| reference | transcript | ||||
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| n | 1 | you you you you you you you you you you you you you you you you you you you you | n | 1 | you you you you you you you you you you you you you you you you you you you you |
| > | you you you you you you you you you you you you you you you . | > | you you you you you you you you you you you you you you you Tell Miss Hills the | ||
| > | city now presents a complex traffic problem because most of its long street car | ||||
| > | lines must funnel into Market Street. | ||||
| 2 | Tell Miss Hills the city now presents a complex traffic problem, because most of | ||||
| > | its long streetcar lines must funnel into Market Street. | ||||
| 3 | This is true because there are no streets parallel to Market on the north side. | 2 | This is true because there are no streets parallel to Market on the north side. | ||
| 4 | As the city grows, the Market Street bottleneck draws tighter and tighter. | 3 | As the city grows, the Market Street bottleneck draws tighter and tighter. | ||
| 5 | Unless relief is found, this condition will seriously hamper the city's growth a | 4 | Unless relief is found, this condition will seriously hamper the city's growth a | ||
| > | nd progress. | > | nd progress. | ||
| 6 | Market Street as it looks today from a balcony at Fifth Street. | 5 | Market Street as it looks today from a balcony at Fifth Street. | ||
| n | 7 | This, as you all know, is just an average crowd trying to find a way to get home | n | 6 | This, as you all know, is just an an average crowd trying to find a way to get h |
| > | . | > | ome. | ||
| 8 | From the balcony, the cable car turns on Powell Street. | 7 | From the balcony, the cable car turns on Powell Street. | ||
| 9 | The cable car is a San Francisco invention, and our visitors never quit talking | 8 | The cable car is a San Francisco invention, and our visitors never quit talking | ||
| > | about it. | > | about it. | ||
| 10 | We'll probably always have at least one cable car route here, just as a tourist | 9 | We'll probably always have at least one cable car route here, just as a tourist | ||
| > | attraction. | > | attraction. | ||
| t | 11 | We all ride to work, but how we have to work to ride? | t | 10 | We all ride to work, but how we have to work to ride. |
| 12 | Here's a rush hour example. | 11 | Here's a rush hour example. | ||
| 13 | People stand in safety zones hoping the inspector will find room for them up fro | 12 | People stand in safety zones hoping the inspector will find room for them up fro | ||
| > | nt. | > | nt. | ||
| 14 | But the space is all taken and disappointed patrons are turned away. | 13 | But the space is all taken and disappointed patrons are turned away. | ||
| 15 | Here's why. | 14 | Here's why. | ||
| 16 | Too many cars are on the outside tracks owned by the municipal railway. | 15 | Too many cars are on the outside tracks owned by the municipal railway. | ||
| 17 | The The inside tracks owned by Market Street Railway are not used to capacity. | 16 | The The inside tracks owned by Market Street Railway are not used to capacity. | ||
| 18 | If these two systems are consolidated, the traffic burden will be equally distri | 17 | If these two systems are consolidated, the traffic burden will be equally distri | ||
| > | buted so that everybody can ride. | > | buted so that everybody can ride. | ||
| 19 | One fare anywhere will do the trick. | 18 | One fare anywhere will do the trick. | ||
| 20 | The unequal burden causes this, inconvenient, dangerous, and entirely unnecessar | 19 | The unequal burden causes this, inconvenient, dangerous, and entirely unnecessar | ||
| > | y. | > | y. | ||
| 21 | When Madame Chiang Kai-shek was here, the traffic burden everywhere was too grea | 20 | When Madame Chiang Kai-shek was here, the traffic burden everywhere was too grea | ||
| > | t under three systems, three managements, and three fares. | > | t under three systems, three managements, and three fares. | ||
| 22 | We'll all agree this is a beautiful scene, but the discomfort and inconvenience | 21 | We'll all agree this is a beautiful scene, but the discomfort and inconvenience | ||
| > | are there just the same. | > | are there just the same. | ||
| 23 | We can correct this situation with one management, one fare anywhere, and free t | 22 | We can correct this situation with one management, one fare anywhere, and free t | ||
| > | ransfers everywhere. | > | ransfers everywhere. | ||
| 24 | This serious bottleneck at Stockton and Market Streets can be broken. | 23 | This serious bottleneck at Stockton and Market Streets can be broken. | ||
| 25 | Instead of turning F cars back here, let's send them across Market Street to the | 24 | Instead of turning F cars back here, let's send them across Market Street to the | ||
| > | Southern Pacific Depot, giving a new cross-town service to the Marina, North Be | > | Southern Pacific Depot, giving a new cross-town service to the Marina, North Be | ||
| > | ach, and Chinatown. | > | ach, and Chinatown. | ||
| 26 | Let's speed up this overloaded line. | 25 | Let's speed up this overloaded line. | ||
| 27 | Let's give the Mission District direct access to north of Market sections. | 26 | Let's give the Mission District direct access to north of Market sections. | ||
| 28 | No mother likes this kind of a situation involving school children. | 27 | No mother likes this kind of a situation involving school children. | ||
| 29 | We spend millions for schoolroom education. | 28 | We spend millions for schoolroom education. | ||
| 30 | Let's spend something on traffic and safety. | 29 | Let's spend something on traffic and safety. | ||
| 31 | What are we doing for our war workers? | 30 | What are we doing for our war workers? | ||
| 32 | These tired men coming off shift need speedy service home for a well-earned rest | 31 | These tired men coming off shift need speedy service home for a well-earned rest | ||
| > | . | > | . | ||
| 33 | Instead, they keep right on working, working as you do for a place on an overcro | 32 | Instead, they keep right on working, working as you do for a place on an overcro | ||
| > | wded bus or streetcar and often payment of two fares before they reach home. | > | wded bus or streetcar and often payment of two fares before they reach home. | ||
| 34 | These are not shoppers waiting for rationed meat, these are war plant workers wa | 33 | These are not shoppers waiting for rationed meat, these are war plant workers wa | ||
| > | iting in line for a chance to ride home. | > | iting in line for a chance to ride home. | ||
| 35 | They deserve that chance and you deserve that chance. | 34 | They deserve that chance and you deserve that chance. | ||
| 36 | Think of the thousands of hours we lose daily by transportation delays. | 35 | Think of the thousands of hours we lose daily by transportation delays. | ||
| 37 | Think of the ships and bombers that might have been built with this lost time. | 36 | Think of the ships and bombers that might have been built with this lost time. | ||
| 38 | We can't afford it. | 37 | We can't afford it. | ||
| 39 | We need those ships and bombers. | 38 | We need those ships and bombers. | ||
| 40 | Scores of streetcars now lie unused in car barns and shops. | 39 | Scores of streetcars now lie unused in car barns and shops. | ||
| 41 | All these can be put to work on idle track space on Market and Mission streets. | 40 | All these can be put to work on idle track space on Market and Mission streets. | ||
| 42 | Let's use them. | 41 | Let's use them. | ||
| 43 | Under one management and with one fare anywhere, these idle cars can carry 20,00 | 42 | Under one management and with one fare anywhere, these idle cars can carry 20,00 | ||
| > | 0 more people every day during the rush hours alone. | > | 0 more people every day during the rush hours alone. | ||
| 44 | It came like this and better. | 43 | It came like this and better. | ||
| 45 | New, noiseless, speedy, streamlined cars. | 44 | New, noiseless, speedy, streamlined cars. | ||
| 46 | Fast, modern motor coaches taking the places of street cars wherever possible. | 45 | Fast, modern motor coaches taking the places of street cars wherever possible. | ||
| 47 | Only in this way can San Francisco get rid of two of the four tracks on Market S | 46 | Only in this way can San Francisco get rid of two of the four tracks on Market S | ||
| > | treet. | > | treet. | ||
| 48 | You would like that, wouldn't you? | 47 | You would like that, wouldn't you? | ||
| 49 | These are hopes for the future. | 48 | These are hopes for the future. | ||
| 50 | They are more than hopes, they are necessities. | 49 | They are more than hopes, they are necessities. | ||
| 51 | if the city we all love is not to strangle from its congestions and bottlenecks. | 50 | if the city we all love is not to strangle from its congestions and bottlenecks. | ||
| 52 | Let's take the necessary step Tuesday, April 20th. | 51 | Let's take the necessary step Tuesday, April 20th. | ||
| 53 | Let's consolidate the existing systems without one cent of cost to taxpayers. | 52 | Let's consolidate the existing systems without one cent of cost to taxpayers. | ||
| 54 | The entire bill will be paid from revenues now swollen because there are so many | 53 | The entire bill will be paid from revenues now swollen because there are so many | ||
| > | newcomers here. | > | newcomers here. | ||
| 55 | This is the city that knows how, and here's how. | 54 | This is the city that knows how, and here's how. | ||
| 56 | Now vote yes on Tuesday for better service at no added cost. | 55 | Now vote yes on Tuesday for better service at no added cost. | ||
| 57 | Let's forget our pet peeves and our prejudices. | 56 | Let's forget our pet peeves and our prejudices. | ||
| 58 | Let's think of the needs of our city and our country. | 57 | Let's think of the needs of our city and our country. | ||
| 59 | Let's do something for San Francisco. | 58 | Let's do something for San Francisco. | ||
| 60 | Are you listening, San Francisco? | 59 | Are you listening, San Francisco? | ||
| 61 | This is the message of the Citizens Committee for Better Streetcar Service. | 60 | This is the message of the Citizens Committee for Better Streetcar Service. | ||
| 62 | We're voting yes for your future on Tuesday. | 61 | We're voting yes for your future on Tuesday. | ||
| 63 | And all along the way We're building a dream for tomorrow We're building a dream | 62 | And all along the way We're building a dream for tomorrow We're building a dream | ||
| > | for tomorrow Where trains that cross the hills and land Go through the town by | > | for tomorrow Where trains that cross the hills and land Go through the town by | ||
| > | night and day And sunshine touches every hand In parks where children play Over | > | night and day And sunshine touches every hand In parks where children play Over | ||
| > | the hills and all along the way We're building a dream for tomorrow We're buildi | > | the hills and all along the way We're building a dream for tomorrow We're buildi | ||
| > | ng a dream for tomorrow We're building a dream for tomorrow We're building a dre | > | ng a dream for tomorrow We're building a dream for tomorrow We're building a dre | ||
| > | am for tomorrow Along the way, in three counties, BART is building a high-speed | > | am for tomorrow Along the way, in three counties, BART is building a high-speed | ||
| > | rail rapid transit system planned for your convenience, designed for your comfor | > | rail rapid transit system planned for your convenience, designed for your comfor | ||
| > | t, and deliberately aimed at giving you a safer, faster, more economical ride th | > | t, and deliberately aimed at giving you a safer, faster, more economical ride th | ||
| > | an your automobile. | > | an your automobile. | ||
| 64 | Fully aware, as Lewis Mumford says, that a city exists not for the constant pass | 63 | Fully aware, as Lewis Mumford says, that a city exists not for the constant pass | ||
| > | age of motor cars, but for the care and culture of men. | > | age of motor cars, but for the care and culture of men. | ||
| 65 | Cities will maintain their character, too. | 64 | Cities will maintain their character, too. | ||
| 66 | unscarred by heavy concrete swaths of freeway, freeways that carry the extravaga | 65 | unscarred by heavy concrete swaths of freeway, freeways that carry the extravaga | ||
| > | nce of one car, one passenger, mostly at a standstill. | > | nce of one car, one passenger, mostly at a standstill. | ||
| 67 | Instead, bark trains carrying thousands of comfortably seated passengers will gl | 66 | Instead, bark trains carrying thousands of comfortably seated passengers will gl | ||
| > | ide quietly through the bay tube, under the ferry building, and into the Market | > | ide quietly through the bay tube, under the ferry building, and into the Market | ||
| > | Street subway. | > | Street subway. | ||
| 68 | And when it's completed, you and the Bay Area will not only feel better, you'll | 67 | And when it's completed, you and the Bay Area will not only feel better, you'll | ||
| > | both look better. | > | both look better. | ||
| 69 | In the Powell Street Station you'll look something like this. | 68 | In the Powell Street Station you'll look something like this. | ||
| 70 | Along the way you may stop at a magazine stand, buy commute tickets from the aut | 69 | Along the way you may stop at a magazine stand, buy commute tickets from the aut | ||
| > | omatic vending machine, enjoy the clean, spacious, architect-designed station, a | > | omatic vending machine, enjoy the clean, spacious, architect-designed station, a | ||
| > | nd then you'll board a train, carpet it, air-conditioned, and settle into an ext | > | nd then you'll board a train, carpet it, air-conditioned, and settle into an ext | ||
| > | ra-wide foam rubber seat. | > | ra-wide foam rubber seat. | ||
| 71 | Over the hills and all along the way we're building a dream for tomorrow. | 70 | Over the hills and all along the way we're building a dream for tomorrow. | ||
| 72 | We're building a dream for tomorrow. | 71 | We're building a dream for tomorrow. | ||
| 73 | Our commuters get one of the most exciting rides in the world. | 72 | Our commuters get one of the most exciting rides in the world. | ||
| 74 | And boy, what a view! Ah, there's that spice and coffee smell again. | 73 | And boy, what a view! Ah, there's that spice and coffee smell again. | ||
| 75 | One of the busiest intercity transit lines in the world safely delivers another | 74 | One of the busiest intercity transit lines in the world safely delivers another | ||
| > | trainload to the busiest terminal in America. | > | trainload to the busiest terminal in America. | ||
| 76 | you you you you you you you you you you you you you you you you you you you you | 75 | you you you you you you you you you you you you you you you you you you you you | ||
| > | you you you you you you you you you you you you you you you you you you you you | > | you you you you you you you you you you you you you you you you you you you you | ||
| > | you you you you you you you you you you you you you you you you you you you you | > | you you you you you you you you you you you you you you you you you you you you | ||
| > | you you you you The Golden Thames Society I know I live there on the tower. | > | you you you you The Golden Thames Society I know I live there on the tower. | ||
| 77 | Seagulls, pigeons, but I like it. | 76 | Seagulls, pigeons, but I like it. | ||
| 78 | Yeah, we dig it the most. | 77 | Yeah, we dig it the most. | ||
| 79 | On the tower I can see everything. | 78 | On the tower I can see everything. | ||
| 80 | Once in a while I spy. | 79 | Once in a while I spy. | ||
| 81 | I see the shoes. | 80 | I see the shoes. | ||
| 82 | They think they're the toughest, but not the bosses. | 81 | They think they're the toughest, but not the bosses. | ||
| 83 | But I don't blame them. | 82 | But I don't blame them. | ||
| 84 | Nothing to do If I had something like that on my corner I'd shimmy shimmy Cocoa | 83 | Nothing to do If I had something like that on my corner I'd shimmy shimmy Cocoa | ||
| > | too The mole You can always tell Flat feet Ace on every corner Don't look too ha | > | too The mole You can always tell Flat feet Ace on every corner Don't look too ha | ||
| > | rd fellas They got guns You got a thousand fellas The king In this tough sheen I | > | rd fellas They got guns You got a thousand fellas The king In this tough sheen I | ||
| > | t's the bosses Because it's borrowed written from some honor at night can always | > | t's the bosses Because it's borrowed written from some honor at night can always | ||
| > | tell that's the lonely one bet you some parts of mission could always tell thou | > | tell that's the lonely one bet you some parts of mission could always tell thou | ||
| > | sand every corner hair was a crime they'd be right on death row with chestnut lo | > | sand every corner hair was a crime they'd be right on death row with chestnut lo | ||
| > | ok out old man And look out, old man. | > | ok out old man And look out, old man. | ||
| 85 | Mike is on the scene. | 84 | Mike is on the scene. | ||
| 86 | Head first. | 85 | Head first. | ||
| 87 | Fight up, fellas. | 86 | Fight up, fellas. | ||
| 88 | Didn't cost me anything. | 87 | Didn't cost me anything. | ||
| 89 | Five fingers and a quick getaway. | 88 | Five fingers and a quick getaway. | ||
| 90 | Some store suffers. | 89 | Some store suffers. | ||
| 91 | you you you you you San Francisco, within its 45 square miles, is contained one | 90 | you you you you you San Francisco, within its 45 square miles, is contained one | ||
| > | of the most colorful and and romantic cities in the world. | > | of the most colorful and and romantic cities in the world. | ||
| 92 | Approaching from the south, the traveler views with sudden excitement the city t | 91 | Approaching from the south, the traveler views with sudden excitement the city t | ||
| > | hrusting its white towers into the blue California sky. | > | hrusting its white towers into the blue California sky. | ||
| 93 | But it is from the east that the city reveals its famous profile, framed by the | 92 | But it is from the east that the city reveals its famous profile, framed by the | ||
| > | silver towers of the Bay Bridge. | > | silver towers of the Bay Bridge. | ||
| 94 | Credited with having stopped the onslaught of the 1906 fire, Venice Avenue still | 93 | Credited with having stopped the onslaught of the 1906 fire, Venice Avenue still | ||
| > | remains one of San Francisco's broadest thoroughfares. | > | remains one of San Francisco's broadest thoroughfares. | ||
| 95 | California Palace of the Legion of Honor, one of San Francisco's finest museums | 94 | California Palace of the Legion of Honor, one of San Francisco's finest museums | ||
| > | is an exact replica of the Legion of Honor in Paris. | > | is an exact replica of the Legion of Honor in Paris. | ||
| 96 | The once gay resort of the 90s is now a modern restaurant fronting the Pacific O | 95 | The once gay resort of the 90s is now a modern restaurant fronting the Pacific O | ||
| > | cean and overlooking Seals Rocks. | > | cean and overlooking Seals Rocks. | ||
| 97 | A ride on the newly installed Sky Tram should be included in the tourist itinera | 96 | A ride on the newly installed Sky Tram should be included in the tourist itinera | ||
| > | ry. | > | ry. | ||
| 98 | Just below the Cliff House is a year-round amusement park. | 97 | Just below the Cliff House is a year-round amusement park. | ||
| 99 | Park. | 98 | Park. | ||
| 100 | Leaving the recreational areas that border the ocean, we turn eastward towards t | 99 | Leaving the recreational areas that border the ocean, we turn eastward towards t | ||
| > | he heart of the city. | > | he heart of the city. | ||
| 101 | city. | 100 | city. | ||
| 102 | In the center of the city rise San Francisco's famous Twin Peaks. | 101 | In the center of the city rise San Francisco's famous Twin Peaks. | ||
| 103 | reached by a spiraling road the summit commands a spectacular view of the encirc | 102 | reached by a spiraling road the summit commands a spectacular view of the encirc | ||
| > | ling city Market Street, the main arterial through the downtown area, stretches | > | ling city Market Street, the main arterial through the downtown area, stretches | ||
| > | like a broad ribbon from Twin Peaks to the Ferry Building. | > | like a broad ribbon from Twin Peaks to the Ferry Building. | ||
| 104 | The busy intersection of Powell and Market Streets in downtown San Francisco is | 103 | The busy intersection of Powell and Market Streets in downtown San Francisco is | ||
| > | located one of the terminals of the Powell Street cable car line. | > | located one of the terminals of the Powell Street cable car line. | ||
| 105 | To reverse their direction, the cable cars are pushed onto the unique turntable | 104 | To reverse their direction, the cable cars are pushed onto the unique turntable | ||
| > | and swung around manually by the motor man and the conductor, much to the deligh | > | and swung around manually by the motor man and the conductor, much to the deligh | ||
| > | t of the riders and spectators. | > | t of the riders and spectators. | ||
| 106 | There is no end to the interesting places one may visit in San Francisco, the fe | 105 | There is no end to the interesting places one may visit in San Francisco, the fe | ||
| > | rry the library building, the churches and colleges. | > | rry the library building, the churches and colleges. | ||
| 107 | Or the tourist may prefer a leisurely drive along the many scenic boulevards. | 106 | Or the tourist may prefer a leisurely drive along the many scenic boulevards. | ||
| 108 | For the true adventurer, there is that final thrill, a ride down the world's mos | 107 | For the true adventurer, there is that final thrill, a ride down the world's mos | ||
| > | t crooked streets. | > | t crooked streets. | ||
| 109 | Eight hairpin turns in a single block. | 108 | Eight hairpin turns in a single block. | ||
| 110 | San Francisco, the cosmopolitan city, queen of the Pacific, the city by the Gold | 109 | San Francisco, the cosmopolitan city, queen of the Pacific, the city by the Gold | ||
| > | en Gate, Truly the city of many wonders. | > | en Gate, Truly the city of many wonders. | ||
| 111 | you you Thank you. | 110 | you you Thank you. | ||
| Legends | ||||||||||
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| f | 1 | We've done a fantastic job. | f | 1 | We've done a fantastic job. |
| 2 | Well, thank you. | 2 | Well, thank you. | ||
| 3 | It's just gorgeous. | 3 | It's just gorgeous. | ||
| 4 | Oh, maybe I'll look over here and here's another. | 4 | Oh, maybe I'll look over here and here's another. | ||
| 5 | Yes, exactly. | 5 | Yes, exactly. | ||
| 6 | That's the same kind. | 6 | That's the same kind. | ||
| 7 | That's an agave. | 7 | That's an agave. | ||
| 8 | We thought they were Agave americana, but I had an olive expert out here looking | 8 | We thought they were Agave americana, but I had an olive expert out here looking | ||
| > | , and he thinks they're Agave farrox. | > | , and he thinks they're Agave farrox. | ||
| 9 | And what is the one that was completely, it's being so carefully held up? | 9 | And what is the one that was completely, it's being so carefully held up? | ||
| 10 | That's my very favorite plant. | 10 | That's my very favorite plant. | ||
| 11 | It's this one right here, the one that looks kind of like an upside-down carrot. | 11 | It's this one right here, the one that looks kind of like an upside-down carrot. | ||
| 12 | That's called a boujum tree. | 12 | That's called a boujum tree. | ||
| 13 | It's named after the Lewis Carroll poem. | 13 | It's named after the Lewis Carroll poem. | ||
| 14 | Tell me the poem. | 14 | Tell me the poem. | ||
| 15 | The Hunting of the Snark. | 15 | The Hunting of the Snark. | ||
| 16 | I don't know. | 16 | I don't know. | ||
| 17 | The boujum. | 17 | The boujum. | ||
| 18 | The boujum. | 18 | The boujum. | ||
| 19 | Is in there. | 19 | Is in there. | ||
| 20 | Okay. | 20 | Okay. | ||
| 21 | So that's what it's named after. | 21 | So that's what it's named after. | ||
| 22 | We moved that here. | 22 | We moved that here. | ||
| 23 | Remember I was showing you which ones were original? | 23 | Remember I was showing you which ones were original? | ||
| 24 | That's one of the larger ones we moved. | 24 | That's one of the larger ones we moved. | ||
| 25 | And we actually got A to Z tree movers in Mountain View to donate their time, an | 25 | And we actually got A to Z tree movers in Mountain View to donate their time, an | ||
| > | d they went all the way down to Greenfield, which is south of Salinas, with a cr | > | d they went all the way down to Greenfield, which is south of Salinas, with a cr | ||
| > | ane. | > | ane. | ||
| 26 | So that's not the one, but you knew one was there. | 26 | So that's not the one, but you knew one was there. | ||
| 27 | There was someone who was selling his house who had landscaped his entire proper | 27 | There was someone who was selling his house who had landscaped his entire proper | ||
| > | ty in plants like this, and it was a condition of escrow that he get rid of them | > | ty in plants like this, and it was a condition of escrow that he get rid of them | ||
| > | . | > | . | ||
| 28 | That's the normal way it looks? | 28 | That's the normal way it looks? | ||
| 29 | It's quite lush. | 29 | It's quite lush. | ||
| 30 | They grow on cliffs in Baja, so usually they look more scraggly and less branchy | 30 | They grow on cliffs in Baja, so usually they look more scraggly and less branchy | ||
| > | . | > | . | ||
| 31 | This is a very, very happy specimen of one. | 31 | This is a very, very happy specimen of one. | ||
| 32 | They bloom. | 32 | They bloom. | ||
| 33 | They bloom in the summer. | 33 | They bloom in the summer. | ||
| 34 | They put out little yellow flowers at the top. | 34 | They put out little yellow flowers at the top. | ||
| 35 | You can sort of see the remains of the flower stalks. | 35 | You can sort of see the remains of the flower stalks. | ||
| 36 | And since they're Baja native, you know, they're used to very little water, and | 36 | And since they're Baja native, you know, they're used to very little water, and | ||
| > | they don't take the combination of cold and wet. | > | they don't take the combination of cold and wet. | ||
| 37 | This is one of our really borderline plants. | 37 | This is one of our really borderline plants. | ||
| 38 | So we dug a couple feet down underneath it, amended it with drain gravel, and th | 38 | So we dug a couple feet down underneath it, amended it with drain gravel, and th | ||
| > | en planted it in a raised bed and built the retaining wall around it. | > | en planted it in a raised bed and built the retaining wall around it. | ||
| 39 | And we're just hoping that we can keep it going. | 39 | And we're just hoping that we can keep it going. | ||
| 40 | And if we get, you know, if this does turn out to be a really cold wet winter, t | 40 | And if we get, you know, if this does turn out to be a really cold wet winter, t | ||
| > | hat's one of the ones. | > | hat's one of the ones. | ||
| 41 | There's a couple of quite spectacular plants that we took that were borderline j | 41 | There's a couple of quite spectacular plants that we took that were borderline j | ||
| > | ust because they would have been bulldozed and gone. | > | ust because they would have been bulldozed and gone. | ||
| 42 | So in choosing these these plants, just so I can get it clear in my mind. | 42 | So in choosing these these plants, just so I can get it clear in my mind. | ||
| 43 | You had the plan, and so you know the kind of plants that were here, but you did | 43 | You had the plan, and so you know the kind of plants that were here, but you did | ||
| > | not try to go and exactly replace every plant that you saw. | > | not try to go and exactly replace every plant that you saw. | ||
| 44 | Right, that's an excellent question, because if you looked at what was here in t | 44 | Right, that's an excellent question, because if you looked at what was here in t | ||
| > | he mid-1990s, like I said, there were like five different kinds and like five mi | > | he mid-1990s, like I said, there were like five different kinds and like five mi | ||
| > | llion of each of those. | > | llion of each of those. | ||
| 45 | Originally, there were hundreds of different kinds of plants and they didn't sur | 45 | Originally, there were hundreds of different kinds of plants and they didn't sur | ||
| > | vive. | > | vive. | ||
| 46 | Now, the garden had been really neglected since probably around World War II, to | 46 | Now, the garden had been really neglected since probably around World War II, to | ||
| > | o. | > | o. | ||
| 47 | But even so, you know, it just, it was designed as a high maintenance Victorian | 47 | But even so, you know, it just, it was designed as a high maintenance Victorian | ||
| > | garden. | > | garden. | ||
| 48 | And that was not sort of what it can be now. | 48 | And that was not sort of what it can be now. | ||
| 49 | And there's not the funds to go out and buy plants. | 49 | And there's not the funds to go out and buy plants. | ||
| 50 | So we take what we're given, or we took what we're given for the most part, beca | 50 | So we take what we're given, or we took what we're given for the most part, beca | ||
| > | use we're kind of full up now. | > | use we're kind of full up now. | ||
| 51 | But what they did, before I came on, they hired a landscape architect named Nanc | 51 | But what they did, before I came on, they hired a landscape architect named Nanc | ||
| > | y Hardesty. | > | y Hardesty. | ||
| 52 | Okay. | 52 | Okay. | ||
| 53 | And she came up with a plan, what she called this ABCD plan. | 53 | And she came up with a plan, what she called this ABCD plan. | ||
| 54 | And it's, So what we do is we classify plants by type and A plants are tall foca | 54 | And it's, So what we do is we classify plants by type and A plants are tall foca | ||
| > | l point plants and each bed gets one or two of those kind of depending on the si | > | l point plants and each bed gets one or two of those kind of depending on the si | ||
| > | ze. | > | ze. | ||
| 55 | So that boujum tree is an A plant and the palm tree is an A plant. | 55 | So that boujum tree is an A plant and the palm tree is an A plant. | ||
| 56 | And then there's B plants which are substantial plants and large but more broad. | 56 | And then there's B plants which are substantial plants and large but more broad. | ||
| 57 | So like when these prickly pear and the cholla grow up those will be B plants. | 57 | So like when these prickly pear and the cholla grow up those will be B plants. | ||
| 58 | And then C plants are are big, you know, sort of normal-sized plants, like, you | 58 | And then C plants are are big, you know, sort of normal-sized plants, like, you | ||
| > | know, kind of that one person can move around, and that those will, these would | > | know, kind of that one person can move around, and that those will, these would | ||
| > | be C plants, and then D plants are ground cover. | > | be C plants, and then D plants are ground cover. | ||
| 59 | And so what every bed is supposed to have is this pyramidal planting scheme with | 59 | And so what every bed is supposed to have is this pyramidal planting scheme with | ||
| > | an A plant in the middle, B plants around it, C plants at the edges, and then D | > | an A plant in the middle, B plants around it, C plants at the edges, and then D | ||
| > | plants doing ground cover in between. | > | plants doing ground cover in between. | ||
| 60 | And that's not entirely similar to what was there. | 60 | And that's not entirely similar to what was there. | ||
| 61 | They had hundreds of saguaros in this original garden. | 61 | They had hundreds of saguaros in this original garden. | ||
| 62 | If you look, you can see just in here all of these. | 62 | If you look, you can see just in here all of these. | ||
| 63 | I see. | 63 | I see. | ||
| 64 | And there's no, I mean, those are protected species. | 64 | And there's no, I mean, those are protected species. | ||
| 65 | There's no way we could get hundreds of saguaros, and they didn't survive. | 65 | There's no way we could get hundreds of saguaros, and they didn't survive. | ||
| 66 | So this is the way that we can get sort of a formal look with a diversity of pla | 66 | So this is the way that we can get sort of a formal look with a diversity of pla | ||
| > | nt material to have that sort of scheme that all the beds have a sort of uniform | > | nt material to have that sort of scheme that all the beds have a sort of uniform | ||
| > | ity. | > | ity. | ||
| 67 | So, and then in addition to that, they're trying to put some botanical usefulnes | 67 | So, and then in addition to that, they're trying to put some botanical usefulnes | ||
| > | s into the garden. | > | s into the garden. | ||
| 68 | So we have a division into eastern and western hemispheres. | 68 | So we have a division into eastern and western hemispheres. | ||
| 69 | So all plants native to the western hemisphere, so the Americas basically, are o | 69 | So all plants native to the western hemisphere, so the Americas basically, are o | ||
| > | n this half of the garden, and all plants native to Asia and Africa and Europe a | > | n this half of the garden, and all plants native to Asia and Africa and Europe a | ||
| > | re on that side of the garden. | > | re on that side of the garden. | ||
| 70 | Although we did not move any original plants that were there. | 70 | Although we did not move any original plants that were there. | ||
| 71 | So Joshua plants are native, Joshua trees and yuccas and things like that are na | 71 | So Joshua plants are native, Joshua trees and yuccas and things like that are na | ||
| > | tive to the southwest, so there are yucca trees down there, and that big prickly | > | tive to the southwest, so there are yucca trees down there, and that big prickly | ||
| > | pear is an original, so it didn't get moved. | > | pear is an original, so it didn't get moved. | ||
| 72 | But of all the new plants that we've put in, so all the aloes are at that end of | 72 | But of all the new plants that we've put in, so all the aloes are at that end of | ||
| > | the garden. | > | the garden. | ||
| 73 | Oh yeah, that's what's blooming now, they're looking beautiful. | 73 | Oh yeah, that's what's blooming now, they're looking beautiful. | ||
| 74 | This looks unique. | 74 | This looks unique. | ||
| 75 | That's the jumping… Are the barrels or the jumping cholla? | 75 | That's the jumping… Are the barrels or the jumping cholla? | ||
| 76 | No. And this one? | 76 | No. And this one? | ||
| 77 | The one staked up right here? | 77 | The one staked up right here? | ||
| 78 | Yeah. | 78 | Yeah. | ||
| 79 | Yeah, that's a jumping cholla. | 79 | Yeah, that's a jumping cholla. | ||
| 80 | That's original. | 80 | That's original. | ||
| 81 | I mean, this particular plant was originally in the garden. | 81 | I mean, this particular plant was originally in the garden. | ||
| 82 | This one is not a descendant of what was here. | 82 | This one is not a descendant of what was here. | ||
| 83 | The one on the other end, though, is just a cutting that we took of a plant that | 83 | The one on the other end, though, is just a cutting that we took of a plant that | ||
| > | had survived. | > | had survived. | ||
| 84 | Do you have any sagurus here? | 84 | Do you have any sagurus here? | ||
| 85 | Yes, we do. | 85 | Yes, we do. | ||
| 86 | Unfortunately, they are under wraps. | 86 | Unfortunately, they are under wraps. | ||
| 87 | Under Rats, yeah. | 87 | Under Rats, yeah. | ||
| 88 | There was a wonderful person who lived on one of those hills in Cupertino, a big | 88 | There was a wonderful person who lived on one of those hills in Cupertino, a big | ||
| > | estate, and they were selling it and moving to the city to be closer to their c | > | estate, and they were selling it and moving to the city to be closer to their c | ||
| > | hildren. | > | hildren. | ||
| 89 | The new owners didn't want the saguaros. | 89 | The new owners didn't want the saguaros. | ||
| 90 | They wanted a basketball court. | 90 | They wanted a basketball court. | ||
| 91 | So now how do you find these places? | 91 | So now how do you find these places? | ||
| 92 | They find me. | 92 | They find me. | ||
| 93 | It's amazing. | 93 | It's amazing. | ||
| 94 | Yeah. | 94 | Yeah. | ||
| 95 | So what would you like that you don't have that you would love for someone to ca | 95 | So what would you like that you don't have that you would love for someone to ca | ||
| > | ll and say? | > | ll and say? | ||
| 96 | I would love more saguaros. | 96 | I would love more saguaros. | ||
| 97 | I would love ground cover at this point. | 97 | I would love ground cover at this point. | ||
| 98 | It's kind of hard to say right now it depends a lot on the winter. | 98 | It's kind of hard to say right now it depends a lot on the winter. | ||
| 99 | There's things if we lose I would definitely like to replace. | 99 | There's things if we lose I would definitely like to replace. | ||
| 100 | I do have a plant list and they're trying to get it up on the grounds department | 100 | I do have a plant list and they're trying to get it up on the grounds department | ||
| > | website of what we could use. | > | website of what we could use. | ||
| 101 | So people just call the university and say I have this cactus? | 101 | So people just call the university and say I have this cactus? | ||
| 102 | Yeah, or people find me. | 102 | Yeah, or people find me. | ||
| 103 | Actually a lot of our volunteers, the San Francisco Succulent and Cactus Society | 103 | Actually a lot of our volunteers, the San Francisco Succulent and Cactus Society | ||
| > | was mentioned in the article and they committed to this volunteer project to He | > | was mentioned in the article and they committed to this volunteer project to He | ||
| > | rb Fong like long before I was hired, long before any of this started because be | > | rb Fong like long before I was hired, long before any of this started because be | ||
| > | cause they didn't want to start the project and then not have any volunteers and | > | cause they didn't want to start the project and then not have any volunteers and | ||
| > | have it kind of flail. | > | have it kind of flail. | ||
| 104 | So that's a huge network right there. | 104 | So that's a huge network right there. | ||
| 105 | So a lot of people who don't know anything about the garden, but they have a yar | 105 | So a lot of people who don't know anything about the garden, but they have a yar | ||
| > | d full of plants, they have small trees. | > | d full of plants, they have small trees. | ||
| 106 | They don't want to kill the plants, but they don't want to have the plants anymo | 106 | They don't want to kill the plants, but they don't want to have the plants anymo | ||
| > | re, so they call the succulent societies, and all the succulent societies pretty | > | re, so they call the succulent societies, and all the succulent societies pretty | ||
| > | much know me now. | > | much know me now. | ||
| 107 | Well, you have an article in the State of Greenland. | 107 | Well, you have an article in the State of Greenland. | ||
| 108 | I talked to Kevin Koltz on my mom's here list. | 108 | I talked to Kevin Koltz on my mom's here list. | ||
