TEDSalon NY2013
Jake Barton: The museum of you
Džejk Barton (Jake Barton): Muzej vaših dela
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Trećina sveta gledala je uživo kako se Svetski trgovinski centar srušio 11. septembra 2001. godine; ostale dve trećine ljudi je čulo za to u roku od 24 sata. (Da li se sećate gde ste tada bili?) Izložbe koje će se održavati u Memorijalnom muzeju 11. septembra koji će se uskoro otvoriti, prikazaće raznovrsnost svetskih iskustava tog dana. U dirljivom govoru, dizajner Džejk Barton daje nam mali nagoveštaj nekih od tih instalacija, kao i nekoliko drugih projekata koji imaju za cilj da učine posmatrača aktivnim učesnikom u izložbama.
Jake Barton - Designer and storyteller
Principal of the New York media design firm, Local Projects, Jake Barton creates interactive and digital exhibits for the likes of the 9/11 Memorial Museum, Cleveland Museum of Art and Storycorps. Full bio
Principal of the New York media design firm, Local Projects, Jake Barton creates interactive and digital exhibits for the likes of the 9/11 Memorial Museum, Cleveland Museum of Art and Storycorps. Full bio
Double-click the English transcript below to play the video.
00:13
This is Charley Williams.
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Ovo je Čarli Vilijams.
00:15
He was 94 when this photograph was taken.
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Imao je 94 godine kada je ova
fotografija snimljena.
fotografija snimljena.
00:17
In the 1930s, Roosevelt put
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1930-ih, Ruzvelt je vratio
00:20
thousands and thousands of Americans back to work
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hiljade i hiljade Amerikanaca
na posao
na posao
00:22
by building bridges and infrastructure and tunnels,
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građenjem mostova,
infrastrukture i tunela,
infrastrukture i tunela,
00:24
but he also did something interesting,
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ali je takođe uradio
nešto interesantno,
nešto interesantno,
00:26
which was to hire a few hundred writers
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a to je da je zaposlio nekoliko
stotina pisaca
stotina pisaca
00:28
to scour America to capture the stories of ordinary Americans.
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da pročešljaju Ameriku kako bi
ovekovečili priče običnih ljudi.
ovekovečili priče običnih ljudi.
00:32
Charley Williams, a poor sharecropper,
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Čarli Vilijams,
siromašni napoličar
siromašni napoličar
00:34
wouldn't ordinarily be the subject of a big interview,
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ne bi inače bio predmet
velikog istraživanja,
velikog istraživanja,
00:37
but Charley had actually been a slave
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ali on je zapravo bio rob
00:39
until he was 22 years old.
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do svoje 22. godine.
00:42
And the stories that were captured of his life
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I priče koje su ovekovečene
o njegovom životu
o njegovom životu
00:44
make up one of the crown jewels
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stvorile su jedan od
istinskih dragulja
istinskih dragulja
00:47
of histories, of human-lived experiences
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istorije ljudskih iskustava
00:50
filled with ex-slaves.
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ispunjene bivšim robovima.
00:53
Anna Deavere Smith famously said that
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Ana Diver Smit ponosno je rekla
00:55
there's a literature inside of each of us,
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da postoji književnost unutar
svakog od nas
svakog od nas
00:57
and three generations later, I was part of a project
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a tri generacije kasnije,
bio sam deo projekta
bio sam deo projekta
00:59
called StoryCorps,
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pod nazivom "Tela priče"
01:01
which set out to capture
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koji je osnovan da obuhvati
01:03
the stories of ordinary Americans
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priče običnih Amerikanaca
01:05
by setting up a soundproof booth in public spaces.
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postavljajući zvučno izolovznu kabinu
na javnim mestima.
na javnim mestima.
01:08
The idea is very, very simple.
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Ideja je veoma,
veoma jednostavna.
veoma jednostavna.
01:09
You go into these booths, you interview your grandmother
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Uđete u te kabine, razgovarate
sa svojom bakom
sa svojom bakom
01:12
or relative, you leave with a copy of the interview
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ili nekim rođakom, i odete sa
kopijom tog razgovora
kopijom tog razgovora
01:14
and an interview goes into the Library of Congress.
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i taj intervju ide
u Kongresnu bilbioteku.
u Kongresnu bilbioteku.
01:17
It's essentially a way to make a national oral histories archive
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To je zapravo način da se stvori
arhiva nacionalnih usmenih priča
arhiva nacionalnih usmenih priča
01:21
one conversation at a time.
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jedan po jedan razgovor.
01:23
And the question is, who do you want to remember --
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Pitanje je, koga biste želeli
da se setite
da se setite
01:25
if you had just 45 minutes with your grandmother?
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ako biste imali samo 45 minuta
vremena sa vašom bakom?
vremena sa vašom bakom?
01:28
What's interesting, in conversations with the founder, Dave Isay,
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Ono što je interesantno, u razgovoru
sa osnivačem Dejvom Ajsejem,
sa osnivačem Dejvom Ajsejem,
01:31
we always actually talked about this
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zapravo govorili smo o tome
01:32
as a little bit of a subversive project,
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kao o pomalo rušilačkom projektu,
01:34
because when you think about it,
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jer kada mislite o tome,
01:35
it's actually not really about the stories that are being told,
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ne radi se o pričama koje
su ispričane,
su ispričane,
01:38
it's about listening,
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već o slušanju,
01:39
and it's about the questions that you get to ask,
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radi se o pitanjima koja postavljate,
01:41
questions that you may not have permission to
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pitanjima za koja nemate dozvolu,
01:43
on any other day.
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bilo kog drugog dana.
