LEAP, Berlin; Carroll / Fletcher, London; nyMusikk, Oslo; Andquestionmark, Stockholm; Southern Exposure, San Francisco; Recess Activities, New York; Calder Foundation, New York; and the Museum of Modern Art, New York. Additionally, she was a recipient of Artist Residency at Whitney Museum, Haverford College, Southern Exposure, Arnolfini, University of Texas’ Visual Arts Center and Fellowship at TED and MIT Media Lab.

More profile about the speaker
Christine Sun Kim | Speaker | TED.com