| 109 | If you'd like to lobby Kevin Koltz and put an article in, that would be great. | 109 | If you'd like to lobby Kevin Koltz and put an article in, that would be great. | ||
| 110 | I think anybody who has a standard connection would love it. | 110 | I think anybody who has a standard connection would love it. | ||
| 111 | What I really want, actually what I would really like, there are definitely plan | 111 | What I really want, actually what I would really like, there are definitely plan | ||
| > | s I would like people out of the blue to give me, but what I would really like i | > | s I would like people out of the blue to give me, but what I would really like i | ||
| > | s people to give me pictures of the garden from the middle of this century on. | > | s people to give me pictures of the garden from the middle of this century on. | ||
| 112 | Because I have, like... | 112 | Because I have, like... | ||
| 113 | I think it's that they don't have a lot of art in it, because they have many oth | 113 | I think it's that they don't have a lot of art in it, because they have many oth | ||
| > | er, you know, the rest of it. | > | er, you know, the rest of it. | ||
| 114 | I mean, even if they just put a note about having a baby. | 114 | I mean, even if they just put a note about having a baby. | ||
| 115 | So if you do know people, feel free to drop it. | 115 | So if you do know people, feel free to drop it. | ||
| 116 | Darn. | 116 | Darn. | ||
| 117 | Feel free to drop it. | 117 | Feel free to drop it. | ||
| 118 | Just give them the evidence that you know. | 118 | Just give them the evidence that you know. | ||
| 119 | Yeah. | 119 | Yeah. | ||
| 120 | Yeah. | 120 | Yeah. | ||
| 121 | Well, my other problem is, I went to her farm, my Boston grounds, and I'm like, | 121 | Well, my other problem is, I went to her farm, my Boston grounds, and I'm like, | ||
| > | you know, okay, I can work tonight. | > | you know, okay, I can work tonight. | ||
| 122 | I can get people to do all that. | 122 | I can get people to do all that. | ||
| 123 | But I'm trying to think about cacti. | 123 | But I'm trying to think about cacti. | ||
| 124 | I know like California native plants, like heirloom vegetables. | 124 | I know like California native plants, like heirloom vegetables. | ||
| 125 | I was like, that's okay. | 125 | I was like, that's okay. | ||
| 126 | It's okay. | 126 | It's okay. | ||
| 127 | Very quickly, very, very, very quickly. | 127 | Very quickly, very, very, very quickly. | ||
| 128 | Thank you for coming! Well, it's really our volunteers. | 128 | Thank you for coming! Well, it's really our volunteers. | ||
| 129 | Thanks for coming by. | 129 | Thanks for coming by. | ||
| 130 | Bye. | 130 | Bye. | ||
| 131 | I was going to do an interview, but you told me everything I needed to know. | 131 | I was going to do an interview, but you told me everything I needed to know. | ||
| 132 | Oh, come on. | 132 | Oh, come on. | ||
| 133 | Surely you can think of something else to ask. | 133 | Surely you can think of something else to ask. | ||
| 134 | People find you. | 134 | People find you. | ||
| 135 | Don't look. | 135 | Don't look. | ||
| 136 | Yeah. | 136 | Yeah. | ||
| 137 | Look over here. | 137 | Look over here. | ||
| 138 | Look at the plant. | 138 | Look at the plant. | ||
| 139 | Yeah. | 139 | Yeah. | ||
| 140 | This is truly a work of love on your part, right? | 140 | This is truly a work of love on your part, right? | ||
| 141 | Absolutely. | 141 | Absolutely. | ||
| 142 | I mean, this garden is a very special place. | 142 | I mean, this garden is a very special place. | ||
| 143 | And all of the volunteers who put so much of their effort into it, I mean, it's | 143 | And all of the volunteers who put so much of their effort into it, I mean, it's | ||
| > | just a wonderful, wonderful effort. | > | just a wonderful, wonderful effort. | ||
| 144 | And how much time a week do you put into this place? | 144 | And how much time a week do you put into this place? | ||
| 145 | I'm employed in the Grants Department 20 hours a week, so, you know, occasionall | 145 | I'm employed in the Grants Department 20 hours a week, so, you know, occasionall | ||
| > | y there's a few extra hours here and there. | > | y there's a few extra hours here and there. | ||
| 146 | But pretty much it's a half-time commitment, and then I have my other half -time | 146 | But pretty much it's a half-time commitment, and then I have my other half -time | ||
| > | job in archives. | > | job in archives. | ||
| 147 | So I have more than enough to keep me busy. | 147 | So I have more than enough to keep me busy. | ||
| 148 | Okay, what makes this place so special? | 148 | Okay, what makes this place so special? | ||
| 149 | Well, there's not very many 19th century gardens left on the peninsula to begin | 149 | Well, there's not very many 19th century gardens left on the peninsula to begin | ||
| > | with. | > | with. | ||
| 150 | And then this garden itself is one of the earliest experiments with growing thes | 150 | And then this garden itself is one of the earliest experiments with growing thes | ||
| > | e kind of plants, cacti and succulents outdoors not under glass that was one of | > | e kind of plants, cacti and succulents outdoors not under glass that was one of | ||
| > | the great innovations that the landscape architect who designed this garden Rudo | > | the great innovations that the landscape architect who designed this garden Rudo | ||
| > | lph Ulrich made so in a certain way you can think of it as like the very very ea | > | lph Ulrich made so in a certain way you can think of it as like the very very ea | ||
| > | rliest beginnings of xerophytic gardening in California that you know now we hav | > | rliest beginnings of xerophytic gardening in California that you know now we hav | ||
| > | e all these drought tolerant gardens and this is one of the places it all starte | > | e all these drought tolerant gardens and this is one of the places it all starte | ||
| > | d. | > | d. | ||
| 151 | Wow. | 151 | Wow. | ||
| 152 | Pretty cool. | 152 | Pretty cool. | ||
| 153 | It is pretty cool and these plants do they have Do they have personalities for y | 153 | It is pretty cool and these plants do they have Do they have personalities for y | ||
| > | ou? | > | ou? | ||
| 154 | Not so much for me, except the prickly pears always seem to be trying to jump me | 154 | Not so much for me, except the prickly pears always seem to be trying to jump me | ||
| > | and get a couple of spines in me. | > | and get a couple of spines in me. | ||
| 155 | But I know a lot of my volunteers have particular affinities with particular kin | 155 | But I know a lot of my volunteers have particular affinities with particular kin | ||
| > | ds of plants, and they're always, oh yes, she's happy today, oh he doesn't look | > | ds of plants, and they're always, oh yes, she's happy today, oh he doesn't look | ||
| > | too good. | > | too good. | ||
| 156 | So I think they do have personalities. | 156 | So I think they do have personalities. | ||
| 157 | You were talking a little bit before about the levels, there's four levels. | 157 | You were talking a little bit before about the levels, there's four levels. | ||
| 158 | Tell me a little bit about that. | 158 | Tell me a little bit about that. | ||
| 159 | Okay, Nancy Hardesty, the landscape architect who helped come up with this resto | 159 | Okay, Nancy Hardesty, the landscape architect who helped come up with this resto | ||
| > | ration schema, it's a way that we can use donated plants and take what plant mat | > | ration schema, it's a way that we can use donated plants and take what plant mat | ||
| > | erials are given to us and yet maintain some sort of visual uniformity and Victo | > | erials are given to us and yet maintain some sort of visual uniformity and Victo | ||
| > | rian formalism in the garden. | > | rian formalism in the garden. | ||
| 160 | This was originally a formal garden. | 160 | This was originally a formal garden. | ||
| 161 | It's not, you know, a naturalistic run wild kind of garden, so there's a lot of | 161 | It's not, you know, a naturalistic run wild kind of garden, so there's a lot of | ||
| > | symmetry, a lot of balance. | > | symmetry, a lot of balance. | ||
| 162 | So what she did was create four general categories of plants. | 162 | So what she did was create four general categories of plants. | ||
| 163 | There's A-type plants, which are really tall, big, massive plants when they're m | 163 | There's A-type plants, which are really tall, big, massive plants when they're m | ||
| > | ature. | > | ature. | ||
| 164 | They're the focal point of every bed, and there's 50-some-odd beds in the garden | 164 | They're the focal point of every bed, and there's 50-some-odd beds in the garden | ||
| > | . | > | . | ||
| 165 | So every bed, depending on size, should have one or two plants. | 165 | So every bed, depending on size, should have one or two plants. | ||
| 166 | And an example of that would be this palm tree or this Yucca Follifera here. | 166 | And an example of that would be this palm tree or this Yucca Follifera here. | ||
| 167 | They're just commanding plants. | 167 | They're just commanding plants. | ||
| 168 | And then there's B-type plants, which are also large plants, but they're bulkier | 168 | And then there's B-type plants, which are also large plants, but they're bulkier | ||
| > | and not as tall. | > | and not as tall. | ||
| 169 | So those would ring the outside of the A-type plants. | 169 | So those would ring the outside of the A-type plants. | ||
| 170 | And then there's C-type plants, which are, you know, a couple feet in diameter m | 170 | And then there's C-type plants, which are, you know, a couple feet in diameter m | ||
| > | aximum. | > | aximum. | ||
| 171 | maximum. | 171 | maximum. | ||
| 172 | Those go outside the bee plants. | 172 | Those go outside the bee plants. | ||
| 173 | And then D-type plants are ground cover and those go around the edges of all the | 173 | And then D-type plants are ground cover and those go around the edges of all the | ||
| > | beds. | > | beds. | ||
| 174 | So that allows us to have a pyramidal planting plan for every bed, but it doesn' | 174 | So that allows us to have a pyramidal planting plan for every bed, but it doesn' | ||
| > | t constrain us with the type of plants because we are so dependent on donated pl | > | t constrain us with the type of plants because we are so dependent on donated pl | ||
| > | ants. | > | ants. | ||
| 175 | So it's worked really well. | 175 | So it's worked really well. | ||
| 176 | Tell me your name and spell it so I don't waltz it up. | 176 | Tell me your name and spell it so I don't waltz it up. | ||
| 177 | It's Christy. | 177 | It's Christy. | ||
| 178 | It's Christy Smith, C -H-R-I-S-T-Y, and the last name is Smith, S-M-I-T-H. | 178 | It's Christy Smith, C -H-R-I-S-T-Y, and the last name is Smith, S-M-I-T-H. | ||
| 179 | And give me a title. | 179 | And give me a title. | ||
| 180 | volunteer coordinator Stanford Arizona Garden Project great now the palm trees i | 180 | volunteer coordinator Stanford Arizona Garden Project great now the palm trees i | ||
| > | n a plant right okay that's an a plant okay give me a B plant oh and these are s | > | n a plant right okay that's an a plant okay give me a B plant oh and these are s | ||
| > | ea plants oh good I love them oh they're beautiful and where's the D plant Profe | > | ea plants oh good I love them oh they're beautiful and where's the D plant Profe | ||
| > | ssor Dudley who was a botanist here in the 20s and 20s. | > | ssor Dudley who was a botanist here in the 20s and 20s. | ||
| 181 | Really? | 181 | Really? | ||
| 182 | Yep. | 182 | Yep. | ||
| 183 | So I'm working on a little Dudley Memorial Garden. | 183 | So I'm working on a little Dudley Memorial Garden. | ||
| 184 | Now what I'd like to do... | 184 | Now what I'd like to do... | ||
| 185 | Do you want to see the agave? | 185 | Do you want to see the agave? | ||
| 186 | Yeah, I don't want to... | 186 | Yeah, I don't want to... | ||
| 187 | The aloe polyphyllo, that's the one you probably want to still. | 187 | The aloe polyphyllo, that's the one you probably want to still. | ||
| 188 | Yeah, that's the hot one. | 188 | Yeah, that's the hot one. | ||
| 189 | And you're going to have to climb in the plants to see it. | 189 | And you're going to have to climb in the plants to see it. | ||
| 190 | That's right. | 190 | That's right. | ||
| 191 | I'm going to let you walk ahead of me. | 191 | I'm going to let you walk ahead of me. | ||
| 192 | Alright, I'll put the doggy here. | 192 | Alright, I'll put the doggy here. | ||
| 193 | That's okay. | 193 | That's okay. | ||
| 194 | Sit. | 194 | Sit. | ||
| 195 | Sit. | 195 | Sit. | ||
| 196 | Stay. | 196 | Stay. | ||
| 197 | And just talk to me about this. | 197 | And just talk to me about this. | ||
| 198 | Alright, this is an aloe polyphylla. | 198 | Alright, this is an aloe polyphylla. | ||
| 199 | It's called a spiral aloe. | 199 | It's called a spiral aloe. | ||
| 200 | They've only come into cultivation recently. | 200 | They've only come into cultivation recently. | ||
| 201 | As you can see, it's very geometric. | 201 | As you can see, it's very geometric. | ||
| 202 | And this one spirals to the right and they come spiraling both ways. | 202 | And this one spirals to the right and they come spiraling both ways. | ||
| 203 | There's one that spiraled to the left as well. | 203 | There's one that spiraled to the left as well. | ||
| 204 | And I would dearly love to get another one that spirals the other way for the ga | 204 | And I would dearly love to get another one that spirals the other way for the ga | ||
| > | rden. | > | rden. | ||
| 205 | Tell me a little bit about this plant. | 205 | Tell me a little bit about this plant. | ||
| 206 | This particular one? | 206 | This particular one? | ||
| 207 | It's an aloe polyphylla. | 207 | It's an aloe polyphylla. | ||
| 208 | It's a spiral aloe. | 208 | It's a spiral aloe. | ||
| 209 | They come spiraled both ways. | 209 | They come spiraled both ways. | ||
| 210 | This is a right spiraled one, but there are left spiraled ones as well, which I | 210 | This is a right spiraled one, but there are left spiraled ones as well, which I | ||
| > | would love to get another one for the garden. | > | would love to get another one for the garden. | ||
| 211 | And they've only fairly recently been brought into cultivation. | 211 | And they've only fairly recently been brought into cultivation. | ||
| 212 | They're fascinating to look at because they are so geometric in their form. | 212 | They're fascinating to look at because they are so geometric in their form. | ||
| 213 | And once they get established, you know, this will maybe triple in size and then | 213 | And once they get established, you know, this will maybe triple in size and then | ||
| > | it makes offsets. | > | it makes offsets. | ||
| 214 | So it'll actually, the spiral will split. | 214 | So it'll actually, the spiral will split. | ||
| 215 | It's kind of like watching a cell divide and there will become two spirals and o | 215 | It's kind of like watching a cell divide and there will become two spirals and o | ||
| > | ut of it when it gets, you know, about that size. | > | ut of it when it gets, you know, about that size. | ||
| 216 | This is the hot plant. | 216 | This is the hot plant. | ||
| 217 | This is one everybody wants to see, right? | 217 | This is one everybody wants to see, right? | ||
| 218 | Well, a lot of people want to see it. | 218 | Well, a lot of people want to see it. | ||
| 219 | They're not that common yet. | 219 | They're not that common yet. | ||
| 220 | So I think it's just a spectacular plant. | 220 | So I think it's just a spectacular plant. | ||
| 221 | No, it's just still. | 221 | No, it's just still. | ||
| 222 | Yeah. | 222 | Yeah. | ||
| 223 | Take a look. | 223 | Take a look. | ||
| 224 | You can see it. | 224 | You can see it. | ||
| 225 | Oh. Oh, yeah, that looks great. | 225 | Oh. Oh, yeah, that looks great. | ||
| 226 | I got my little tweezers. | 226 | I got my little tweezers. | ||
| 227 | I should be cleaning it out. | 227 | I should be cleaning it out. | ||
| 228 | Here's a nice red stem. | 228 | Here's a nice red stem. | ||
| 229 | And it's in the wrong place in the bed. | 229 | And it's in the wrong place in the bed. | ||
| 230 | That's okay, we won't... | 230 | That's okay, we won't... | ||
| 231 | And are the swirls new? | 231 | And are the swirls new? | ||
| 232 | Um, they've been in the... | 232 | Um, they've been in the... | ||
| 233 | I suppose one other thing to think about is the original pattern of them althoug | 233 | I suppose one other thing to think about is the original pattern of them althoug | ||
| > | h we've had to dig them out from up to 12 inches of dirt oh hang on a second now | > | h we've had to dig them out from up to 12 inches of dirt oh hang on a second now | ||
| > | you can talk to me over here oh thank god tell me about the rocks the rocks are | > | you can talk to me over here oh thank god tell me about the rocks the rocks are | ||
| > | one of the really interesting historic features of the garden they're original. | > | one of the really interesting historic features of the garden they're original. | ||
| 234 | I mean there's not that much that's, you know, left from when the garden was act | 234 | I mean there's not that much that's, you know, left from when the garden was act | ||
| > | ually made, but the bed outline is all original. | > | ually made, but the bed outline is all original. | ||
| 235 | The rocks were buried under up to 12 inches of dirt and we've hand excavated and | 235 | The rocks were buried under up to 12 inches of dirt and we've hand excavated and | ||
| > | raised them and preserved the pattern. | > | raised them and preserved the pattern. | ||
| 236 | So that really is, you know, the plants may be slightly different than what you | 236 | So that really is, you know, the plants may be slightly different than what you | ||
| > | would have seen in the original garden, but the bed outline and sort of the quad | > | would have seen in the original garden, but the bed outline and sort of the quad | ||
| > | rilateral symmetry of the garden is original and as close to the original as we | > | rilateral symmetry of the garden is original and as close to the original as we | ||
| > | can make it as we excavate it. | > | can make it as we excavate it. | ||
| 237 | This place has real meaning as part of Stanford, doesn't it? | 237 | This place has real meaning as part of Stanford, doesn't it? | ||
| 238 | Yeah. | 238 | Yeah. | ||
| 239 | Talk to me about that. | 239 | Talk to me about that. | ||
| 240 | This garden was originally going to be the backyard for the Stanford's house tha | 240 | This garden was originally going to be the backyard for the Stanford's house tha | ||
| > | t was going to be where the mausoleum now stands, and it was built in the early | > | t was going to be where the mausoleum now stands, and it was built in the early | ||
| > | 1880s before they had started construction on the house and before little Leland | > | 1880s before they had started construction on the house and before little Leland | ||
| > | died. | > | died. | ||
| 241 | And as you know, construction on the house was put aside when he passed away and | 241 | And as you know, construction on the house was put aside when he passed away and | ||
| > | they decided to found a university. | > | they decided to found a university. | ||
| 242 | But the garden had already been made. | 242 | But the garden had already been made. | ||
| 243 | So it was a garden designed for a residence. | 243 | So it was a garden designed for a residence. | ||
| 244 | Rudolf Ulrich, who designed this garden, also designed a garden at the Hotel Del | 244 | Rudolf Ulrich, who designed this garden, also designed a garden at the Hotel Del | ||
| > | Monte for Stanford's business partner, Charles Crocker. | > | Monte for Stanford's business partner, Charles Crocker. | ||
| 245 | And it's very similar in certain ways, but it's also more open and more formal b | 245 | And it's very similar in certain ways, but it's also more open and more formal b | ||
| > | ecause it was a public garden to go with a hotel, and this was a private garden. | > | ecause it was a public garden to go with a hotel, and this was a private garden. | ||
| 246 | But yeah, it's a real early piece of Stanford history. | 246 | But yeah, it's a real early piece of Stanford history. | ||
| 247 | There's not too many pieces of early Stanford history left that you can just wal | 247 | There's not too many pieces of early Stanford history left that you can just wal | ||
| > | k through. | > | k through. | ||
| 248 | Imagine what it would be like. | 248 | Imagine what it would be like. | ||
| 249 | So I think it is a very special place. | 249 | So I think it is a very special place. | ||
| 250 | What's the, what's the, tell me about the upside down carrot. | 250 | What's the, what's the, tell me about the upside down carrot. | ||
| 251 | Oh, that's my very favorite tree. | 251 | Oh, that's my very favorite tree. | ||
| 252 | That's a Bujum tree. | 252 | That's a Bujum tree. | ||
| 253 | It's over there. | 253 | It's over there. | ||
| 254 | It's named after the Lewis Carroll poem by whoever, I don't know who discovered | 254 | It's named after the Lewis Carroll poem by whoever, I don't know who discovered | ||
| > | it, but it's native to Baja, California, and obviously they were a Lewis Carroll | > | it, but it's native to Baja, California, and obviously they were a Lewis Carroll | ||
| > | fan. | > | fan. | ||
| 255 | I think I really like it because in addition to it looking beautiful and unique, | 255 | I think I really like it because in addition to it looking beautiful and unique, | ||
| > | it's the first large plant that I helped move into the garden. | > | it's the first large plant that I helped move into the garden. | ||
| 256 | I didn't really know you could move plants that big and have them survive. | 256 | I didn't really know you could move plants that big and have them survive. | ||
| 257 | and the tree crew guys that helped me move it didn't know that either because th | 257 | and the tree crew guys that helped me move it didn't know that either because th | ||
| > | ey move oak trees they don't move succulent trunked cacti so so we had to prune | > | ey move oak trees they don't move succulent trunked cacti so so we had to prune | ||
| > | back all the branches we wadded up newspaper and stuffed them all between the br | > | back all the branches we wadded up newspaper and stuffed them all between the br | ||
| > | anches then we wrapped it in in old sheets and then we build a framework of two | > | anches then we wrapped it in in old sheets and then we build a framework of two | ||
| > | by fours around it before we let the crane lift it up and then the guys excavate | > | by fours around it before we let the crane lift it up and then the guys excavate | ||
| > | d the root ball and bald and burlap tit and we brought it here and put it into p | > | d the root ball and bald and burlap tit and we brought it here and put it into p | ||
| > | lace with a crane and it grew it was so exciting so I'm very very attached to th | > | lace with a crane and it grew it was so exciting so I'm very very attached to th | ||
| > | at particular plant. | > | at particular plant. | ||
| 258 | It's like a child for you. | 258 | It's like a child for you. | ||
| 259 | Yeah, yeah. | 259 | Yeah, yeah. | ||
| 260 | Well, yeah probably. | 260 | Well, yeah probably. | ||
| 261 | And who is this person? | 261 | And who is this person? | ||
| 262 | Who's this guy? | 262 | Who's this guy? | ||
| 263 | Hey Uzo, can you say hello? | 263 | Hey Uzo, can you say hello? | ||
| 264 | This is my little garden mascot. | 264 | This is my little garden mascot. | ||
| 265 | Yes, she helps us keep the ground squirrels away. | 265 | Yes, she helps us keep the ground squirrels away. | ||
| 266 | We have a lot of ground squirrel damage in the garden. | 266 | We have a lot of ground squirrel damage in the garden. | ||
| 267 | But she comes out and keeps me company too. | 267 | But she comes out and keeps me company too. | ||
| 268 | Yeah, she's a sweetheart. | 268 | Yeah, she's a sweetheart. | ||
| 269 | Hi Lisa, how you doing? | 269 | Hi Lisa, how you doing? | ||
| 270 | She says Uzo, my name is Uzo. | 270 | She says Uzo, my name is Uzo. | ||
| 271 | Yeah, that's a cute puppy. | 271 | Yeah, that's a cute puppy. | ||
| 272 | Cute puppy dog. | 272 | Cute puppy dog. | ||
| 273 | She says that she just loves the fact that I have this job. | 273 | She says that she just loves the fact that I have this job. | ||
| 274 | Oh, I bet she does. | 274 | Oh, I bet she does. | ||
| 275 | Now I gotta take a picture of the carrot. | 275 | Now I gotta take a picture of the carrot. | ||
| 276 | Yeah. | 276 | Yeah. | ||
| 277 | One of my volunteers is coming down here with a large format negative camera and | 277 | One of my volunteers is coming down here with a large format negative camera and | ||
| > | taking pictures of it. | > | taking pictures of it. | ||
| t | 278 | Give me a this! And then... | t | 278 | Come here, nurse. |
| 279 | I'm going to go make a couple of... | 279 | I'm going to go make a couple of... | ||
| 280 | They're very vicious. | 280 | They're very vicious. | ||
| 281 | Are they? | 281 | Are they? | ||
| 282 | Yes. | 282 | Yes. | ||
| 283 | Detriment. | 283 | Detriment. | ||
| 284 | They're small and they break off and they're very sharp and you get them in your | 284 | They're small and they break off and they're very sharp and you get them in your | ||
| > | skin and you can't see them to get them out and they can get infected and painf | > | skin and you can't see them to get them out and they can get infected and painf | ||
| > | ul. | > | ul. | ||
| 285 | What do they call? | 285 | What do they call? | ||
| 286 | The little fuzzy things are called blockets. | 286 | The little fuzzy things are called blockets. | ||
| 287 | And so they look beautiful. | 287 | And so they look beautiful. | ||
| 288 | They look friendly. | 288 | They look friendly. | ||
| 289 | they don't look very spiky at all but they're bad news. | 289 | they don't look very spiky at all but they're bad news. | ||
| 290 | Watch out. | 290 | Watch out. | ||
| 291 | If you look at this one over here this is another kind of prickly pear and you c | 291 | If you look at this one over here this is another kind of prickly pear and you c | ||
| > | an see this has the combination of spines and glochids. | > | an see this has the combination of spines and glochids. | ||
| 292 | Which one is that? | 292 | Which one is that? | ||
| 293 | The purple one over here. | 293 | The purple one over here. | ||
| 294 | Yeah this one only has the glochids. | 294 | Yeah this one only has the glochids. | ||
| 295 | This one has the combination of both. | 295 | This one has the combination of both. | ||
| 296 | So that genus comes with a whole range from like lots of spines and few glochids | 296 | So that genus comes with a whole range from like lots of spines and few glochids | ||
| > | to all glochids and no spines. | > | to all glochids and no spines. | ||
| 297 | But these are more obvious that you shouldn't touch them. | 297 | But these are more obvious that you shouldn't touch them. | ||
| 298 | Let's see what that one's going to do. | 298 | Let's see what that one's going to do. | ||
| 299 | That's pretty awesome. | 299 | That's pretty awesome. | ||
| 300 | Which means that I get nice clean shots. | 300 | Which means that I get nice clean shots. | ||
| 301 | I'm already consumed with envy for your camera stuff. | 301 | I'm already consumed with envy for your camera stuff. | ||
| 302 | I'm sorry. | 302 | I'm sorry. | ||
| 303 | And I guess one of the other really special things about this garden is that the | 303 | And I guess one of the other really special things about this garden is that the | ||
| > | re's almost always something in bloom. | > | re's almost always something in bloom. | ||
| 304 | Hang on one second. | 304 | Hang on one second. | ||
| 305 | Start up. | 305 | Start up. | ||
| 306 | Okay. | 306 | Okay. | ||
| 307 | One of the other really great things about this garden is that there's always so | 307 | One of the other really great things about this garden is that there's always so | ||
| > | mething in bloom year round. | > | mething in bloom year round. | ||
| 308 | So even now that it's the middle of January, we've got aloes blooming, and this | 308 | So even now that it's the middle of January, we've got aloes blooming, and this | ||
| > | giant agave here is starting to think about blooming. | > | giant agave here is starting to think about blooming. | ||
| 309 | So it's sending up its big flower spike, and it'll bloom sometime over the next | 309 | So it's sending up its big flower spike, and it'll bloom sometime over the next | ||
| > | couple months and set seed and produce some offsets, and it will die. | > | couple months and set seed and produce some offsets, and it will die. | ||
| 310 | But it will leave plenty of babies behind it. | 310 | But it will leave plenty of babies behind it. | ||
| 311 | So it's pretty spectacular to watch the things in bloom, even in the middle of w | 311 | So it's pretty spectacular to watch the things in bloom, even in the middle of w | ||
| > | inter. | > | inter. | ||
| 312 | Now, the giant... | 312 | Now, the giant... | ||
| 313 | Now, I'm going to shoot the carrot before I forget it. | 313 | Now, I'm going to shoot the carrot before I forget it. | ||
| 314 | It's a lovely place. | 314 | It's a lovely place. | ||
| 315 | If you want ideas on your scale of flexibility. | 315 | If you want ideas on your scale of flexibility. | ||
| 316 | It's just wonderful. | 316 | It's just wonderful. | ||
| 317 | Yeah, and Nancy earned every bit that we paid. | 317 | Yeah, and Nancy earned every bit that we paid. | ||
| 318 | Yeah, that big one is really big. | 318 | Yeah, that big one is really big. | ||
| 319 | Lovely. | 319 | Lovely. | ||
| 320 | Now these rocks are all original, right? | 320 | Now these rocks are all original, right? | ||
| 321 | Well, the ones that look really older... | 321 | Well, the ones that look really older... | ||
| 322 | ...and Morgan Hill. | 322 | ...and Morgan Hill. | ||
| 323 | It's just great. | 323 | It's just great. | ||
| 324 | Do you know anything about cactus? | 324 | Do you know anything about cactus? | ||
| 325 | A little bit. | 325 | A little bit. | ||
| 326 | You need to know anything about cactus? | 326 | You need to know anything about cactus? | ||
| 327 | Go ahead. | 327 | Go ahead. | ||
| 328 | I was just always wondering, they tend to grow that white stuff that's on that o | 328 | I was just always wondering, they tend to grow that white stuff that's on that o | ||
| > | ne. | > | ne. | ||
| 329 | Go ahead. | 329 | Go ahead. | ||
| 330 | That's, um... | 330 | That's, um... | ||
| 331 | Walk over here. | 331 | Walk over here. | ||
| 332 | I'm holding it. | 332 | I'm holding it. | ||
| 333 | Isn't that some poison? | 333 | Isn't that some poison? | ||
| 334 | No, it's just a white fluff that they make. | 334 | No, it's just a white fluff that they make. | ||
| 335 | And certain species of cactus have it. | 335 | And certain species of cactus have it. | ||
| 336 | It's usually in the genus Oreosurius and they're called old man cacti. | 336 | It's usually in the genus Oreosurius and they're called old man cacti. | ||
| 337 | They just put out, that's one of the sort of protective things they have. | 337 | They just put out, that's one of the sort of protective things they have. | ||
| 338 | It gives them a little protection from hot sun and probably a little frost prote | 338 | It gives them a little protection from hot sun and probably a little frost prote | ||
| > | ction as well. | > | ction as well. | ||
| 339 | It's not strychnine? | 339 | It's not strychnine? | ||
| 340 | No, it's not strychnine. | 340 | No, it's not strychnine. | ||
| 341 | Because there was this, you guys used to have cactuses stacked around over there | 341 | Because there was this, you guys used to have cactuses stacked around over there | ||
| > | waiting for you to plant it or whatever. | > | waiting for you to plant it or whatever. | ||
| 342 | Uh huh. | 342 | Uh huh. | ||
| 343 | And it was during the summertime and it was covered with that white stuff. | 343 | And it was during the summertime and it was covered with that white stuff. | ||
| 344 | Well there's other kinds of white stuff. | 344 | Well there's other kinds of white stuff. | ||
| 345 | There's an infestation called like cotton stain. | 345 | There's an infestation called like cotton stain. | ||
| 346 | Cotton stain. | 346 | Cotton stain. | ||
| 347 | Cotton stain. | 347 | Cotton stain. | ||
| 348 | Cotton stain. | 348 | Cotton stain. | ||
| 349 | Uh huh. | 349 | Uh huh. | ||
| 350 | Cotton stain. | 350 | Cotton stain. | ||
| 351 | Cotton stain. | 351 | Cotton stain. | ||
| 352 | Uh huh, interesting. | 352 | Uh huh, interesting. | ||
| 353 | Yeah, yeah. | 353 | Yeah, yeah. | ||
| 354 | Yeah. | 354 | Yeah. | ||
| 355 | Oh well, you know, you never know what these stories will do. | 355 | Oh well, you know, you never know what these stories will do. | ||
| 356 | You might agree that's what people do in the practice. | 356 | You might agree that's what people do in the practice. | ||
| 357 | But they're just pieces of plant material. | 357 | But they're just pieces of plant material. | ||
| 358 | They're not people who talk about anything about it. | 358 | They're not people who talk about anything about it. | ||
| 359 | I couldn't say. | 359 | I couldn't say. | ||
| 360 | Goodbye. | 360 | Goodbye. | ||
| 361 | Sorry? | 361 | Sorry? | ||
| 362 | That's a baby soil. | 362 | That's a baby soil. | ||
| 363 | That's what they look like. | 363 | That's what they look like. | ||
| 364 | I hear they grow something like an inch a year. | 364 | I hear they grow something like an inch a year. | ||
| 365 | I'm sorry. | 365 | I'm sorry. | ||
| 366 | Working away. | 366 | Working away. | ||
| 367 | There's nothing like getting muddy and dirty in the pursuit of your job. | 367 | There's nothing like getting muddy and dirty in the pursuit of your job. | ||
| 368 | They have to be thinned out anyway, because otherwise they'll just totally grow | 368 | They have to be thinned out anyway, because otherwise they'll just totally grow | ||
| > | over each other and get crowded out. | > | over each other and get crowded out. | ||
| 369 | As much easier to do when the dirt is soft. | 369 | As much easier to do when the dirt is soft. | ||
| 370 | Yes I'm going to go find some more cerns. | 370 | Yes I'm going to go find some more cerns. | ||
| 371 | Okay. | 371 | Okay. | ||
| 372 | So this is how you propagate cern cactus, but hopefully nobody will get ideas an | 372 | So this is how you propagate cern cactus, but hopefully nobody will get ideas an | ||
| > | d come in here and start taking things. | > | d come in here and start taking things. | ||
| 373 | We do have occasional problems with that. | 373 | We do have occasional problems with that. | ||
| 374 | The great thing about these is they have to harden off, so they have to callus o | 374 | The great thing about these is they have to harden off, so they have to callus o | ||
| > | ver before you plant them in the ground, so you can leave them sitting around fo | > | ver before you plant them in the ground, so you can leave them sitting around fo | ||
| > | r a couple of weeks before you plant them. | > | r a couple of weeks before you plant them. | ||
| 375 | Okay, now I'm going to just let you work and... | 375 | Okay, now I'm going to just let you work and... | ||
| 376 | in. | 376 | in. | ||
| 377 | All right. | 377 | All right. | ||
| 378 | Alright, should we go paint some more? | 378 | Alright, should we go paint some more? | ||
| Legends | ||||||||||
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| reference | transcript | ||||
|---|---|---|---|---|---|
| n | 1 | Tekstet av Nicolai Winther The American Wild Lost advancedürlichs pong This exhi | n | 1 | Teksting av Nicolai Winther 今東京都庭園美術館でアメリカに生きた日系人画家たち 希望と苦悩の反省期という展覧会が開かれています Th |
| > | bition was planned to commemorate the end of the war. | > | is exhibition was planned to commemorate the end of the war. | ||
| 2 | The works of the painters who played an active part in the United States, Kuniyo | 2 | The works of the artists who played an active part in the United States, Kuniyos | ||
| > | shi Yasuo, Henry Sugimoto, and Usui Bunpei, are exhibited. | > | hi Yasuo, Henry Sugimoto, and Usui Bunpei, are exhibited. | ||
| 3 | 中でも一際目を引くのが、 共生収容所の中で描かれた日系人画家たちの作品です。 彼らは収容所の中で屈辱に耐えながら、 絵画によって希望を見出そうと絵筆を取りました | 3 | 中でも一際目を引くのが、 共生収容所の中で描かれた日系人画家たちの作品です。 彼らは収容所の中で屈辱に耐えながら、 絵画によって希望を見出そうと絵筆を取りました | ||
| > | 。 KONNICHIWA でも50年間くらいから50年間くらいにあんなにたくさんの方が向こうに渡って絵を描いていたという事実は僕もある意味では初めてで非常にびっ | > | 。 日本人修行所 でも50年間くらいから50年間くらいにあんなにたくさんの方が向こうに渡って絵を描いていたという事実は僕もある意味では初めてで非常にびっくりした | ||
| > | くりしたんですよね。 尾端千代という名前はご存知でした? | > | んですよね。 尾端千代という名前はご存知でした? | ||
| 4 | 全然知らなかったんですよ。やっぱり非常に印象的で素晴らしい絵を描いていらっしゃるので、なんで今まで知らなかったんだろうと思って非常に自分の不勉強を恥じたという。 | 4 | 全然知らなかったんですよ。やっぱり非常に印象的で素晴らしい絵を描いていらっしゃるので、なんで今まで知らなかったんだろうと思って非常に自分の不勉強を恥じたという。 | ||
| > | I also first met Obata Chura, but he had been drawing pictures to protect his c | > | Obata Chiura was the first person I met, and he had been drawing pictures to pr | ||
| > | ulture and humanity in the camp. | > | otect the culture and humanity of the people in the camp. | ||
| 5 | Obata Chura was the leader. | 5 | His leader was Obata Chiura. | ||
| 6 | Obata Chura had a great influence on the American art movement on the West Coast | 6 | Obata Chiura had a great influence on the art movement of the West Coast of Amer | ||
| > | . | > | ica, and he visited the West Coast of America. | ||
| 7 | I went to the West Coast to investigate. | 7 | The West Coast of America, San Francisco 古くから日系移民の多かったこの町が、尾端千浦とその仲間たちの活動の舞台となりま | ||
| > | した。 ノンフィクションライターの下島哲郎さんは、10年以上にわたって収容所の日系人画家たちを取材してきました。 何度もここへ通って関係者の話を聞くうちに、収容 | ||||
| > | 所の生活に意外な側面があったことを発見したと下島さんは言います。 I was surprised to see that the life in the cam | ||||
| > | p was very fulfilling for the painting. | ||||
| 8 | I went to the U .S. | 8 | Many people say that they enjoyed it. | ||
| 9 | to interview them. | 9 | The life in the camp was fulfilling? | ||
| 10 | San Francisco, the west coast of the U.S. This town, which had many Japanese imm | 10 | Yes. | ||
| > | igrants since ancient times, became the stage of the activities of Chihura Obata | ||||
| > | and his friends. | ||||
| 11 | The non-fiction writer Tetsuro Shimojima Shimojima-san has been interviewing Jap | 11 | I was surprised and surprised to find that I met a painter called Chihura Obata | ||
| > | anese painters of the Shuyo-jo for more than 10 years. | > | about three years ago. | ||
| 12 | Shimojima-san says that he discovered something unexpected in the life of the Sh | 12 | 日本画家小畑千浦は1903年明治36年にアメリカに渡りました。 Sumieya Suisai ga de Nishikaigan no Bijitsukai n | ||
| > | uyo-jo while visiting the Shuyo-jo many times and listening to the people involv | > | o chumoku wo atsume Nochi ni California Daigaku Barclay ko no kyojo ni battegi s | ||
| > | ed. | > | a remashita Obata Chiura ga nakunaru made sundeita Barclay no iya wo tazuremashi | ||
| > | ta Hello! Konnichiwa! Nice to see you again! Obata-san, Ojo-san, Yuri-san Yorosh | ||||