01:45
I'm going to play you just a couple of quick excerpts from the project.
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Pustiću vam samo nekoliko brzih
sekvenci iz projekta.
sekvenci iz projekta.
01:50
[Jesus Melendez talking about poet Pedro Pietri's final moments]
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[Hesus Melendez govori o poslednjim
trenucima pesnika Pedra Pjetrija]
trenucima pesnika Pedra Pjetrija]
01:52
Jesus Melendez: We took off, and as we were ascending,
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Hesus Mendelez: Krenuli smo,
i dok smo se spuštali
i dok smo se spuštali
01:54
before we had leveled off,
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pre nego što smo se poravnali,
01:56
our level-off point was 45,000 feet,
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naša ravnajuća tačka
bila je 13716 metara,
bila je 13716 metara,
01:58
so before we had leveled off,
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dakle pre nego što smo poravnali
02:00
Pedro began leaving us,
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Pedro je počeo da nas napušta,
02:02
and the beauty about it
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i lepota u tome je
02:05
is that I believe that there's something after life.
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da verujem da postoji
nešto posle života.
nešto posle života.
02:08
You can see it in Pedro.
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Možete videti to u Pedru.
02:12
[Danny Perasa to his wife Annie Perasa married 26 years]
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[Deni Perasa svojoj ženi Ani Perasi,
u braku 26 godina]
u braku 26 godina]
02:15
Danny Perasa: See, the thing of it is,
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Deni Perasa: Stvar je u tome,
02:17
I always feel guilty when I say "I love you" to you,
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da sam uvek osećao krivicu
kada sam ti izgovarao "Volim te",
kada sam ti izgovarao "Volim te",
02:20
and I say it so often. I say it to remind you
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a kažem to veoma često.
Kažem to da te podsetim
Kažem to da te podsetim
02:23
that as dumpy as I am, it's coming from me,
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da koliko god sam blesav,
to dolazi iz mene,
to dolazi iz mene,
02:26
it's like hearing a beautiful song from a busted old radio,
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to je kao slušanje prelepe pesme
sa starog i pokvarenog radija,
sa starog i pokvarenog radija,
02:30
and it's nice of you to keep the radio around the house.
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a lepo je od tebe
što držiš radio u kući.
što držiš radio u kući.
02:32
(Laughter)
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(Smeh)
02:34
[Michael Wolmetz with his girlfriend Debora Brakarz]
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[Majkl Volmec sa svojom devojkom
Deborom Brakarc]
Deborom Brakarc]
02:37
Michael Wolmetz: So this is the ring that my father gave to my mother,
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Majkl Volmec: Ovo je prsten koji je
moj otac dao mojoj majci
moj otac dao mojoj majci
02:40
and we can leave it there.
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i možemo ga ostaviti tu.
02:42
And he saved up and he purchased this,
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A on je štedeo
i kupio ga je,
i kupio ga je,
02:44
and he proposed to my mother with this,
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te je zaprosio moju majku njime,
02:45
and so I thought that I would give it to you
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pa sam mislio da ti ga dam
02:47
so that he could be with us for this also.
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kako bi i on bio sa nama.
02:51
So I'm going to share a mic with you right now, Debora.
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Podeliću sa tobom mikrofon
sad, Debora.
sad, Debora.
02:54
Where's the right finger?
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Gde ti je desni prst?
02:56
Debora Brakarz: (Crying)
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Debora Brakarc:
(Plače)
(Plače)
02:58
MW: Debora, will you please marry me?
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MV: Debora, hoćeš li se
udati za mene?
udati za mene?
03:02
DB: Yes. Of course. I love you.
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DB: Da. Naravno. Volim te.
03:05
(Kissing)
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(Ljubljenje)
03:08
MW: So kids, this is how your mother and I got married,
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MV: E pa deco, tako smo se
vaša majka i ja venčali
vaša majka i ja venčali
03:12
in a booth in Grand Central Station with my father's ring.
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u kabini u Centralnoj stanici Njujorka
sa prstenom mog oca.
sa prstenom mog oca.
03:16
My grandfather was a cab driver for 40 years.
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Moj deda je bio taksi vozač
40 godina.
40 godina.
03:18
He used to pick people up here every day.
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Kupio je ljude ovde svaki dan.
03:20
So it seems right.
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Deluje ispravno.
03:22
Jake Barton: So I have to say
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Džejk Barton: Treba da kažem
03:24
I did not actually choose those individual samples to make you cry
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da nisam zapravo izabrao ove posebne
uzorke kako bih vas rasplakao
uzorke kako bih vas rasplakao
03:27
because they all make you cry.
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jer vas svi rastužuju.
03:29
The entire project is predicated on this act of love
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Čitav projekat je utemeljen
na ovom činu ljubavi
na ovom činu ljubavi
03:32
which is listening itself.
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koji je samo slušanje.
03:33
And that motion of building an institution
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A taj pojam građenja institucije
03:36
out of a moment of conversation and listening
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od momenta razgovora i slušanja
03:38
is actually a lot of what my firm, Local Projects,
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je zapravo ono što moja firma
"Local Projects"
"Local Projects"
03:40
is doing with our engagements in general.
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zapravo radi
sa našim mušterijama.
sa našim mušterijama.
03:43
So we're a media design firm, and we're working
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Dakle mi smo firma
dizajna medija i radimo
dizajna medija i radimo
03:45
with a broad array of different institutions
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sa širokom grupom različitih
institucija
institucija
03:47
building media installations for museums and public spaces.
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i pravimo instalacije medija
za muzeje i javne prostore.
za muzeje i javne prostore.
