評(píng)論
打印
Okay, so 90 percent of my photographic process is, in fact, not photographic.
好的，事實(shí)上，我攝影過(guò)程的百分之九十不僅僅只是照相。
It involves a campaign of letter writing,research and phone calls to access my subjects,which can range from Hamas leaders in Gaza to a hibernating black bear in its cave in West Virginia.
它是一個(gè)包涵了寫(xiě)信，研究以及電話聯(lián)系得以接觸拍攝對(duì)象的復(fù)雜過(guò)程。我的拍攝對(duì)象的范圍可以從加沙地區(qū)的哈馬斯領(lǐng)導(dǎo)人，到西弗吉尼亞州一只蟄伏于洞穴中的黑熊。到西弗吉尼亞州一只蟄伏于洞穴中的黑熊。
And oddly, the most notable letter of rejection I ever received came from Walt Disney World,a seemingly innocuous site.
奇怪的是，我所收到的所有拒信中，最值得注意的一封，來(lái)自于迪斯尼世界，一個(gè)看起來(lái)完全無(wú)害的地方。
And it read -- I'm just going to read a key sentence:
我只打算讀讀最關(guān)鍵的一句：
Especially during these violent times,I personally believe that the magical spell cast upon guests who visit our theme parks is particularly important to protect and helps to provide them with an important fantasy they can escape to.
尤其實(shí)在現(xiàn)在這樣一個(gè)恐怖時(shí)期，我個(gè)人相信，在游覽我們主題公園的客人們身上帶有的神奇魔力，特別重要， 它為幫助人們實(shí)現(xiàn)逃離現(xiàn)實(shí)進(jìn)入一個(gè)想象中的神奇世界提供了保障。
Photography threatens fantasy.
攝影會(huì)威脅想象力。
They didn't want to let my camera in because it confronts constructed realities, myths and beliefs,and provides what appears to be evidence of a truth.
他們不想讓我的照相機(jī)進(jìn)入迪斯尼，因?yàn)檎障鄼C(jī)能挑戰(zhàn)了他們所建立的現(xiàn)實(shí)、神秘以及信仰，并提供了真正事實(shí)的證據(jù)。
But there are multiple truths attached to every image,depending on the creator's intention, the viewer and the context in which it is presented.
但每幅照片，都被賦予了不止一個(gè)真相，這取決于拍攝者的目的，以及觀看者以及照片本身所處的環(huán)境。
Over a five year period following September 11th,when the American media and government were seeking hidden and unknown sites beyond its borders,most notably weapons of mass destruction,I chose to look inward at that which was integral to America's foundation,mythology and daily functioning.
在911之后的五年多，當(dāng)美國(guó)媒體和政府在尋找美國(guó)境外隱藏的和不為人所知的地點(diǎn),和著名的大規(guī)模殺傷武器,我選擇去探究一些更深層次的東西—它們對(duì)美國(guó)的國(guó)家基礎(chǔ)、神話和國(guó)家機(jī)能來(lái)說(shuō)，是不可或缺的。
I wanted to confront the boundaries of the citizen,self-imposed and real,and confront the divide between privileged and public access to knowledge.
我自愿并真誠(chéng)地,希望去突破公民的邊界，突破特權(quán)和公共介入信息之間的鴻溝，突破特權(quán)和公共介入信息之間的鴻溝，
It was a critical moment in American history and global history where one felt they didn't have access to accurate information.
這在美國(guó)歷史乃至世界歷史上，都是重要的時(shí)刻—人們發(fā)現(xiàn)他們無(wú)法觸及精確的信息。
And I wanted to see the center with my own eyes,but what I came away with is a photograph.
我希望我能親眼看見(jiàn)這一切的核心，但隨我上路的，只是一部相機(jī)。
And it's just another place from which to observe,and the understanding that there are no absolute, all-knowing insiders.
那只是另一個(gè)讓我觀察的地方，并讓我了解到，世上沒(méi)有絕對(duì)的、無(wú)所不知的知情人。
And the outsider can never really reach the core.
而局外人則永遠(yuǎn)也無(wú)法真正觸及事情的核心。
I'm going to run through some of the photographs in this series.
我將展示這一系列中的一些相片。
It's titled, An American Index of the Hidden and Unfamiliar,and it's comprised of nearly 70 images.
這個(gè)系列取名為：探尋隱藏的美國(guó)。它由將近70幅照片組成。
In this context I'll just show you a few.
在今天的演講里，我只能展示其中的一些。
This is a nuclear waste storage and encapsulation facility at Hanford site in Washington State,where there are over 1,900 stainless steel capsules containing nuclear waste submerged in water.
這是一個(gè)存儲(chǔ)、封裝核廢料的基地位于華盛頓州的漢福德，這里有超過(guò)1900個(gè)浸入于水中的不銹鋼容器，它們盛有核廢料。
A human standing in front of an unprotected capsule would die instantly.
如果一個(gè)人站在毫無(wú)任何保護(hù)措施的容器前，他將立刻死亡。
And I found one section amongst all of these that actually resembled the outline of the United States of America,which you can see here.
我發(fā)現(xiàn)其中的一部分正好勾勒出了美國(guó)領(lǐng)土的輪廓。正好勾勒出了美國(guó)領(lǐng)土的輪廓。你可以在這里看到。
And a big part of the work that is sort of absent in this context is text.
在這樣的情況下，作品里缺失的，是文字。
So I create these two poles.
因此，我創(chuàng)建了兩個(gè)部分：
Every image is accompanied with a very detailed factual text.
每幅圖片都配有一段非常詳盡的、確鑿的文字說(shuō)明。
And what I'm most interested in is the invisible space between a text and its accompanying image,and how the image is transformed by the text and the text by the image.
而我最感興趣的是，存在于文字和對(duì)應(yīng)圖片之間的隱形的距離，以及照片如何被轉(zhuǎn)述為文字，文字又如何由照片闡釋。
So, at best, the image is meant to float away into abstraction and multiple truths and fantasy.
所以，最理想的情況，照片也注定要轉(zhuǎn)變?yōu)槌橄蟮母拍睢⒄嫦嗪拖胂蟆?/div>
And then the text functions as this cruel anchor that kind of nails it to the ground.
而文字則如同銳利的錨將這些漂浮的東西牢牢地按在地上。
But in this context I'm just going to read an abridged version of those texts.
今天時(shí)間有限，我只能讀縮略的版本。
This is a cryopreservation unit,and it holds the bodies of the wife and mother of cryonics pioneer Robert Ettinger,who hoped to be awoken one day to extended life in good health, with advancements in science and technology,all for the cost of 35 thousand dollars, for forever.
這是一個(gè)冷凍保存單元,里面保存了人體冷凍法先驅(qū)羅伯特愛(ài)丁格的妻子和母親的尸體。羅伯特希望有一天能喚起并延續(xù)她們的生命，用先進(jìn)的科學(xué)技術(shù)使她們重新獲得健康。這項(xiàng)技術(shù)一次性收費(fèi)35000美元。