| > | iku onegaishimasu, Sakurai-desu Nice to meet you Sakurai-desu, Yoroshiku onegais | ||||
| > | himasu Please come in Ega demo arimasu? | ||||
| 13 | 下の話を聞くうちに収容所の生活に意外な側面があったことを発見したと下島さんは言います。 4年間という長い収容所生活が絵のために非常に充実し、 そしてむしろ楽しん | ||||
| > | だというようなことをおっしゃる人が多数いらっしゃるんですね。 収容所時代が充実していたと。 そうですね。 I was surprised and surpris | ||||
| > | ed to find that I met a painter called Chihura Obata about three years ago. | ||||
| 14 | 日本画家小畑千浦は1903年、明治36年にアメリカに渡りました。 Sumiei-ya Suisai-ga-de Nishi-kaigan-no-Bijitsuk | ||||
| > | ai-no -Chumoku-o-Atsume, Nochi-ni California-Dai -gaku Barclay-ko-no-Kyo-ju-ni-B | ||||
| > | atteki-sa -remashita. | ||||
| 15 | Obata Chiura-ga-nakunaru-made-sunde-ita Barclay-no-ie-wo-tazure-mashita. | ||||
| 16 | Hello! Konnichiwa! Nice to see you again! Og O'Bata-san, Ojo -san, Yuri-san. | ||||
| 17 | Yuri-san. | ||||
| 18 | Joroshiku onegaishimasu. | ||||
| 19 | Sakurai desu, Najimichi. | ||||
| 20 | Joroshiku onegaishimasu, Sakurai desu, Najimichi. | ||||
| 21 | Joroshiku onegaishimasu, Sakurai desu, Najimichi. | ||||
| 22 | Please come in. | ||||
| 23 | Ega demo arimasu ka? | ||||
| 24 | Hai. | ||||
| 25 | Aremo so desu ka? | 13 | Ai Aremo sou desu ka? | ||
| 26 | So, papa ga kakimashita. | 14 | So, papa ga kakimashita Magnolia, Blue Jay, Mokure no Hana. | ||
| 27 | Magnolia to Blue Jay. | 15 | I really liked drawing birds. | ||
| 28 | Magnolia. | 16 | I drew a bird. | ||
| 29 | Mokuren no hana. | 17 | There was no studio. | ||
| 30 | So, so. | 18 | She was always surrounded by her family and drawing in the dining room. | ||
| 31 | Nante, Tori totemo suki datta kaku no. | 19 | So this is the place where you used to sit instead of the studio? | ||
| 32 | Shiji kakimashita. | 20 | Yes. | ||
| 33 | Atelier wa arimasen deshita. | 21 | Hei, doko ni suwatte kaite irashita nesuka? | ||
| 34 | Itsumo kazoku ni kakomarete, dining room de e wo kaiti ita toigetodesu. | 22 | Kocchi ni suwatte, window ga minna akete, totemo suki datta koko de yaruno. | ||
| 35 | Koko ga ja atelier gawari de. | ||||
| 36 | Dokoni suwatta kaiti deshita? | ||||
| 37 | Kocchi suwatte, window ga minna akete. | ||||
| 38 | E, tottemu suki datta koko de yaru no. | ||||
| 39 | He. Donna fuu ni shite kaite rashitan deshou ne? | 23 | Donna fuu ni shite kaite irashita nesho ne? | ||
| 40 | Omoite rashimasu ka? | 24 | Omoite irashimasu ka? | ||
| 41 | Sou, papa wa baseball tottemu suki datta. | 25 | So, papa wa baseball totemo suki datta. | ||
| 42 | Yakyuu ga. | 26 | Yakkyu ga. | ||
| 43 | Sou, dakara radio koko mimi ni irete, kou yate kaite. | 27 | So, dakara radio koko mimi ni irete, kou yate kaite. | ||
| 44 | Kikinagara? | 28 | Owa Tachiura was born in 1885, in the year of 18th year, in Okaima prefecture. | ||
| 45 | Sou, toki-toki Giants ga makeuta, aaa te okotte. | ||||
| 46 | I thought I was a little too much. | ||||
| 47 | I thought you were going to write a poem, but it didn't work. | ||||
| 48 | That's what happened. | ||||
| 49 | Chura Obata was born in 1885, in the year of 18, in Okayama. | ||||
| 50 | His real name is Zoro Sato. | ||||
| 51 | 千代に住む兄六一の養子になりました。 千代七歳の時の絵です。 元々絵の得意だった千代は、日本画家だった六一の影響を受け、自らも画家になることを決意します。 Ch | 29 | 本名佐藤造六。 五歳の時に仙台に住む兄、六一の養子になりました。 千浦、七歳の時の絵です。 もともと絵の得意だった千浦は、日本画家だった六一の影響を受け、 自ら | ||
| > | ura, who was taught by Rokuichi, was only 17 years old when he won the Japanese | > | も画家になることを決意します。 Chura, who was taught by Rokuichi, was only 17 years old when he | ||
| > | Art Museum's Grand Prize, and won the first prize. | > | won the Japanese Art Museum's Grand Prize, and he was awarded the first-ever aw | ||
| > | ard. | ||||
| 52 | However, the following year, he suddenly went to the United States. | 30 | However, the following year, he suddenly crossed over to the United States. | ||
| 53 | The world is wide, and there are tens of millions of people. | 31 | The world is vast, and there are hundreds of millions of people. | ||
| 54 | 人たちがいます。 地浦の書であると言わせる策を成して帰ります。 アメリカに渡った地浦はスクールボーイをしたり、 日経新聞のイラストを描いて生活を始めます。 渡米 | 32 | 人たちがいます。されど、私の真に頼むべき、真に語るべき、真に楽しむべきは皆様だけです。 この離れがたき皆様のもとを去り、遠く異郷に来て、真苦患難ものともせず、成 | ||
| > | して9年目、27歳の時に描いた千浦書記の代表作です。 大地に立つおゆうしい少女は、結婚して間もない新妻、春子です。 薄草とした杉木立ち。 太い幹や枝の一本一本が | > | 功を希望するのです。 決して大きな贅沢なる家で、美しい着物を着、美味しいものを食べたいというわけではありません。 必ずや天下に尾端千浦の書であると言わせる策を成 | ||
| > | 炭の濃淡によって巧みにかき分けられています。 足元には大地から生命を受けた小さな草が群生し、花を結んでいます。 Haruko's expectations an | > | して帰ります。 アメリカに渡った千浦はスクールボーイをしたり、日経新聞のイラストを描いて生活を始めます。 渡米して9年目、27歳の時に描いた千浦書記の代表作です | ||
| > | d concerns, which had already taken a new life, are symbolically depicted in the | > | 。 大地に立つおゆうしい少女は、結婚して間もない新妻、春子です。 薄草とした杉木立ち。 太い幹や枝の一本一本が墨の濃淡によって巧みにかき分けられています。 As | ||
| > | transparent air at dawn. | > | imoto ni wa daichi kara seimei wo uketa chiisana kusa ga gunsei shi, hana wo mus | ||
| > | unde imasu Haruko's expectation and anxiety, which had already taken over her ne | ||||
| > | w life, are symbolically depicted in the transparent air at dawn. | ||||
| 55 | 象徴的に描かれています。 母なる大地を描くことによって、 アメリカでの日本画の新境地を開いた千浦は、 創作意欲をかきたてられ、 次々と新しいテーマを求めて旅を重 | 33 | Chihura, who opened the new territory of Japanese painting in the United States, | ||
| > | ねます。 膨大な作品が地下の倉庫に残っていました。 Yosemite Valley Where did you draw that painting? | > | was inspired by his creative will to create new themes for his works. | ||
| 34 | He traveled to many places to find new themes. | ||||
| 35 | He left a lot of his works in the basement warehouse. | ||||
| 36 | Where did you draw this painting? | ||||
| 56 | Yes, this is a painting that was done in Yosemite Valley in 1938, right before t | 37 | Yes, this is a painting that was done in Yosemite Valley in 1938, right before t | ||
| > | he war. | > | he war. | ||
| n | 57 | You were drawing Yosemite? | n | 38 | You're drawing Yosemite? |
| 58 | Right. | 39 | Right. | ||
| 59 | Grandpa used to go to the valley every summer for camping. | 40 | Grandpa used to go to the valley every summer for camping. | ||
| 60 | Oh, every summer. | 41 | Oh, every summer. | ||
| 61 | And sketching and painting and of course fishing. | 42 | And sketching and painting and of course fishing. | ||
| n | 62 | Of course fishing. | n | 43 | Of course. |
| 63 | That was before the war. | 44 | That's pre-war, isn't it? | ||
| 64 | A storm that strikes the national park of Yosemite. | 45 | A storm that strikes the warning of Yosemite National Park. | ||
| 65 | It is a dynamic depiction of the dramatic changes of nature. | 46 | It depicts the dynamic change of the vast nature. | ||
| 66 | 1927年尾端千浦はカリフォルニア大学バークレー校の美術教授ワースライダーとともに寄せ見てを訪れました。そして2ヶ月にわたってキャンプ生活をしながら寄せ見ての大 | 47 | 1927年尾端千浦はカリフォルニア大学バークレー校の美術教授ワースライダーと共に寄せ見てを訪れました。そして2ヶ月にわたってキャンプ生活をしながら寄せ見ての大自 | ||
| > | 自然を描きました。 At that time, Yosemite was a representative monument in the United Sta | > | 然を描きました。 At that time, Yosemite was the representative national treasure of the | ||
| > | tes, and was painted by many painters. | > | United States, and was written by many painters. | ||
| 67 | However, Yosemite, painted by Japanese painter Obata Chiura, made the Americans | 48 | However, Yosemite, written by Japanese painter Obata Chiura, made the Americans | ||
| > | feel the appearance of Yosemite that had never been seen before. | > | feel the appearance of Yosemite that had never been seen before. | ||
| 68 | Chihura's Yosemite series has further enhanced his reputation. | 49 | Chura's Yosemite series has further enhanced his reputation. | ||
| 69 | Monterey, very beautiful area. | 50 | Monterey, very beautiful area. | ||
| n | 70 | And grandpa enjoyed painting the ocean and the scenery there. | n | 51 | Grandpa enjoyed painting the ocean and the scenery there. |
| 71 | Monterey's coast. | 52 | Monterey's coast? | ||
| 72 | Monterey to the south. | 53 | Yes, from Monterey to the south. | ||
| 73 | Matsu is in the middle, and it's very Japanese. | 54 | Matsu is in the middle, it's very Japanese. | ||
| 74 | Yes. | 55 | Yes, Chihura grew up in Sendai from the age of 5. | ||
| 75 | Chiura has grown up in Sendai since he was five years old. | ||||
| 76 | I think there's a scene of Matsushima Bay in the corner of his head. | 56 | I think there is a view of Matsushima Bay in the corner of his head. | ||
| 77 | I think the scenery remains, but the name Shura was also taken from Matsushima B | 57 | I think the scenery remains, but the name Shura was also taken from Matsushima B | ||
| > | ay. | > | ay. | ||
| n | 78 | So you were looking for such a scenery. | n | 58 | So you're looking for such a scenery. |
| 79 | I always had it in my head, and I think I wandered through California in the Uni | 59 | I always have it in my head, and I think I wandered through California in the Un | ||
| > | ted States. | > | ited States. | ||
| 80 | I think I was lost. | 60 | I think I was lost. | ||
| 81 | The famous school in the United States, the University of California, Berkeley. | 61 | The famous school in the United States, the University of California, Berkeley. | ||
| t | 82 | Obata Chura, who returned from Yosemite, was invited as a Japanese artist of thi | t | 62 | Chura, who returned from Yosemite, was invited as a Japanese artist of this univ |
| > | s university. | > | ersity. | ||
| 83 | 雨をかきたいならば雨に打たれよ。 風をかきたいならば風に吹かれよ。 そして何千もの心のレンズを通して書きなさい。 中羅の講義は学生たちの絶大なる支持を受けました | 63 | 雨をかきたいならば雨に打たれよ。 風をかきたいならば風に吹かれよ。 そして何千もの心のレンズを通して書きなさい。 中羅の講義は学生たちの絶大なる支持を受けました | ||
| > | 。 OVATA CHIURA K幾 moga engelska tannt atrevet으니까 Laughteriere atlyaltisvina Fogw | > | 。 Ova Tachiura Ova Tachiura har restat utsat på campuset i Bakre. | ||
| > | a? | ||||
| 84 | Sure, Aristok sperm'angi In California fyska etn 보시 gila Denne farben heter Tjur | 64 | Denne tog er en av de fleste. | ||
| > | ablu. | ||||
| 85 | Kino-ji har skrevet med iwainogu. | 65 | Det heter Seizertower. | ||
| 86 | Tjurablu har skrevet med iwainogu. | 66 | Det er en fantastisk tog. | ||
| 87 | Tjurablu har skrevet med iwainogu. | 67 | Det er helt sammen med den blå skyldet. | ||
| 88 | Tjurablu har skrevet med iwainogu. | 68 | Det er helt sammen med den blå skyldet. | ||
| 69 | Hidmo aan kongrulo mette kan ohne xoz olagkai? | ||||
| 70 | Colin Ogates際 Have veni Femke meg mendre Oga band aw平 berita regi tando nor toka | ||||
| > | babura shidyou Yes, the blue sky in California is a unique color of Chula, calle | ||||
| > | d Chula Blue. | ||||
| 71 | The lake on the mountain is painted with rock paint. | ||||
| 89 | Teksting av Nicolai Winther Teksting av Nicolai Winther 千と色彩で躍動的な女性たちを描き出しています。 | 72 | 山上の湖 Teksting av Nicolai Winther Teksting av Nicolai Winther 線と色彩で躍動的な女性たちを描き出して | ||
| > | 1930年代アメリカでは新しい美術の動きが出ていましたこの作品にも当時のアメリカ中小表現主義の影響が伺えます Obata Chiura I'm sorry. | > | います。 1930年代、アメリカでは新しい美術の動きが出ていました。 この作品にも当時のアメリカ中小表現主義の影響が伺えます。 Obata Chiura Cal | ||
| > | ifornia's landscape. | ||||
| 90 | 1941年太平洋戦争が始まる直前に書かれた地滑り 日系人たちの不安が表現されています。 1942年2月ルーズベルト大統領令によって西海岸の日系人およそ12万人が | 73 | And certainly he has a poetic eye that holds the most poetic moments of the plac | ||
| > | 適正外国人として強制収容されることになりました尾端中良も家族とともにサンフランシスコの南のタンホランにある仮収容所に入れられます Do you remember | > | e. | ||
| > | the day you got together at the meeting place of the Tampere? | ||||
| 91 | Yes, I remember. | 74 | 1941 The time before the Pacific War 日系人たちの不安が表現されています。 1942年2月ルーズベルト大統領令によって西海岸 | ||
| > | の日系人およそ12万人が適正外国人として強制収容されることになりました尾端チューラも家族とともにサンフランシスコの南 | ||||
| 92 | It was raining that day, and I was very sad. | ||||
| 93 | I took a bus to the Bay Bridge and came to Tampere. | ||||
| 94 | I put my horse in the stable. | ||||
| 95 | The old horse? | ||||
| 96 | I was thirteen at that time, so I loved horses very much. | ||||
| 97 | I was happy to be able to enter the stable. | ||||
| 98 | Were you happy? | ||||
| 99 | Yes. | ||||
| 100 | Mama was so disappointed. | ||||
| 101 | There was an army bed, a mattress with straws. | ||||
| 102 | Mama sat there and cried. | ||||
| 103 | Mama was a person who never cried. | ||||
| 104 | She was very strong. | ||||
| 105 | I was surprised and asked her why she was crying. | ||||
| 106 | I heard it. | ||||
| 107 | I was so sad to hear that I was living with my mother. | ||||
| 108 | I never thought about it. | ||||
| 109 | I often said that the sea was mud. | ||||
| 110 | I said it was ridiculous. | ||||
| 111 | I was taken by the mud, and I finally rolled into the horse shed. | ||||
| 112 | 日本語遠く離れ、異郷の地で永遠と築いてきたものすべてを失ってしまった日系人たち。 絶望の淵に追いやられた姿を見て、尾端千浦は美術学校の開設を思い立ちます。 開校 | ||||
| > | は収容されてから25日目のことです。 長年住み慣れし都を離れ、浮草の境遇と似たる生活に入ったのでありますが、 若き人、幼き人の先行きを思うとき明日に希望を捨てる | ||||
| > | ことはできません来る日の準備をすべく今、一日一日を新たなる希望を持っていかなくてはいけません以上の趣旨でここにタンフォーラン美術学校を設立いたします 日系人の誇 | ||||
| > | りをもって生きよう。 勇気をもとう。 尾端中良の呼びかけは大きな共感を呼び、 やがて生徒は数百人にも上りました。 Meketre, 6-year-old, oj | ||||
| > | isan, obasan, minna ki mastya kakko ni. | ||||
| 113 | Yorokonde minna ki mastya. | ||||
| 114 | Haite sugu warito dekita nesu. | ||||
| 115 | Sou, tomodachi, Berkeley no professor and students ni tanonde kami to enogu to f | ||||
| > | ude naka minna okutte chodai te tanomi mastya. | ||||
| 116 | みんな友達集めて持ってきましたよ。 それで始めました。 全米に本格的な収容所が完成すると、 日系人たちは各地へ移送されていきます。 1942年9月、尾端千浦は家 | ||||
| > | 族とともに 豊洲の砂漠地帯のトパーズ収容所へ送られました。 千浦はここにも美術学校を作ったのです。 私の目の前のこの有志鉄線 この有志鉄線が収容所の鉄線です 5 | ||||
| > | 0年前の鉄線が今も残っていました この鉄線のこちら側が収容所の敷地で 広大なこの砂漠の中に バラックが立ち並んでいたんです 本当に何にもないんですが 遥か彼方向 | ||||
| > | にトパーズさん 今度はトパーズ収容所の名前の由来となったトパーズさんが見えるだけなんですね。 今私が立っているこの辺りに美術学校があったということなんです。 砂 | ||||
| > | 漠地帯の真ん中に建てられた収容所には、バラック以外何もなく、 日系人たちは生活に必要なものすべてを自分たちの手で作らなければなりませんでした。 昼は灼熱の太陽が | ||||
| > | 照りつけ、夜は凍てつく寒さが襲います。 一度砂嵐が吹き始めると、一週間もの間吹き荒れました。 バラックの中では隙間から侵入する細かい砂との戦いが一日中続きました | ||||
| > | 。 Teksting av Nicolai Winther 屋根もなく、電燈もなく、ストーブもなく、 土凍る高原の夜の寒さ肌を刺す。 屋具も足らず、みぞれふる鉄 | ||||
| > | 椒。 七人連れの囚われの旅に心身共に疲れ果てたるサンタアナ寄りの人々 I was very disappointed. | ||||
| 117 | I entered a very big place. | ||||
| 118 | There was nothing. | ||||
| 119 | There was no tree. | ||||
| 120 | I cried hard. | ||||
| 121 | Gammatte naita. | ||||
| 122 | Daka papa, dooshite mo yama no hon ni minasai. | ||||
| 123 | Me wa ati no hon ni minasai. | ||||
| 124 | Kirei na sunset, sunrise ga ala. | ||||
| 125 | Dooshite mo nature ga yoku surute. | ||||
| 126 | Shizenga. | ||||
| 127 | Gammatte. | ||||
| 128 | Spirit, jibun no kimochi ga yoku narte. | ||||
| 129 | Susume mashita. | ||||
| 130 | Obata Chiura was convinced that looking at the beauty of nature leads to hope fo | ||||
| > | r tomorrow. | ||||
| 131 | The water tower, the symbol of the camp, and the clouds dyed in the sunset. | ||||
| 132 | 雲や雲。 過酷な条件の中で、千浦の美術学校に込めた思いが感じられる作品です。 Topaz Art School opened several art exhib | ||||
| > | itions before the end of the war. | ||||
| 133 | From Tampo Land to Topaz, there were friends who supported the art school starte | ||||
| > | d by Obata Chura. | ||||
| 134 | 日系二世のミネ・オークボー。 カリフォルニア大学バークレー校の美術学生だった彼女は、 タンホラン美術学校ではチューラと共に教師として参加しました。 Mine O | ||||
| > | kubo Mine Okubo is a work of art that depicts the world of despair and suffering | ||||
| > | using wood. | ||||
| 135 | Hibi Hisako draws the life of a housekeeper in detail from her mother's point of | ||||
| > | view. | ||||
| 136 | 中心から収容所の中の生活を細やかに描いています。 トッパーズ農場の収穫物 作品の裏には砂漠の荒野で果物と野菜を育て、届けてくれたトパーズの日本人農民に捧げると書 | ||||
| > | かれています。 日比久子の夫、日比松桜の作品には小用手が度々登場します。 Candy 自由の象徴でもあります。 日比松三郎は尾端千浦にとって 渡米して間もない頃 | ||||
| > | からの親友でした。 丹波蘭からトパーズへと美術学校を運営していく上で 欠かせない協力者でした。 丹波蘭の美術学校を創立する時も Chiyura consults | ||||
| > | with them daily. | ||||
| 137 | With their cooperation, the art school is built. | ||||
| 138 | They are worried about whether the students will come. | ||||
| 139 | They are worried about whether the students will come. | ||||
| 140 | On the opening day, it was a big storm and it was raining cold. | ||||
| 141 | On the opening day, it was a big storm and it was raining cold. | ||||
| 142 | 妻 SHEING P الس般 I think it was a very passionate feeling. | ||||
| 143 | The men who draw pictures in the twilight of Topaz. | ||||
| 144 | The joy of being able to draw in the Yushitesu line appears in the back. | ||||
| 145 | トパーズ美術学校で日比松三郎に絵の手ほどきを受けた人が今も健在でした。 ダン・ハラダさん72歳。日系2世として19歳の時に収容されました。 Harada-san | ||||
| > | was instructed to put a canvas on Hibi Matsusaburo, and he began to draw. | ||||
| 146 | The test for the neutralization of America in 1943 changed his fate. | ||||
| 147 | Harada's life changed. | ||||
| 148 | The question was, can you deny the loyalty to the emperor? | ||||
| 149 | If you receive an order, do you have the will to fight as an American soldier? | ||||
| 150 | Harada answered these questions with no. | ||||
| 151 | Because of that, Harada was sent to the camp of Tool Lake, where only Japanese p | ||||
| > | eople with anti-American feelings were gathered. | ||||
| 152 | Barak, a painting by Mr. Harada, is a black shadow that wraps around the barrack | ||||
| > | . | ||||
| 153 | It represents Mr. Harada's feelings at the time. | ||||
| 154 | Harada-san is walking in the camp at night, and he says that it looked as if the | ||||
| > | barracks were lonely and looked like themselves. | ||||
| 155 | 自分たちのようだったと語っています。 秦さんにとって収容所時代というのは人生の中でどんな意味を持つのでしょうか? | ||||
| 156 | 非常に今でも非常に Nante imasu ka, kokoro no naka ni, hitosu no kizu demo arimasu kedo, s | ||||
| > | ore to douji ni, watashi ni totte wa ijou ni kreative na, eio kakuge de kreative | ||||
| > | na, jujitsu shita shidai deshita. | ||||
| 157 | The four years of the school were days of humiliation for the Nikkei people. | ||||
| 158 | But the art school was a source of life, no doubt. | ||||
| 159 | August 14, 1945, Japan time, August 15, Hibi Matsusaburo left a painting on the | ||||
| > | day of the final battle. | ||||
| 160 | There is a man who is wandering around Kobe in the west of his homeland. | ||||
| 161 | 廃墟 尾端千浦が広島に落とされた原爆のニュースを聞いて描いた作品です。 尾端千浦はこの絵を最後に、戦争にまつわる絵は二度と描きませんでした。 zombie вр | ||||
| > | ем 戦後なんですが、尾端千代は大学に復職しまして、 バークレー校の名誉教授を務めた後、退職するんですね。 その後は文化の架け橋としてアメリカに日本の文化を紹介 | ||||
| > | するということに人生を捧げたんですね。 文化の架け橋ということでいうと、たくさんの画家たちがアメリカに渡って、 国と国との間の文化を結ぼうとするわけですけど、 | ||||
| > | 国と国との戦争という運命によって 強制収容所内が入れられてしまうと そこで大端千浦と日比松浦という人がやった 非常に大きな動きですよね 美術学校を作るという そ | ||||
| > | れは非常に力強いものになっていたという意味では 貴重だったときがするんですよ 生活的に言うと 段原田さんが書いたりとか 美濃大久保さんが書いたりとか ああいうく | ||||
| > | らいのところだったと思うんですけど それを何とかして変えていこうという その意思みたいなものは 非常に貴重だなって気がしますね。 それにしても、トパーズのね、 | ||||
| > | 京成終業時の後に行ったんですけど、 本当に猛烈な風で、 あの日ちょうど気温が38度でしてね、 もうちょっとこういるだけで、 日差しが本当に強くて、ジリジリ痛いく | ||||
| > | らいなんですよね。 で、あれだけの過酷な厳しい条件の中でも、 絶望しないで絵を描き続けたと、 非常に強靭な精神力ですかね、 それを思うんですが、 でも一方で、絵 | ||||
| > | を見ますと、 非常にその透明感がある、伸びやかな絵も非常に多いんですよね。 透明感というものがですね、本当に京成修行の中でもね、 ある種の高い志と言いましょうか | ||||
| > | 、 志を表すものなのかな、そういう思いをして描いてきたんですけれどもね。 尾形千代の絵の特質というのは、やはりその大胆で軽やかなところだと思うんですよね。 それ | ||||
| > | があってこそ、やっぱりその母なる大地のようなところで、 緻密なそういう日本画の技法があるんですが、 でも、それを遥かに超えて、心情までも表すような、 抽象表現主 | ||||
| > | 義のような形というものがあって、 その軽やかさが、やっぱりそういう意味でいうと、 希望をもたらすというか、そういう感じがあったんだろうなという気がしますね。 そ | ||||
| > | の象徴的な色がチューラブルーですか、真っ青な、 本当カリフォルニアの青と、チューラブルー。本当に印象的でしたけれどもね。 オワタチューラの作品は日本で初公開です | ||||
| > | が、その中羅の作品多数を含めますアメリカに生きた日系人画家たちの展覧会、10月1日までですが、東京都の庭園美術館で開かれています。 その後、大分と広島でも開かれ | ||||
| > | る予定になっています。 Undertexter av Nicolai Winther Undertexter av Nicolai Winther Undert | ||||
| > | exter av Nicolai Winther Undertexter av Nicolai Winther Undertexter av Nicolai W | ||||
| > | inther Undertexter av Nicolai Winther Undertexter av Undertexter av Undertexter | ||||
| > | av Nicolai Winther Undertexter av Undertexter av Undertexter av Undertexter av U | ||||
| > | ndertexter av Undertexter av Undertexter av Nicolai Winther Undertexter av Nicol | ||||
| > | ai Winther M driver hits the floor. | ||||
| 162 | Ohh! многedd velder Please take a closer look. | ||||
| 163 | When you touch the switch... | ||||
| 164 | The heart... | ||||
| 165 | It becomes like this. | ||||
| 166 | That's the title of the game. | ||||
| 167 | This time, it's a self-destruction. | ||||
| 168 | It's interesting. | ||||
| 169 | It's interesting. | ||||
| 170 | I think the robot is waiting for someone. | ||||
| 171 | It's saying it's irritated. | ||||
| 172 | It's stepping on the ground. | ||||
| 173 | It looks like it's stepping on a tap. | ||||
| 174 | It feels very humorous. | ||||
| 175 | 作品は機械を取り入れることによって動きを生み出している作品です。 生物を思わせる人質的な動きは、SLDを除く蒸気機関によるものです。 Nanamimata do | ||||
| > | ishu no takuhin wa说 上記やお盛りといった saikino dewa oda miruko de ni kihome ta Duos, har | ||||
| > | itнакомe sko. | ||||
| 176 | Idet 써, forinatisig帔ithiais Always-to-Be. разбaktt pål gettin som er b theCUBE s | ||||
| > | ound Unver antioxidant, kayию Проío … A eleven barrel brinecychлён du spontaneou | ||||
| > | s jum Nerdонд주고 som kan regna van vra 만큼 utukes jega stille. | ||||
| 177 | Det셨, eit gemaakt anld atmosfé 64 eit fogsj inflation erindert … S classified in | ||||
| > | New Zealand Studies , Undertexter av Undertexter av Undertexter av Undertexter | ||||
| > | av Undertexter av Undertexter av Undertexter av Undertexter av Undertexter av Un | ||||
| > | dertexter av Undertexter av Undertekster av Ai-Media Undertexter av Undertexter | ||||
| > | av Undertekster av Ai-Media Undertexter av Undertexter av Nicolai Winther | ||||
| Legends | ||||||||||
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| reference | transcript | ||||
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| f | 1 | The person who's going to say the blessing is Benny Shendo, who is the director | f | 1 | The person who's going to say the blessing is Benny Shendo, who is the director |
| > | of our American Indian program here at Stanford, and he's Hamas. | > | of our American Indian program here at Stanford, and he's Hamas. | ||
| 2 | I'm going to say the opening prayer in my own language. | 2 | I'm going to say the opening prayer in my own language. | ||
| 3 | So also, as I say the prayer, you can say your own prayer as well. | 3 | So also, as I say the prayer, you can say your own prayer as well. | ||
| 4 | I feel that the people who are here today, they cannot go to the other side of t | 4 | I feel that the people who are here today, they cannot go to the other side of t | ||
| > | he world, and they cannot go to the other side of the world, and they cannot go | > | he world, and they cannot go to the other side of the world, and they cannot go | ||
| > | to the other side of the world, and they cannot go to the other side of the worl | > | to the other side of the world, and they cannot go to the other side of the worl | ||
| > | d, and they cannot go to the other side of the world, and they cannot go to the | > | d, and they cannot go to the other side of the world, and they cannot go to the | ||
| > | other side of the world, . | > | other side of the world, . | ||
| 5 | OK. | 5 | OK. | ||
| 6 | I guess we're going to go ahead and get started. | 6 | I guess we're going to go ahead and get started. | ||
| 7 | So everyone can be seated. | 7 | So everyone can be seated. | ||
| 8 | AND FIND A SEAT. | 8 | AND FIND A SEAT. | ||
| 9 | Okay, just to, we want to welcome you to Stanford University, everyone who's com | 9 | Okay, just to, we want to welcome you to Stanford University, everyone who's com | ||
| > | e from other universities. | > | e from other universities. | ||
| 10 | My name is Rania Ramirez. | 10 | My name is Rania Ramirez. | ||
| 11 | I'm a part of SNAG, which is Stanford Native American Graduate Group, and we hel | 11 | I'm a part of SNAG, which is Stanford Native American Graduate Group, and we hel | ||
| > | ped put put this conference together or this forum together. | > | ped put put this conference together or this forum together. | ||
| 12 | We just want to say that this is supposed to be like a conversation. | 12 | We just want to say that this is supposed to be like a conversation. | ||
| 13 | The way it's going to work is each person who is going to talk about their work | 13 | The way it's going to work is each person who is going to talk about their work | ||
| > | is going to come and sit at this point in the table, mainly because we are video | > | is going to come and sit at this point in the table, mainly because we are video | ||
| > | taping the event. | > | taping the event. | ||
| 14 | And we'll present for about 10 minutes. | 14 | And we'll present for about 10 minutes. | ||
| 15 | and then the rest of the time will be for basically a conversation just to talk | 15 | and then the rest of the time will be for basically a conversation just to talk | ||
| > | about you know the issues that were brought up in the presentation maybe some si | > | about you know the issues that were brought up in the presentation maybe some si | ||
| > | milar experiences we've had doing doing research just you know very informal you | > | milar experiences we've had doing doing research just you know very informal you | ||
| > | know we want people to feel comfortable and just just really enjoy the day. | > | know we want people to feel comfortable and just just really enjoy the day. | ||
| 16 | We're going to start out with Benny Shendo who's going to come up and say a few | 16 | We're going to start out with Benny Shendo who's going to come up and say a few | ||
| > | words and then after Benny Shendo will be Jim Larimore who used to be the direct | > | words and then after Benny Shendo will be Jim Larimore who used to be the direct | ||
| > | or of our American Indian program office but is now the acting dean of students | > | or of our American Indian program office but is now the acting dean of students | ||
| > | here at the university. | > | here at the university. | ||
| 17 | Again, I'd just like to welcome all of you to the second annual research forum. | 17 | Again, I'd just like to welcome all of you to the second annual research forum. | ||
| 18 | As Rania mentioned, I'm the Assistant Dean of Students and also Director of our | 18 | As Rania mentioned, I'm the Assistant Dean of Students and also Director of our | ||
| > | American Indian program. | > | American Indian program. | ||
| 19 | I'm new to Stanford. | 19 | I'm new to Stanford. | ||
| 20 | I've been here for going on my seventh month, but it's been really good. | 20 | I've been here for going on my seventh month, but it's been really good. | ||
| 21 | When Gil mentioned this forum last year, they had their first annual, it really | 21 | When Gil mentioned this forum last year, they had their first annual, it really | ||
| > | got me excited because it was one of the things that we really wanted to do is, | > | got me excited because it was one of the things that we really wanted to do is, | ||
| > | you know, what are some of our students doing in terms of scholarship and work t | > | you know, what are some of our students doing in terms of scholarship and work t | ||
| > | hat affect Native communities. | > | hat affect Native communities. | ||
| 22 | So we talked about it and we began to brainstorm it. | 22 | So we talked about it and we began to brainstorm it. | ||
| 23 | We did it last year, it was very informal, and it was a wonderful experience. | 23 | We did it last year, it was very informal, and it was a wonderful experience. | ||
| 24 | We wanted to keep it that way. | 24 | We wanted to keep it that way. | ||
| 25 | We wanted it to be a conversation, a discussion, so that we could really get a l | 25 | We wanted it to be a conversation, a discussion, so that we could really get a l | ||
| > | ot out of it. | > | ot out of it. | ||
| 26 | So we planned it, and Renia has been very, both Renia and Gail have been very in | 26 | So we planned it, and Renia has been very, both Renia and Gail have been very in | ||
| > | strumental in making this happen again. | > | strumental in making this happen again. | ||
| 27 | So I'd just like to welcome all of you on behalf of our American Indian and Alas | 27 | So I'd just like to welcome all of you on behalf of our American Indian and Alas | ||
| > | ka Native program at Stanford. | > | ka Native program at Stanford. | ||
| 28 | So I hope you enjoy your day. | 28 | So I hope you enjoy your day. | ||
| 29 | Jim? | 29 | Jim? | ||
| 30 | I guess this is kind of an unusual thing for me because, as Renia mentioned, I'v | 30 | I guess this is kind of an unusual thing for me because, as Renia mentioned, I'v | ||
| > | e been kind of changing my professional identities around Stanford for the last | > | e been kind of changing my professional identities around Stanford for the last | ||
| > | year or so and have made a series of shifts. | > | year or so and have made a series of shifts. | ||
| 31 | And the shifts that have come have been after serving for nine years as the dire | 31 | And the shifts that have come have been after serving for nine years as the dire | ||
| > | ctor for the American Indian program, making a break and starting full-time as a | > | ctor for the American Indian program, making a break and starting full-time as a | ||
| > | doctoral student over in the School of Education in higher ed and administratio | > | doctoral student over in the School of Education in higher ed and administratio | ||
| > | n and policy analysis last fall. | > | n and policy analysis last fall. | ||
| 32 | And after six months of being a student, taking a leave and stepping in as the a | 32 | And after six months of being a student, taking a leave and stepping in as the a | ||
| > | cting dean of students here, and after my first week on the job, which was just | > | cting dean of students here, and after my first week on the job, which was just | ||
| > | this past week, I can't tell you how much I'm looking forward to going back to b | > | this past week, I can't tell you how much I'm looking forward to going back to b | ||
| > | eing a student again in September and just getting much more in touch with class | > | eing a student again in September and just getting much more in touch with class | ||
| > | room life, with research and with a chance to really focus on thinking hard abou | > | room life, with research and with a chance to really focus on thinking hard abou | ||
| > | t things, on kind of how things are, how they got that way, and maybe how they c | > | t things, on kind of how things are, how they got that way, and maybe how they c | ||
| > | ould be. | > | ould be. | ||
| 33 | And so this is, for me, a little bit of a homecoming in being back involved with | 33 | And so this is, for me, a little bit of a homecoming in being back involved with | ||
| > | the community after trying to maintain a little bit of distance to help my own | > | the community after trying to maintain a little bit of distance to help my own | ||
| > | transition this year. | > | transition this year. | ||
| 34 | And so it's a real kind of honor and a pleasure to be among all the folks that a | 34 | And so it's a real kind of honor and a pleasure to be among all the folks that a | ||
| > | re here this morning. | > | re here this morning. | ||
| 35 | I spoke yesterday afternoon with Condoleezza Rice, our university provost, and i | 35 | I spoke yesterday afternoon with Condoleezza Rice, our university provost, and i | ||
| > | t was then that she informed me that she had a scheduling conflict that had come | > | t was then that she informed me that she had a scheduling conflict that had come | ||
| > | up with a gathering up in San Francisco. | > | up with a gathering up in San Francisco. | ||
| 36 | And so Condi asked me if I would extend a welcome on behalf of the university to | 36 | And so Condi asked me if I would extend a welcome on behalf of the university to | ||
| > | folks that have traveled from other schools, other places here in California an | > | folks that have traveled from other schools, other places here in California an | ||
| > | d elsewhere to be with us today. | > | d elsewhere to be with us today. | ||
| 37 | and and so I hope that it looks from looking out behind the camera and out the w | 37 | and and so I hope that it looks from looking out behind the camera and out the w | ||
| > | indow that that this may be the kind of Stanford weather and Northern California | > | indow that that this may be the kind of Stanford weather and Northern California | ||
| > | weather that we're accustomed to here and so I hope that the surroundings will | > | weather that we're accustomed to here and so I hope that the surroundings will | ||
| > | be pleasant and in supportive of the kind of thinking and talking that you all w | > | be pleasant and in supportive of the kind of thinking and talking that you all w | ||
| > | ant to try and do today as as Benny was it was doing his opening prayer for this | > | ant to try and do today as as Benny was it was doing his opening prayer for this | ||
| > | this gathering this morning it reminded me of how how important it is that as p | > | this gathering this morning it reminded me of how how important it is that as p | ||
| > | eople gather that we pray, and as we pray that we pray for wisdom, among other t | > | eople gather that we pray, and as we pray that we pray for wisdom, among other t | ||
| > | hings. | > | hings. | ||
| 38 | And that the wisdom that we seek is in order to make life better for those aroun | 38 | And that the wisdom that we seek is in order to make life better for those aroun | ||
| > | d us, to make life better for those among us, and also to try and make life bett | > | d us, to make life better for those among us, and also to try and make life bett | ||
| > | er for those yet to come. | > | er for those yet to come. | ||
| 39 | And I think that, for me, represents the spirit of what American Indian and Alas | 39 | And I think that, for me, represents the spirit of what American Indian and Alas | ||
| > | ka Native research is about. | > | ka Native research is about. | ||
| 40 | We have been researchers and scholars for thousands of years and it may not have | 40 | We have been researchers and scholars for thousands of years and it may not have | ||
| > | been things that have been written down and recorded in the forms that universi | > | been things that have been written down and recorded in the forms that universi | ||
| > | ties are used to. | > | ties are used to. | ||
| 41 | But I think you can find no better example of scholarship and humane scholarship | 41 | But I think you can find no better example of scholarship and humane scholarship | ||
| > | than the kind of knowledge that exists within our communities, the kind of know | > | than the kind of knowledge that exists within our communities, the kind of know | ||
| > | ledge that people are about working with and creating and passing on. | > | ledge that people are about working with and creating and passing on. | ||
| 42 | And so I want to say, again, on behalf of myself and for the university, that th | 42 | And so I want to say, again, on behalf of myself and for the university, that th | ||
| > | is is an important gathering and that this marks, I think, a real turning point | > | is is an important gathering and that this marks, I think, a real turning point | ||
| > | for the way that we can support each other and the way that we can support stude | > | for the way that we can support each other and the way that we can support stude | ||
| > | nts and support faculty, tenured and otherwise, in the pursuits and the kinds of | > | nts and support faculty, tenured and otherwise, in the pursuits and the kinds of | ||
| > | pressures that they face in their lives. | > | pressures that they face in their lives. | ||
| 43 | As people go through the day, what I would like to suggest or offer as a way of | 43 | As people go through the day, what I would like to suggest or offer as a way of | ||
| > | thinking about this is that people realize that this is a time, some of you may | > | thinking about this is that people realize that this is a time, some of you may | ||
| > | have met each other, you may have come with friends from other campuses, but thi | > | have met each other, you may have come with friends from other campuses, but thi | ||
| > | s is a real opportunity to get to know people that you may come in contact with | > | s is a real opportunity to get to know people that you may come in contact with | ||
| > | on an infrequent basis, people that you may not see until maybe during Powell se | > | on an infrequent basis, people that you may not see until maybe during Powell se | ||
| > | ason, and you'll see folks around different places, faces that you might recogni | > | ason, and you'll see folks around different places, faces that you might recogni | ||
| > | ze in different parts of the country at different meetings or community gatherin | > | ze in different parts of the country at different meetings or community gatherin | ||
| > | gs. | > | gs. | ||
| 44 | And so I hope that during the day you'll take the opportunity to get to know som | 44 | And so I hope that during the day you'll take the opportunity to get to know som | ||
| > | e folks that may not be from where you're from and get a chance to help establis | > | e folks that may not be from where you're from and get a chance to help establis | ||
| > | h a tighter community base for all of us that way. | > | h a tighter community base for all of us that way. | ||
| 45 | I would also like to suggest that maybe there are a few different ways to think | 45 | I would also like to suggest that maybe there are a few different ways to think | ||
| > | about how this gathering is situated and what this represents because I think it | > | about how this gathering is situated and what this represents because I think it | ||
| > | 's important to be able to look at this assembly of people and to look back at h | > | 's important to be able to look at this assembly of people and to look back at h | ||
| > | ow this connects with our past. | > | ow this connects with our past. | ||
| 46 | And to think about how this connects you with previous generations within your o | 46 | And to think about how this connects you with previous generations within your o | ||
| > | wn tribe, within your own communities, within the campus communities that you're | > | wn tribe, within your own communities, within the campus communities that you're | ||
| > | a part of, within the whole idea of knowledge and what that represents for our | > | a part of, within the whole idea of knowledge and what that represents for our | ||
| > | communities. | > | communities. | ||
| 47 | And so as you're here and as you're hopefully going through some of the exciteme | 47 | And so as you're here and as you're hopefully going through some of the exciteme | ||
| > | nt about thinking about things that people are going to present, you'll be able | > | nt about thinking about things that people are going to present, you'll be able | ||
| > | to feel some connection with those that have been here before you. | > | to feel some connection with those that have been here before you. | ||
| 48 | I also hope that you'll feel a sense of that connection with the people that are | 48 | I also hope that you'll feel a sense of that connection with the people that are | ||
| > | here with you today, and that as you listen to people and engage in some discus | > | here with you today, and that as you listen to people and engage in some discus | ||
| > | sions with each other, that you'll be able to do that in a friendly, cooperative | > | sions with each other, that you'll be able to do that in a friendly, cooperative | ||
| > | , but even challenging way with each other, and to really help push each other t | > | , but even challenging way with each other, and to really help push each other t | ||
| > | o the best and the hardest thinking that you can do about things. | > | o the best and the hardest thinking that you can do about things. | ||
| 49 | And finally, which kind of brings me back to my old life, being, I think, more i | 49 | And finally, which kind of brings me back to my old life, being, I think, more i | ||
| > | nvolved on a regular basis with the community here, I really hope that you'll ca | > | nvolved on a regular basis with the community here, I really hope that you'll ca | ||