03:50
Our latest engagement is the Cleveland Museum of Art,
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Naš poslednji angažman je u
Klivlendskom muzeju umetnosti
Klivlendskom muzeju umetnosti
03:53
which we've created an engagement called Gallery One for.
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gde smo kreirali projekat pod
nazivom "Galerija 1".
nazivom "Galerija 1".
03:56
And Gallery One is an interesting project
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"Galerija 1" je interesantan projekat
03:58
because it started with this massive, $350 million expansion
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jer je počeo sa ovom masivnom
ekspanzijom od 350 miliona dolara
ekspanzijom od 350 miliona dolara
04:02
for the Cleveland Museum of Art,
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za Klivlendski muzej umetnosti
04:04
and we actually brought in this piece
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a mi smo zapravo ovo sklopili
u jedan komad
u jedan komad
04:06
specifically to grow new capacity, new audiences,
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kako bismo stvorili novi kapacitet,
novu publiku
novu publiku
04:08
at the same time that the museum itself is growing.
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u isto vreme
dok se i muzej razvija.
dok se i muzej razvija.
04:11
Glenn Lowry, the head of MoMA, put it best when he said,
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Glen Lauri, osnivač MoMA-e,
lepo je objasnio:
lepo je objasnio:
04:13
"We want visitors to actually cease being visitors.
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"Želimo da posetioci prestanu
da budu posetioci.
da budu posetioci.
04:16
Visitors are transient. We want people who live here,
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Oni su prolaznici. Želimo ljude
koji žive ovde,
koji žive ovde,
04:18
people who have ownership."
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ljude koji imaju vlasništvo."
04:20
And so what we're doing is making a broad array
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A mi stvaramo široku matricu
04:22
of different ways for people to actually engage
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različitih načina na koje sve ljudi
mogu da se angažuju
mogu da se angažuju
04:24
with the material inside of these galleries,
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sa materijalom unutar ovih galerija,
04:26
so you can still have a traditional gallery experience,
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tako da možete imati tradicionalna
galerijska iskustva
galerijska iskustva
04:29
but if you're interested, you can actually engage
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ali ako ste zainteresovani, možete
da se angažujete
da se angažujete
04:31
with any individual artwork and see the original context
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sa bilo kojim individualnim umetničkim
delom i vidite originalni kontekst
delom i vidite originalni kontekst
04:34
from where it's from, or manipulate the work itself.
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odakle je on ili da manipulišete delom.
04:37
So, for example, you can click on this individual lion head,
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Na primer, možete da kliknete na
ovu glavu lava
ovu glavu lava
04:39
and this is where it originated from, 1300 B.C.
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i videćete odakle ona potiče,
1300 godina p.n.e.
1300 godina p.n.e.
04:43
Or this individual piece here,
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Ili ovaj posebni delić ovde,
04:45
you can see the actual bedroom. It really changes the way
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možete videti spavaću sobu.
To zaista menja način
To zaista menja način
04:47
you think about this type of a tempera painting.
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na koji vidite ovu vrstu slike
rađene temperom.
rađene temperom.
04:51
This is one of my favorites because you see the studio itself.
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Ova mi je omiljena jer
vidite čitav atelje.
vidite čitav atelje.
04:53
This is Rodin's bust. You get the sense
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Ovo je Rodenova bista.
04:55
of this incredible factory for creativity.
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Shvatite ovu neverovatnu
fabriku kreativnosti.
fabriku kreativnosti.
04:57
And it makes you think about literally the hundreds
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Ono vas tera da mislite bukvalno
o stotinama
o stotinama
04:59
or thousands of years of human creativity and how
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ili hiljadama godina ljudske
kreativnosti i kako se
kreativnosti i kako se
05:02
each individual artwork stands in for part of that story.
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svako individualno delo
uklapa u deo te priče.
uklapa u deo te priče.
05:05
This is Picasso,
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Ovo je Pikaso,
05:06
of course embodying so much of it from the 20th century.
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naravno obuhvatajući toliko
toga iz 20. veka.
toga iz 20. veka.
05:09
And so our next interface, which I'll show you,
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Naš sledeći interfejs, koji ću
vam pokazati
vam pokazati
05:11
actually leverages that idea of this lineage of creativity.
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zapravo podstiče ideju porekla
kreativnosti.
kreativnosti.
05:15
It's an algorithm that actually allows you to browse
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To je algoritam koji vam omogućava
da pretražujete
da pretražujete
05:18
the actual museum's collection using facial recognition.
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prave muzejske kolekcije
koristeći prepoznavanje lica.
koristeći prepoznavanje lica.
05:21
So this person's making different faces,
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Ova osoba pravi različite grimase,
05:23
and it's actually drawing forth different objects
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i to crta različite objekte
05:26
from the collection that connect with exactly how she's looking.
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iz kolekcije koja je povezana tačno
sa njenim izgledom.
sa njenim izgledom.
05:29
And so you can imagine that, as people are performing
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Možete zamisliti da,
dok ljudi to izvode
dok ljudi to izvode
05:33
inside of the museum itself, you get this sense
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unutar samog muzeja, osećate
05:36
of this emotional connection,
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ovu emocionalnu vezu,
05:37
this way in which our face connects with the thousands
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na način na koji se naše lice
povezuje sa hiljadama
povezuje sa hiljadama
05:39
and tens of thousands of years.
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i desetinama hiljada godina.
05:41
This is an interface that actually allows you to draw
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Ovo je interfejs koji vam omogućava
da nacrtate
da nacrtate
05:43
and then draws forth objects using those same shapes.
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a potom on prikazuje objekat
koristeći iste te oblike.
koristeći iste te oblike.
05:47
So more and more we're trying to find ways
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Sve više se trudimo da
nađemo načine
nađemo načine
05:49
for people to actually author things inside of the museums themselves,
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da ljudi budu autori dela
unutar samih muzeja,
unutar samih muzeja,
05:52
to be creative even as they're looking
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da budu kreativni čak i gledajući
05:54
at other people's creativity and understanding them.
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kreativnost drugih ljudi
i shvatajući ih.
i shvatajući ih.
05:56
So in this wall, the collections wall,
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Na ovom zidu, zidu kolecije,
05:59
you can actually see all 3,000 artworks all at the same time,
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možete zapravo videti svih 3000
umetničkih dela u isto vreme,
umetničkih dela u isto vreme,
06:02
and you can actually author your own
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gde možete biti autor vaših ličnih
06:04
individual walking tours of the museum, so you can share them,
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individualnih hodajućih tura po muzeju,
možete ih deliti,
možete ih deliti,
06:07
and someone can take a tour with the museum director
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a neko može krenuti
u razgledanje sa kustosom
u razgledanje sa kustosom
06:10
or a tour with their little cousin.
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ili sa njihovim malim rođakom.
06:13
But all the while that we've been working
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Ali dok smo radili
06:14
on this engagement for Cleveland,
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na ovom projektu za Klivlend,
06:16
we've also been working in the background
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radili smo takođe u pozadini
06:17
on really our largest engagement to date,
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na našem najvećem projektu,
06:19
and that's the 9/11 Memorial and Museum.
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a to je memorijal i muzej
za 11. septembar.
za 11. septembar.
06:23
So we started in 2006
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Počeli smo 2006. godine
06:25
as part of a team with Thinc Design
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kao deo tima sa Thinc Design-om
06:28
to create the original master plan for the museum,
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kako bismo stvorili originalni
master plan muzeja,
master plan muzeja,
06:30
and then we've done all the media design
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a potom smo radili na čitavom
dizajnu medija
dizajnu medija
06:32
both for the museum and the memorial and then the media production.
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i za muzej i za memorijal,
a zatim za produkciju medija.
a zatim za produkciju medija.
06:35
So the memorial opened in 2011,
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Memorijal je otvoren
2011. godine,
2011. godine,
06:38
and the museum's going to open next year in 2014.
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a muzej će se otvoriti sledeće,
2014. godine.
2014. godine.
06:40
And you can see from these images,
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Sa ovih slika možete videti,
06:41
the site is so raw and almost archaeological.
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da je prostor tako sirov
i gotovo arheološki.
i gotovo arheološki.
06:45
And of course the event itself is so recent,
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Naravno, čitav događaj je
prilično nov,
prilično nov,
06:47
somewhere between history and current events,
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negde između istorije i trenutnih
događaja,
događaja,
06:50
it was a huge challenge to imagine
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te je bio veliki izazov zamisliti
06:51
how do you actually live up to a space like this,
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kako zapravo oživeti ovakvo mesto
06:54
an event like this, to actually tell that story.
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i ovakve događaje,
da bismo ispričali priču.
da bismo ispričali priču.
06:56
And so what we started with
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Ono što smo počeli
06:58
was really a new way of thinking about building an institution,
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je bilo istinski novi način razmišljanja
o građenju institucije
o građenju institucije
07:02
through a project called Make History,
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kroz projekat pod imenom
"Stvorite Istoriju",
"Stvorite Istoriju",
07:03
which we launched in 2009.
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koji smo započeli 2009. godine
07:05
So it's estimated that a third of the world
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Procenjuje se da je trećina sveta
07:08
watched 9/11 live,
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uživo videla napad 11.septembra,
07:10
and a third of the world
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a trećina sveta
07:11
heard about it within 24 hours,
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je čula za to u roku od
24 sata,
24 sata,
07:13
making it really by nature of when it happened,
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čineći ga, prirodno
u trenutku kada se to dogodilo,
u trenutku kada se to dogodilo,
07:15
this unprecedented moment of global awareness.
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jedinstvenim događajem
globalne osvešćenosti.
globalne osvešćenosti.
07:18
And so we launched this to capture the stories
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Dakle, započeli smo ovaj projekat
kako bismo ovekovečili priče
kako bismo ovekovečili priče
07:21
from all around the world,
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širom sveta,
07:22
through video, through photos,
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kroz video klipove, slike,
07:23
through written history,
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pisanu istoriju,
07:25
and so people's experiences on that day,
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tako da su ljudska iskustva
tog dana,
tog dana,
07:26
which was, in fact, this huge risk for the institution
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koji je bio, ogorman rizik
za instituciju
za instituciju
07:28
to make its first move this open platform.
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da napravi svoj prvi potez ka ovoj
otvorenoj platformi.
otvorenoj platformi.
07:31
But that was coupled together with this oral histories booth,
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Ali to je spojeno zajedno sa
usmenim pričama u kabinama,
usmenim pričama u kabinama,
07:34
really the simplest we've ever made,
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najjednostavnijim koje smo
ikada stvorili
ikada stvorili
07:35
where you locate yourself on a map.
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u kojima locirate sebe na mapi.
07:36
It's in six languages, and you can tell your own story
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Postoji na 6 jezika i možete ispričati
svoju sopstvenu priču
svoju sopstvenu priču
07:39
about what happened to you on that day.
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o tome što vam se dogodilo
tog dana.
tog dana.