| > | rry some things away from this weekend that are going to help you within your ow | > | rry some things away from this weekend that are going to help you within your ow | ||
| > | n communities and especially that are going to help you reach out to one more pe | > | n communities and especially that are going to help you reach out to one more pe | ||
| > | rson, one more student, whether they're a very young kid, whether they're in ele | > | rson, one more student, whether they're a very young kid, whether they're in ele | ||
| > | mentary school or junior high or high school, or maybe a college student on your | > | mentary school or junior high or high school, or maybe a college student on your | ||
| > | own campus. | > | own campus. | ||
| 50 | Because the ultimate measure of how successful we are is going to be how much we | 50 | Because the ultimate measure of how successful we are is going to be how much we | ||
| > | 're able to do to bring more people along with us. | > | 're able to do to bring more people along with us. | ||
| 51 | And so the knowledge, the kind of energy that you pick up today, I hope sustains | 51 | And so the knowledge, the kind of energy that you pick up today, I hope sustains | ||
| > | you in your own activities, but I hope also helps you in your work as a communi | > | you in your own activities, but I hope also helps you in your work as a communi | ||
| > | ty leader, as someone who has influence, as someone whose actions and thoughts a | > | ty leader, as someone who has influence, as someone whose actions and thoughts a | ||
| > | nd words carry a great deal of power. | > | nd words carry a great deal of power. | ||
| 52 | And so with that, I just want to say thanks to all of you for making the trip he | 52 | And so with that, I just want to say thanks to all of you for making the trip he | ||
| > | re early on a Saturday morning when I know that you've all been no doubt working | > | re early on a Saturday morning when I know that you've all been no doubt working | ||
| > | hard on other things and we're getting up early this morning. | > | hard on other things and we're getting up early this morning. | ||
| 53 | It may not have been kind of what your original intention had been some time ago | 53 | It may not have been kind of what your original intention had been some time ago | ||
| > | . | > | . | ||
| 54 | We're just glad to have you here. | 54 | We're just glad to have you here. | ||
| 55 | And one final thing for, I guess I'll pass this along to Raina, is as the day go | 55 | And one final thing for, I guess I'll pass this along to Raina, is as the day go | ||
| > | es on, you may find that you're in need of a break or something a little bit dif | > | es on, you may find that you're in need of a break or something a little bit dif | ||
| > | ferent. | > | ferent. | ||
| 56 | And so given that this is research, and I think sometimes people have fairly def | 56 | And so given that this is research, and I think sometimes people have fairly def | ||
| > | ined, rigid conceptions of research, I wanted to bring along a piece of poetry t | > | ined, rigid conceptions of research, I wanted to bring along a piece of poetry t | ||
| > | hat was written by an Osage writer and poet named Dwayne Big Eagle, who has a po | > | hat was written by an Osage writer and poet named Dwayne Big Eagle, who has a po | ||
| > | em entitled My Grandfather Was a Quantum Physicist that some of you may be famil | > | em entitled My Grandfather Was a Quantum Physicist that some of you may be famil | ||
| > | iar with. | > | iar with. | ||
| 57 | And so if there's a break and you need something a little kind of interesting an | 57 | And so if there's a break and you need something a little kind of interesting an | ||
| > | d scholarly in a different way, I hope that this might be a benefit to you as we | > | d scholarly in a different way, I hope that this might be a benefit to you as we | ||
| > | ll. | > | ll. | ||
| 58 | Anyway, that's it. | 58 | Anyway, that's it. | ||
| 59 | That's as long-winded as I can get speaking for me and the provost. | 59 | That's as long-winded as I can get speaking for me and the provost. | ||
| 60 | Anyway, welcome. | 60 | Anyway, welcome. | ||
| 61 | I'm glad that you're all here. | 61 | I'm glad that you're all here. | ||
| 62 | Thanks, Jim. | 62 | Thanks, Jim. | ||
| 63 | What we wanted to do also is if the professors who brought students, if they cou | 63 | What we wanted to do also is if the professors who brought students, if they cou | ||
| > | ld introduce their students, you know, their name and their field and all that k | > | ld introduce their students, you know, their name and their field and all that k | ||
| > | ind of thing. | > | ind of thing. | ||
| 64 | So we're going to go ahead and get started. | 64 | So we're going to go ahead and get started. | ||
| 65 | So I'm going to let the professor from James here do the introductions. | 65 | So I'm going to let the professor from James here do the introductions. | ||
| 66 | I just want to move up here a little. | 66 | I just want to move up here a little. | ||
| 67 | Let me just stand up for a minute so I can see everybody. | 67 | Let me just stand up for a minute so I can see everybody. | ||
| 68 | I'm very glad to be here again. | 68 | I'm very glad to be here again. | ||
| 69 | This year, I'm kind of reflecting, as we begin this day, on what we did last yea | 69 | This year, I'm kind of reflecting, as we begin this day, on what we did last yea | ||
| > | r. | > | r. | ||
| 70 | And it occurs to me that we've doubled in several ways. | 70 | And it occurs to me that we've doubled in several ways. | ||
| 71 | We've doubled in terms of the number of schools that are represented here. | 71 | We've doubled in terms of the number of schools that are represented here. | ||
| 72 | I think last year, it was just Stanford and UC Santa Cruz. | 72 | I think last year, it was just Stanford and UC Santa Cruz. | ||
| 73 | and this year we've got people from Mills College and UC Berkeley is here too, i | 73 | and this year we've got people from Mills College and UC Berkeley is here too, i | ||
| > | s that right? | > | s that right? | ||
| 74 | So we're up to four schools in this area. | 74 | So we're up to four schools in this area. | ||
| 75 | That's exciting. | 75 | That's exciting. | ||
| 76 | We've doubled in the size of the room. | 76 | We've doubled in the size of the room. | ||
| 77 | That's always encouraging. | 77 | That's always encouraging. | ||
| 78 | We wouldn't have had enough room if we'd been back in that old space. | 78 | We wouldn't have had enough room if we'd been back in that old space. | ||
| 79 | And I've noticed, too, that we've doubled in the amount that Gil Ramirez is eati | 79 | And I've noticed, too, that we've doubled in the amount that Gil Ramirez is eati | ||
| > | ng so far. | > | ng so far. | ||
| 80 | I owed you one there. | 80 | I owed you one there. | ||
| 81 | I had heard a lot of good things over the years about Jim Larimore, and it's bee | 81 | I had heard a lot of good things over the years about Jim Larimore, and it's bee | ||
| > | n really nice to get a chance to meet him here this morning. | > | n really nice to get a chance to meet him here this morning. | ||
| 82 | And I feel like I've learned some things already. | 82 | And I feel like I've learned some things already. | ||
| 83 | Although I'd heard what a wonderful person he was, I didn't realize how wise and | 83 | Although I'd heard what a wonderful person he was, I didn't realize how wise and | ||
| > | knowledgeable he is because he said everything that I wanted to say. | > | knowledgeable he is because he said everything that I wanted to say. | ||
| 84 | So I know he must be wise and knowledgeable. | 84 | So I know he must be wise and knowledgeable. | ||
| 85 | He said a lot of good things for us to keep in mind, and I don't have too much, | 85 | He said a lot of good things for us to keep in mind, and I don't have too much, | ||
| > | nor should I really add to what he said. | > | nor should I really add to what he said. | ||
| 86 | I do think this is an unusual event. | 86 | I do think this is an unusual event. | ||
| 87 | I think that each one of us can think back in our own lives in whatever stage of | 87 | I think that each one of us can think back in our own lives in whatever stage of | ||
| > | the educational process that we may be in, and I mean the kind of restricted in | > | the educational process that we may be in, and I mean the kind of restricted in | ||
| > | stitutional formal kind of education that most of us in this room are involved i | > | stitutional formal kind of education that most of us in this room are involved i | ||
| > | n in one way or another. | > | n in one way or another. | ||
| 88 | There's other kinds of education, other kinds of knowledge that maybe aren't as | 88 | There's other kinds of education, other kinds of knowledge that maybe aren't as | ||
| > | widely recognized as such by a lot of people as Jim has suggested. | > | widely recognized as such by a lot of people as Jim has suggested. | ||
| 89 | But certainly we can all think about our experiences in the educational institut | 89 | But certainly we can all think about our experiences in the educational institut | ||
| > | ions and realize that an event like this is a pretty unusual occurrence, or we c | > | ions and realize that an event like this is a pretty unusual occurrence, or we c | ||
| > | an just come together in what has appropriately been called a research forum for | > | an just come together in what has appropriately been called a research forum for | ||
| > | American Indians, without having to defend the legitimacy of the kinds of conce | > | American Indians, without having to defend the legitimacy of the kinds of conce | ||
| > | rns and questions and topics that we are concerned with before any kind of wider | > | rns and questions and topics that we are concerned with before any kind of wider | ||
| > | audience. | > | audience. | ||
| 90 | So we can come together and talk to each other. | 90 | So we can come together and talk to each other. | ||
| 91 | That doesn't mean we all think alike. | 91 | That doesn't mean we all think alike. | ||
| 92 | It doesn't mean that we all are going to approach any given issue in the same wa | 92 | It doesn't mean that we all are going to approach any given issue in the same wa | ||
| > | y. | > | y. | ||
| 93 | But that we can really come into this room and this space with a sense of commun | 93 | But that we can really come into this room and this space with a sense of commun | ||
| > | ity, of mutual understanding and respect and concern and have a meaningful conve | > | ity, of mutual understanding and respect and concern and have a meaningful conve | ||
| > | rsation. | > | rsation. | ||
| 94 | We can say some things, talk about our own specific projects and also have a cha | 94 | We can say some things, talk about our own specific projects and also have a cha | ||
| > | nce to learn from each other. | > | nce to learn from each other. | ||
| 95 | Now I think one of the real ways in which the educational system fails us is whe | 95 | Now I think one of the real ways in which the educational system fails us is whe | ||
| > | n it creates a competitive environment that says that your worth is dependent on | > | n it creates a competitive environment that says that your worth is dependent on | ||
| > | your GPA or the comments that the teacher writes on your paper or how you compa | > | your GPA or the comments that the teacher writes on your paper or how you compa | ||
| > | re with other people. | > | re with other people. | ||
| 96 | We know, I think, from a variety of different kinds of backgrounds that that kin | 96 | We know, I think, from a variety of different kinds of backgrounds that that kin | ||
| > | d of basis for human worth is not real solid. | > | d of basis for human worth is not real solid. | ||
| 97 | It actually contributes to a lot of the kinds of problems that we see in our soc | 97 | It actually contributes to a lot of the kinds of problems that we see in our soc | ||
| > | iety and in our own lives. | > | iety and in our own lives. | ||
| 98 | So I would just kind of call that to our attention this morning, that we can kin | 98 | So I would just kind of call that to our attention this morning, that we can kin | ||
| > | d of come to this with a different frame of mind, with a different understanding | > | d of come to this with a different frame of mind, with a different understanding | ||
| > | about what a human being is and what the importance of human creativity is. | > | about what a human being is and what the importance of human creativity is. | ||
| 99 | That doesn't mean that we can't challenge each other, that we can't push each ot | 99 | That doesn't mean that we can't challenge each other, that we can't push each ot | ||
| > | her to think about issues in ways that we haven't looked at. | > | her to think about issues in ways that we haven't looked at. | ||
| 100 | I know I want to be challenged. | 100 | I know I want to be challenged. | ||
| 101 | I'm unfortunately not going to be here for the whole day. | 101 | I'm unfortunately not going to be here for the whole day. | ||
| 102 | I'm going to Duluth, Minnesota, where I'm going to participate in the Tribal Col | 102 | I'm going to Duluth, Minnesota, where I'm going to participate in the Tribal Col | ||
| > | leges Consortium Annual Conference, something I've been looking forward to very | > | leges Consortium Annual Conference, something I've been looking forward to very | ||
| > | well and for quite a long time and I'm going to be giving a kind of a workshop n | > | well and for quite a long time and I'm going to be giving a kind of a workshop n | ||
| > | ot really a I'm not going to make a presentation so much as a workshop on some t | > | ot really a I'm not going to make a presentation so much as a workshop on some t | ||
| > | hings that I've been working on in Santa Cruz and mainly not because I think I h | > | hings that I've been working on in Santa Cruz and mainly not because I think I h | ||
| > | ave something to teach them but because I want to hear what they have to say to | > | ave something to teach them but because I want to hear what they have to say to | ||
| > | me from the tribal college context you know what we do at UC Santa Cruz so I thi | > | me from the tribal college context you know what we do at UC Santa Cruz so I thi | ||
| > | nk all of us can benefit from those kinds of feedback and and critique but that | > | nk all of us can benefit from those kinds of feedback and and critique but that | ||
| > | there's a way in which we can do that that builds builds us up as a community th | > | there's a way in which we can do that that builds builds us up as a community th | ||
| > | at builds us up as individuals rather than as in a sense of that well I have to | > | at builds us up as individuals rather than as in a sense of that well I have to | ||
| > | show that I'm sharper than this person or I've thought about this a little more | > | show that I'm sharper than this person or I've thought about this a little more | ||
| > | than they have or that there's any kind of a competitive competitive atmosphere | > | than they have or that there's any kind of a competitive competitive atmosphere | ||
| > | you know we're all here for a reason this this forum has been facilitated and or | > | you know we're all here for a reason this this forum has been facilitated and or | ||
| > | ganized very very well by Iranian and and Gil Ramirez, and we owe them a lot of | > | ganized very very well by Iranian and and Gil Ramirez, and we owe them a lot of | ||
| > | thanks. | > | thanks. | ||
| 103 | And I hope at the end of the day that you'll, or throughout the day that you'll | 103 | And I hope at the end of the day that you'll, or throughout the day that you'll | ||
| > | have a chance to just express your appreciation for their work on this. | > | have a chance to just express your appreciation for their work on this. | ||
| 104 | But they've brought each of you here, you know, for a reason. | 104 | But they've brought each of you here, you know, for a reason. | ||
| 105 | And so there's nobody here that has to prove that they have a right to be here o | 105 | And so there's nobody here that has to prove that they have a right to be here o | ||
| > | r that they have something to say. | > | r that they have something to say. | ||
| 106 | We're all kind of in this together, if you will. | 106 | We're all kind of in this together, if you will. | ||
| 107 | So I'm just gonna stop there there and maybe suggest a little bit about process. | 107 | So I'm just gonna stop there there and maybe suggest a little bit about process. | ||
| 108 | One of the ways we do have to sort of accommodate to the kinds of rules and regu | 108 | One of the ways we do have to sort of accommodate to the kinds of rules and regu | ||
| > | lations we've come to know on the institution has to do with the problem of time | > | lations we've come to know on the institution has to do with the problem of time | ||
| > | . | > | . | ||
| 109 | And that is we've got a lot of people with a lot of good things to say here. | 109 | And that is we've got a lot of people with a lot of good things to say here. | ||
| 110 | And I know if we were maybe out at a community event or at an annual pow hour fe | 110 | And I know if we were maybe out at a community event or at an annual pow hour fe | ||
| > | stival of some type, maybe we could put our watches away. | > | stival of some type, maybe we could put our watches away. | ||
| 111 | way, but for the purposes of getting everyone a chance to speak, we are going to | 111 | way, but for the purposes of getting everyone a chance to speak, we are going to | ||
| > | have to monitor the time just a little bit. | > | have to monitor the time just a little bit. | ||
| 112 | So I'm going to, at least for the morning, I'll be gone. | 112 | So I'm going to, at least for the morning, I'll be gone. | ||
| 113 | In the afternoon, you can handle it as you like, but for the morning, I think I' | 113 | In the afternoon, you can handle it as you like, but for the morning, I think I' | ||
| > | ll just sit up here, and I'll probably prompt people when they get to about the | > | ll just sit up here, and I'll probably prompt people when they get to about the | ||
| > | 10-minute mark with a slip of paper, and then give them about two more minutes j | > | 10-minute mark with a slip of paper, and then give them about two more minutes j | ||
| > | ust to wrap it up, and then we'll go from there into a time of question and answ | > | ust to wrap it up, and then we'll go from there into a time of question and answ | ||
| > | er, and really be thinking about, you know, engaging and listening listening act | > | er, and really be thinking about, you know, engaging and listening listening act | ||
| > | ively, not just listening passively, but what's really being said and what's sig | > | ively, not just listening passively, but what's really being said and what's sig | ||
| > | nificant about what's going on here, and what might you be able to contribute. | > | nificant about what's going on here, and what might you be able to contribute. | ||
| 114 | We'll also try to keep the questions to a fairly short format. | 114 | We'll also try to keep the questions to a fairly short format. | ||
| 115 | If you want to make a speech, talk to Rani and she'll put you on the program. | 115 | If you want to make a speech, talk to Rani and she'll put you on the program. | ||
| 116 | But if you just want to add another angle of thinking about something or ask a q | 116 | But if you just want to add another angle of thinking about something or ask a q | ||
| > | uestion, that would be the appropriate way, and we'll try to get as many people | > | uestion, that would be the appropriate way, and we'll try to get as many people | ||
| > | involved in that dialogue as possible. | > | involved in that dialogue as possible. | ||
| 117 | In fact, I was also going to suggest, if there's a couple people in the back tab | 117 | In fact, I was also going to suggest, if there's a couple people in the back tab | ||
| > | les who want to move up to these two seats in the front here, there's still a co | > | les who want to move up to these two seats in the front here, there's still a co | ||
| > | uple of open if you want to be part of this closer circle here. | > | uple of open if you want to be part of this closer circle here. | ||
| 118 | I just wanted to add that I asked Robert Warrior if he could help facilitate the | 118 | I just wanted to add that I asked Robert Warrior if he could help facilitate the | ||
| > | question and answer. | > | question and answer. | ||
| 119 | So if you want to say something, just kind of look at Robert and maybe just make | 119 | So if you want to say something, just kind of look at Robert and maybe just make | ||
| > | a sign or something, and then he can kind of help with that. | > | a sign or something, and then he can kind of help with that. | ||
| 120 | Do you want to move up here? | 120 | Do you want to move up here? | ||
| 121 | Yeah. | 121 | Yeah. | ||
| 122 | Anybody else that wants to just make a comment before we get going here, or a re | 122 | Anybody else that wants to just make a comment before we get going here, or a re | ||
| > | sponse of any type to the opening comments? | > | sponse of any type to the opening comments? | ||
| 123 | The other thing I wanted to do, just before we began, is which I wanted to go ar | 123 | The other thing I wanted to do, just before we began, is which I wanted to go ar | ||
| > | ound the room and make sure everyone just said their name, their tribe, and thei | > | ound the room and make sure everyone just said their name, their tribe, and thei | ||
| > | r school. | > | r school. | ||
| n | 124 | Cool, so I don't know. | n | 124 | So... |
| 125 | Maybe start back here. | 125 | Can we start back here? | ||
| 126 | Platt, Uendi, Ojibwe, thank you. | 126 | Clay, , , back to you. | ||
| 127 | Jim Larimore, still from Stanford, conventions. | 127 | Jim still from Stanford conventions. | ||
| 128 | Lloyd Lee, Dine from Stanford. | 128 | Lloyd Lee, from Stanford. | ||
| 129 | Penny Woodward, Pasquilero from Stanford. | 129 | Kenny Woodward, from Stanford. | ||
| 130 | Jill Leveris, from Stanford. | 130 | Gil from Stanford. | ||
| 131 | I love Warrior Osage. | 131 | I'm Warrior Osage Stamper. | ||
| 132 | James Stacking 21 Foxальное and I'm James James Treat Creek, teaching UC Santa C | 132 | I'm a box tree, LX, Stanford. | ||
| > | ruz. | ||||
| 133 | So. Tina Pearson, Nana Cook and from Stanford. | 133 | I'm Michael Selesky. | ||
| 134 | I'm a hunting animal, Bungie, UC Berkeley. | ||||
| 135 | I'm Tony Schindler from Hainesville. | ||||
| 136 | Jake DeManico, Bailey, Sackin' Fox, Oklahoma, UC Santa Cruz. | ||||
| 137 | I'm Lawrence Tobar, Comanche, Stanford. | ||||
| 138 | I'm Terry Greaves, Kiowa, UCSC. | ||||
| 139 | And I'm James Treat, Creek, a teacher at UC Santa Cruz. | ||||
| 140 | So. So, your son, from Stanford. | ||||
| 134 | Rainier Maris, Winnebago and Chippewa from Stanford. | 141 | Rainier Maris, went to big on Chippewa from Stanford. | ||
| 135 | Melinda Miko, Sunwell Creek and Choctaw from Mills College. | 142 | Melinda Miko, from Chalk Top and Mills College. | ||
| 136 | Jessica A. | 143 | Jessica A. | ||
| n | 137 | Navajo, San Luis, University of San Francisco. | n | 144 | Navajo, Zamboy, Zamboy, Stanford. |
| 138 | Allen Brown, Choctaw, Chippewa, Colorado, and . | 145 | Allen Brown, Chalk Top, Chippewa, Florida, Disney, Virginia. | ||
| 146 | Teresa LaFargo, . | ||||
| 147 | So, I'm going to go with the same name. | ||||
| 148 | I'm going to go with the same name. | ||||
| 149 | I'm going to go with the same name. | ||||
| 139 | I'm Larry Gross from Minnesota Chippewa. | 150 | I'm Larry Gross from Minnesota Chippewa. | ||
| 140 | Right now I'm at Smith College in Northampton, Massachusetts. | 151 | Right now I'm at Smith College in Northampton, Massachusetts. | ||
| n | 141 | Come a long way for this emplosium. | n | 152 | I've come a long way for this symposium. |
| 142 | That's pretty good. | 153 | That's good. | ||
| 154 | Pretty good. | ||||
| 155 | . | ||||
| 156 | . | ||||
| 157 | I'm Chris . | ||||
| 143 | Yeah, if at the end of the day you feel like it wasn't good, see Tina about gett | 158 | Yeah, if at the end of the day you feel like it wasn't good, see Tina about gett | ||
| > | ing your money back. | > | ing your money back. | ||
| 144 | She'll be glad to help you out. | 159 | She'll be glad to help you out. | ||
| 145 | Not on the flight, just the registration. | 160 | Not on the flight, just the registration. | ||
| n | n | 161 | . | ||
| 146 | Okay, well let's begin then. | 162 | Okay, well, let's begin then. | ||
| 147 | Oh, I'm sorry. | 163 | Oh, I'm sorry. | ||
| n | 148 | Yes, Gil? | n | 164 | Yes, Gil. |
| 149 | I just wanted to say, for those people that are not from here, kind of some impo | 165 | I just wanted to say, for those people that are not from here, kind of some impo | ||
| > | rtant things. | > | rtant things, the bathrooms are downstairs. | ||
| 150 | The bathrooms are downstairs. | ||||
| 151 | There's a men's bathroom right below here. | 166 | There's a men's bathroom right below here. | ||
| 152 | And the women's bathroom is down the hall. | 167 | And the women's bathroom is down the hall. | ||
| 153 | Anyone else? | 168 | Anyone else? | ||
| 154 | Okay, we'll go ahead and get started then. | 169 | Okay, we'll go ahead and get started then. | ||
| n | 155 | It's my pleasure to introduce our first presenter from UC Santa Cruz. | n | 170 | It's my pleasure to introduce our first presenter from UC Santa Cruz, Terry Grea |
| > | ves' Kiowa. | ||||
| 156 | Terri Greaves is Kiowa. | ||||
| 157 | She's listed as history of consciousness, which is sort of wishful thinking on s | 171 | She's listed as history of consciousness, which is sort of wishful thinking on s | ||
| > | omebody's part, not mine. | > | omebody's part, not mine. | ||
| 158 | She's actually in American studies. | 172 | She's actually in American studies. | ||
| 159 | I wish I could convince her to stick around and be a grad student at ISKCON so I | 173 | I wish I could convince her to stick around and be a grad student at ISKCON so I | ||
| > | could continue to work with her. | > | could continue to work with her. | ||
| 160 | But she's a graduating senior. | 174 | But she's a graduating senior. | ||
| n | 161 | And she's teaching a student-directed seminar this quarter, which is her last qu | n | 175 | And she's teaching a student -directed seminar this quarter, which is her last q |
| > | arter, titled Indians, Redskins, Bucks, and Squaws, Images of Indians in America | > | uarter, titled Indians, Redskins, Bucks, and Squaws, Images of Indians in Americ | ||
| > | n Popular Culture, which just started on Wednesday. | > | an Popular Culture, which just started on Wednesday. | ||
| 162 | She's only had one meeting. | 176 | She's only had one meeting. | ||
| 163 | She's going to talk to us about her research, which she's been working on for a | 177 | She's going to talk to us about her research, which she's been working on for a | ||
| > | year or so, that went into the course, and then talk about her course design and | > | year or so, that went into the course, and then talk about her course design and | ||
| > | some of the things, the kinds of methodological and theoretical issues that tha | > | some of the things, the kinds of methodological and theoretical issues that tha | ||
| > | t raises. | > | t raises. | ||
| 164 | And I think it's a topic that we all can relate to at some level and hopefully w | 178 | And I think it's a topic that we all can relate to at some level and hopefully w | ||
| > | ill provoke some good discussion that may actually feed into her course too. | > | ill provoke some good discussion that may actually feed into her course too. | ||
| 165 | So, Terri? | 179 | So, Terri? | ||
| 166 | Well, like you said, I'm teaching this class and, well, I guess I'm going to be | 180 | Well, like you said, I'm teaching this class and, well, I guess I'm going to be | ||
| > | a little more autobiographical than theoretical. | > | a little more autobiographical than theoretical. | ||
| 167 | But the reason why I started this, this class was going to be my thesis. | 181 | But the reason why I started this, this class was going to be my thesis. | ||
| 168 | And the reason why I started looking into images of Indians is because my mom ow | 182 | And the reason why I started looking into images of Indians is because my mom ow | ||
| > | ned an Indian arts and crafts store on Wind River Reservation in Wyoming. | > | ned an Indian arts and crafts store on Wind River Reservation in Wyoming. | ||
| 169 | And my entire life, all the money that we've survived off of has come from selli | 183 | And my entire life, all the money that we've survived off of has come from selli | ||
| > | ng Indian things and has come from consumers want of those Indian things and tha | > | ng Indian things and has come from consumers want of those Indian things and tha | ||
| > | t identity. | > | t identity. | ||
| 170 | and I remember being a little girl and my mother always used to keep our hair in | 184 | and I remember being a little girl and my mother always used to keep our hair in | ||
| > | braids and we used to play in front of the store and the white tourists would a | > | braids and we used to play in front of the store and the white tourists would a | ||
| > | sk us for photographs and sometimes they'd give us money for it and sometimes th | > | sk us for photographs and sometimes they'd give us money for it and sometimes th | ||
| > | ey wouldn't. | > | ey wouldn't. | ||
| 171 | But we thought it was all fun and good and we'd get like five bucks out of the d | 185 | But we thought it was all fun and good and we'd get like five bucks out of the d | ||
| > | eal. | > | eal. | ||
| 172 | And basically I guess they would come to the reservation on their way to Yellows | 186 | And basically I guess they would come to the reservation on their way to Yellows | ||
| > | tone Park to see Indians and they saw us, which is sort of funny because we're K | > | tone Park to see Indians and they saw us, which is sort of funny because we're K | ||
| > | iowa and Comanche. | > | iowa and Comanche. | ||
| 173 | We're not Shoshone or Arapaho from the reservation, you know. | 187 | We're not Shoshone or Arapaho from the reservation, you know. | ||
| 174 | And so part of what my mother does is she sells herself along with the arts and | 188 | And so part of what my mother does is she sells herself along with the arts and | ||
| > | crafts. | > | crafts. | ||
| 175 | She dresses sort of like the old ladies on the reservation dress, and she's alwa | 189 | She dresses sort of like the old ladies on the reservation dress, and she's alwa | ||
| > | ys dressed like that from as long as I can remember, like before I was born. | > | ys dressed like that from as long as I can remember, like before I was born. | ||
| 176 | and that is one of the biggest selling points to the things that she sells in he | 190 | and that is one of the biggest selling points to the things that she sells in he | ||
| > | r store. | > | r store. | ||
| 177 | She's now in Santa Fe. And last summer when I was in Santa Fe visiting, I was ha | 191 | She's now in Santa Fe. And last summer when I was in Santa Fe visiting, I was ha | ||
| > | nging out in the store with her and she was standing there and my mother's like, | > | nging out in the store with her and she was standing there and my mother's like, | ||
| > | you know, 60 now and she was standing there and this white woman came in and sa | > | you know, 60 now and she was standing there and this white woman came in and sa | ||
| > | w her and thought she was just the cutest thing in the world and ran right over | > | w her and thought she was just the cutest thing in the world and ran right over | ||
| > | to her and grabbed a hold of her braids and sort of yanked on them and said, oh, | > | to her and grabbed a hold of her braids and sort of yanked on them and said, oh, | ||
| > | you're so cute, you're so cute. | > | you're so cute, you're so cute. | ||
| 178 | And I remember looking at that and just being obviously appalled and wanting to | 192 | And I remember looking at that and just being obviously appalled and wanting to | ||
| > | hit this woman. | > | hit this woman. | ||
| 179 | But my mom, who deals with this on a daily basis, was very composed and said to | 193 | But my mom, who deals with this on a daily basis, was very composed and said to | ||
| > | her, please don't touch my hair. | > | her, please don't touch my hair. | ||
| 180 | And I saw over this woman's face a sudden realization that she was dealing with | 194 | And I saw over this woman's face a sudden realization that she was dealing with | ||
| > | a human being and not a doll, not this cute little Indian woman to be fondled or | > | a human being and not a doll, not this cute little Indian woman to be fondled or | ||
| > | touched or bought or whatever. | > | touched or bought or whatever. | ||
| 181 | And I don't know, so that's what's led me to look into these, to look into what | 195 | And I don't know, so that's what's led me to look into these, to look into what | ||
| > | we're seen as and how we create ourselves the way that my mother has created her | > | we're seen as and how we create ourselves the way that my mother has created her | ||
| > | self because in a way she's brought this upon herself. | > | self because in a way she's brought this upon herself. | ||
| 182 | I mean she could dress like a white person and blend in and she doesn't. | 196 | I mean she could dress like a white person and blend in and she doesn't. | ||
| 183 | She sticks herself out and she does it for survival. | 197 | She sticks herself out and she does it for survival. | ||
| 184 | And it's more than just survival of money. | 198 | And it's more than just survival of money. | ||
| 185 | It's cultural survival also. | 199 | It's cultural survival also. | ||
| 186 | And so let's see. | 200 | And so let's see. | ||
| 187 | So I've been working on this research for like almost two years now. | 201 | So I've been working on this research for like almost two years now. | ||
| 188 | And I've come up with this really huge bibliography. | 202 | And I've come up with this really huge bibliography. | ||
| 189 | Part of it is annotated and part of it is unannotated. | 203 | Part of it is annotated and part of it is unannotated. | ||
| 190 | The last six pages are unannotated. | 204 | The last six pages are unannotated. | ||
| 191 | And it's all information, books, periodicals, articles, films that I've come up | 205 | And it's all information, books, periodicals, articles, films that I've come up | ||
| > | with that all deal with this issue in one way or another. | > | with that all deal with this issue in one way or another. | ||
| 192 | And I'd be happy to give this out. | 206 | And I'd be happy to give this out. | ||
| 193 | I'd really like this information to get out there. | 207 | I'd really like this information to get out there. | ||
| 194 | I hold no claim to it at all. | 208 | I hold no claim to it at all. | ||
| 195 | The more people who look at it and think about it, the better. | 209 | The more people who look at it and think about it, the better. | ||
| 196 | And the one thing that I found and the way that I structured my course was is th | 210 | And the one thing that I found and the way that I structured my course was is th | ||
| > | ere's two approaches to Indian images and Indian identity from the outside. | > | ere's two approaches to Indian images and Indian identity from the outside. | ||
| 197 | And the first one comes from a white perspective which looks at the images as cr | 211 | And the first one comes from a white perspective which looks at the images as cr | ||
| > | eated by white people and imposed. | > | eated by white people and imposed. | ||
| 198 | And then there's in the last, I'd say maybe even ten years, not even that long, | 212 | And then there's in the last, I'd say maybe even ten years, not even that long, | ||
| > | there's a whole bunch of Indian research and Indian writing and thinking that se | > | there's a whole bunch of Indian research and Indian writing and thinking that se | ||
| > | es Indian identity as that we have agency in creating our Indian identity, the w | > | es Indian identity as that we have agency in creating our Indian identity, the w | ||
| > | ay that my mother dresses up and sells herself. | > | ay that my mother dresses up and sells herself. | ||
| 199 | yourself. | 213 | yourself. | ||
| 200 | And so, what was I going to say? | 214 | And so, what was I going to say? | ||
| 201 | Oh, one of the films that I'm looking at is by a Hopi filmmaker. | 215 | Oh, one of the films that I'm looking at is by a Hopi filmmaker. | ||
| 202 | His name is Victor Masayeswa. | 216 | His name is Victor Masayeswa. | ||
| 203 | I'm probably totally slaughtering that name. | 217 | I'm probably totally slaughtering that name. | ||
| 204 | But he did this film called Imagining Indians and it's an excellent film. | 218 | But he did this film called Imagining Indians and it's an excellent film. | ||
| 205 | And it brings up issues that for Native Americans, which is not a lot, most of w | 219 | And it brings up issues that for Native Americans, which is not a lot, most of w | ||
| > | hat I found doesn't bring up those issues for Native Americans and what he write | > | hat I found doesn't bring up those issues for Native Americans and what he write | ||
| > | s about or what he what he visually shows is Indians dealing with this this thin | > | s about or what he what he visually shows is Indians dealing with this this thin | ||
| > | g of having responsibility for what we allow to be consumed what we allow to be | > | g of having responsibility for what we allow to be consumed what we allow to be | ||
| > | be commodified and one of the things that he talks about is is sacred items that | > | be commodified and one of the things that he talks about is is sacred items that | ||
| > | are now for sale or sacred items that have been turned into tourists tourist it | > | are now for sale or sacred items that have been turned into tourists tourist it | ||
| > | ems like pipe bags or something like that and how we help that we help the we he | > | ems like pipe bags or something like that and how we help that we help the we he | ||
| > | lp we help in losing the sacred of our communities by by by doing that, by allow | > | lp we help in losing the sacred of our communities by by by doing that, by allow | ||
| > | ing things to be commodified. | > | ing things to be commodified. | ||
| 206 | And it's something that I personally have a lot of interest in because I'm a bea | 220 | And it's something that I personally have a lot of interest in because I'm a bea | ||
| > | dworker. | > | dworker. | ||
| 207 | It's like I haven't had a real job for the last, I don't know, five or six years | 221 | It's like I haven't had a real job for the last, I don't know, five or six years | ||
| > | . | > | . | ||
| 208 | And I've made most of my money in the last few years on beadwork. | 222 | And I've made most of my money in the last few years on beadwork. | ||