07:41
And when we started seeing the incredible images
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Kada smo počeli da gledamo te
neverovatne slike
neverovatne slike
07:44
and stories that came forth
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i priče koje su napravljene
07:45
from all around the world --
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širom sveta -
07:47
this is obviously part of the landing gear --
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ovo je očigledno deo stajnog
trapa vazduhoplova -
trapa vazduhoplova -
07:49
we really started to understand
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počeli smo da shvatamo
07:51
that there was this amazing symmetry
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da postoji fenomenalna simetrija
07:53
between the event itself,
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između samog događaja,
07:55
between the way that people were telling the stories of the event,
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između načina na koji su ljudi
pričali svoje priče događaja
pričali svoje priče događaja
07:57
and how we ourselves needed to tell that story.
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i kako je trebalo da sami sebi
ispričamo tu priču.
ispričamo tu priču.
08:00
This image in particular really captured
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Ova slika je posebno privukla
08:02
our attention at the time,
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našu pažnju tada,
08:03
because it so much sums up that event.
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jer toliko sumira taj događaj.
08:06
This is a shot from the Brooklyn-Battery Tunnel.
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Ovo je snimak iz bruklinskog tunela.
08:09
There's a firefighter that's stuck, actually, in traffic,
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Tu je vatrogasac koji je zaglavljen
u saobraćaju,
u saobraćaju,
08:12
and so the firefighters themselves are running
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tako da su ostali vatrogasci trčali
08:15
a mile and a half to the site itself
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dva i po kilometra do mesta
08:16
with upwards of 70 pounds of gear on their back.
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sa oko 35kg opreme
na svojim leđima.
na svojim leđima.
08:19
And we got this amazing email that said,
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Stigao nam je ovaj fantastičan imejl
koji kaže:
koji kaže:
08:22
"While viewing the thousands of photos on the site,
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1838
"Gledajući hiljade fotografija
na ovom sajtu,
na ovom sajtu,
08:24
I unexpectedly found a photo of my son.
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neočekivano sam pronašao sliku
svog sina.
svog sina.
08:27
It was a shock emotionally, yet a blessing to find this photo,"
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2960
Bio sam emocionalno šokiran, čak
blagoslovljen što sam našao tu sliku,"
blagoslovljen što sam našao tu sliku,"
08:30
and he was writing because he said,
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i pisao jer je rekao:
08:31
"I'd like to personally thank the photographer
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2340
"Voleo bih lično da zahvalim fotografu
08:33
for posting the photo,
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1149
za postavljanje ove slike,
08:34
as it meant more than words can describe to me
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jer mi znači više nego što mogu
reči da opišu,
reči da opišu,
08:37
to have access to what is probably
210
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1793
da imam pristup onome
što je verovatno
što je verovatno
08:38
the last photo ever taken of my son."
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poslednja slika mog sina."
08:43
And it really made us recognize
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To nam je zaista omogućilo
da prepoznamo
da prepoznamo
08:45
what this institution needed to be
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šta je ova institucija trebalo da bude
08:48
in order to actually tell that story.
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kako bi ispričala tu priču.
08:50
We can't have just a historian or a curator narrating
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Ne možemo da imamo samo
istoričara ili kustosa koji priča,
istoričara ili kustosa koji priča,
08:54
objectively in the third person about an event like that,
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objektivno u 3. licu o
ovakvom događaju,
ovakvom događaju,
08:57
when you have the witnesses to history
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kada imate svedoka priče
09:00
who are going to make their way
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koji će proći
09:01
through the actual museum itself.
219
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kroz sam muzej.
09:04
And so we started imagining the museum,
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1873
Stoga smo počeli da zamišljamo muzej
09:06
along with the creative team at the museum and the curators,
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zajedno sa kreativnim timom u muzeju
i kustosima,
i kustosima,
09:09
thinking about how the first voice that you would hear
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razmišljajući o tome kako bi
prvi glas koji biste čuli
prvi glas koji biste čuli
09:11
inside the museum would actually be of other visitors.
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2609
unutar muzeja zapravo bili
glasovi drugih posetilaca.
glasovi drugih posetilaca.
09:13
And so we created this idea of an opening gallery
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Smislili smo ideju otvaranja galerije
09:16
called We Remember.
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pod nazivom "Sećamo se".
09:17
And I'll just play you part of a mockup of it,
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Pustiću vam samo deo primera,
09:19
but you get a sense of what it's like to actually enter
227
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ali ćete osetiti kako je to ući
09:21
into that moment in time
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u momenat u vremenu
09:22
and be transported back in history.
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i biti vraćen u prošlost.
09:26
(Video) Voice 1: I was in Honolulu, Hawaii.
Voice 2: I was in Cairo, Egypt.
Voice 2: I was in Cairo, Egypt.
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(Video) Glas 1: Bio sam u Honoluluu, na Havajima.
Glas 2: Ja sam bio u Kairu, u Egiptu.
Glas 2: Ja sam bio u Kairu, u Egiptu.
09:29
Voice 3: Sur les Champs-Élysées, à Paris.
Voice 4: In college, at U.C. Berkeley.
Voice 4: In college, at U.C. Berkeley.
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Glas 3: Na Jelisejskim poljima, u Parizu.
Glas 4: Na koledžu, na Univerzitetu u Berkliju.
Glas 4: Na koledžu, na Univerzitetu u Berkliju.
09:33
Voice 5: I was in Times Square.
Voice 6: São Paolo, Brazil.
Voice 6: São Paolo, Brazil.
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Glas 5: Bila sam na Tajms Skveru.
Glas 6: Sao Paolo, Brazil.
Glas 6: Sao Paolo, Brazil.
09:36
(Multiple voices)
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(Više glasova)
09:41
Voice 7: It was probably about 11 o'clock at night.
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Glas 7: Bilo je verovatno oko
11 sati noću.
11 sati noću.
09:43
Voice 8: I was driving to work at 5:45 local time in the morning.
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Glas 8: Vozila sam ka poslu oko 5:45
ujutru po lokalnom vremenu.
ujutru po lokalnom vremenu.
09:47
Voice 9: We were actually in a meeting
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Glas 9: Bili smo na sastanku
09:48
when someone barged in and said,
237
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kada je neko upao i rekao:
09:50
"Oh my God, a plane has just crashed into the World Trade Center."
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3793
"O Bože, avion je upravo udario
u Svetski trgovinski centar."
u Svetski trgovinski centar."
09:54
Voice 10: Trying to frantically get to a radio.
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Glas 10: Silno sam pokušavala
da dođem do radija.
da dođem do radija.
09:56
Voice 11: When I heard it over the radio --
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Glas 11: Kada sam to čuo preko radija -
09:58
Voice 12: Heard it on the radio.
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Glas 12: Čuo na radiju.
09:59
(Multiple voices)
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(VIše glasova)
10:01
Voice 13: I got a call from my father.
Voice 14: The phone rang, it woke me up.
Voice 14: The phone rang, it woke me up.
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Glas 13: Zvao me je otac.
Glas 14: Probudio me je telefon.
Glas 14: Probudio me je telefon.
10:04
My business partner told me to turn on the television.
244
592179
1941
Poslovni partner mi je rekao
da uključim televizor.
da uključim televizor.
10:06
Voice 15: So I switched on the television.
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Glas 15: Pa sam upalila televizor.
10:08
Voice 16: All channels in Italy were displaying the same thing.
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Glas 16: Svi kanali u Italiji prikazivali
su istu stvar.
su istu stvar.
10:10
Voice 17: The Twin Towers.
Voice 18: The Twin Towers.
Voice 18: The Twin Towers.
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Glas 17: Kule bliznakinje.
Glas 18: Kule bliznakinje.
Glas 18: Kule bliznakinje.
10:13
JB: And you move from there
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DžB: Sad se prebacujemo odatle
10:14
into that open, cavernous space.
249
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2084
u taj otvoreni, duboki prostor.
10:16
This is the so-called slurry wall.
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1885
To je takozvani zid od maltera.
10:18
It's the original, excavated wall at the base of the World Trade Center
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To je originalni, iskopani zid iz osnove
Svetskog trgovinskog centra
Svetskog trgovinskog centra
10:21
that withstood the actual pressure from the Hudson River
252
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koji je odoleo pritisku
reke Hadson
reke Hadson
10:24
for a full year after the event itself.
253
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2037
tokom čitave godine nakon
nemilog događaja.
nemilog događaja.
10:26
And so we thought about carrying that sense of authenticity,
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Stoga smo razmišljali o zadržavanju
tog osećaja autentičnosti
tog osećaja autentičnosti
10:30
of presence of that moment
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2375
ili prisutnosti tog događaja
10:32
into the actual exhibition itself.
256
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1525
unutar same izložbe.
10:34
And we tell the stories of being inside the towers
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Pričamo priče o trenucima unutar kula
10:36
through that same audio collage,
258
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1534
kroz taj isti audio kolaž,
10:38
so you're hearing people literally talking about
259
626383
1967
gde čujete ljude
kako bukvalno govore
kako bukvalno govore
10:40
seeing the planes as they make their way into the building,
260
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2924
o avionima kako lete ka zgradama
10:43
or making their way down the stairwells.
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2103
ili beže niz stepenice.
10:45
And as you make your way into the exhibition
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2247
Dok prolazite kroz izložbu,
10:47
where it talks about the recovery,
263
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1846
gde se govori o oporavku,
10:49
we actually project directly onto these moments
264
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2488
mi zapravo projektujemo direktno
na te momente
na te momente
10:51
of twisted steel all of the experiences from people
265
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3197
uvrnutog čelika, sva iskustva ljudi
10:55
who literally excavated on top of the pile itself.
266
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3335
koji su doslovno isplivali na
vrh same gomile.
vrh same gomile.
10:58
And so you can hear oral histories --
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2004
Možete čuti usmene priče -
11:00
so people who were actually working the so-called bucket brigades
268
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2471
od ljudi koji su zapravo radili
u takozvanim brigadama kanti
u takozvanim brigadama kanti
11:02
as you're seeing literally the thousands of experiences
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3185
gde vidite hiljade iskustava
11:06
from that moment.
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1835
iz tog momenta.
11:07
And as you leave that storytelling moment
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1854
Dok napuštate taj momenat pripovedanja,
11:09
understanding about 9/11,
272
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razumevajući 11. septembar
11:11
we then turn the museum back into a moment of listening
273
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3048
mi vraćamo muzej u momenat slušanja
11:14
and actually talk to the individual visitors
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i zapravo govorimo svakom posetiocu
11:17
and ask them their own experiences about 9/11.
275
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2631
i pitamo ih o njihovim ličnim
iskustvima o 11. septembru.
iskustvima o 11. septembru.
11:20
And we ask them questions that are actually
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Pitamo ih pitanja koja
11:21
not really answerable, the types of questions
277
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2038
nemaju odgovor, tipove pitanja
11:23
that 9/11 itself draws forth for all of us.
278
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3496
koja 11. septembar približavaju
svima nama.
svima nama.
11:26
And so these are questions like,
279
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1422
To su pitanja poput:
11:28
"How can a democracy balance freedom and security?"
280
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3157
"Kako demokratija može da
izbalansira slobodu i sigurnost?"
izbalansira slobodu i sigurnost?"
11:31
"How could 9/11 have happened?"