| 209 | And what I create holds huge implications. | 223 | And what I create holds huge implications. | ||
| 210 | What I decide to allow to be sold, the designs I decide to use, it can be extrem | 224 | What I decide to allow to be sold, the designs I decide to use, it can be extrem | ||
| > | ely appropriative and a really sticky situation the more I think about it. | > | ely appropriative and a really sticky situation the more I think about it. | ||
| 211 | So he talks about, Victor Masayeswa talks about this responsibility that we have | 225 | So he talks about, Victor Masayeswa talks about this responsibility that we have | ||
| > | as Indian people to our own identity and keeping the sacred sacred and using ou | > | as Indian people to our own identity and keeping the sacred sacred and using ou | ||
| > | r good judgment, using not letting money talk all the time. | > | r good judgment, using not letting money talk all the time. | ||
| 212 | And it's a really difficult lesson for me to learn because I'm poor and I really | 226 | And it's a really difficult lesson for me to learn because I'm poor and I really | ||
| > | need the money. | > | need the money. | ||
| 213 | But I don't know. | 227 | But I don't know. | ||
| 214 | Let's see. | 228 | Let's see. | ||
| 215 | I don't know like what else to say about this. | 229 | I don't know like what else to say about this. | ||
| 216 | I'm teaching this class and unfortunately most of the students in my class are w | 230 | I'm teaching this class and unfortunately most of the students in my class are w | ||
| > | hite and I don't think that we're going to get into those issues that I would li | > | hite and I don't think that we're going to get into those issues that I would li | ||
| > | ke to get into and they're really issues that maybe only Indians can talk about | > | ke to get into and they're really issues that maybe only Indians can talk about | ||
| > | because it's our identity that's at stake. | > | because it's our identity that's at stake. | ||
| 217 | And we're the ones that need to take control over the theorizing and the writing | 231 | And we're the ones that need to take control over the theorizing and the writing | ||
| > | that's done on who we are and what our image is to the public. | > | that's done on who we are and what our image is to the public. | ||
| 218 | And I don't know. | 232 | And I don't know. | ||
| 219 | I think I'm going to stop there because I could go into, like, greater detail ab | 233 | I think I'm going to stop there because I could go into, like, greater detail ab | ||
| > | out things, like particulars that I found out about images, but, you know, that | > | out things, like particulars that I found out about images, but, you know, that | ||
| > | might be boring. | > | might be boring. | ||
| 220 | Thanks, Sherry. | 234 | Thanks, Sherry. | ||
| 221 | Are there questions people have right off the bat? | 235 | Are there questions people have right off the bat? | ||
| 222 | You used two terms in your presentation, sacred and culture. | 236 | You used two terms in your presentation, sacred and culture. | ||
| 223 | How would you define those terms? | 237 | How would you define those terms? | ||
| 224 | Oh, geez. | 238 | Oh, geez. | ||
| 225 | Well, I can only answer personally. | 239 | Well, I can only answer personally. | ||
| 226 | I don't know how else to answer, and I can only answer from experience. | 240 | I don't know how else to answer, and I can only answer from experience. | ||
| 227 | And identity is such a twisted thing in America, and it has to do with race and | 241 | And identity is such a twisted thing in America, and it has to do with race and | ||
| > | for Indians it has to do with blood quantum. | > | for Indians it has to do with blood quantum. | ||
| 228 | And for me, my understanding is I've seen Indians that aren't really Indians, yo | 242 | And for me, my understanding is I've seen Indians that aren't really Indians, yo | ||
| > | u know what I mean? | > | u know what I mean? | ||
| 229 | Blood quantum, they're not recognized and it's the culture that ends up ultimate | 243 | Blood quantum, they're not recognized and it's the culture that ends up ultimate | ||
| > | ly defining how they're received by their communities. | > | ly defining how they're received by their communities. | ||
| 230 | And so in a way I think that culture... | 244 | And so in a way I think that culture... | ||
| 231 | Do I sound like an anthropologist? | 245 | Do I sound like an anthropologist? | ||
| 232 | I don't know, maybe I do. | 246 | I don't know, maybe I do. | ||
| 233 | But I think that culture really defines a great deal of our identity, obviously. | 247 | But I think that culture really defines a great deal of our identity, obviously. | ||
| 234 | And what was the other term? | 248 | And what was the other term? | ||
| 235 | Sacred. | 249 | Sacred. | ||
| 236 | Now that's really sticky. | 250 | Now that's really sticky. | ||
| 237 | That's like terribly sticky. | 251 | That's like terribly sticky. | ||
| 238 | Well, Well, the way that Victor was using it in this film was those things that | 252 | Well, Well, the way that Victor was using it in this film was those things that | ||
| > | are central to our identity. | > | are central to our identity. | ||
| 239 | And those things that are central to our identity can be seen as culture. | 253 | And those things that are central to our identity can be seen as culture. | ||
| 240 | They can also be seen as a form of faith or religion. | 254 | They can also be seen as a form of faith or religion. | ||
| 241 | I don't like the word religion. | 255 | I don't like the word religion. | ||
| 242 | It seems too institutional. | 256 | It seems too institutional. | ||
| 243 | I like the word faith better, because it can come in any form. | 257 | I like the word faith better, because it can come in any form. | ||
| 244 | And I think that they're sacred for all people, not just Indians, obviously. | 258 | And I think that they're sacred for all people, not just Indians, obviously. | ||
| 245 | And I don't know, I guess that's how I define it. | 259 | And I don't know, I guess that's how I define it. | ||
| 246 | I don't know if that answered your question. | 260 | I don't know if that answered your question. | ||
| 247 | I have a question. | 261 | I have a question. | ||
| 248 | When you're teaching in this group, and you're the white students there, are you | 262 | When you're teaching in this group, and you're the white students there, are you | ||
| > | getting the sense from them that they're reinforcing those ideas is about objec | > | getting the sense from them that they're reinforcing those ideas is about objec | ||
| > | tifying Indians as a commercial commodity? | > | tifying Indians as a commercial commodity? | ||
| 249 | Are you trying to undo it? | 263 | Are you trying to undo it? | ||
| 250 | Do you see that coming from them? | 264 | Do you see that coming from them? | ||
| 251 | Are they wanting to take that and again go out and learn enough to again follow | 265 | Are they wanting to take that and again go out and learn enough to again follow | ||
| > | that path? | > | that path? | ||
| 252 | I've only had one class meeting, so I can't tell you. | 266 | I've only had one class meeting, so I can't tell you. | ||
| 253 | I know it's kind of an unfair question. | 267 | I know it's kind of an unfair question. | ||
| 254 | But just even thinking about it, because I always teach in classes that I've hea | 268 | But just even thinking about it, because I always teach in classes that I've hea | ||
| > | rd and I would like to use those two. | > | rd and I would like to use those two. | ||
| 255 | Yeah. | 269 | Yeah. | ||
| 256 | Yeah. | 270 | Yeah. | ||
| 257 | Well, you know, my hope is that I won't be reinforcing the stereotypes. | 271 | Well, you know, my hope is that I won't be reinforcing the stereotypes. | ||
| 258 | And I think that the strategy that I'm going to use is to constantly refer back | 272 | And I think that the strategy that I'm going to use is to constantly refer back | ||
| > | to myself because I'm a living model, right, standing in front of them, breathin | > | to myself because I'm a living model, right, standing in front of them, breathin | ||
| > | g in front of them. | > | g in front of them. | ||
| 259 | And I have these stories. | 273 | And I have these stories. | ||
| 260 | Hopefully they won't get bored by them. | 274 | Hopefully they won't get bored by them. | ||
| 261 | But I have all these stories of what, how, I mean my mom's in the art business a | 275 | But I have all these stories of what, how, I mean my mom's in the art business a | ||
| > | nd the art business is all about identity. | > | nd the art business is all about identity. | ||
| 262 | It's all about image. | 276 | It's all about image. | ||
| 263 | I mean image is the first thing that sells. | 277 | I mean image is the first thing that sells. | ||
| 264 | The art comes later. | 278 | The art comes later. | ||
| 265 | And if I can in some way use my life as an example to show them maybe insights t | 279 | And if I can in some way use my life as an example to show them maybe insights t | ||
| > | hat they're not going to get by reading, you know, there's a really excellent bo | > | hat they're not going to get by reading, you know, there's a really excellent bo | ||
| > | ok called The White Man's Indian. | > | ok called The White Man's Indian. | ||
| 266 | I'm sure you know it. | 280 | I'm sure you know it. | ||
| 267 | at Burkhofer and you can't get that from Burkhofer, you know what I mean? | 281 | at Burkhofer and you can't get that from Burkhofer, you know what I mean? | ||
| 268 | It comes from a different perspective. | 282 | It comes from a different perspective. | ||
| 269 | So I just hope by just physically being there is going to push it, push the issu | 283 | So I just hope by just physically being there is going to push it, push the issu | ||
| > | e past those stereotypes. | > | e past those stereotypes. | ||
| 270 | I don't know if it's going to work or not. | 284 | I don't know if it's going to work or not. | ||
| 271 | I've heard all kinds of horror stories about how it doesn't work, so we'll see. | 285 | I've heard all kinds of horror stories about how it doesn't work, so we'll see. | ||
| 272 | Do you want to talk about how your course design addresses this issue as well in | 286 | Do you want to talk about how your course design addresses this issue as well in | ||
| > | terms of the first half and the second half? | > | terms of the first half and the second half? | ||
| 273 | the films you're using? | 287 | the films you're using? | ||
| 274 | Yeah, the first half of the course is all work written by non-Indians. | 288 | Yeah, the first half of the course is all work written by non-Indians. | ||
| 275 | And the film, I'm only showing one film, is Thunderheart. | 289 | And the film, I'm only showing one film, is Thunderheart. | ||
| 276 | And they come from the white perspective. | 290 | And they come from the white perspective. | ||
| 277 | And some of them, it's just some of it's really excellent work. | 291 | And some of them, it's just some of it's really excellent work. | ||
| 278 | And I really appreciate that. | 292 | And I really appreciate that. | ||
| 279 | Some of it is very controversial. | 293 | Some of it is very controversial. | ||
| 280 | controversial and I really appreciate that too. | 294 | controversial and I really appreciate that too. | ||
| 281 | And hopefully in the class we can see how controversial and how almost like pola | 295 | And hopefully in the class we can see how controversial and how almost like pola | ||
| > | r opposite it is from the Indian created writing and analysis, which is the seco | > | r opposite it is from the Indian created writing and analysis, which is the seco | ||
| > | nd half of the course. | > | nd half of the course. | ||
| 282 | And I'm using three films. | 296 | And I'm using three films. | ||
| 283 | They're all films by Indian people. | 297 | They're all films by Indian people. | ||
| 284 | Navajo Talking Pictures, Imagining Indians, and Herald of Orange. | 298 | Navajo Talking Pictures, Imagining Indians, and Herald of Orange. | ||
| 285 | And I think I mean, in particular, Imagining Indians and Herald of Orange are li | 299 | And I think I mean, in particular, Imagining Indians and Herald of Orange are li | ||
| > | ke two of, like they, when I watched Imagining Indians for the first time, I was | > | ke two of, like they, when I watched Imagining Indians for the first time, I was | ||
| > | like, yes, this is exactly what I want to try to get across in my course, this | > | like, yes, this is exactly what I want to try to get across in my course, this | ||
| > | film. | > | film. | ||
| 286 | And if they can understand that film by the end of the class, I'll be really hap | 300 | And if they can understand that film by the end of the class, I'll be really hap | ||
| > | py. | > | py. | ||
| 287 | I'll be really happy I'll have succeeded. | 301 | I'll be really happy I'll have succeeded. | ||
| 288 | I think you answered my question. | 302 | I think you answered my question. | ||
| 289 | In helping to deal with issues of identity, it seems like you have a couple audi | 303 | In helping to deal with issues of identity, it seems like you have a couple audi | ||
| > | ences, one non-Indians as well. | > | ences, one non-Indians as well. | ||
| 290 | And so I was wondering in class how you can, part of that would be the law of th | 304 | And so I was wondering in class how you can, part of that would be the law of th | ||
| > | e team. | > | e team. | ||
| 291 | I was wondering how you can do that, make that powerful. | 305 | I was wondering how you can do that, make that powerful. | ||
| 292 | Right. | 306 | Right. | ||
| 293 | I think you may have already answered my question. | 307 | I think you may have already answered my question. | ||
| 294 | The class is a discussion class. | 308 | The class is a discussion class. | ||
| 295 | It is not a lecture class. | 309 | It is not a lecture class. | ||
| 296 | class. | 310 | class. | ||
| 297 | I cannot imagine myself lecturing. | 311 | I cannot imagine myself lecturing. | ||
| 298 | Like that just seems really foreign to me. | 312 | Like that just seems really foreign to me. | ||
| 299 | So, and the other thing that I have going for me is I'm a student. | 313 | So, and the other thing that I have going for me is I'm a student. | ||
| 300 | I'm totally equal level. | 314 | I'm totally equal level. | ||
| 301 | I don't have an office. | 315 | I don't have an office. | ||
| 302 | I don't have, you know, a super like professors box at the steno pool or whateve | 316 | I don't have, you know, a super like professors box at the steno pool or whateve | ||
| > | r. | > | r. | ||
| 303 | Well, actually that's not true. | 317 | Well, actually that's not true. | ||
| 304 | I do. | 318 | I do. | ||
| 305 | But anyway, it's like almost a level playing field that I'm coming from that tha | 319 | But anyway, it's like almost a level playing field that I'm coming from that tha | ||
| > | t professors don't have. | > | t professors don't have. | ||
| 306 | And I hope that, I mean, when we're out in the real world, isn't that when we co | 320 | And I hope that, I mean, when we're out in the real world, isn't that when we co | ||
| > | nnect with another person, when we really connect, it's when we feel like we're | > | nnect with another person, when we really connect, it's when we feel like we're | ||
| > | on a level playing field, when we can really hear what they're saying. | > | on a level playing field, when we can really hear what they're saying. | ||
| 307 | So I'm hoping that that's going to come through. | 321 | So I'm hoping that that's going to come through. | ||
| 308 | I don't know. | 322 | I don't know. | ||
| 309 | We'll see. | 323 | We'll see. | ||
| 310 | At the end of the quarter, when I'm not graduating, because my class is a total | 324 | At the end of the quarter, when I'm not graduating, because my class is a total | ||
| > | failure, we'll see. | > | failure, we'll see. | ||
| 311 | When my students hate my guts. | 325 | When my students hate my guts. | ||
| 312 | I think I'm taking the hard line. | 326 | I think I'm taking the hard line. | ||
| 313 | I just wanted to ask you if you have any questions from your experience. | 327 | I just wanted to ask you if you have any questions from your experience. | ||
| 314 | If you might want to ask, pose any questions here since we have all kind of diff | 328 | If you might want to ask, pose any questions here since we have all kind of diff | ||
| > | erent people here in the room with the wide points of view. | > | erent people here in the room with the wide points of view. | ||
| 315 | Well, I don't know. | 329 | Well, I don't know. | ||
| 316 | I guess my question would be, I keep coming back to this film by Victor Masayesv | 330 | I guess my question would be, I keep coming back to this film by Victor Masayesv | ||
| > | a, which it just, it's an incredible film and I recommend it to anyone, everyone | > | a, which it just, it's an incredible film and I recommend it to anyone, everyone | ||
| > | . | > | . | ||
| 317 | everyone. | 331 | everyone. | ||
| 318 | And he shows the scene of these paintings on a rock wall and he's talking about | 332 | And he shows the scene of these paintings on a rock wall and he's talking about | ||
| > | like looking back through time how once we used to make these things for surviva | > | like looking back through time how once we used to make these things for surviva | ||
| > | l, for life, and then somewhere along the line money started to be exchanged for | > | l, for life, and then somewhere along the line money started to be exchanged for | ||
| > | these items. | > | these items. | ||
| 319 | And then somewhere along the line after that we stopped claiming responsibility | 333 | And then somewhere along the line after that we stopped claiming responsibility | ||
| > | for that whole process of exchange for survival. | > | for that whole process of exchange for survival. | ||
| 320 | Maybe not seeing it or seeing it in the same light or not seeing it in the same | 334 | Maybe not seeing it or seeing it in the same light or not seeing it in the same | ||
| > | light. | > | light. | ||
| 321 | And I just wonder, like I said, it's a really difficult question for me to deal | 335 | And I just wonder, like I said, it's a really difficult question for me to deal | ||
| > | with. | > | with. | ||
| 322 | Like my own responsibility to what I do, to the art that I do. | 336 | Like my own responsibility to what I do, to the art that I do. | ||
| 323 | And, but at the same instance, I do feel this responsibility to the sacred, what | 337 | And, but at the same instance, I do feel this responsibility to the sacred, what | ||
| > | ever the heck that is, I don't know. | > | ever the heck that is, I don't know. | ||
| 324 | And I don't know, I guess my question is, what do people think about that? | 338 | And I don't know, I guess my question is, what do people think about that? | ||
| 325 | I mean, it's, of course, I think, like, people have always, Indian people have a | 339 | I mean, it's, of course, I think, like, people have always, Indian people have a | ||
| > | lways done that. | > | lways done that. | ||
| 326 | But to a certain extent, like with the, I can see it in the movie industry bette | 340 | But to a certain extent, like with the, I can see it in the movie industry bette | ||
| > | r than any other industry, is Indian film stars walking into roles that maybe ar | > | r than any other industry, is Indian film stars walking into roles that maybe ar | ||
| > | e not the best roles to be walking into. | > | e not the best roles to be walking into. | ||
| 327 | And doing it for money. | 341 | And doing it for money. | ||
| 328 | And then not liking to hear any criticism of them coming from the Indian communi | 342 | And then not liking to hear any criticism of them coming from the Indian communi | ||
| > | ty for doing that. | > | ty for doing that. | ||
| 329 | And saying, oh well, the Indian community is poor and this is a way that I'm get | 343 | And saying, oh well, the Indian community is poor and this is a way that I'm get | ||
| > | ting out of it. | > | ting out of it. | ||
| 330 | but in a way it compromises our identity. | 344 | but in a way it compromises our identity. | ||
| 331 | Can I just add something to that based on some conversations that we've had in m | 345 | Can I just add something to that based on some conversations that we've had in m | ||
| > | y office that she hasn't quite said it this way, but I think some of the things | > | y office that she hasn't quite said it this way, but I think some of the things | ||
| > | that I've learned from Terry in terms of the questions that she's asking that sh | > | that I've learned from Terry in terms of the questions that she's asking that sh | ||
| > | e's posing to the people in this room is that it's one thing for us to stand up | > | e's posing to the people in this room is that it's one thing for us to stand up | ||
| > | and lament the commodification of Indian culture or the inappropriate appropriat | > | and lament the commodification of Indian culture or the inappropriate appropriat | ||
| > | ions committed in the name of New Age spirituality and on down the list. | > | ions committed in the name of New Age spirituality and on down the list. | ||
| 332 | But what happens when we acknowledge that Indian people, both today and in the p | 346 | But what happens when we acknowledge that Indian people, both today and in the p | ||
| > | ast, have been active participants? | > | ast, have been active participants? | ||
| 333 | Not all Indian people, but there have been some. | 347 | Not all Indian people, but there have been some. | ||
| 334 | What do we do when we acknowledge that Indian people have been participating in | 348 | What do we do when we acknowledge that Indian people have been participating in | ||
| > | that? | > | that? | ||
| 335 | And the question is not a question of politics. | 349 | And the question is not a question of politics. | ||
| 336 | It's not a question of laying blame, so much as it's an intellectual question, w | 350 | It's not a question of laying blame, so much as it's an intellectual question, w | ||
| > | hich is to ask, what's going on culturally? | > | hich is to ask, what's going on culturally? | ||
| 337 | What's the significance of that? | 351 | What's the significance of that? | ||
| 338 | It's not that by acknowledging that Indian people have been participating in it | 352 | It's not that by acknowledging that Indian people have been participating in it | ||
| > | that thereby we can't blame non-Indians for what they're doing. | > | that thereby we can't blame non-Indians for what they're doing. | ||
| 339 | It's an intellectual question, as I understand the way you're approaching it. | 353 | It's an intellectual question, as I understand the way you're approaching it. | ||
| 340 | She's really asking the question, what does this mean for us? | 354 | She's really asking the question, what does this mean for us? | ||
| 341 | What does this mean about Indian culture? | 355 | What does this mean about Indian culture? | ||
| 342 | What does it tell us? | 356 | What does it tell us? | ||
| 343 | What kinds of questions does it ask? | 357 | What kinds of questions does it ask? | ||
| 344 | I haven't heard you say it quite that way today, but that's what I've picked up | 358 | I haven't heard you say it quite that way today, but that's what I've picked up | ||
| > | in our conversations as you worked on this research. | > | in our conversations as you worked on this research. | ||
| 345 | I'll make a quick comment and then give them to other questions. | 359 | I'll make a quick comment and then give them to other questions. | ||
| 346 | I think it illustrates to Terry and James that it represents a crisis intellectu | 360 | I think it illustrates to Terry and James that it represents a crisis intellectu | ||
| > | ally, but also at the level of responsibility. | > | ally, but also at the level of responsibility. | ||
| 347 | There's a moment, I think we've been talking about the same film, of Rodney Gran | 361 | There's a moment, I think we've been talking about the same film, of Rodney Gran | ||
| > | t from Dance with Wolves, making a comment in that film, it's the same one, righ | > | t from Dance with Wolves, making a comment in that film, it's the same one, righ | ||
| > | t? | > | t? | ||
| 348 | and where Victor poses to him the question about commodifying himself, basically | 362 | and where Victor poses to him the question about commodifying himself, basically | ||
| > | . | > | . | ||
| 349 | What roles do you take? | 363 | What roles do you take? | ||
| 350 | Which ones do you not take? | 364 | Which ones do you not take? | ||
| 351 | And one of the questions is, well, are you going to take responsibility for crea | 365 | And one of the questions is, well, are you going to take responsibility for crea | ||
| > | ting Native American film industry, for films by Native American directors like | > | ting Native American film industry, for films by Native American directors like | ||
| > | Victor? | > | Victor? | ||
| 352 | Would you take $5,000 to do a film with me instead of $1,000,000 to do a film ov | 366 | Would you take $5,000 to do a film with me instead of $1,000,000 to do a film ov | ||
| > | er here? | > | er here? | ||
| 353 | And Rodney Grant ends up sort of avoiding the question. | 367 | And Rodney Grant ends up sort of avoiding the question. | ||
| 354 | He doesn't want to talk about it. | 368 | He doesn't want to talk about it. | ||
| 355 | And there's a way in which that film problematizes for me an avoidance of a real | 369 | And there's a way in which that film problematizes for me an avoidance of a real | ||
| > | crisis. | > | crisis. | ||
| 356 | And why I think it's a really interesting topic to bring up is there's also not | 370 | And why I think it's a really interesting topic to bring up is there's also not | ||
| > | among Indian writers enough theorizing about this question of responsibility. | > | among Indian writers enough theorizing about this question of responsibility. | ||
| 357 | because it's a really difficult issue. | 371 | because it's a really difficult issue. | ||
| 358 | And teaching is actually one of those places where you have to confront it. | 372 | And teaching is actually one of those places where you have to confront it. | ||
| 359 | And you'll find that out, and everyone here who has taught finds that out as wel | 373 | And you'll find that out, and everyone here who has taught finds that out as wel | ||
| > | l, where generally you are in situations where you are somehow standing in as a | > | l, where generally you are in situations where you are somehow standing in as a | ||
| > | representative of lots and lots of people and lots of points of view. | > | representative of lots and lots of people and lots of points of view. | ||
| 360 | No matter how much you don't want to be, that's the situation you're faced with | 374 | No matter how much you don't want to be, that's the situation you're faced with | ||
| > | as a teacher. | > | as a teacher. | ||
| 361 | And so you'll have to confront it at that point. | 375 | And so you'll have to confront it at that point. | ||
| 362 | There's a wonderful side of that. | 376 | There's a wonderful side of that. | ||
| 363 | There's also a really sticky part of it, too. | 377 | There's also a really sticky part of it, too. | ||
| 364 | And I find that those people who really want to embrace that and say, yeah, I wa | 378 | And I find that those people who really want to embrace that and say, yeah, I wa | ||
| > | nt to be that person, that's when you run into problems. | > | nt to be that person, that's when you run into problems. | ||
| 365 | If you're too eager to go into that situation and say, yeah, I'll represent the | 379 | If you're too eager to go into that situation and say, yeah, I'll represent the | ||
| > | Indian voice to all of these people. | > | Indian voice to all of these people. | ||
| 366 | So it's a huge issue that will probably come up all day. | 380 | So it's a huge issue that will probably come up all day. | ||
| 367 | We'll move on to some other questions. | 381 | We'll move on to some other questions. | ||
| 368 | You bring out many deep questions, many deep issues. | 382 | You bring out many deep questions, many deep issues. | ||
| 369 | I'm not sure that I understand everything, but there is one issue that you bring | 383 | I'm not sure that I understand everything, but there is one issue that you bring | ||
| > | out and really touched me. | > | out and really touched me. | ||
| 370 | It's the question of art and money. | 384 | It's the question of art and money. | ||
| 371 | Because I'm a person who paints, and I use painting to know it more myself, and | 385 | Because I'm a person who paints, and I use painting to know it more myself, and | ||
| > | also to try to come in with other person to share what I know or what I don't kn | > | also to try to come in with other person to share what I know or what I don't kn | ||
| > | ow with my art. | > | ow with my art. | ||
| 372 | And you just involve the question of sending because we have to survive. | 386 | And you just involve the question of sending because we have to survive. | ||
| 373 | I need to leave the art that I'm doing. | 387 | I need to leave the art that I'm doing. | ||
| 374 | And presently, I'm not ready to send my art because I don't know exactly why. | 388 | And presently, I'm not ready to send my art because I don't know exactly why. | ||
| 375 | And I'm not ready to paint to please the public when they watch because the art | 389 | And I'm not ready to paint to please the public when they watch because the art | ||
| > | for me is something more deep. | > | for me is something more deep. | ||
| 376 | And I understand a little bit you when you involve this question, but I don't ha | 390 | And I understand a little bit you when you involve this question, but I don't ha | ||
| > | ve all the answers. | > | ve all the answers. | ||
| 377 | But I just share your fear with this, because in art I think there is something | 391 | But I just share your fear with this, because in art I think there is something | ||
| > | very deep, and it's really personal, but at the same time, I think that there is | > | very deep, and it's really personal, but at the same time, I think that there is | ||
| > | something universal in art. | > | something universal in art. | ||
| 378 | There is a kind of spirit inside art, art, then with money there is something th | 392 | There is a kind of spirit inside art, art, then with money there is something th | ||
| > | at I don't understand. | > | at I don't understand. | ||
| 379 | That's what I wanted to say. | 393 | That's what I wanted to say. | ||
| 380 | Yeah, my presentation last time, which I will try not to get into, basically dea | 394 | Yeah, my presentation last time, which I will try not to get into, basically dea | ||
| > | lt with this about Indian art. | > | lt with this about Indian art. | ||
| 381 | Because Indian art is really defined in many different ways, and it's defined by | 395 | Because Indian art is really defined in many different ways, and it's defined by | ||
| > | time. | > | time. | ||
| 382 | And antique Indian art is worth way more than Indian art presently made. | 396 | And antique Indian art is worth way more than Indian art presently made. | ||
| 383 | But then within the presently made Indian art, certain types of art are consider | 397 | But then within the presently made Indian art, certain types of art are consider | ||
| > | ed crafts that anybody can do. | > | ed crafts that anybody can do. | ||
| 384 | Bead work, feather work, wood work, anything like that. | 398 | Bead work, feather work, wood work, anything like that. | ||
| 385 | And then there's another type of art that is considered fine art or high art. | 399 | And then there's another type of art that is considered fine art or high art. | ||
| 386 | Pottery, modern paintings, baskets, like that. | 400 | Pottery, modern paintings, baskets, like that. | ||
| 387 | and there will be, like if you go into Santa Fe, there's like one whole gallery | 401 | and there will be, like if you go into Santa Fe, there's like one whole gallery | ||
| > | dedicated just to pots, and they're not old pots. | > | dedicated just to pots, and they're not old pots. | ||
| 388 | They're pots that are currently made. | 402 | They're pots that are currently made. | ||
| 389 | And my question is, why isn't there a store dedicated also to beadwork? | 403 | And my question is, why isn't there a store dedicated also to beadwork? | ||
| 390 | There is, but it's mass-produced beadwork. | 404 | There is, but it's mass-produced beadwork. | ||
| 391 | And I just, I question, like, what's going on there just within the market itsel | 405 | And I just, I question, like, what's going on there just within the market itsel | ||
| > | f that defines what art is. | > | f that defines what art is. | ||
| 392 | And there's something coming up on the thing about looking at Indian history and | 406 | And there's something coming up on the thing about looking at Indian history and | ||
| > | something about terms in Indian history. | > | something about terms in Indian history. | ||
| 393 | And I think that part of that, yeah, problematizing the term of traditional cult | 407 | And I think that part of that, yeah, problematizing the term of traditional cult | ||
| > | ure, because a lot of the modern artwork that's being made by Indians is traditi | > | ure, because a lot of the modern artwork that's being made by Indians is traditi | ||
| > | onally based, but maybe not like, you know, beaded tennis shoes or something lik | > | onally based, but maybe not like, you know, beaded tennis shoes or something lik | ||
| > | e that with traditional designs on it. | > | e that with traditional designs on it. | ||
| 394 | It's like how do you define that and how does the market define that? | 408 | It's like how do you define that and how does the market define that? | ||
| 395 | So we live in, you know, a market-driven economy and in an art is just like any | 409 | So we live in, you know, a market-driven economy and in an art is just like any | ||
| > | other commodity, so we have to deal with that. | > | other commodity, so we have to deal with that. | ||
| 396 | Maybe with that we'll let people comment during lunch and during the breaks and | 410 | Maybe with that we'll let people comment during lunch and during the breaks and | ||
| > | things to Terry. | > | things to Terry. | ||
| 397 | I thought that was great, so thank you. | 411 | I thought that was great, so thank you. | ||
| 398 | Thank you. | 412 | Thank you. | ||
| 399 | For those of you who are following along the schedule and correlating it with th | 413 | For those of you who are following along the schedule and correlating it with th | ||
| > | e watch on the end of your arm, the way we're going to deal with the time, we st | > | e watch on the end of your arm, the way we're going to deal with the time, we st | ||
| > | art at about 15 minutes late, and we're just going to be about 15 minutes behind | > | art at about 15 minutes late, and we're just going to be about 15 minutes behind | ||
| > | , and we'll have lunch at about 12.15. | > | , and we'll have lunch at about 12.15. | ||
| 400 | So you don't have to get nervous or antsy if we're running still about 10 minute | 414 | So you don't have to get nervous or antsy if we're running still about 10 minute | ||
| > | s behind. | > | s behind. | ||
| 401 | That's our plan for right now. | 415 | That's our plan for right now. | ||
| 402 | Our next speaker is Jacob Manitoul Bailey, Sac and Fox. | 416 | Our next speaker is Jacob Manitoul Bailey, Sac and Fox. | ||
| 403 | And I wish Jacob were an American Studies major. | 417 | And I wish Jacob were an American Studies major. | ||
| 404 | He's taken a lot of courses in American Studies, but unfortunately he was seduce | 418 | He's taken a lot of courses in American Studies, but unfortunately he was seduce | ||
| > | d by the Community Studies Board because they would allow him to do a six -month | > | d by the Community Studies Board because they would allow him to do a six -month | ||
| > | field internship, and he's going to be going to Oklahoma to work with the Sac a | > | field internship, and he's going to be going to Oklahoma to work with the Sac a | ||
| > | nd Fox at the end of the spring quarter. | > | nd Fox at the end of the spring quarter. | ||
| 405 | Is that right? | 419 | Is that right? | ||
| 406 | He won't be back until the first of the year. | 420 | He won't be back until the first of the year. | ||
| 407 | And he's been involved in a number of projects on campus and one of the most imp | 421 | And he's been involved in a number of projects on campus and one of the most imp | ||
| > | ortant has to do with the repatriation process at UC Santa Cruz. | > | ortant has to do with the repatriation process at UC Santa Cruz. | ||
| 408 | He has been doing an internship and has learned a great deal about art collectio | 422 | He has been doing an internship and has learned a great deal about art collectio | ||
| > | ns. | > | ns. | ||
| 409 | Probably the second most knowledgeable person on the campus right now about the | 423 | Probably the second most knowledgeable person on the campus right now about the | ||
| > | small collection that we have of Indian remains at UC Santa Cruz, and has also t | > | small collection that we have of Indian remains at UC Santa Cruz, and has also t | ||
| > | aken it in his own characteristically intellectual way, raising some very broad | > | aken it in his own characteristically intellectual way, raising some very broad | ||
| > | questions about the relationship, both institutional and intellectual, between t | > | questions about the relationship, both institutional and intellectual, between t | ||
| > | he discipline of anthropology and the American Indian community, and so has a nu | > | he discipline of anthropology and the American Indian community, and so has a nu | ||
| > | mber of interesting points to raise. | > | mber of interesting points to raise. | ||
| 410 | and he's going to talk about the whole repatriation situation at UCSC. | 424 | and he's going to talk about the whole repatriation situation at UCSC. | ||
| 411 | Jacob? | 425 | Jacob? | ||
| 412 | Well, I might get that far. | 426 | Well, I might get that far. | ||
| 413 | I'm not sure yet. | 427 | I'm not sure yet. | ||
| 414 | One of my nicknames for Terry is Boss, and I tell you that because I'm going to | 428 | One of my nicknames for Terry is Boss, and I tell you that because I'm going to | ||
| > | be following a lot of what she said and what I want to discuss today. | > | be following a lot of what she said and what I want to discuss today. | ||
| 415 | day. | 429 | day. | ||
| 416 | And repatriation as it has been defined stands for, and this is a legal definiti | 430 | And repatriation as it has been defined stands for, and this is a legal definiti | ||
| > | on, the return of sacred objects, human remains, unassociated funerary goods, an | > | on, the return of sacred objects, human remains, unassociated funerary goods, an | ||