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3574
"Kako je mogao da se dogodi
11. septembar?"
11. septembar?"
11:35
"And how did the world change after 9/11?"
282
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2135
"Kako se svet promenio posle
11. septembra?"
11. septembra?"
11:37
And so these oral histories,
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1531
Dakle, postoje usmene priče,
11:38
which we've actually been capturing already for years,
284
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2883
koje smo zapravo snimali godinama,
11:41
are then mixed together with interviews
285
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2139
a zatim mešali zajedno sa intervjuima,
11:43
that we're doing with people like Donald Rumsfeld,
286
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2226
koje radimo sa ljudima poput
Donalda Ramsfelda,
Donalda Ramsfelda,
11:45
Bill Clinton, Rudy Giuliani,
287
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1872
Bila Klintona, Rudija Đulijanija,
11:47
and you mix together these different players
288
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2120
i mešamo te različite izvođače
11:49
and these different experiences,
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1031
i ta različita iskustva,
11:50
these different reflection points about 9/11.
290
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2366
različita razmišljanja o 11. septembru.
11:53
And suddenly the institution, once again,
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1695
Odjednom se institucija opet
11:55
turns into a listening experience.
292
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2341
pretvara u iskustvo slušanja.
11:57
So I'll play you just a short excerpt
293
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Pustiću vam kratak segment
11:59
of a mockup that we made of a couple of these voices,
294
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1954
uzorka koji smo napravili
od nekoliko glasova
od nekoliko glasova
12:01
but you really get a sense
295
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1797
ali ćete osetiti
12:02
of the poetry of everyone's reflection on the event.
296
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3947
poetiku svačijeg viđenja događaja.
12:06
(Video) Voice 1: 9/11 was not just a New York experience.
297
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3343
(Video) Glas1: 11. septembar nije
bio samo iskustvo Njujorka.
bio samo iskustvo Njujorka.
12:10
Voice 2: It's something that we shared, and it's something that united us.
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Glas 2: To je stvar koju smo podelili,
nešto što nas je ujedinilo.
nešto što nas je ujedinilo.
12:14
Voice 3: And I knew when I saw that,
299
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1554
Glas 3: I kada sam video
12:15
people who were there that day who immediately
300
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2055
da ljudi koji su bili tu tog dana
i koji su momentalno
i koji su momentalno
12:17
went to help people known and unknown to them
301
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pristigli da pomognu ljudima,
poznatim i nepoznatim
poznatim i nepoznatim
12:20
was something that would pull us through.
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znao sam da je to nešto
što će nas sve zajedno izvući.
što će nas sve zajedno izvući.
12:22
Voice 4: All the outpouring of affection and emotion
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Glas 4: Sav izliv naklonosti i emocija
12:25
that came from our country was something really
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koji je isplivao iz naše države
bio je nešto
bio je nešto
12:27
that will forever, ever stay with me.
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što će zauvek ostati u meni.
12:30
Voice 5: Still today I pray and think about those
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Glas 5: I dalje danas se molim
i mislim o onima
i mislim o onima
12:32
who lost their lives,
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koji su izgubili svoje živote,
12:33
and those who gave their lives to help others,
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i onima koji su dali svoje živote
kako bi pomogli drugima,
kako bi pomogli drugima,
12:36
but I'm also reminded of the fabric of this country,
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ali takođe se podsećam
sastavnih elemenata ove države,
sastavnih elemenata ove države,
12:40
the love, the compassIon, the strength,
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ljubavi, saosećanja, snage.
12:42
and I watched a nation come together
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Gledao sam naciju
koja se udružuje
koja se udružuje
12:44
in the middle of a terrible tragedy.
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usred užasne tragedije.
12:50
JB: And so as people make their way out of the museum,
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DžB: Dok ljudi izlaze iz muzeja,
12:52
reflecting on the experience, reflecting on their own thoughts of it,
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razmišljajući o iskustvu,
o sopstvenim mislima o tome,
o sopstvenim mislima o tome,
12:55
they then move into the actual space of the memorial itself,
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pomeraju se u sam prostor memorijala,
12:58
because they've gone back up to grade,
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jer smo se vratili gore
13:01
and we actually got involved in the memorial
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i zapravo smo uključeni u memorijal,
13:03
after we'd done the museum for a few years.
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nakon što smo uradili muzej za
nekoliko godina.
nekoliko godina.
13:05
The original designer of the memorial, Michael Arad,
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Originalni projektant memorijala,
Majkl Arad,
Majkl Arad,
13:08
had this image in his mind of all the names appearing
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imao je u glavi sliku svih imena
koja se pojavljuju
koja se pojavljuju
13:10
undifferentiated, almost random,
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nepromenjena, gotovo nasumična,
13:13
really a poetic reflection on top of the nature
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poetično razmatranje iznad
13:16
of a terrorism event itself,
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samog terorističkog napada,
13:18
but it was a huge challenge for the families, for the foundation,
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ali je bilo veliki izazov za porodice,
organizacije
organizacije
13:21
certainly for the first responders,
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posebno za ljude koji
su se prvi odazvali,
su se prvi odazvali,
13:23
and there was a negotiation that went forth
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a postojala su i pregovaranja
13:25
and a solution was found
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ali nađeno je rešenje
13:27
to actually create not an order in terms of chronology,
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ne da se stvori hronološki
13:30
or in terms of alphabetical,
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ili alfabetski red,
13:31
but through what's called meaningful adjacency.
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već kroz nešto što se zove
"smisleno susedstvo".
"smisleno susedstvo".
13:33
So these are groupings of the names themselves
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Dakle ovo je grupisanje imena
13:36
which appear undifferentiated but actually have an order,
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koja se čine nepovezana,
ali imaju redosled
ali imaju redosled
13:39
and we, along with Jer Thorp, created an algorithm
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a mi smo zajedno sa Džerom Torpom
stvorili algoritam
stvorili algoritam
13:42
to take massive amounts of data
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koji bi uzeo ogromne količine podataka
13:44
to actually start to connect together all these different names themselves.
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da bi se započelo povezivanje
svih tih različitih imena.
svih tih različitih imena.
13:47
So this is an image of the actual algorithm itself
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Ovo je slika samog algoritma
13:50
with the names scrambled for privacy,
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gde su imena sakrivena
zbog privatnosti
zbog privatnosti
13:53
but you can see that these blocks of color
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ali takođe možete videti
da su ove grupe boja
da su ove grupe boja
13:55
are actually the four different flights,
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ustvari 4 različita leta,
13:57
the two different towers, the first responders,
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dve različite kule, prvi odazivači,
14:00
and you can actually see within that different floors,
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a možete videti i kroz različite
spratove,
spratove,
14:02
and then the green lines are the interpersonal connections
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a zelene linije su međuljudske veze
14:05
that were requested by the families themselves.
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koje su porodice same zahtevale.
14:08
And so when you go to the memorial,
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Kada odete u memorijal,
14:11
you can actually see the overarching organization
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možete videti sveobuhvatnu organizaciju
14:13
inside of the individual pools themselves.
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unutar individualnih područja.
14:16
You can see the way that the geography of the event
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možete videti način na koji se
geografija događaja
geografija događaja
14:19
is reflected inside of the memorial,
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odražava u memorijalu
14:22
and you can search for an individual name,
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i možete da pretražujete imena
pojedinaca,
pojedinaca,
14:23
or in this case an employer, Cantor Fitzgerald,
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ili u ovom slučaju radnika,
Kantora Ficdžeralda
Kantora Ficdžeralda
14:26
and see the way in which all of those names,
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i da vidite način
na koji su sva ta imena,
na koji su sva ta imena,
14:28
those hundreds of names, are actually organized
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te hiljade imena
zapravo organizovana
zapravo organizovana
14:31
onto the memorial itself,
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u sam memorijal,
14:32
and use that to navigate the memorial.
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i koristite ih
za navigaciju kroz memorijal.
za navigaciju kroz memorijal.
14:35
And more importantly, when you're actually at the site
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Ono što je još važnije,
kada ste na prostoru
kada ste na prostoru
14:37
of the memorial, you can see those connections.
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memorijala, možete videti te veze.
14:38
You can see the relationships between the different names themselves.
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Možete videti veze
između različitih imena.
između različitih imena.
14:42
So suddenly what is this undifferentiated, anonymous
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Iznenada, ono što je nejasna, anonimna
14:45
group of names springs into reality as an individual life.
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grupa imena, povezuje se
u realnost kao jedan život.
u realnost kao jedan život.
14:50
In this case, Harry Ramos,
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2168
U ovom slučaju Hari Ramos,
14:52
who was the head trader at an investment bank,
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koji je bio glavni trgovac u
investicionoj banci,
investicionoj banci,
14:54
who stopped to aid Victor Wald on the 55th floor of the South Tower.
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koji se zaustavio da pomogne Viktoru
Voldu na 55. spratu Južne kule.
Voldu na 55. spratu Južne kule.
14:59
And Ramos told Wald, according to witnesses,
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Ramos je rekao Voldu, sudeći
prema svedocima:
prema svedocima:
15:02
"I'm not going to leave you."
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"Neću te ostaviti!"
15:05
And Wald's widow requested that they be listed next to each other.
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A Valdova udovica je zahtevala da budu
navedeni jedan pored drugog.
navedeni jedan pored drugog.
15:10
Three generations ago, we had to actually get people
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Pre tri generacije, morali smo
da teramo ljude
da teramo ljude
15:13
to go out and capture the stories for common people.
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da izađu i ovekoveče
priče običnih ljudi.
priče običnih ljudi.
15:17
Today, of course, there's an unprecedented amount of stories
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Danas naravno postoji
neverovatna količina priča
neverovatna količina priča
15:20
for all of us that are being captured for future generations.
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svih nas koje se snimaju
za buduće generacije.
za buduće generacije.
15:24
And this is our hope, that's there's poetry inside of each of our stories.
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Ovo je naša nada, da unutar
svake priče postoji poezija.
svake priče postoji poezija.
15:28
Thank you very much.
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Hvala vam mnogo.
15:29
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Jake Barton - Designer and storytellerPrincipal of the New York media design firm, Local Projects, Jake Barton creates interactive and digital exhibits for the likes of the 9/11 Memorial Museum, Cleveland Museum of Art and Storycorps.
Why you should listen
Jake Barton is principal and founder of Local Projects, a New York-based design firm which specializes in media design. Since 2006, Barton and his team have been working on creating the media design for the 9/11 Memorial and Museum; they also worked to develop the algorithm used to place names around the 9/11 Memorial itself. Other clients include the Cooper-Hewitt National Design Museum, the Frank Gehry-designed Eisenhower Presidential Memorial and Cleveland Museum of Art.
In 2013, Local Projects was named the National Design Award winner for Interaction Design, while in 2011 it was listed as the second most innovative design firm by Fast Company magazine. Meanwhile, The Atlantic writes of Barton, "At the crux of Barton's work is the idea of collaborative storytelling, which invites museum and memorial visitors to share their own experiences, observations, and memories through interactive technology, turning passive observers into active participants."
Jake Barton | Speaker | TED.com