| > | d items of of cultural patrimony to American Indian nations. | > | d items of of cultural patrimony to American Indian nations. | ||
| 417 | And repatriation currently is largely discussed within the terms and defined wit | 431 | And repatriation currently is largely discussed within the terms and defined wit | ||
| > | hin the terms of NAGPRA, which is the Native American Graves Repatriation and Pr | > | hin the terms of NAGPRA, which is the Native American Graves Repatriation and Pr | ||
| > | otection Act, which was passed in 1990. | > | otection Act, which was passed in 1990. | ||
| 418 | And I say I want to follow Terry because I I want to talk about images, stereoty | 432 | And I say I want to follow Terry because I I want to talk about images, stereoty | ||
| > | pes, assumptions, responsibility, a lot of the same issues. | > | pes, assumptions, responsibility, a lot of the same issues. | ||
| 419 | And I also want to follow her by starting with a story about my mother. | 433 | And I also want to follow her by starting with a story about my mother. | ||
| 420 | Because when my mother was going to school, there was no such thing as Native Am | 434 | Because when my mother was going to school, there was no such thing as Native Am | ||
| > | erican studies. | > | erican studies. | ||
| 421 | There was no such thing as Indian education. | 435 | There was no such thing as Indian education. | ||
| 422 | If you wanted to have anything to do with Indians in the college setting, he wen | 436 | If you wanted to have anything to do with Indians in the college setting, he wen | ||
| > | t into anthropology. | > | t into anthropology. | ||
| 423 | And a lot of Indians went into anthropology and some of them made it and a lot m | 437 | And a lot of Indians went into anthropology and some of them made it and a lot m | ||
| > | ore didn't make it. | > | ore didn't make it. | ||
| 424 | And my mom was one of those. | 438 | And my mom was one of those. | ||
| 425 | She dropped out of college and I grew up with stories about the crazy things tha | 439 | She dropped out of college and I grew up with stories about the crazy things tha | ||
| > | t anthropologists thought about Indians and the even sicker things that they the | > | t anthropologists thought about Indians and the even sicker things that they the | ||
| > | y did to our dead. | > | y did to our dead. | ||
| 426 | And when I first started, and I'm really glad that there's a lot of anthropology | 440 | And when I first started, and I'm really glad that there's a lot of anthropology | ||
| > | students on this sheet. | > | students on this sheet. | ||
| 427 | Maybe we can get a little dialogue going here, because I have a lot of problems. | 441 | Maybe we can get a little dialogue going here, because I have a lot of problems. | ||
| 428 | I've always grown up with a lot of assumptions and a lot of stereotypes about an | 442 | I've always grown up with a lot of assumptions and a lot of stereotypes about an | ||
| > | thropologists. | > | thropologists. | ||
| 429 | and when I first started researching repatriation, I uncovered horror story afte | 443 | and when I first started researching repatriation, I uncovered horror story afte | ||
| > | r horror story about past and current anthropological practice. | > | r horror story about past and current anthropological practice. | ||
| 430 | And it reinforced a lot of the ideas I had about anthropology and what it does a | 444 | And it reinforced a lot of the ideas I had about anthropology and what it does a | ||
| > | nd what it has done to Indian people. | > | nd what it has done to Indian people. | ||
| 431 | And at the same time I've had sort of a morbid fascination with the strange crea | 445 | And at the same time I've had sort of a morbid fascination with the strange crea | ||
| > | tures and sort of the rituals that they seem to love to carry out. | > | tures and sort of the rituals that they seem to love to carry out. | ||
| 432 | And those were the terms that I thought about anthropology and anthropologists w | 446 | And those were the terms that I thought about anthropology and anthropologists w | ||
| > | hen I started interning at the University of California Santa Cruz Archaeologica | > | hen I started interning at the University of California Santa Cruz Archaeologica | ||
| > | l Collection. | > | l Collection. | ||
| 433 | The repatriation debate, and I shouldn't use the word debate, I shouldn't even u | 447 | The repatriation debate, and I shouldn't use the word debate, I shouldn't even u | ||
| > | se the word movement, I should use the word war, because that's the way that bot | > | se the word movement, I should use the word war, because that's the way that bot | ||
| > | h a lot of Natives and a lot of non-Natives writing about repatriation have defi | > | h a lot of Natives and a lot of non-Natives writing about repatriation have defi | ||
| > | ned it. | > | ned it. | ||
| 434 | They've defined it as a war, as a war of science versus religion, a war of objec | 448 | They've defined it as a war, as a war of science versus religion, a war of objec | ||
| > | tive, cold, analytical anthropologists versus warm, spiritual Indians. | > | tive, cold, analytical anthropologists versus warm, spiritual Indians. | ||
| 435 | Indians. | 449 | Indians. | ||
| 436 | And a lot of the titles of articles written by both Natives and non-Natives, a l | 450 | And a lot of the titles of articles written by both Natives and non-Natives, a l | ||
| > | ot of prominent people are things like science or sacrilege, disputing the dead, | > | ot of prominent people are things like science or sacrilege, disputing the dead, | ||
| > | preservation or reburial, Native Americans versus American museums, a battle fo | > | preservation or reburial, Native Americans versus American museums, a battle fo | ||
| > | r artifacts. | > | r artifacts. | ||
| 437 | And so this This is the mindset that prevails in a lot of places, and it was the | 451 | And so this This is the mindset that prevails in a lot of places, and it was the | ||
| > | mindset that I had when I started interning at the anthropology department. | > | mindset that I had when I started interning at the anthropology department. | ||
| 438 | That was an extremely difficult process for me. | 452 | That was an extremely difficult process for me. | ||
| 439 | You walk into this building. | 453 | You walk into this building. | ||
| 440 | It's called Social Sciences I. | 454 | It's called Social Sciences I. | ||
| 441 | I normally refer to it as the evil building. | 455 | I normally refer to it as the evil building. | ||
| 442 | And it's this big concrete monolith. | 456 | And it's this big concrete monolith. | ||
| 443 | You know, you walk up two stairs of floor, the air starts to get stale. | 457 | You know, you walk up two stairs of floor, the air starts to get stale. | ||
| 444 | The posters start to appear on the wall. | 458 | The posters start to appear on the wall. | ||
| 445 | Paleolithic culture and plains material items in the faunal area. | 459 | Paleolithic culture and plains material items in the faunal area. | ||
| 446 | You know, people are talking in languages that I can't understand. | 460 | You know, people are talking in languages that I can't understand. | ||
| 447 | And I get to the fourth floor where they keep the bodies, and I start getting pr | 461 | And I get to the fourth floor where they keep the bodies, and I start getting pr | ||
| > | etty whacked out. | > | etty whacked out. | ||
| 448 | When I first started my internship, I could only think of things in either-or si | 462 | When I first started my internship, I could only think of things in either-or si | ||
| > | tuations. | > | tuations. | ||
| 449 | It was either I go in there and I lay my agenda out on the table, or I hide it a | 463 | It was either I go in there and I lay my agenda out on the table, or I hide it a | ||
| > | nd I compromise my sense of integrity. | > | nd I compromise my sense of integrity. | ||
| 450 | And every situation that I found myself in was a set of either-or statements, ne | 464 | And every situation that I found myself in was a set of either-or statements, ne | ||
| > | ither of which I was happy with. | > | ither of which I was happy with. | ||
| 451 | And eventually what I was forced to do for my own sanity and to get anywhere in | 465 | And eventually what I was forced to do for my own sanity and to get anywhere in | ||
| > | working to help the repatriation process was that I had to go out on a limb. | > | working to help the repatriation process was that I had to go out on a limb. | ||
| 452 | I had to put myself out there and I had to explain to my supervisor, who's an ar | 466 | I had to put myself out there and I had to explain to my supervisor, who's an ar | ||
| > | chaeologist, and my my coworker who is an archaeology student that I had a lot o | > | chaeologist, and my my coworker who is an archaeology student that I had a lot o | ||
| > | f fear and a lot of anger about what was going on. | > | f fear and a lot of anger about what was going on. | ||
| 453 | And I was amazed, I was absolutely amazed at the emotional responses that I got | 467 | And I was amazed, I was absolutely amazed at the emotional responses that I got | ||
| > | from those people. | > | from those people. | ||
| 454 | and what they told me about how they felt and how they had become sick, how they | 468 | and what they told me about how they felt and how they had become sick, how they | ||
| > | felt forces, and how hard it was for them to be involved in such a thing. | > | felt forces, and how hard it was for them to be involved in such a thing. | ||
| 455 | And we really begin to build bridges to facilitate a way of thinking about repat | 469 | And we really begin to build bridges to facilitate a way of thinking about repat | ||
| > | riation that wasn't us versus them. | > | riation that wasn't us versus them. | ||
| 456 | It wasn't me carrying a banner going in there to get rid of anthropology. | 470 | It wasn't me carrying a banner going in there to get rid of anthropology. | ||
| 457 | And I think that Indians have a lot of stereotypes about anthropologists. | 471 | And I think that Indians have a lot of stereotypes about anthropologists. | ||
| 458 | Anthropologists have a lot of stereotypes about Indians. | 472 | Anthropologists have a lot of stereotypes about Indians. | ||
| 459 | And the dominant society has stereotypes about both of them, which feed into a r | 473 | And the dominant society has stereotypes about both of them, which feed into a r | ||
| > | hetoric which divides us. | > | hetoric which divides us. | ||
| 460 | And this is when it comes to survival and when it comes to responsibility, like | 474 | And this is when it comes to survival and when it comes to responsibility, like | ||
| > | Terry was talking about, is that anthropologists, the most of them, When I reall | > | Terry was talking about, is that anthropologists, the most of them, When I reall | ||
| > | y sat down and talked with them, the basic thing that comes out is that they lov | > | y sat down and talked with them, the basic thing that comes out is that they lov | ||
| > | e Indians. | > | e Indians. | ||
| 461 | That they love Indians, that they feel a responsibility towards Indians, that th | 475 | That they love Indians, that they feel a responsibility towards Indians, that th | ||
| > | e whole reason they went into their field is because they wanted to help Indians | > | e whole reason they went into their field is because they wanted to help Indians | ||
| > | . | > | . | ||
| 462 | And they got into the field and then they found out that they had to do these ce | 476 | And they got into the field and then they found out that they had to do these ce | ||
| > | rtain things. | > | rtain things. | ||
| 463 | which wasn't what they thought and they ended up interacting with objects and wi | 477 | which wasn't what they thought and they ended up interacting with objects and wi | ||
| > | th remains and not with live human beings and repatriation has forced a lot of a | > | th remains and not with live human beings and repatriation has forced a lot of a | ||
| > | nthropologists to and a lot of Indians to get over their fear about each other a | > | nthropologists to and a lot of Indians to get over their fear about each other a | ||
| > | nd to come together to work on projects to to try to to resolve this crisis. | > | nd to come together to work on projects to to try to to resolve this crisis. | ||
| 464 | And anthropologists, and I use the term so generally and so broadly, and I refer | 478 | And anthropologists, and I use the term so generally and so broadly, and I refer | ||
| > | to such a huge group of people, but there's a narrative that's emerging which i | > | to such a huge group of people, but there's a narrative that's emerging which i | ||
| > | s trying to succeed the one that's of us us versus them, which says we can work | > | s trying to succeed the one that's of us us versus them, which says we can work | ||
| > | together. | > | together. | ||
| 465 | And we can work together to do some important things. | 479 | And we can work together to do some important things. | ||
| 466 | So that's the first sort of issue I want to pose. | 480 | So that's the first sort of issue I want to pose. | ||
| 467 | The second issue I want to pose is... | 481 | The second issue I want to pose is... | ||
| 468 | is about how the rhetoric around repatriation talks about Indians and about how | 482 | is about how the rhetoric around repatriation talks about Indians and about how | ||
| > | they feel about spirits and their ancestors and desecration and things like this | > | they feel about spirits and their ancestors and desecration and things like this | ||
| > | in a way that really disturbs me and it disturbs me because it's not tribally s | > | in a way that really disturbs me and it disturbs me because it's not tribally s | ||
| > | pecific and it's not guided by that For instance, there's a national NAGPRA comm | > | pecific and it's not guided by that For instance, there's a national NAGPRA comm | ||
| > | ittee and they have field meetings which are helped to formulate policy. | > | ittee and they have field meetings which are helped to formulate policy. | ||
| 469 | And at one of these field meetings there was a presentation which represented th | 483 | And at one of these field meetings there was a presentation which represented th | ||
| > | e Indian viewpoint for that segment. | > | e Indian viewpoint for that segment. | ||
| 470 | segment and the people who got up there were political activists and they basica | 484 | segment and the people who got up there were political activists and they basica | ||
| > | lly said that all these bones need to go back in the ground and we don't care wh | > | lly said that all these bones need to go back in the ground and we don't care wh | ||
| > | at they are. | > | at they are. | ||
| 471 | We don't care if they're Chinese, we don't care if they're Jewish, we don't care | 485 | We don't care if they're Chinese, we don't care if they're Jewish, we don't care | ||
| > | what what tribe they are. | > | what what tribe they are. | ||
| 472 | The spirits have been disturbed. | 486 | The spirits have been disturbed. | ||
| 473 | The spirits have been disturbed. | 487 | The spirits have been disturbed. | ||
| 474 | And we need to put them at peace. | 488 | And we need to put them at peace. | ||
| 475 | And repatriation was an intertribal movement to deal with some very serious issu | 489 | And repatriation was an intertribal movement to deal with some very serious issu | ||
| > | es, dangerous issues, powerful issues, things that I cannot possibly understand | > | es, dangerous issues, powerful issues, things that I cannot possibly understand | ||
| > | and my solution is to look to the people in my community like I'm going for six | > | and my solution is to look to the people in my community like I'm going for six | ||
| > | months to intern with the second Fox repatriation committee which is made up of | > | months to intern with the second Fox repatriation committee which is made up of | ||
| > | elders and their response is that they need to move extremely slow they need to | > | elders and their response is that they need to move extremely slow they need to | ||
| > | be extremely careful because they're dealing with very very powerful and dangero | > | be extremely careful because they're dealing with very very powerful and dangero | ||
| > | us issues, and that they need to be guided by the traditional beliefs and the tr | > | us issues, and that they need to be guided by the traditional beliefs and the tr | ||
| > | aditional ways that have guided them in everything else they do. | > | aditional ways that have guided them in everything else they do. | ||
| t | 476 | And what I see going on a lot of other places is these remains, these ancestors, | t | 490 | And what I see going on a lot of other places is these remains, these ancestors, |
| > | become a war trophy, we will get these bones back from you anthropologists. | > | become a war trophy, we will get these | ||
| 477 | We will take them and put them in the ground where they belong. | ||||
| 478 | And that attitude, I don't know what to think about it, because I don't know whe | ||||
| > | re it's coming from. | ||||
| 479 | and I have a lot of documentation that I've been finding lately. | ||||
| 480 | For instance, there was this case in Kentucky at a place called Slag Farm, and 1 | ||||
| > | ,200 shiny bodies were taken out of the ground by pot hunters. | ||||
| 481 | And Indian people immediately responded because of the desecration. | ||||
| 482 | But in addition to ceremonies to put, to rebury those people, a proposal for $15 | ||||
| > | 7,000 to bring 700 elders of the International Elders Council came up. | ||||
| 483 | A local news story forecasted up to 100,000 Indians could be expected to show up | ||||
| > | for the reburial. | ||||
| 484 | The Evansville Convention and Visitors Bureau sent out housing forms to all trib | ||||
| > | al offices because they expected huge crowds to materialize. | ||||
| 485 | Members of the reburial committee started claiming that it would be the largest | ||||
| > | gathering of tribal hierarchy this century. | ||||
| 486 | a concert was proposed, a powwow, a sidewalk art show, Hollywood stars would arr | ||||
| > | ive according to one of the organizers of the event. | ||||
| 487 | It became an event. | ||||
| 488 | And these are Indian people. | ||||
| 489 | Eventually, two of the organizers took off with $30,000 that they raised. | ||||
| 490 | And nowhere could I find that the Shawnee had had anything to do with this. | ||||
| 491 | So, I think James is passing me a little note here, and I'll stop right there. | ||||
| 492 | That's great. | ||||
| 493 | What questions do people have? | ||||
| 494 | One minute, sir. | ||||
| 495 | Eric? | ||||
| 496 | I'm sort of wondering about whether you actually believe it's wrong for groups w | ||||
| > | ho aren't directly affiliated with these remains to lobby for their reburial. | ||||
| 497 | And the example I think of is a few years back, a group of Indian tribes from so | ||||
| > | uthern New England reburied the remains of some Niantic Indians. | ||||
| 498 | There is no Niantic tribe extant today. | ||||
| 499 | And the Indians were buried on the Pequot reservation, the tribal medicine man o | ||||
| > | f the Wampanoag Indians and the medicine man of the, I think it was the Pasamacu | ||||
| > | ati, were presiding over the ceremony and they were buried these remains in a ve | ||||
| > | ry very pan-tribal manner. | ||||
| 500 | They didn't necessarily do it in the authentic Niantic way, whatever that was. | ||||
| 501 | But they at least returned these things to the ground, which they knew was the t | ||||
| > | radition of the Niantics to actually bury the remains. | ||||
| 502 | But had they not done that, these remains remains would have stayed in a museum | ||||
| > | or wherever they were forever because there would have been no Niantics to claim | ||||
| > | them back. | ||||
| 503 | All right. | ||||
| 504 | The National Committee, their basic, and this is of course rumor because I have | ||||
| > | not personally talked to the National Committee, but the grapevine says that the | ||||
| > | National Committee, which is made up of, I think, four Indians and three non-In | ||||
| > | dians, is saying that any Native American is closer to a human remain that's of | ||||
| > | Native American descent than any non-Indian is. | ||||
| 505 | And consequently, we will act on that prerogative. | ||||
| 506 | Now, if there are remains which have no tribal affiliation, I don't know what to | ||||
| > | do about that. | ||||
| 507 | I don't have an answer for you. | ||||
| 508 | But what I'm saying is that a lot of people are saying, we're tired of waiting. | ||||
| 509 | We want to do this now. | ||||
| 510 | now. | ||||
| 511 | No more consultation, no more discussing it. | ||||
| 512 | We want those bones back in the ground. | ||||
| 513 | And my concern with that is that when I talk to tribal elders, they're saying we | ||||
| > | need to take this very slow. | ||||
| 514 | We need to be very careful. | ||||
| 515 | We need to have a lot of discussion. | ||||
| 516 | We need the Sac and Fox repatriation policy, I have it with me, says that we nee | ||||
| > | d the opinion of every single member of the tribe and we need all of their knowl | ||||
| > | edge because no one can handle this alone. | ||||
| 517 | This needs to be a collective, a collective pursuit, a collective effort. | ||||
| 518 | And so when a rash decision is made, and I'll use an example which strikes close | ||||
| > | to home, and I'll use it without names, but this University Stanford did a repa | ||||
| > | triation several years ago of Ohlone individuals and And it's unclear what type | ||||
| > | of consultation process happened, but there are Ohlone individuals today who wil | ||||
| > | l not talk to other Ohlone individuals because of the way that reburial was hand | ||||
| > | led, because the people who ended up receiving the remains to put them in the ea | ||||
| > | rth carried out ceremonies in a way that they found to be spiritual violence, An | ||||
| > | d the words that they used was that it reminded them of when the Nazis buried Je | ||||
| > | ws in mass graves. | ||||
| 519 | And all they could do was go home and pray and purify themselves. | ||||
| 520 | Now, I don't know if that individual speaks for the traditional Ohlones. | ||||
| 521 | I don't know anything about it. | ||||
| 522 | All I know is that if someone had been more careful, had taken longer to engage | ||||
| > | in a process to make sure that there was unity in the tribe on how to move forwa | ||||
| > | rd on this, then there wouldn't be that issue. | ||||
| 523 | issue. | ||||
| 524 | And for me, it's like, it's so, it's so dangerous. | ||||
| 525 | And Indian people have waited so long to have this, that, you know, a few more y | ||||
| > | ears to work out some problems among you isn't gonna, isn't gonna hurt anything. | ||||
| 526 | You know, to wait, to wait three, even three or four years until you, your tribe | ||||
| > | or your community or whatever has come to a consensus on how to handle the issu | ||||
| > | e and has designated people specifically to handle these matters, then that's be | ||||
| > | tter than rushing it. | ||||
| 527 | It's not an issue that can be rushed. | ||||
| 528 | Do you think they can actually achieve that sort of unanimity? | ||||
| 529 | Well, I don't know about all tribes. | ||||
| 530 | The Sac and Fox, I think, are going to from the way it's going. | ||||
| 531 | The Hopi, for instance, they have four archaeologists who work for them. | ||||
| 532 | They have an archaeological program, and it's overseen by 18 clan elders and pri | ||||
| > | ests. | ||||
| 533 | Now, I don't know how the Hopi feel about that, but it sounds like something tha | ||||
| > | t's better than, you know, giving up bones or sacred objects when there is still | ||||
| > | some doubt about who should be receiving those. | ||||
| 534 | This repatriation, I have, and this is my personal opinion, is not an activist i | ||||
| > | ssue. | ||||
| 535 | You know, this is not primarily a political issue. | ||||
| 536 | It's primarily a spiritual issue and a cultural issue. | ||||
| 537 | And it's not something to carry banners around about. | ||||
| 538 | There is a proper way which needs to be directed by people who have knowledge. | ||||
| 539 | I don't know. | ||||
| 540 | I don't know how to handle a repatriation and I would never go do that. | ||||
| 541 | Can I just chip in here on the same, because I think it's a really good question | ||||
| > | And obviously, as you know, there are also a great number of remains which aren | ||||
| > | 't even tribally identified, whether they still exist as a community or not. | ||||
| 542 | So this is going to be a continual problem. | ||||
| 543 | It seems to me that one way of answering this that's suggested by the work that | ||||
| > | Jacob has done is that I think what Jacob has done very well is he's developing | ||||
| > | a distinction between responsibility and ownership. | ||||
| 544 | And what he's trying to do is to show why those two things being very different | ||||
| > | have very different implications for how this is handled, whether it's on a trib | ||||
| > | al or an intertribal level. | ||||
| 545 | I think he's trying to suggest that if the bones are approached to something whi | ||||
| > | ch is owned over which there can be a political battle, then it doesn't matter w | ||||
| > | hether it's a tribe doing it or whether it's the National Congress of American I | ||||
| > | ndians, you're going to run into inappropriate potentials, potential for inappro | ||||
| > | priate kinds of actions. | ||||
| 546 | If it's approached as a problem of responsibility rather than of ownership, then | ||||
| > | again, there can be appropriate solutions to either tribal or intertribal probl | ||||
| > | ems that come up in the repatriation process. | ||||
| 547 | I mean, I don't, personally, I don't have any problem with, you know, the propri | ||||
| > | ety of these people because I see that as an example of taking responsibility. | ||||
| 548 | Now, whether within their own rhetoric they viewed it as a political battle and | ||||
| > | they approached it as something they owned, I don't know. | ||||
| 549 | But I'm saying that it suggests a model of responsibility rather than of ownersh | ||||
| > | ip. | ||||
| 550 | And it seems to me that's one really important thing I'm learning out of your wo | ||||
| > | rk is how to understand those issues. | ||||
| 551 | And maybe I should be more specific. | ||||
| 552 | In terms of the law, one of the ways that institutions determine who they repatr | ||||
| > | iate remains to is they look at the ICC map, which is the Indian Claims Commissi | ||||
| > | on map, which is a map that is only accurate for certain periods of time and has | ||||
| > | a lot to do with the political influence and the legal influence of the tribes | ||||
| > | who took cases before the Indian Claims Commission. | ||||
| 553 | For example, the Siouxs have a huge area on the map. | ||||
| 554 | And if that's the map that they're using, and they go ahead and repatriate to th | ||||
| > | e Siouxs without doing any other further consultation, and it comes up later on | ||||
| > | that they have more documentation that says that those belong to another tribe o | ||||
| > | r something like that, it can cause division within the community as well as a h | ||||
| > | uge public relations problem for the institution. | ||||
| 555 | I have a couple of comments. | ||||
| 556 | I was on the repatriation committee at Berkeley when I was a student there, and | ||||
| > | it was a war because it was Indian and non-Indian on that committee, and we batt | ||||
| > | led every meeting. | ||||
| 557 | And I have a box full of material that we produced and had to read in addition t | ||||
| > | o all of our classes. | ||||
| 558 | So it's not an easy solution. | ||||
| 559 | And this division, not my tribe in Oklahoma, but the Seminole tribe in Florida, | ||||
| > | they found some remains in northern Florida by Tampa. | ||||
| 560 | And as Seminoles were most likely descendants of those remains, they contacted t | ||||
| > | he tribe and asked them if they wanted to have that. | ||||
| 561 | So James Billy, the tribal chairman, went up there and said, yes, I want to take | ||||
| > | this land and turn it into trust land because it's our land. | ||||
| 562 | And then he immediately put a bingo parlor there because the land was turned to | ||||
| > | trust land. | ||||
| 563 | Now, that's caused tremendous division in the nation down there. | ||||
| 564 | And the repercussions are still being felt. | ||||
| 565 | And some people said, how could he take an area that was sacred and remains? | ||||
| 566 | I mean, he didn't do it right on the burial ground. | ||||
| 567 | But certainly, it's very difficult to take land and turn it into trust land, the | ||||
| > | government is very unwilling to do that at this point. | ||||
| 568 | And I haven't checked recently because I've been broiled in several nations righ | ||||
| > | t now. | ||||
| 569 | But what is happening too is that it's causing division for the people in there | ||||
| > | who have questions about that. | ||||
| 570 | So when I get the paper from down there, they're still asking. | ||||
| 571 | And James said, I always intended to do this. | ||||
| 572 | You just didn't understand that this was my idea in the beginning because the ot | ||||
| > | her people are saying, How could you set up a bingo, yet another bingo parlor, e | ||||
| > | ven though it does bring in tremendous revenues and it's another consistent batt | ||||
| > | le field. | ||||
| 573 | But it isn't a simple answer, and certainly the very fact that the Seminole Nati | ||||
| > | on wasn't even formed until after contact has another ramification in it for tho | ||||
| > | se people to approve the most likely disbandment. | ||||
| 574 | It is problematic. | ||||
| 575 | Thank you. | ||||
| 576 | one more comment I also like I said I'm new to Stanford but I also wanted that p | ||||
| > | eople that been invited as part of that group to participate we've only met coup | ||||
| > | le times and they talked about the only patriots before that that people felt th | ||||
| > | at way because you know I serve on that committee and I'm the only two of us but | ||||
| > | the woman's gone but you know I I can only speak for you know what I do but I t | ||||
| > | hink you know I know about my tribe I think that it's very difficult when you as | ||||
| > | k. | ||||
| 577 | I don't speak, I don't represent the Indian voice of all of you trying to, but c | ||||
| > | ertainly I try to do my best how I can to talk about the sacredness and so forth | ||||
| > | . | ||||
| 578 | That's a big issue for me because I come from a that's very, very traditional. | ||||
| 579 | A whole lot of these things are sacred. | ||||
| 580 | And I've seen Victor go. | ||||
| 581 | When you were reading that article about Kentucky, it was interesting because a | ||||
| > | couple of years ago, Haymans received a lot of, there were no bones or anything, | ||||
| > | bodies, but a lot of Smithsonian, a lot of sacred items that had been taken. | ||||
| 582 | And the news people in Albuquerque really wanted to come in and document and fil | ||||
| > | m the whole thing. | ||||
| 583 | And it was just really crazy. | ||||
| 584 | But it was the same thing as the Hopi. | ||||
| 585 | It was our priests and our clan leaders and those people that were involved in t | ||||
| > | his whole thing. | ||||
| 586 | and the governor's made an appearance at the airport just to do it quick so the | ||||
| > | press were here blah blah blah we're going home and that was it we didn't allow | ||||
| > | anybody back on the reservation and then once we've been on the items were broug | ||||
| > | ht to the reservation they just brought him into the plaza straight into the cas | ||||
| > | iqui house and that was it there was no we still don't know to this day what was | ||||
| > | there but that's not for us to know because our leadership our religious leader | ||||
| > | s they did the appropriate things when they brought these things on and people y | ||||
| > | ou know it was like well can you display these and we can take you know when the | ||||
| > | se people take a picture and we just you know I think was very appropriately don | ||||
| > | e I don't know what those items are but I don't question it because I know the r | ||||
| > | ight thing was done from the leadership and everybody's happy. | ||||
| 587 | I think that's what's important. | ||||
| 588 | I'd say we're off to a great start this morning. | ||||
| 589 | Let's thank Jacob and then we'll... | ||||
| 590 | Thank you. | ||||
| 591 | Thank you. | ||||
| 592 | Thank you. | ||||
| 593 | Thank you. | ||||
| Legends | ||||||||||
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| reference | transcript | ||||
|---|---|---|---|---|---|
| f | 1 | Please tell us your name. | f | 1 | Please tell us your name. |
| 2 | I'm Lagi Menkare Nasorona. | 2 | I'm Lagi Menkare Nasorona. | ||
| 3 | Dendul Lama. | 3 | Dendul Lama. | ||
| 4 | Dendul Lama. | 4 | Dendul Lama. | ||
| 5 | Thank you. | 5 | Thank you. | ||
| 6 | His Holiness the Dalai Lama asked us to record your experiences so that we can s | 6 | His Holiness the Dalai Lama asked us to record your experiences so that we can s | ||
| > | hare your memories with many generations of Tibetans, the Chinese, and the rest | > | hare your memories with many generations of Tibetans, the Chinese, and the rest | ||
| > | of the world. | > | of the world. | ||
| 7 | Your memories will help us to document the true history, culture, and beliefs of | 7 | Your memories will help us to document the true history, culture, and beliefs of | ||
| > | the Tibetan people. | > | the Tibetan people. | ||
| 8 | Do you give permission for the Tibet Oral History Project to use this interview? | 8 | Do you give permission for the Tibet Oral History Project to use this interview? | ||
| 9 | Thank you very much for offering to share your story with us. | 9 | Thank you very much for offering to share your story with us. | ||
| 10 | During this interview, if at any time you want to take a break or stop, please l | 10 | During this interview, if at any time you want to take a break or stop, please l | ||
| > | et us know. | > | et us know. | ||
| 11 | And if you do not want to answer a question or talk about something, let us know | 11 | And if you do not want to answer a question or talk about something, let us know | ||
| > | . | > | . | ||
| 12 | If your interview were to be shown in Tibet or China, Would this be a problem fo | 12 | If your interview were to be shown in Tibet or China, Would this be a problem fo | ||
| > | r you? | > | r you? | ||
| 13 | There will be no problems. | 13 | There will be no problems. | ||
| 14 | Thank you. | 14 | Thank you. | ||
| 15 | And we're very honored to record your story and appreciate very much your partic | 15 | And we're very honored to record your story and appreciate very much your partic | ||
| > | ipation in the project. | > | ipation in the project. | ||
| 16 | How old are you? | 16 | How old are you? | ||
| 17 | 71. | 17 | 71. | ||
| 18 | And where are you from in Tibet? | 18 | And where are you from in Tibet? | ||
| 19 | So the place where I lived was called La Gong. | 19 | So the place where I lived was called La Gong. | ||
| 20 | And in which province was La Gong? | 20 | And in which province was La Gong? | ||
| 21 | I came to Lhasa in 1961-62 when the Chinese created a lot of problems. | 21 | I came to Lhasa in 1961-62 when the Chinese created a lot of problems. | ||
| 22 | Where were you born? | 22 | Where were you born? | ||
| 23 | In which province? | 23 | In which province? | ||
| 24 | So when you came to Lhasa, you were about how old? | 24 | So when you came to Lhasa, you were about how old? | ||
| 25 | So I must have been about 36 years old and when I came to Lhasa I had three chil | 25 | So I must have been about 36 years old and when I came to Lhasa I had three chil | ||
| > | dren with me and then three were born in Lhasa. | > | dren with me and then three were born in Lhasa. | ||
| 26 | Okay. | 26 | Okay. | ||
| 27 | So that's been so long ago. | 27 | So that's been so long ago. | ||
| 28 | In your village, what did your father do? | 28 | In your village, what did your father do? | ||
| n | 29 | Ms Naganga, are there conditions under the union or what offers you? | n | 29 | We are going to the forest to collect the firewood. |
| 30 | What are we going to do with the firewood? | ||||
| 31 | We will take it to the forest and we will dig a hole in the ground. | ||||
| 32 | We will dig a hole. | ||||
| 33 | What is the hole? | ||||
| 34 | The hole is the hole. | ||||
| 35 | The hole? | ||||
| 30 | No, people don't seeued more as a woman Or audio-visual people don't see it anym | 36 | So in those days my father was a farmer working in the commune and then we would | ||
| > | ore So in those days my father was a farmer working in the commune and then we w | > | dig up medicinal plants called poppy from the ground. | ||
| > | ould dig up medicinal plants called poppy from the ground. | ||||
| 31 | So you were in a commune, a Tibetan commune, or was this a Chinese commune? | 37 | So you were in a commune, a Tibetan commune, or was this a Chinese commune? | ||
| n | 32 | Do you killsBL animals? | n | 38 | But George 2013 especialmente té into the Then they would go to the fields and p |
| > | ick the seeds. | ||||
| 33 | Do you kill deer and wild animals? | ||||
| 34 | No No tighter put together if not put together re-decl ministre Then they would | ||||
| > | go to the fields and pick the seeds. | ||||
| 35 | And then they would go to the fields and pick the seeds. | 39 | And then they would go to the fields and pick the seeds. | ||
| 36 | And then they would go to the fields and pick the seeds. | 40 | And then they would go to the fields and pick the seeds. | ||
| 37 | So it was a Tibetan commune run by Chinese. | 41 | So it was a Tibetan commune run by Chinese. | ||
| 38 | And the farmers harvested, when the farmers harvested grains and wheat and barle | 42 | And the farmers harvested, when the farmers harvested grains and wheat and barle | ||
| > | y, we would have to give them to the Chinese so being unable to endure the suffe | > | y, we would have to give them to the Chinese so being unable to endure the suffe | ||
| > | ring my husband and I and children fled or went to went to Lhasa. | > | ring my husband and I and children fled or went to went to Lhasa. | ||
| 39 | Went to Lhasa, right. | 43 | Went to Lhasa, right. | ||
| 40 | So what memories do you have of your childhood when you were a little girl? | 44 | So what memories do you have of your childhood when you were a little girl? | ||
| 41 | What should I say about when I was little? | 45 | What should I say about when I was little? | ||
| 42 | I have no memories of my younger days. | 46 | I have no memories of my younger days. | ||
| 43 | Okay. | 47 | Okay. | ||
| 44 | What did your mother do? | 48 | What did your mother do? | ||
| n | 45 | Son, Doyul and daughter, now who's learning about the mother's wife-to-be and da | n | 49 | What about your zaczyan and located making? |
| > | ughter-in-law's wife-to-be- 처. | ||||
| 46 | Mother's only daughter has half 15 years left from birth, otherwise she would st | 50 | In my province, my daughter was using literally cotton and I just put some on an | ||
| > | ill lose them. | > | d but her Zhaozi is not doing Полной oluyorly. | ||
| 47 | So we took them together, we were still helping and female and male sons. | 51 | So, i see that she remembered, but she doesn't like it, so, as i said before she | ||
| > | needs солн calves So in the commune she was, she had the task of milking and th | ||||
| > | en also you know carrying hay on the back to be spread under the horses and mule | ||||
| > | s. | ||||
| 48 | So in the commune she was, she had the task of milking and then she would milk t | ||||
| > | he cows. | ||||
| 49 | And then also carrying hay on the back to be spread under the horses and mules. | ||||
| 50 | And then after we escaped, I had no idea about them, but I think they have all p | 52 | And then after we escaped, I had no idea about them, but I think they have all p | ||
| > | assed away now. | > | assed away now. | ||
| 51 | So did you help your mother or your father with their work on the commune? | 53 | So did you help your mother or your father with their work on the commune? | ||
| 52 | No, because I had little children then, and so instead of helping them, I needed | 54 | No, because I had little children then, and so instead of helping them, I needed | ||
| > | their help. | > | their help. | ||
| 53 | How old were you when you had your first child? | 55 | How old were you when you had your first child? | ||
| 54 | So we don't normally calculate our years and ages. | 56 | So we don't normally calculate our years and ages. | ||
| 55 | So it was like, you know, animals giving birth. | 57 | So it was like, you know, animals giving birth. | ||
| 56 | Likewise, we too gave birth to our children. | 58 | Likewise, we too gave birth to our children. | ||
| 57 | Do your children live with you now? | 59 | Do your children live with you now? | ||
| 58 | No, not together. | 60 | No, not together. | ||
| 59 | I have three children, and I had my children in the hospital. | 61 | I have three children, and I had my children in the hospital. | ||
| 60 | Can you tell us about your experiences giving birth to children? | 62 | Can you tell us about your experiences giving birth to children? | ||
| 61 | So, Marwa, you are a very good teacher. | 63 | So, Marwa, you are a very good teacher. | ||
| 62 | You have taught us a lot of things. | 64 | You have taught us a lot of things. | ||
| 63 | So, what do you think about teaching us how to be a good teacher? | 65 | So, what do you think about teaching us how to be a good teacher? | ||
| 64 | I don't know how to teach. | 66 | I don't know how to teach. | ||
| 65 | I have been teaching since I was a child. | 67 | I have been teaching since I was a child. | ||
| 66 | I have been teaching since I was a child. | 68 | I have been teaching since I was a child. | ||
| 67 | I don't know how to teach. | 69 | I don't know how to teach. | ||
| 68 | I don't know how to teach. | 70 | I don't know how to teach. | ||
| 69 | I don't know how to teach. | 71 | I don't know how to teach. | ||
| 70 | I don't know how to teach. | 72 | I don't know how to teach. | ||
| 71 | So I didn't give birth in hospitals and it was my husband that helped me during | 73 | So I didn't give birth in hospitals and it was my husband that helped me during | ||
| > | the childbirth. | > | the childbirth. | ||
| 72 | and it is only my daughter that was born in hospital and I couldn't give birth t | 74 | and it is only my daughter that was born in hospital and I couldn't give birth t | ||
| > | o her and all my other children including the twins were not born in hospital. | > | o her and all my other children including the twins were not born in hospital. | ||
| 73 | How did your husband help you? | 75 | How did your husband help you? | ||
| 74 | I was a little girl, and I was a little girl. | 76 | I was a little girl, and I was a little girl. | ||
| 75 | I was a little girl, and I was a little girl. | 77 | I was a little girl, and I was a little girl. | ||
| 76 | I was a little girl, and I was a little girl. | 78 | I was a little girl, and I was a little girl. | ||
| 77 | I was a little girl, and I was a little girl. | 79 | I was a little girl, and I was a little girl. | ||
| 78 | I was a little girl, and I was a little girl. | 80 | I was a little girl, and I was a little girl. | ||
| 79 | I was a little girl, and I was a little girl. | 81 | I was a little girl, and I was a little girl. | ||
| 80 | I was a little girl, and I was a little girl. | 82 | I was a little girl, and I was a little girl. | ||
| 81 | So when the first of the twins was born, I was on my knees and my husband, he to | 83 | So when the first of the twins was born, I was on my knees and my husband, he to | ||
| > | ok the child wrapped it in cloth and laid it on the bed and then I went out to a | > | ok the child wrapped it in cloth and laid it on the bed and then I went out to a | ||
| > | nswer nature's call and then I could feel that there was another child in me and | > | nswer nature's call and then I could feel that there was another child in me and | ||
| > | so I told my husband that there is one more child and he said it can't be but t | > | so I told my husband that there is one more child and he said it can't be but t | ||
| > | hen I said there is one more and then the other one was born and while breastfee | > | hen I said there is one more and then the other one was born and while breastfee | ||
| > | ding I had to feed one child here and one child here and it was same when I was | > | ding I had to feed one child here and one child here and it was same when I was | ||
| > | feeding them food later. | > | feeding them food later. | ||
| 82 | At the same time, feeding them one here, one here? | 84 | At the same time, feeding them one here, one here? | ||
| 83 | At the same time. | 85 | At the same time. | ||
| 84 | Thujujjipa le chikla omadetje, chikla omadetje, roa? | 86 | Thujujjipa le chikla omadetje, chikla omadetje, roa? | ||
| 85 | Nyaka tew. | 87 | Nyaka tew. | ||
| 86 | Nyaka ngode. | 88 | Nyaka ngode. | ||
| 87 | Ngode nyaka sumte omadetje. | 89 | Ngode nyaka sumte omadetje. | ||
| 88 | Yes, because both cried at the same time. | 90 | Yes, because both cried at the same time. | ||
| 89 | Cried, cried. | 91 | Cried, cried. | ||
| 90 | And were all your children healthy when they were born? | 92 | And were all your children healthy when they were born? | ||
| 91 | Amla, puku ketiw ka ne puku tsangma tangpo duwe? | 93 | Amla, puku ketiw ka ne puku tsangma tangpo duwe? | ||
| n | 92 | Shubha Bhat is bright and his father was doing that, he said. | n | 94 | But it's my God. |
| 95 | Like an angel that knew it as he certainly knew itala boy then that when he was | ||||
| > | praying for this is on the metal to install it at anytime once upon a sh onlar t | ||||
| > | hat an entire man carries it on hand. | ||||
| 93 | So the second The second of the twins was born leg first and I thought it was a | 96 | Does So the second of the twins was born leg first, and I thought it was a headl | ||
| > | headless child. | > | ess child. | ||
| 94 | And then my husband pulled it out and there was no crying so I thought it wasn't | 97 | And then my husband pulled it out, and there was no crying, so I thought it wasn | ||
| > | alive. | > | 't alive. | ||
| 95 | And when I touched the leg it was warm and then my husband cleaned it up. | 98 | And when I touched the leg, it was warm, and then my husband cleaned it up. | ||
| 96 | How did you feel? | 99 | How did you feel? | ||
| 97 | Can you remember your emotions? | 100 | Can you remember your emotions? | ||
| n | 98 | Your mother's strength. | n | 101 | twins, you know, if one child got sick around 12 o'clock, the other would become |
| > | sick at 3 p.m. So both had to be carried to the hospital in Pasa and it was ver | ||||
| > | y difficult. | ||||
| 99 | When Mother went home, She told Your mother She wanted her to follow She самой đ | 102 | And then later my husband found work at a construction site and I could also fin | ||
| > | ihistoric practice father and sister through her daughter Very little, very litt | > | d work but I couldn't do much as I was sick most of the time. | ||
| > | le water was sweeping she could not go to Sangam and they robbed her of everythi | ||||
| > | ng was leaving there So the twins, you know, if one child is born, I was the onl | ||||
| > | y one who was sick. | ||||
| 100 | I was the only one who was sick. | ||||
| 101 | I was the only one who was sick. | ||||
| 102 | I was the only one who was sick. | ||||
| 103 | So the twins, you know, if one child got sick around 12 o'clock, the other would | ||||
| > | become sick at 3pm. | ||||
| 104 | So both had to be carried to the hospital in Pasa. | ||||
| 105 | And it was very difficult. | ||||
| 106 | And then later my husband found work at a construction site. | ||||
| 107 | And I could also find work, but I couldn't do much as I was sick most of the tim | ||||
| > | e. | ||||
| 108 | So when you were sick, who took care of your children? | 103 | So when you were sick, who took care of your children? | ||
| 109 | one. | 104 | one. | ||
| 110 | There wasn't anyone else to take care of them. | 105 | There wasn't anyone else to take care of them. | ||
| 111 | I had to and then when my husband been returned from work then we took care of t | 106 | I had to and then when my husband been returned from work then we took care of t | ||
| > | hem together so when you lived in Lhasa did you have family who also lived in Lh | > | hem together so when you lived in Lhasa did you have family who also lived in Lh | ||
| > | asa or lived near you I'm lucky that not me down pinga shambhala in the hustle a | > | asa or lived near you I'm lucky that not me down pinga shambhala in the hustle a | ||
| > | your a your mother no no both of us didn't have any relatives so you said that | > | your a your mother no no both of us didn't have any relatives so you said that | ||
| > | you went to Lhasa and you had three children what what made your family go to Lh | > | you went to Lhasa and you had three children what what made your family go to Lh | ||
| > | asa? | > | asa? | ||
| 112 | So we had to leave our hometown because we couldn't survive there. | 107 | So we had to leave our hometown because we couldn't survive there. | ||
| 113 | there, there was lack of food because if you couldn't work hard, there was no gr | 108 | there, there was lack of food because if you couldn't work hard, there was no gr | ||
| > | ains for you, and then since we had many children, both of us couldn't survive t | > | ains for you, and then since we had many children, both of us couldn't survive t | ||
| > | here and that's why my husband suggested that we go to Lhasa. | > | here and that's why my husband suggested that we go to Lhasa. | ||
| 114 | Why wasn't there enough food? | 109 | Why wasn't there enough food? | ||
| 115 | And Magali, how do you do the work? | 110 | And Magali, how do you do the work? | ||
| 116 | We do it by hand. | 111 | We do it by hand. | ||
| 117 | We do it by hand. | 112 | We do it by hand. | ||
| 118 | We do it by hand. | 113 | We do it by hand. | ||
| 119 | We do it by hand. | 114 | We do it by hand. | ||
| 120 | We do it by hand. | 115 | We do it by hand. | ||
| 121 | So in the commune system, you know, if you could work, the officials gave you ma | 116 | So in the commune system, you know, if you could work, the officials gave you ma | ||
| > | rks, and if you didn't, you know, there was no marks, which meant that you got n | > | rks, and if you didn't, you know, there was no marks, which meant that you got n | ||
| > | o grains. | > | o grains. | ||
| 122 | But you worked, didn't you? | 117 | But you worked, didn't you? | ||
| 123 | Did you eat anything? | 118 | Did you eat anything? | ||
| 124 | We did, but there was nothing to eat, so we left. | 119 | We did, but there was nothing to eat, so we left. | ||
| 125 | Was it because you had so many children that what you were allowed, what you wer | 120 | Was it because you had so many children that what you were allowed, what you wer | ||
| > | e allocated wasn't enough? | > | e allocated wasn't enough? | ||
| n | 126 | So, sağ name shows that he had pressure. | n | 121 | she cercs a Burgundy that is bigger than your body yes... |
| 127 | Yes, I had pressure. | 122 | she is heading towards the flour burgoodvy outfit she is taking a picture of it | ||
| > | she would show us that we should remove the everywhere Yeah, the allocation wasn | ||||
| > | 't sufficient. | ||||
| 128 | Now, I'm a little tired, now I feel confident about any poverty machine but they | 123 | Right. | ||
| > | do that for me to come on the study people to gonna and they have a yes I did s | ||||
| > | ay what any last another lots of jelly Chito Joseph never know he said yeah the | ||||
| > | allocation wasn't sufficient and then when we were in Hussar a friend of my husb | ||||
| > | and suggested that you know since we had many children that if we went to Nepal | ||||
| > | it would be a better life for the children so that's why we came to Nepal. | ||||
| 124 | And then when we were in Lhasa, a friend of my husband suggested that, you know, | ||||
| > | since we had many children, that if we went to Nepal, it would be a better life | ||||
| > | for the children. | ||||
| 125 | So that's why we came to Nepal. | ||||
| 126 | Right. | ||||
| 127 | Right. | ||||
| 129 | Right I'd like we'll come back to Nepal in a minute but I was wondering in what | 128 | We'll come back to Nepal in a minute, but I was wondering, in what ways was life | ||
| > | ways was life in Lhasa different from life in the village? | > | in Lhasa different from life in the village? | ||
| 130 | Amal, we met in Thangbo with Amal on the road. | 129 | The people of the village, they are very good at it. | ||
| 131 | Did you ask her about the Kepa recipe? | 130 | They are very good at it. | ||
| 132 | Yes, we did. | 131 | They are very good at it. | ||
| 133 | As a child and as prends theorist, we juts see people family village, aromatic p | 132 | They are very good at it. | ||
| > | owder and they drink it. | ||||
| 134 | It was a more herbal and Standing mother plant that we sourced. | 133 | They are very good at it. | ||
| 135 | How old were you? | 134 | They are very good at it. | ||
| 136 | I was very young. | 135 | They are very good at it. | ||
| 137 | I was very young. | 136 | They are very good at it. | ||
| 138 | I was very young. | 137 | They are very good at it. | ||
| 139 | I was very young. | 138 | They are very good at it. | ||
| 140 | I was very young. | 139 | They are very good at it. | ||
| 141 | I was very young. | 140 | They are very good at it. | ||
| 142 | I was very young. | 141 | They are very good at it. | ||
| 143 | You were very young. | 142 | So it was better in Lhasa because my husband was engaged in the construction. | ||
| 144 | Were you very young? | 143 | work and then friends and other people they used to give us little bags of Samba | ||
| > | l. | ||||
| 145 | Were you very young? | ||||
| 146 | Yes, I was very young. | ||||
| 147 | I was very young. | ||||
| 148 | So it was better in Lhasa because my husband was engaged in the construction wor | ||||
| > | k and then friends and other people, they used to give us little bags of Sampa. | ||||
| 149 | Were there other ways in which your life in Lhasa was different from the village | 144 | Were there other ways in which your life in Lhasa was different from the village | ||
| > | ? | > | ? | ||
| n | 150 | You had more food, but were there other ways in which your life was different? | n | 145 | You had more food but were there other ways in which your life was different? |
| 151 | I don't know, I can't say. | 146 | I don't know, I can't say. | ||
| 152 | So I have only so much to say. | 147 | So I have only so much to say. | ||
| 153 | Right. | 148 | Right. | ||
| 154 | So your family decided to come to Nepal. | 149 | So your family decided to come to Nepal. | ||
| 155 | Can you tell us the story of coming to Nepal? | 150 | Can you tell us the story of coming to Nepal? | ||
| n | 156 | Now if I mistook it for decrease forление or decrease You We were so afraid, bei | n | 151 | We wore it when we left for brazil Tinck Engine Rat We reuse it Handsome We walk |
| > | ng because of his laziness. | > | ed towards here I went further Actually it' s just one needle Präsident Come her | ||
| > | e especially Erkeri. | ||||
| 152 | Theมואל push-psti'a and Donermasa and other people that the Pupawas are like my | ||||
| > | brothers сл Mate garat I must accompany them. | ||||
| 153 | If they're in progress I'll carry them to the front and bring them to the front | ||||
| > | and to be tough. | ||||
| 154 | They must find more ways. | ||||
| 155 | a very good farm and so it was split into two classes of Abutilsa, the old man a | ||||
| > | nd child and the son came from the government. | ||||
| 157 | He said that the monk who made usiden So from Lhasa there were times when we wer | 156 | So from Lhasa there were times when we were on foot and at times for an hour or | ||
| > | e on foot and at times for an hour or two we would ply by vehicles but since we | > | two we We would ply by vehicles, but since we didn't have money to pay, we could | ||
| > | didn't have money to pay we couldn't get vehicles right through and it was from | > | n't get vehicles right through. | ||
| > | the border area of Tengri and Tamo that we came towards Nepal. | ||||
| 158 | And we were with quite a number of little children, and my husband was carrying | 157 | And it was from the border area of Tingri and Tamo that we came towards Nepal. | ||
| > | one of the twins over his neck, and the oldest son was carrying one of the other | ||||
| > | twins, and the pathway was filled with snow, and there were some Chinese people | ||||
| > | along the way that stopped us, but since we were with little children they allo | ||||
| > | wed us to go and in fact there were two girls that commented that the twins were | ||||
| > | very beautiful and then thanks thanks to the grace of His Holiness we were able | ||||
| > | to escape safely how long did it take you to come from Lhasa to Nepal? | ||||
| 158 | And we were with quite a number of little children. | ||||
| 159 | And my husband was carrying one of the twins over his neck. | ||||
| 160 | And the oldest son was carrying one of the other twins. | ||||
| 161 | and the pathway was filled with snow and there were some Chinese people along th | ||||
| > | e way that stopped us but since we were with little children they allowed us to | ||||
| > | go and in fact there were two girls that commented that the twins were very beau | ||||
| > | tiful and then thanks to the grace of His Holiness we were able to escape safely | ||||
| > | . | ||||
| 162 | How long did it take you to come from Lhasa to Nepal? | ||||
| 163 | How long did it take to get to the mountain? | ||||
| 164 | It took about half a month. | ||||
| 165 | Half a month? | ||||
| 166 | Yes. | ||||
| 167 | We had to walk a lot. | ||||
| 168 | We had to walk a lot. | ||||
| 169 | We had to walk a lot. | ||||
| 159 | So it might have taken about half a month, because at times we were walking and | 170 | So it might have taken about half a month, because at times we were walking and | ||
| > | at times we could get lift in some vehicles. | > | at times we could get lift in some vehicles. | ||
| 160 | So what did you take with you when you left Tibet? | 171 | So what did you take with you when you left Tibet? | ||
| n | 161 | the Via Norma to you on the canne am LIE prison to do If somebody who is just tr | n | ||
| > | ying and just wants to make their life better… This particular religion can also | ||||
| > | get real cells. | ||||
| 162 | So we had brought nothing except our blankets and a little bit of tsampa. | 172 | So we had brought nothing except our blankets and a little bit of Tsampa. | ||
| 163 | And when we reached Nepal, my husband had friends to whom we sent message, and t | 173 | And when we reached Nepal, my husband had friends to whom we sent message, and t | ||
| > | hey came to fetch us at the reception committee office. | > | hey came to fetch us at the reception committee office. | ||
| n | 164 | And did you have enough food, enough sampa for your whole family to go for these | n | 174 | And did you have enough food, enough sampa, for your whole family to go for thes |
| > | two weeks? | > | e two weeks? | ||
| 165 | included by the people with disabilities, as well as the women of the village si | 175 | There were so many kinesio timas over there on the번 지 산 полез Aoid guñ Guidá. | ||
| > | ck and badly harmed by the virus, . | ||||
| 166 | We didn't change these rules. | 176 | I saw them that forest camp Boxt �시 킨 It was very cold in my room that day Boom | ||
| > | si de vishe anéід paala paala And then I smiled and said I heard the sound anéíd | ||||
| > | is coming from nowhere Mandécé queh mama hamauná hy Porté mayóná lion Caamãwha | ||||
| > | ba encounter Xoé四he Folks carrying dead animals lants eggééé The children in N c | ||||
| > | aracterística I was very young, I was very young, I was very young, I was very y | ||||
| > | oung, I was very young, I was very young, I was very young, I was very young, I | ||||
| > | was very young, I was very young, I was very young, I was very young, I was very | ||||
| > | young, I was very young, I was very young, I was very young, I was very young, | ||||
| > | I was very young, I was very young, I was very young, I was very young, I was ve | ||||
| > | ry young, I was very young, I was very young, I was very young, I was very young | ||||
| > | , I was very young, I was very young, I was very young, I was very young, I was | ||||
| > | very young, I was very young, I was very young, I was very young, I was very you | ||||
| > | ng, I was very young, I was very young, I was very young, I was very young, I wa | ||||
| > | s very young, I was very young, I was very young, I was very young, I was very y | ||||
| > | oung, I was very So we had a little bit of sampa, and I used to feed the childre | ||||
| > | n in spoonfuls, which they used to gulp. | ||||
| 167 | We didn't go back to our roots of education andidades like I said, Naipa. | 177 | and then we were able to cross over a mountain and there was a river and nearby | ||
| > | we found some Nepalese police and we were really very scared and I told my husba | ||||
| > | nd, will they not kill us now? | ||||
| 168 | There was no one I would create in my village, there was no one I wouldak to kno | 178 | And then we met some merchants who said that now you need have no fear because y | ||
| > | w and expose old women. | > | ou are in Nepalese territory and you will no longer fall into Chinese hands. | ||
| 169 | if they had listened to the government quarantine regulations, I was a young gir | 179 | But still they were very scared. | ||
| > | l, and I was a young girl. | ||||
| 170 | I was a young girl, and I was a young girl. | 180 | And then we saw some Nepali road crew and they were living in little tents and s | ||
| > | o we entered one of the tents and they gave us hot water and I made little balls | ||||
| > | of dough with the Sampar and hot water and fed my children. | ||||
| 171 | I was a young girl, and I was a young girl. | ||||
| 172 | I was a young girl, and I was a young girl. | ||||
| 173 | I was a young girl, and I was a young girl. | ||||
| 174 | I was a young girl, and I was a young girl. | ||||
| 175 | I was a young girl, and I was a young girl. | ||||
| 176 | I was a young girl, and I was a young girl. | ||||
| 177 | I was a young girl, and I was a young girl. | ||||
| 178 | I was a young girl, and I was a young girl. | ||||
| 179 | So we had a little bit of tsampa, and I used to feed the children in spoonfuls, | ||||
| > | which they used to gulp and then we were able to you know cross over a mountain | ||||
| > | and there was a river and nearby we found some Nepalese police and we were reall | ||||
| > | y very scared and I told my husband you know will they not kill us now and then | ||||
| > | we met some merchants who said that now you need have no fear because you will y | ||||
| > | ou are in Nepalese territory and you will no longer fall into Chinese hands But | ||||
| > | still they were very scared. | ||||
| 180 | And then we saw some Nepali road crew and they were living in little tents. | ||||
| 181 | And so we entered one of the tents and they gave us hot water and I made little | ||||
| > | balls of dough with the Sampa and hot water and fed my children. | ||||
| 182 | And then we went to Dharamsala and we were very happy to see His Holiness the Da | 181 | And then we went to Dharamsala and we were very happy to see His So you arrived | ||
| > | lai So you arrived in Nepal and then how did you get to Dharamsala? | > | in Nepal and then how did you get to Dharamsala? | ||
| 183 | The reception committee there dropped us to Dharamsala. | 182 | The reception committee there dropped us to Dharamsala. | ||
| 184 | I want to go back to make sure I've understood something. | 183 | I want to go back to make sure I've understood something. | ||
| 185 | So your decision to leave Nepal, I mean to leave Tibet, was because of hunger? | 184 | So your decision to leave Nepal, I mean to leave Tibet, was because of hunger? | ||
| 186 | What was the reason why you left Tibet? | 185 | What was the reason why you left Tibet? | ||
| 187 | Tibet. | 186 | Tibet. | ||
| n | 188 | soma thwa tsawa machi o criminals So the reason why we left our hometown one tim | n | 187 | Oh, my Prophetïn University화� nickname was so amazing. |
| > | e was the lack of food and livelihood in Hassa was better than in the hometown, | ||||
| > | but our children were not getting any education in Hassa, and we were told that | ||||
| > | if we went to Nepal, we would be able to admit our children into school. | ||||
| 189 | So for the sake of our children, we left Tibet. | 188 | We actually got to know about it since the early days, the time when we went as | ||
| > | religious So you must be crazy. | ||||
| 189 | So the reason why we left our hometown for Lhasa was the lack of food and liveli | ||||
| > | hood in Lhasa was better than in the hometown, but our children were not getting | ||||
| > | any education in Lhasa, so we were told that if we went to Nepal we would be ab | ||||
| > | le to admit our children into school, so for the sake of our children we left Ti | ||||
| > | bet. | ||||
| 190 | Right. | 190 | Right. | ||
| 191 | So you lived in Tibet when the Chinese were there. | 191 | So you lived in Tibet when the Chinese were there. | ||
| n | 192 | How is life like for you under the Chinese? | n | 192 | How was life like for you under the Chinese? |
| 193 | So I do not have much knowledge. | 193 | I don't have much knowledge. | ||
| 194 | That's between in the offices, that happens, and my job was just doing my work. | 194 | That's between in the offices that happens and my job was just doing my work. | ||
| 195 | And your work was what? | 195 | And your work was what? | ||
| 196 | What was your work? | 196 | What was your work? | ||
| 197 | So our responsibility was harvesting the parni and then de-husking them in a lar | 197 | So our responsibility was harvesting the parni and then de-husking them in a lar | ||
| > | ge open ground during the commune, but I have forgotten much of it. | > | ge open ground during the commune, but I have forgotten much of it. | ||
| 198 | What about in Lhasa? | 198 | What about in Lhasa? | ||
| 199 | What was your work in Lhasa? | 199 | What was your work in Lhasa? | ||
| n | n | 200 | So, how did you get to know about Lhasa? | ||
| 201 | I learned about Lhasa from my father. | ||||
| 202 | He taught me how to make a pot, and how to make a pot. | ||||
| 203 | I learned how to make a pot. | ||||
| 204 | Lhasa is a pot, and I learned how to make a pot. | ||||
| 205 | up, . | ||||
| 200 | So, it's like what I told you earlier, here, constructing houses, digging the gr | 206 | That's like what I told you earlier, constructing houses, digging the ground, la | ||
| > | ound, laying the bricks, and building as it happens here. | > | ying the bricks, and building as it happens here. | ||
| 201 | You did that? | 207 | You did that. | ||
| 202 | Amla adina la lera chey na, kama basura dwe adina la? | 208 | . | ||
| 203 | Nga lera ka zote me na, nade. | 209 | . | ||
| 204 | Lera ka zote me. | 210 | . | ||
| 211 | . | ||||
| 212 | . | ||||
| 213 | . | ||||
| 214 | . | ||||
| 215 | . | ||||
| 216 | . | ||||
| 217 | . | ||||
| 218 | . | ||||
| 219 | . | ||||
| 220 | . | ||||
| 221 | . | ||||
| 205 | No, I couldn't go to work because I was sick. | 222 | No, I couldn't go to work because I was sick. | ||
| n | 206 | Right. | n | 223 | Right, okay. |
| 207 | Okay. | ||||
| 208 | Did you have any interactions with Chinese people? | 224 | Did you have any interactions with Chinese people? | ||
| n | n | 225 | No. So did life change for you when the Chinese came to you? | ||
| 209 | No. So did life change for you when the Chinese came to Tibet? | 226 | No. Did life change for you when the Chinese came to Tibet? | ||
| 210 | Yes, in In 1961-62, by then the Chinese had already launched the liberation. | 227 | Yes, in 1961-62, by then the Chinese had already launched the liberation. | ||
| 211 | And at that time, when my husband and I escaped, there wasn't many people escapi | 228 | And at that time, when my husband and I escaped, there wasn't many people escapi | ||
| > | ng then, but later on, more and more people started coming. | > | ng then, but later on, more and more people started coming. | ||
| 212 | And what happened then? | 229 | And what happened then? | ||
| n | 213 | We were in the same house. | n | ||
| 214 | You mean the same house? | ||||
| 215 | No. Once we were at the reception center here and then we were sent to see His H | 230 | Once we were at the reception center here and then we were sent to see His Holin | ||
| > | oliness the Dalai Lama in Dharamsala and then the children were put in school an | > | ess the Dalai Lama in the Ramsala and then the children were put in school and t | ||
| > | d then my husband and I we were sent to a factory in Dalahousey in Himachal Prad | > | hen my husband and I, we were sent to a factory in Dalahousey in Himachal Prades | ||
| > | esh and then there was no problem at all. | > | h and then there was no problem at all. | ||
| 216 | Was your husband affected at all by the Chinese occupation? | 231 | Was your husband affected at all by the Chinese occupation? | ||
| n | 217 | Is theidoe different from your social ladder in the community? | n | 232 | That's why I'm saying that he was a construction worker. |
| 218 | The entrance was different the opportunity was the idea of the Orion I entered o | 233 | He was a construction worker in Pasta. | ||
| > | ld earth with all my knowledge and now I'm together with the children worker in | ||||
| > | Pasta and he was you know laying the iron rods for the construction and then aft | ||||
| > | er coming into India and he worked as a embosser of handmade carpets. | ||||
| 234 | He was laying the iron rods for the construction. | ||||
| 235 | After coming into India, he worked as an embosser of handmade carpets. | ||||
| 219 | Right at the beginning you mentioned that most of your children except for your | 236 | Right at the beginning you mentioned that most of your children except for your | ||
| > | last child were born at home but one child was born in the hospital. | > | last child were born at home. | ||
| 237 | But one child was born in the hospital. | ||||
| 220 | Why was that child born in the hospital? | 238 | Why was that child born in the hospital? | ||
| n | 221 | What caused you to take that you know go to the hospital for that? | n | 239 | What caused you to go to the hospital for that birth? |
| 222 | So, I was having labor pains, but could not give birth, so that's why I went to | 240 | So I was having labor pains but could not give birth. | ||
| > | the hospital. | ||||
| 241 | So that's why I went to the hospital. | ||||
| 223 | And your baby was safe. | 242 | And your baby was safe? | ||
| 224 | Yes, I know it. | 243 | Yes, my baby was safe. | ||
| 225 | I know it. | 244 | I was able to go to the hospital and I was able to go to the hospital. | ||
| 226 | Thank You, she塊se. | 245 | I was able to go to the hospital and I was able to go to the hospital. | ||
| 227 | When I was a little child. | ||||
| 228 | 종 came and gave us ricepoins. | ||||
| 229 | They used to dull away ricepoins. | ||||
| 230 | Very hard. | ||||
| 231 | I was very sad. | ||||
| 232 | I was very sad. | ||||
| 233 | I was very sad. | ||||
| 234 | I was very sad. | ||||
| 235 | I was very sad. | ||||
| 236 | I was very sad. | ||||
| 237 | Yes, the last child was born in hospital after five or six days. | 246 | Yes, the last child was born in hospital after five or six days. | ||
| n | 238 | Actually, the labor pains had started and the child wasn't born. | n | 247 | actually the labor pains had started and the child wasn't born so the nurse told |
| > | me that I would have to stay in hospital for a few days because it was a big ch | ||||
| > | ild but I didn't want to stay and wanted to go back home and my husband said tha | ||||
| > | t you know I wouldn't take me home saying that you know if we went back home tha | ||||
| > | t child and I would die. | ||||
| 239 | So the nurse told me that I would have to stay in hospital for a few days becaus | ||||
| > | e it was a big child. | ||||
| 240 | But I didn't want to stay and wanted to go back home. | ||||
| 241 | And my husband said that, you know, wouldn't take me home, saying that, you know | ||||
| > | , if we went back home, the child and I would die. | ||||
| 242 | Is there anything else that you would like to share with us about your life in T | 248 | Is there anything else that you would like to share with us about your life in T | ||
| > | ibet? | > | ibet? | ||
| n | 243 | We are very happy to have you here. | n | 249 | . |
| 244 | We are very happy to have you here. | 250 | . | ||
| 245 | That's about it. | ||||
| 246 | That's about it. | 251 | That's about it. | ||
| 247 | Thank you. | 252 | Thank you. | ||
| 248 | If this interview were shown in Tibet or China, would it be a problem for you? | 253 | If this interview were shown in Tibet or China, would it be a problem for you? | ||
| n | n | 254 | . | ||
| 249 | I don't know whether there will be any problems or no problems. | 255 | I don't know whether there will be any problems or no problems. | ||
| 250 | Is it okay if we use your real name? | 256 | Is it okay if we use your real name? | ||
| t | t | 257 | I think that's a good thing. | ||
| 258 | I think that's a good thing. | ||||
| 259 | I think that's a good thing. | ||||
| 260 | Yes, it is. | ||||
| 261 | If I had a child, I would have a child. | ||||
| 251 | Yeah, but then if the Chinese come and investigate, they may take me away. | 262 | Yes, but then if the Chinese come and investigate, they may take me away. | ||
| 252 | Thank you very much for sharing your story with us. | 263 | Thank you very much for sharing your story with us. | ||
| Legends | ||||||||||
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| reference | transcript | ||||
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| n | 1 | ¿Qué es la familia de mi papá? | n | ||
| 2 | Bueno, en Chile, la familia de mi papá no tenía dinero, pero no eran pobres, pob | 1 | Bueno, en Chile la familia de mi papá no tenía dinero, pero no eran pobres, pobr | ||
| > | res. | > | es. | ||
| 3 | Eran clase media, baja. | 2 | eran clase media-baja. | ||
| 4 | Mi abuelo vendía, yo no sé qué vendía, pero viajaba y era vendedor de algo. | 3 | Mi abuelo vendía, yo no sé qué vendía, pero viajaba y era vendedor de algo. | ||
| n | 5 | Y mi papá fue a la universidad, empezó a ir a la universidad. | n | 4 | Y mi papá fue a la universidad, empezó a ir a la universidad, y luego se vino en |
| > | un barco con unos amigos, se vino a los Estados Unidos en un barco. | ||||
| 6 | Y luego se vino en un barco con unos amigos, se vino a los Estados Unidos en un | ||||
| > | barco. | ||||
| 7 | Llegaron aquí y como todo latinoamericano que viene, sin un centavo, tuvo que tr | 5 | Llegaron aquí y como todo latinoamericano que viene, sin un centavo tuvo que tra | ||
| > | abajar lavando platos. | > | bajar lavando platos. | ||
| 8 | Entonces eso fue en Ohio y ahí fue que empezó y fue a la universidad, empezó a i | 6 | Entonces eso fue en Ohio y ahí fue que empezó y fue a la universidad, empezó a i | ||
| > | r a la universidad y luego vino a Berkeley. | > | r a la universidad y luego se fue a Berkeley. | ||
| 9 | Alegría llegó a Berkeley durante los años 1940. | 7 | Alegría llegó a Berkeley durante los años 1940. | ||
| t | 10 | Era solo más de 20 años. | t | 8 | Era sólo más de 20 años. |
| 11 | Vio a perseguir su doctorado en literatura española. | 9 | Vio su doctorado en en la literatura española. | ||
| 12 | literatura. | ||||
| 13 | Él participaría activamente en las académicas durante la mayor parte de su vida. | 10 | Participaría activamente en las academias durante la mayoría de su vida. | ||
| 14 | Los cuatro hermanos somos yo, sigue un hermano Santiago, Andrés, otro hermano, y | 11 | Nosotros, los cuatro hermanos, somos yo, sigo un hermano, Santiago, Andrés, otro | ||
| > | Isabel, mi otra hermana, y todos nacimos aquí. | > | hermano, y Isabel, mi otra hermana, y todos nacimos aquí. | ||
| 15 | Pero desde chicos, en la casa, siempre fue como una pequeña isla, porque ahí lle | 12 | Pero desde chicos, en la casa, siempre fue como una pequeña isla, porque ahí lle | ||
| > | gaban pintores y escritores y amigos académicos, pero siempre era una isla así l | > | gaban pintores y escritores y amigos académicos, pero siempre era una isla así l | ||
| > | atinoamericana, siempre fue. | > | atinoamericana, siempre fue. | ||
| 16 | Y afuera estaba el barrio de aquí con todos los gringuitos y nosotros salíamos y | 13 | Y afuera estaba el barrio de aquí con todos los gringuitos y nosotros salíamos y | ||
| > | jugamos y todo, pero en la casa ahí era otra cosa, era una vida en América Lati | > | jugamos y todo, pero en la casa ahí era otra cosa, era una vida en América Lati | ||
| > | na. | > | na. | ||
| 17 | Fernando pertenece a una generación de latinoamericanistas que comenzó a trabaja | 14 | Fernando pertenece a una generación de latinoamericanistas que comenzó a trabaja | ||
| > | r en las universidades norteamericanas en la década del 50. | > | r en las universidades norteamericanas en la década del 50. | ||
| 18 | Creo que a esta generación te debemos darle crédito por ser la primera que inclu | 15 | Creo que a esta generación te debemos darle crédito por ser la primera que inclu | ||
| > | ye literatura latinoamericana en los programas oficiales de las universidades. | > | ye literatura latinoamericana en los programas oficiales de las universidades. | ||
| 19 | Hasta ese momento, el fuerte en los ofrecimientos de curso era la literatura esp | 16 | Hasta ese momento, el fuerte en los ofrecimientos de curso era la literatura esp | ||
| > | añola. | > | añola. | ||
| 20 | A partir del trabajo que hacen estos latinoamericanistas, la literatura del cont | 17 | A partir del trabajo que hacen estos latinoamericanistas, la literatura del cont | ||
| > | inente nuestro de América Latina comienza a ser difundida, comienza a ser mejor | > | inente nuestro de América Latina comienza a ser difundida, comienza a ser mejor | ||
| > | valorada y comienza a tener una atención crítica cada vez mayor. | > | valorada y comienza a tener una atención crítica cada vez mayor. | ||
| 21 | Y bueno, eso también explica en parte la buena recepción que tiene en la década | 18 | Y bueno, eso también explica en parte la buena recepción que tiene en la década | ||
| > | del 60, cuando aparece el llamado boom. | > | del 60, cuando aparece el llamado boom. | ||
| 22 | la breve historia de la novela hispanoamericana, Walt Whitman en Hispanoamérica. | 19 | la breve historia de la novela hispanoamericana, Walt Whitman en Hispanoamérica. | ||
| 23 | Todos estos trabajos fueron parte de la bibliografía básica en el campo en ese t | 20 | Todos estos trabajos fueron parte de la bibliografía básica en el campo en ese t | ||
| > | iempo y nos sirvieron bien en nuestro propio trabajo graduado. | > | iempo y nos sirvieron bien en nuestro propio trabajo graduado. | ||
| 24 | Fernando hizo un gran cambio en los años 1950 y 60 para abrir el campo de la lit | 21 | Fernando hizo un gran cambio en los años 1950 y 60 para abrir el campo de la lit | ||
| > | eratura latinoamericana y hacerla accesible a los estudiantes norteamericanos. | > | eratura latinoamericana y hacerla accesible a los estudiantes norteamericanos. | ||
| 25 | estudiantes. | 22 | estudiantes. | ||
| 26 | Allen Ginsberg era un estudiante ocasional en la Universidad de Berkeley. | 23 | Allen Ginsberg era un estudiante ocasional en la Universidad de Berkeley. | ||
| 27 | Fernando lo conocía y se apresuró a traducir el poema Howl, Aullido. | 24 | Fernando lo conocía y se apresuró a traducir el poema Howl, Aullido. | ||
| 28 | Le pareció que partía una aero en dos y consecuente con su visión de vida de des | 25 | Le pareció que partía una aero en dos y consecuente con su visión de vida de des | ||
| > | afiar los límites se apresuró Fernando a traducir el poema. | > | afiar los límites se apresuró Fernando a traducir el poema. | ||
| 29 | Tanto se apresuró que Fernando no conocía la palabra de slang hip ni por supuest | 26 | Tanto se apresuró que Fernando no conocía la palabra de slang hip ni por supuest | ||
| > | o hippie y lo tradujo como cadera y caderones. | > | o hippie y lo tradujo como cadera y caderones. | ||
| 30 | Con los años Fernando se iba a reír mucho de que era era la peor traducción que | 27 | Con los años Fernando se iba a reír mucho de que era era la peor traducción que | ||
| > | se ha hecho del poema de Ginsberg y que la única disculpa era la rapidez con que | > | se ha hecho del poema de Ginsberg y que la única disculpa era la rapidez con que | ||
| > | quiso ponerlo a disposición del público. | > | quiso ponerlo a disposición del público. | ||
| 31 | Esta canción la escribió mi papá. | 28 | Esta canción la escribió mi papá. | ||
| 32 | Escribió un poema que se llama El Esquinazo del Guerriguero. | 29 | Escribió un poema que se llama El Esquinazo del Guerriguero. | ||
| 33 | Entonces Joan Baez escribió la música, me parece. | 30 | Entonces Joan Baez escribió la música, me parece. | ||
| 34 | Y ella se la va a cantar ojalá algún día porque yo no puedo cantar bien, pero a | 31 | Y ella se la va a cantar ojalá algún día porque yo no puedo cantar bien, pero a | ||
| > | ver si me acuerdo. | > | ver si me acuerdo. | ||
| 35 | La 5 ya van a dar, las 5 de la mañana, ábreme tu puerta mi alma, que he perdido | 32 | La 5 ya van a dar, las 5 de la mañana, ábreme tu puerta mi alma, que he perdido | ||
| > | una batalla. | > | una batalla. | ||
| 36 | Esta canción la puso en un disco, en una producción que hizo latinoamericana Joa | 33 | Esta canción la puso en un disco, en una producción que hizo latinoamericana Joa | ||
| > | n Baez. | > | n Baez. | ||
| 37 | precisamente yo la había regañado a ella que estaba cantando puro cucú paloma y | 34 | precisamente yo la había regañado a ella que estaba cantando puro cucú paloma y | ||
| > | cosas tradicionales y no decía nada acerca de la realidad, por qué luchaba Améri | > | cosas tradicionales y no decía nada acerca de la realidad, por qué luchaba Améri | ||
| > | ca Latina y ella se encabronó conmigo y yo me encabroné con ella y bueno, finalm | > | ca Latina y ella se encabronó conmigo y yo me encabroné con ella y bueno, finalm | ||
| > | ente ella se hizo amiga de Fernando y le prometió las perlas de la virgen, le gr | > | ente ella se hizo amiga de Fernando y le prometió las perlas de la virgen, le gr | ||
| > | abó la canción y creo que nunca le pagó regalías El Esquinazo del Guerrillero, q | > | abó la canción y creo que nunca le pagó regalías El Esquinazo del Guerrillero, q | ||
| > | ue habla de la relación de amor de un guerrillero con una muchacha y habla de la | > | ue habla de la relación de amor de un guerrillero con una muchacha y habla de la | ||
| > | lucha armada, que es una realidad de todos los países pobres. | > | lucha armada, que es una realidad de todos los países pobres. | ||
| 38 | Yo creo que para mi padre era como un orgullo sentirse de alguna manera rodeado, | 35 | Yo creo que para mi padre era como un orgullo sentirse de alguna manera rodeado, | ||
| > | sentir el afecto, la relación de cercanía que se daba a este extremo mundo más | > | sentir el afecto, la relación de cercanía que se daba a este extremo mundo más | ||
| > | intelectual y él mismo como político. | > | intelectual y él mismo como político. | ||
| 39 | Y dentro de esa atmósfera, obviamente, hay un espacio Fernanda Aurelia. | 36 | Y dentro de esa atmósfera, obviamente, hay un espacio Fernanda Aurelia. | ||
| 40 | Yo creo que es un recuerdo que dejó, desde luego, esa relación estrecha, cálida, | 37 | Yo creo que es un recuerdo que dejó, desde luego, esa relación estrecha, cálida, | ||
| > | con mis padres, con la familia, y el recuerdo de Fernanda en ese sentido, aquí | > | con mis padres, con la familia, y el recuerdo de Fernanda en ese sentido, aquí | ||
| > | en Guardia Vieja, existe, existió, y creo que es importante destacar, digamos, q | > | en Guardia Vieja, existe, existió, y creo que es importante destacar, digamos, q | ||
| > | ue él no solo se sintió cercano entonces a la hora de ir de político, sino que c | > | ue él no solo se sintió cercano entonces a la hora de ir de político, sino que c | ||
| > | ontribuyó activamente a la campaña, estuvo presente, fue generoso en su aporte. | > | ontribuyó activamente a la campaña, estuvo presente, fue generoso en su aporte. | ||
| 41 | No hay que olvidar entonces lo que significó el haber entregado los derechos y l | 38 | No hay que olvidar entonces lo que significó el haber entregado los derechos y l | ||
| > | o que significó el poema, digamos, Viva Chile Mierda, que sirvió evidentemente e | > | o que significó el poema, digamos, Viva Chile Mierda, que sirvió evidentemente e | ||
| > | n la campaña del 64. | > | n la campaña del 64. | ||
| 42 | Esto fue muy importante. | 39 | Esto fue muy importante. | ||
| 43 | En su poema Viva Chile Mierda, Fernando Alegría muestra nuevamente esa concepció | 40 | En su poema Viva Chile Mierda, Fernando Alegría muestra nuevamente esa concepció | ||
| > | n de la historia en que lo que importa son los sueños colectivos y es esta human | > | n de la historia en que lo que importa son los sueños colectivos y es esta human | ||
| > | idad de los perdedores que está reafirmando su derecho a la vida y su derecho a | > | idad de los perdedores que está reafirmando su derecho a la vida y su derecho a | ||
| > | las utopías. | > | las utopías. | ||
| 44 | ¿Qué es lo que más te ha gustado de Fernando? | 41 | ¿Qué es lo que más te ha gustado de Fernando? | ||
| 45 | que está fichado en 1942, que se llama Aquel lado de la cortina, donde aparece y | 42 | que está fichado en 1942, que se llama Aquel lado de la cortina, donde aparece y | ||
| > | o creo que por primera vez el problema de la discriminación de los chicanos en E | > | o creo que por primera vez el problema de la discriminación de los chicanos en E | ||
| > | stados Unidos. | > | stados Unidos. | ||
| 46 | En ese tiempo, César Chávez y el movimiento campesino era muy fuerte. | 43 | En ese tiempo, César Chávez y el movimiento campesino era muy fuerte. | ||
| 47 | Como chicana, nacida en California, de padres de Nuevo México, entré a la univer | 44 | Como chicana, nacida en California, de padres de Nuevo México, entré a la univer | ||
| > | sidad. | > | sidad. | ||
| 48 | cuando ya tenía yo tres hijos y 30 años era un poco más de edad de los estudiant | 45 | cuando ya tenía yo tres hijos y 30 años era un poco más de edad de los estudiant | ||
| > | es que usualmente entran después de luchas para abrir la universidad a las minor | > | es que usualmente entran después de luchas para abrir la universidad a las minor | ||
| > | ías. | > | ías. | ||
| 49 | Entonces, gente como Fernando fueron los líderes para nosotros, maestros, gente | 46 | Entonces, gente como Fernando fueron los líderes para nosotros, maestros, gente | ||
| > | ya preparados con luchas y perspectivas mundiales. | > | ya preparados con luchas y perspectivas mundiales. | ||
| 50 | Entonces, para nosotros era muy importante la unificación de los chicanos con lo | 47 | Entonces, para nosotros era muy importante la unificación de los chicanos con lo | ||
| > | s latinos y con los mexicanos. | > | s latinos y con los mexicanos. | ||
| 51 | En 1970, la gente de Chile eleccionó a Salvador Allende como presidente. | 48 | En 1970, la gente de Chile eleccionó a Salvador Allende como presidente. | ||
| 52 | Con Fos, Salvador Allende, en 1970, fue designado agregado cultural a la Embajad | 49 | Con Fos, Salvador Allende, en 1970, fue designado agregado cultural a la Embajad | ||
| > | a de Chile en Washington. | > | a de Chile en Washington. | ||
| 53 | Abrió un espacio en Estados Unidos donde las relaciones no estaban exentas de te | 50 | Abrió un espacio en Estados Unidos donde las relaciones no estaban exentas de te | ||
| > | nsiones, particularmente a raíz del tema de la nacionalización de las minas de c | > | nsiones, particularmente a raíz del tema de la nacionalización de las minas de c | ||
| > | obre y el no pago de indemnización, digamos, por lo que se consideró las rentabi | > | obre y el no pago de indemnización, digamos, por lo que se consideró las rentabi | ||
| > | lidades excesivas. | > | lidades excesivas. | ||
| 54 | y por lo tanto Fernando era como una pieza clave para abrir otro espacio, darse | 51 | y por lo tanto Fernando era como una pieza clave para abrir otro espacio, darse | ||
| > | a conocer este país, su experiencia, la sensibilidad que se tenía en el ámbito d | > | a conocer este país, su experiencia, la sensibilidad que se tenía en el ámbito d | ||
| > | e la cultura, de la gente joven, de las brigadas que participaban, y se lograron | > | e la cultura, de la gente joven, de las brigadas que participaban, y se lograron | ||
| > | crear cosas muy importantes. | > | crear cosas muy importantes. | ||
| 55 | La trascendencia de Allende es una trascendencia que va de lo socialdemócrata, d | 52 | La trascendencia de Allende es una trascendencia que va de lo socialdemócrata, d | ||
| > | emocrático, al heroísmo popular. | > | emocrático, al heroísmo popular. | ||
| 56 | Allende fue entrando poco a poco en el sentido heroico, épico del pueblo chileno | 53 | Allende fue entrando poco a poco en el sentido heroico, épico del pueblo chileno | ||
| > | en sus hazañas por conquistar una libertad individual con toda la responsabilid | > | en sus hazañas por conquistar una libertad individual con toda la responsabilid | ||
| > | ad social que uno imagina en héroes de esta naturaleza En septiembre 11 de 1973, | > | ad social que uno imagina en héroes de esta naturaleza En septiembre 11 de 1973, | ||
| > | Fernando Alegría estaba planeando comer en la casa de Pablo Neruda, que había s | > | Fernando Alegría estaba planeando comer en la casa de Pablo Neruda, que había s | ||
| > | ido enfermo en la isla de Isla Negra. | > | ido enfermo en la isla de Isla Negra. | ||
| 57 | En su memoria, Matilde Urrutia, la abogada de Neruda, dice cómo estaba en la coc | 54 | En su memoria, Matilde Urrutia, la abogada de Neruda, dice cómo estaba en la coc | ||
| > | ina preparando para la visita de Alegría cuando escuchó las noticias del Cú de T | > | ina preparando para la visita de Alegría cuando escuchó las noticias del Cú de T | ||
| > | a. La comida, por supuesto, nunca se tomó. | > | a. La comida, por supuesto, nunca se tomó. | ||
| 58 | Alegría se hundió de inmediato. | 55 | Alegría se hundió de inmediato. | ||
| 59 | Le dio protección a los priestas dominicanos de Recoleta, cerca del barrio donde | 56 | Le dio protección a los priestas dominicanos de Recoleta, cerca del barrio donde | ||
| > | creció. | > | creció. | ||
| 60 | Cuando leí sobre el funeral de Neruda, el otro día en los papeles, por supuesto, | 57 | Cuando leí sobre el funeral de Neruda, el otro día en los papeles, por supuesto, | ||
| > | el sentido de la gran tristeza, la tragedia que nos pasó en Chile cuando perdim | > | el sentido de la gran tristeza, la tragedia que nos pasó en Chile cuando perdim | ||
| > | os a nuestro gran líder, nuestro gran poeta pero al mismo tiempo, me sentí feliz | > | os a nuestro gran líder, nuestro gran poeta pero al mismo tiempo, me sentí feliz | ||
| > | que el funeral de Neruda se convirtiera en una demostración política en el Gene | > | que el funeral de Neruda se convirtiera en una demostración política en el Gene | ||
| > | ral Cemetery de Santiago Tiago, porque sabes lo que pasó. | > | ral Cemetery de Santiago Tiago, porque sabes lo que pasó. | ||
| 61 | De repente, las personas, como si estuvieran caminando al cemitério, y Matilde, | 58 | De repente, las personas, como si estuvieran caminando al cemitério, y Matilde, | ||
| > | su esposa, estaba siguiendo la cofina. | > | su esposa, estaba siguiendo la cofina. | ||
| 62 | De repente, estas personas, escritores, amigos personales, profesores de la univ | 59 | De repente, estas personas, escritores, amigos personales, profesores de la univ | ||
| > | ersidad, trabajadores, tal vez personas que salieron del subterráneo solo para e | > | ersidad, trabajadores, tal vez personas que salieron del subterráneo solo para e | ||
| > | star ahí con Neruda, comenzaron a cantar el Internacional. | > | star ahí con Neruda, comenzaron a cantar el Internacional. | ||
| 63 | Y tienes que pensar qué significa esto, estas 1.000 o 2.000 personas cantando la | 60 | Y tienes que pensar qué significa esto, estas 1.000 o 2.000 personas cantando la | ||
| > | s palabras de La Internacional en Santiago, en un momento en el que hay alrededo | > | s palabras de La Internacional en Santiago, en un momento en el que hay alrededo | ||
| > | r de 7 .000 o 10.000 personas en prisión, algunas de ellas, quizás, esperando la | > | r de 7 .000 o 10.000 personas en prisión, algunas de ellas, quizás, esperando la | ||
| > | ejecución sin tránsito. | > | ejecución sin tránsito. | ||
| 64 | Esto, en un gran modo, me parece que muestra el espíritu, el espíritu de lucha, | 61 | Esto, en un gran modo, me parece que muestra el espíritu, el espíritu de lucha, | ||
| > | que no ha desaparecido en Chile. | > | que no ha desaparecido en Chile. | ||
| 65 | Creo que la gente de Chile está preparándose para algún tipo de acontecimiento q | 62 | Creo que la gente de Chile está preparándose para algún tipo de acontecimiento q | ||
| > | ue va a cambiar este horrible desastre que está sucediendo en nuestro país. | > | ue va a cambiar este horrible desastre que está sucediendo en nuestro país. | ||
| 66 | Casi inmediatamente después del reclutamiento militar, la Junta emitió un decret | 63 | Casi inmediatamente después del reclutamiento militar, la Junta emitió un decret | ||
| > | o oficial permanente, banando a cuatro líderes de izquierda prominentes de Chile | > | o oficial permanente, banando a cuatro líderes de izquierda prominentes de Chile | ||
| > | . | > | . | ||
| 67 | Uno de ellos fue Fernando Alegría. | 64 | Uno de ellos fue Fernando Alegría. | ||
| 68 | Fernando entonces también para nosotros fue muy importante que denunciara como l | 65 | Fernando entonces también para nosotros fue muy importante que denunciara como l | ||
| > | o hizo, con la fuerza que lo hizo, con las consecuencias que lo hizo, las graves | > | o hizo, con la fuerza que lo hizo, con las consecuencias que lo hizo, las graves | ||
| > | violaciones de derechos humanos ocurridas en Chile. | > | violaciones de derechos humanos ocurridas en Chile. | ||
| 69 | Sobre todo en lo que había sido asesinatos, ejecuciones, desapariciones, en fin. | 66 | Sobre todo en lo que había sido asesinatos, ejecuciones, desapariciones, en fin. | ||
| 70 | Y yo creo que una voz como la de él, tan escuchada, por supuesto nos ayudó a nos | 67 | Y yo creo que una voz como la de él, tan escuchada, por supuesto nos ayudó a nos | ||
| > | otros en lo que tratábamos de hacer, que era la sensibilización del mundo sobre | > | otros en lo que tratábamos de hacer, que era la sensibilización del mundo sobre | ||
| > | lo que estaba ocurriendo en Chile, las graves violaciones a los derechos humanos | > | lo que estaba ocurriendo en Chile, las graves violaciones a los derechos humanos | ||
| > | , por sobre todo que esto era una política de Estado, hecha con fondos del Estad | > | , por sobre todo que esto era una política de Estado, hecha con fondos del Estad | ||
| > | o, con agentes del Estado y por supuesto con la responsabilidad directa de Augus | > | o, con agentes del Estado y por supuesto con la responsabilidad directa de Augus | ||
| > | to Pinochet, que era quien encabezaba la dictadura y de ahí para abajo jerarquiz | > | to Pinochet, que era quien encabezaba la dictadura y de ahí para abajo jerarquiz | ||
| > | ados los servicios de inteligencia que ejecutaban estas políticas. | > | ados los servicios de inteligencia que ejecutaban estas políticas. | ||
| 71 | Creo que vamos a ver algunas cosas muy importantes Hay muchas cosas importantes | 68 | Creo que vamos a ver algunas cosas muy importantes Hay muchas cosas importantes | ||
| > | que no sé respecto a lo que ha pasado en Chile. | > | que no sé respecto a lo que ha pasado en Chile. | ||
| 72 | Creo que el fondo del movimiento de liberación chileno no está rompido por cualq | 69 | Creo que el fondo del movimiento de liberación chileno no está rompido por cualq | ||
| > | uier forma. | > | uier forma. | ||
| 73 | Creo que la fiesta de la resistencia se va a crecer. | 70 | Creo que la fiesta de la resistencia se va a crecer. | ||
| 74 | Creo que vamos a ver una segunda, una tercera liberación de la gente chilena. | 71 | Creo que vamos a ver una segunda, una tercera liberación de la gente chilena. | ||
| 75 | I believe that Allende and Neruda did not die in vain. | 72 | I believe that Allende and Neruda did not die in vain. | ||
| 76 | I think they each in his own manner died for what they believed, died in the cas | 73 | I think they each in his own manner died for what they believed, died in the cas | ||
| > | e of Neruda believing that poetry is action, poetry is life, and in the case of | > | e of Neruda believing that poetry is action, poetry is life, and in the case of | ||
| > | Allende that the cause of justice, de la social revolución en Chile fue lo que q | > | Allende that the cause of justice, de la social revolución en Chile fue lo que q | ||
| > | uería hacer y no podía ver, no podía sobrevivir al terrible golpe que la gente c | > | uería hacer y no podía ver, no podía sobrevivir al terrible golpe que la gente c | ||
| > | hilena estaba tomando en ese momento. | > | hilena estaba tomando en ese momento. | ||
| 77 | Poco después de que volviera de Chile, Alegría publicó un artículo denunciando e | 74 | Poco después de que volviera de Chile, Alegría publicó un artículo denunciando e | ||
| > | l coup en un revista mexicana. | > | l coup en un revista mexicana. | ||
| 78 | Viajó regularmente a México para visitar a los exiles políticos chilenos que que | 75 | Viajó regularmente a México para visitar a los exiles políticos chilenos que que | ||
| > | habían encontrado refugio allí, entre ellos Hortensia Busi, la abogada de Salva | > | habían encontrado refugio allí, entre ellos Hortensia Busi, la abogada de Salva | ||
| > | dor Allende. | > | dor Allende. | ||
| 79 | Él entendió que su tarea era también luchar por el retorno de la democracia y de | 76 | Él entendió que su tarea era también luchar por el retorno de la democracia y de | ||
| > | la libertad en nuestro país. | > | la libertad en nuestro país. | ||
| 80 | Y lo hizo con la riqueza, con la cultura, con la pasión que él ponía en las caus | 77 | Y lo hizo con la riqueza, con la cultura, con la pasión que él ponía en las caus | ||
| > | as nobles que eran las suyas. | > | as nobles que eran las suyas. | ||
| 81 | Y luego, después del violento despliegue del gobierno Allende, Fernando fue muy | 78 | Y luego, después del violento despliegue del gobierno Allende, Fernando fue muy | ||
| > | apoyado de las fuerzas democráticas en Chile, de los que fueron perseguidos y im | > | apoyado de las fuerzas democráticas en Chile, de los que fueron perseguidos y im | ||
| > | prisionados, así como de los que fueron forzados a exilarse y a ser dirigidos de | > | prisionados, así como de los que fueron forzados a exilarse y a ser dirigidos de | ||
| > | sde Chile. | > | sde Chile. | ||
| 82 | Fundaron la revista Literatura Chilena en el Exilio, que luego se llamó Literatu | 79 | Fundaron la revista Literatura Chilena en el Exilio, que luego se llamó Literatu | ||
| > | ra Chilena, Creación y Crítica. | > | ra Chilena, Creación y Crítica. | ||
| 83 | Muchos intelectuales latinoamericanos y muchos escritores, entre ellos Gabriel G | 80 | Muchos intelectuales latinoamericanos y muchos escritores, entre ellos Gabriel G | ||
| > | arcía Márquez, colaboraron en forma bastante efectiva y bastante constante con e | > | arcía Márquez, colaboraron en forma bastante efectiva y bastante constante con e | ||
| > | l proyecto. | > | l proyecto. | ||
| 84 | Vengo a llamar la atención con voz de cantor serrano al hombre que va sin manos | 81 | Vengo a llamar la atención con voz de cantor serrano al hombre que va sin manos | ||
| > | por seguir lo de mi nación. | > | por seguir lo de mi nación. | ||
| 85 | No ignoren su turbación, que las flores se apagaron y los ríos se secaron, priva | 82 | No ignoren su turbación, que las flores se apagaron y los ríos se secaron, priva | ||
| > | dos de primaveras. | > | dos de primaveras. | ||
| 86 | Por las movidas areteras de tigres que lo mataron | 83 | Por las movidas areteras de tigres que lo mataron | ||
| Legends | ||||||||||
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| reference | transcript | ||||
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| f | 1 | Thank you. | f | 1 | Thank you. |
| 2 | the sun of Buendamar. | 2 | the sun of Buendamar. | ||
| n | 3 | With green horizon, green we cry, With silences of unrelenting green With a gree | n | 3 | With green horizon, green we cry, With silences of unrelenting green With a gree |
| > | n horizon, crying green With silences of unrelenting green The sun is shining sa | > | n horizon, crying green With silences of unrelenting green The sun is shining sa | ||
| > | dly Without seeing that the father has raised his cry is ¶¶ Thank you. | > | dly Without seeing that the father has raised his cry 불 합니다 ¶¶ ¶¶ Here I will re | ||
| > | turn Reincarnation Cycle of life The cradle of humanity Yes, Lord The evolution | ||||
| > | of the earth and of the people Everything is pending Of our love Youth deserves | ||||
| > | something better Than war and oppression Thank you. | ||||
| 4 | We'll see you next time. | ||||
| 5 | ¶¶ ¶¶ saying is believing but ¶¶ Thank you. | 4 | ¶¶ ¶¶ saying is believing but ¶¶ Thank you. | ||
| 6 | Thank you. | 5 | Thank you. | ||
| 7 | ¶¶ Tomorrow is for the two of us We have to think about tomorrow and the destina | 6 | ¶¶ Tomorrow is for the two of us We have to think about tomorrow and the destina | ||
| > | tion Thank you. | > | tion Thank you. | ||
| 8 | Thank you. | 7 | Thank you. | ||
| 9 | Thank you. | 8 | Thank you. | ||
| 10 | Thank you. | 9 | Thank you. | ||
| n | 11 | I'm going to make a sauce. | n | 10 | 협kat writesева Thank you. |
| 12 | Add 1 tablespoon of sugar. | ||||
| 13 | Add 1 tablespoon of sake. | ||||
| 14 | Add 1 tablespoon of sake. | ||||
| 15 | Add 1 tablespoon of soy sauce. | ||||
| 16 | Thank you. | ||||
| 17 | Thank you. | ||||
| 18 | Thank you. | ||||
| 19 | Thank you. | ||||
| 20 | Thank you. | ||||
| 21 | Thank you. | ||||
| 22 | Thank you. | ||||
| 23 | Thank you. | ||||
| 24 | . | ||||
| 25 | . | ||||
| 26 | Thank you. | ||||
| 27 | ¶¶ ¶¶ piano pieces I ever played. | ||||
| 28 | The name of the composers are Natalie Cole and Linda Williams. | ||||
| 29 | The name of the song is La Costa. | ||||
| 30 | Thank you. | ||||
| 31 | Thank you. | ||||
| 32 | Thank you. | ||||
| 33 | Thank you. | ||||
| 34 | Thank you. | ||||
| 35 | I'm going to make a little bit of a little bit of a little bit of a little bit o | ||||
| > | f a little bit of a little bit of a little bit of a little bit of a little bit o | ||||
| > | f a little bit of a Thank you. | ||||
| 36 | Thank you. | 11 | Thank you. | ||
| 37 | Thank you. | 12 | Thank you. | ||
| 38 | Thank you. | 13 | Thank you. | ||
| 39 | Thank you. | 14 | Thank you. | ||
| 40 | Thank you. | 15 | Thank you. | ||
| 41 | Thank you. | 16 | Thank you. | ||
| 42 | Thank you. | 17 | Thank you. | ||
| 43 | Thank you. | 18 | Thank you. | ||
| 44 | Thank you. | 19 | Thank you. | ||
| 45 | Thank you. | 20 | Thank you. | ||
| n | 46 | I Thank you. | n | 21 | Written by two ladies, the following song is one of the most beautiful piano pie |
| > | ces I ever played. | ||||
| 22 | The name of the composers are Natalie Cole and Linda Williams. | ||||
| 23 | The name of the song is La Costa. | ||||
| 24 | piano plays softly guitar solo Thank you. | ||||
| 47 | Thank you. | 25 | Thank you. | ||
| 48 | Thank you. | 26 | Thank you. | ||
| 49 | Thank you. | 27 | Thank you. | ||
| t | t | 28 | Thank you. | ||
| 29 | Thank you. | ||||
| 30 | Thank you. | ||||
| 31 | Thank you. | ||||
| 32 | Thank you. | ||||
| 33 | Thank you. | ||||
| 34 | Thank you. | ||||
| 35 | piano plays softly Thank you. | ||||
| 36 | Thank you. | ||||
| 37 | Thank you. | ||||
| Legends | ||||||||||
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| reference | transcript | ||||
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| f | 1 | The following tape contains lessons one through five of the conversational Chero | f | 1 | The following tape contains lessons one through five of the conversational Chero |
| > | kee course prepared by the Cherokee Bilingual Education Program. | > | kee course prepared by the Cherokee Bilingual Education Program. | ||
| 2 | Each lesson begins with a dialogue with each phrase recorded seven times. | 2 | Each lesson begins with a dialogue with each phrase recorded seven times. | ||
| 3 | Listen to the first three repetitions and repeat after the fourth, fifth, sixth, | 3 | Listen to the first three repetitions and repeat after the fourth, fifth, sixth, | ||
| > | and seventh during the pauses. | > | and seventh during the pauses. | ||
| 4 | Then continue with the drills following the instructions provided in the tape. | 4 | Then continue with the drills following the instructions provided in the tape. | ||
| 5 | Conversational Cherokee Lesson 1. | 5 | Conversational Cherokee Lesson 1. | ||
| 6 | Greetings. | 6 | Greetings. | ||
| 7 | Hello John. | 7 | Hello John. | ||
| 8 | OCO John. | 8 | OCO John. | ||
| 9 | OCO John. | 9 | OCO John. | ||
| 10 | OCO John. | 10 | OCO John. | ||
| 11 | OCO John. | 11 | OCO John. | ||
| 12 | OCO John. | 12 | OCO John. | ||
| 13 | OCO John. | 13 | OCO John. | ||
| 14 | OCO John. | 14 | OCO John. | ||
| 15 | OCO John. | 15 | OCO John. | ||
| 16 | OCO John. | 16 | OCO John. | ||
| 17 | OCO John. | 17 | OCO John. | ||
| n | 18 | Hello, Ann. | n | 18 | Hello Ann. |
| 19 | Osiyo Ann. | ||||
| 20 | Osiyo Ann. | ||||
| 21 | Osiyo Ann. | ||||
| 22 | Osiyo Ann. | ||||
| 23 | Osiyo Ann. | ||||
| 19 | How are you? | 24 | How are you? | ||
| n | 20 | Tohitu. | n | ||
| 21 | Tohitu. | ||||
| 22 | Tohitu. | ||||
| 23 | Tohitu. | ||||
| 24 | Fine. | 25 | Fine. | ||
| n | 25 | Tohiku. | n | 26 | Tawheegwa. |
| 26 | Tohiku. | 27 | Tawheegwa. | ||
| 27 | Tohiku. | 28 | and you. | ||
| 28 | tô hiqua and you. | 29 | Do顯고 A Do顯고 Additional vocabulary Repetition四 統 YID Three. | ||
| 29 | ni hinna tô hiqua's ni hinna tô hiqua's ni hinna tô hiqua's ni hinna tô hiqua's | 30 | Aqugrund. | ||
| > | ni hinna tô hiqua's ni hinna tô hiqua's ni hinna tô hiqua's ni hinna tô hiqua's | ||||
| > | Yes, fine. | ||||
| 30 | Tohiku. | 31 | Aqugrund. | ||
| 31 | Ah. Tohiku. | 32 | Four. | ||
| 32 | Ah. Tohiku. | 33 | Aqu olmaz. | ||
| 33 | Additional vocabulary. | 34 | Aquonzuela. | ||
| 35 | Achoo-chah. | ||||
| 36 | Hee-yah. | ||||
| 37 | Achoo-chah. | ||||
| 38 | Six. | ||||
| 39 | Hee-yah. | ||||
| 40 | Agay -hoo-chah. | ||||
| 41 | Hee-yah. | ||||
| 42 | Agay-hoo-chah. | ||||
| 43 | Question drill. | ||||
| 44 | You will hear the question, what is this? | ||||
| 45 | in Cherokee six times. | ||||
| 46 | Give a one word answer using the noun found in the corresponding six sentences i | ||||
| > | n the additional vocabulary drill. | ||||
| 47 | One. | ||||
| 48 | . | ||||
| 49 | . | ||||
| 50 | . | ||||
| 51 | Two. | ||||
| 52 | . | ||||
| 53 | Kadda uusti Hina. | ||||
| 54 | Ama. | ||||
| 55 | Ama. | ||||
| 56 | Three. | ||||
| 57 | Kadda uusti Hina. | ||||
| 58 | Asvala. | ||||
| 59 | Asvala. | ||||
| 60 | Four. | ||||
| 61 | Kadda uusti Hina. | ||||
| 62 | Additional question drill. | ||||
| 34 | Repetition. | 63 | Repetition. | ||
| n | 35 | One. | n | ||
| 36 | Hiya. | ||||
| 37 | Where's son? | ||||
| 38 | Hiya. | ||||
| 39 | Where's son? | ||||
| 40 | Two. | ||||
| 41 | Hiya. | ||||
| 42 | Ah-ma. | ||||
| 43 | Hiya. | ||||
| 44 | Ah-ma. | ||||
| 45 | Three Aية hah Passkaya AIA. | ||||
| 46 | Four AIA. | ||||
| 47 | Hiya, agye hyam. | ||||
| 48 | Hiya, agye hyam. | ||||
| 49 | Five. | ||||
| 50 | Hiya, achu cham. | ||||
| 51 | Hiya, achu cham. | ||||
| 52 | Six. | ||||
| 53 | Hiya, agye hyu cham. | ||||
| 54 | Question drill. | ||||
| 55 | You will hear the question, what is this, in Cherokee six times. | ||||
| 56 | Give a one-word answer using the noun found in the corresponding six sentences i | ||||
| > | n the additional vocabulary drill. | ||||
| 57 | One. | ||||
| 58 | Where is son? | ||||
| 59 | Where is son? | ||||
| 60 | Two. | ||||
| 61 | Where is son? | ||||
| 62 | Mom. | ||||
| 63 | Mom. | ||||
| 64 | Three. | ||||
| 65 | Three. | ||||
| 66 | Four. | ||||
| 67 | Five. | ||||
| 68 | MEANWHILE Он хタ Repetition. | ||||
| 69 | In this drill, you will hear a question with the six nouns, with each of the six | 64 | In this drill, you will hear a question with the six nouns, with each of the six | ||
| > | nouns used in the previous drills questioned. | > | nouns used in the previous drills questioned. | ||
| 70 | That is, the question suffix will be attached to these nouns. | 65 | That is, the question suffix will be attached to these nouns. | ||
| 71 | You will then hear the answer. | 66 | You will then hear the answer. | ||
| 72 | Repeat the answer, which will be given twice. | 67 | Repeat the answer, which will be given twice. | ||
| 73 | Repeat. | 68 | Repeat. | ||
| 74 | One. | 69 | One. | ||
| n | 75 | One. | n | 70 | Where is he? |
| 71 | Where is he? | ||||
| 72 | Where is he? | ||||
| 76 | Two. | 73 | Two. | ||
| n | n | 74 | Two. | ||
| 77 | Three. | 75 | Three. | ||
| n | 78 | Askaya Four Agayas Agayam Five Achujas conversation at normal speed do not repea | n | 76 | Four. |
| > | t listen for comprehension only uh, tohiku. | ||||
| 77 | Conversation at normal speed. | ||||
| 78 | Do not repeat. | ||||
| 79 | Listen for comprehension only. | ||||
| 80 | Oseo, John. | ||||
| 81 | Oseo, huh? | ||||
| 82 | Tohiku. | ||||
| 83 | Tohiku. | ||||
| 79 | End of lesson one. | 84 | End of lesson one. | ||
| n | 80 | Lesson two, dialogue. | n | 85 | Lesson 2. |
| 86 | Dialogue. | ||||
| 81 | Hello. | 87 | Hello. | ||
| n | 82 | See you. | n | 88 | Oh, see y'all. |
| 83 | See you. | 89 | Oh, see y'all. | ||
| 84 | See you. | 90 | Oh, see y'all. | ||
| 85 | See you. | 91 | See y'all. | ||
| 86 | See you. | 92 | See y'all. | ||
| 87 | See you. | 93 | See y'all. | ||
| 88 | C chain? | 94 | Hello. | ||
| 89 | C chain? | 95 | Hello? | ||
| 90 | Hello C chain? | 96 | OCO. | ||
| 91 | C chain? | 97 | OCO. | ||
| 92 | C chain? | 98 | OCO. | ||
| 93 | C chain? | 99 | OCO. | ||
| 100 | OCO. | ||||
| 101 | OCO. | ||||
| 102 | OCO. | ||||
| 94 | Do you speak English? | 103 | Do you speak English? | ||
| n | 95 | C chain? | n | 104 | English. |
| 96 | C chain? | 105 | Your negative on this. | ||
| 97 | C chain? | 106 | Your negative on this. | ||
| 98 | No nagasə voniskti no one will leave you��은 depths呆ся medicina대 What is your nam | 107 | Your negative on this. | ||
| > | e? | ||||
| 108 | Your negative on this. | ||||
| 109 | Your negative on this. | ||||
| 110 | Your negative on this. | ||||
| 111 | Your negative on this. | ||||
| 112 | Yes, I speak English well. | ||||
| 113 | All right, home. | ||||
| 114 | What is your name? | ||||
| 99 | My name is Bill Brown. | 115 | My name is Bill Brown. | ||
| 100 | I am Bill Brown. | 116 | I am Bill Brown. | ||
| 101 | I am Bill Brown. | 117 | I am Bill Brown. | ||
| 102 | I am Bill Brown. | 118 | I am Bill Brown. | ||
| 103 | I am Bill Brown. | 119 | I am Bill Brown. | ||
| 104 | I am Bill Brown. | 120 | I am Bill Brown. | ||
| 105 | I am Bill Brown. | 121 | I am Bill Brown. | ||
| 106 | I am Bill Brown. | 122 | I am Bill Brown. | ||
| 107 | I am Bill Brown. | 123 | I am Bill Brown. | ||
| 108 | I am Bill Brown. | 124 | I am Bill Brown. | ||
| 109 | And you? | 125 | And you? | ||
| 110 | What is your name? | 126 | What is your name? | ||
| n | 111 | de neher aar kado rede do nye her nal kado weda do Any squirrel. | n | 127 | Yanhee. |
| 112 | On slowly, on slowly, on slowly, on slowly. | 128 | Na h reappe. | ||
| 129 | Na h reappe. | ||||
| 130 | Na h reappe. | ||||
| 131 | Na h reappe. | ||||
| 132 | Na h reappe. | ||||
| 133 | Na h reappe. | ||||
| 134 | Na h reappe. | ||||
| 135 | Na h. | ||||
| 136 | On slowly. | ||||
| 137 | On slowly. | ||||
| 138 | On slowly. | ||||
| 113 | On slowly. | 139 | On slowly. | ||
| 114 | On slowly. | 140 | On slowly. | ||
| 115 | On slowly. | 141 | On slowly. | ||
| 116 | Do you want water? | 142 | Do you want water? | ||
| n | 117 | I musta dooly. | n | 143 | I must do Lee I must do Lee I must do Lee I must do Lee I must do Lee I must do |
| > | me I must do me yes I am thirsty for water I'm locked today I'm locked today a m | ||||
| > | ock today a mark today a mark today a mark today a mark today Here is water. | ||||
| 118 | I musta dooly. | 144 | Thanks. | ||
| 119 | I musta dooly. | 145 | Wado. | ||
| 120 | I musta dooly. | 146 | Wado. | ||
| 121 | I musta dooly. | 147 | Wado. | ||
| 122 | I must doodly. | 148 | Additional vocabulary repetition. | ||
| 123 | I must doodly. | ||||
| 124 | Yes, I am thirsty for water. | ||||
| 125 | I'm marked to daggy. | ||||
| 126 | I'm marked to daggy. | ||||
| 127 | I'm marked to daggy. | ||||
| 128 | I'm marked to daggy. | ||||
| 129 | I'm marked to daggy. | ||||
| 130 | I'm marked to daggy. | ||||
| 131 | ah a monk today again here is water ah honey do a mom ah honey do a mom ah honey | ||||
| > | do a mom Additional vocabulary repetition. | ||||
| 132 | Repeat after each phrase. | 149 | Repeat after each phrase. | ||
| 133 | One. | 150 | One. | ||
| n | 134 | Hiya kanai gulosti. | n | 151 | Hiya kanagolosti. |
| 135 | Hiya kanai gulosti. | 152 | Hiya kanagolosti. | ||
| 136 | Hiya kanai gulosti. | 153 | Hiya kanagolosti. | ||
| 137 | Two. | 154 | Two. | ||
| n | 138 | Hiya yagi. | n | 155 | Hiya, yagi. |
| 139 | Hiya yagi. | 156 | Hiya, yagi. | ||
| 157 | Hiya, yagi. | ||||
| 140 | Three. | 158 | Three. | ||
| n | n | 159 | Hiya, kantoke. | ||
| 160 | Hiya, kantoke. | ||||
| 161 | Hiya, kantoke. | ||||
| 141 | Four. | 162 | Four. | ||
| n | 142 | Four. | n | 163 | Hiya, tena. |
| 143 | Five. | 164 | Take two liner. | ||
| 144 | Six. | 165 | Here, take two liner. | ||
| 145 | six question drill listen to the question and then give the answer Model. | 166 | Question drill. | ||
| 167 | Listen to the question, and then give the answer. | ||||
| 168 | Model. | ||||
| 146 | Is this a boy? | 169 | Is this a boy? | ||
| 147 | Yes, it's a boy. | 170 | Yes, it's a boy. | ||
| n | n | 171 | Here, I choose a... | ||
| 172 | I choose a... | ||||
| 148 | One. | 173 | One. | ||
| n | n | 174 | One. | ||
| 149 | Two. | 175 | Two. | ||
| n | 150 | Three. | n | ||
| 151 | Yagida Uh, Yagida Three Hiyas Kantoke Kantoke da Kantoke da Four. | 176 | Yagida Yagida Three Hiyas kantoke Kantoke da Kantoke da Four. | ||
| 152 | Five. | 177 | Five. | ||
| 153 | Additional question drill. | 178 | Additional question drill. | ||
| 154 | Model, what is this? | 179 | Model, what is this? | ||
| 155 | A woman. | 180 | A woman. | ||
| 156 | One. | 181 | One. | ||
| 157 | . | 182 | . | ||
| 158 | Again. | 183 | Again. | ||
| 159 | . | 184 | . | ||
| 160 | Again. | 185 | Again. | ||
| 161 | . | 186 | . | ||
| 162 | After each question, , give the one word answer which corresponds to the nouns i | 187 | After each question, , give the one word answer which corresponds to the nouns i | ||
| > | n numbers one through six. | > | n numbers one through six. | ||
| 163 | One. | 188 | One. | ||
| 164 | . | 189 | . | ||
| 165 | Kadavusti yaa. | 190 | Kadavusti yaa. | ||
| 166 | Kanagalausti. | 191 | Kanagalausti. | ||
| 167 | Kanagalausti. | 192 | Kanagalausti. | ||
| 168 | Two. | 193 | Two. | ||
| 169 | Kadavusti yaa. | 194 | Kadavusti yaa. | ||
| 170 | Yagi. | 195 | Yagi. | ||
| 171 | Yagi. | 196 | Yagi. | ||
| 172 | Three. | 197 | Three. | ||
| 173 | Kadavusti yaa. | 198 | Kadavusti yaa. | ||
| 174 | Kantoki. | 199 | Kantoki. | ||
| 175 | Kantoki. | 200 | Kantoki. | ||
| 176 | Four. | 201 | Four. | ||
| n | 177 | . | n | ||
| 178 | Five. | 202 | Five. | ||
| n | 179 | . | n | ||
| 180 | Six. | 203 | Six. | ||
| n | 181 | . | n | ||
| 182 | I'm here. | ||||
| 183 | Take two Lena. | 204 | Take two, Lena. | ||
| 184 | Take two Lena. | ||||
| 185 | Conversation at normal speed. | 205 | Conversation at normal speed. | ||
| 186 | Do not repeat. | 206 | Do not repeat. | ||
| 187 | Listen for comprehension only. | 207 | Listen for comprehension only. | ||
| n | 188 | . | n | 208 | Siu. |
| 189 | . | 209 | Oh, Siu. | ||
| 190 | . | 210 | You want to ask your own needs? | ||
| 191 | . | 211 | Oh, I want to ask my own needs. | ||
| 212 | How do I do it? | ||||
| 213 | You can ask Bill Brown. | ||||
| 214 | How do I do it? | ||||
| 215 | Oh, slowly. | ||||
| 216 | How much do I do? | ||||
| 217 | Oh, how much do I do? | ||||
| 218 | Oh, how much do I do? | ||||
| 219 | What do I do? | ||||
| 192 | Listen once again. | 220 | Listen once again. | ||
| 193 | End of lesson two. | 221 | End of lesson two. | ||
| n | 194 | Conversational Cherokee, lesson three. | n | 222 | Conversational Cherokee Lesson 3 Dialogue with Mary and Charles Hello, Charles. |
| 195 | Dialogue with Mary and Charles. | ||||
| 196 | Hello, Charles. | 223 | See you, Charles. | ||
| 224 | See you, Charles. | ||||
| 225 | See you, Charles. | ||||
| 226 | See you, Charles. | ||||
| 227 | See you, Charles. | ||||
| 228 | See you, Charles. | ||||
| 197 | Hello, John. | 229 | Hello, John. | ||
| 198 | Hello, Mary. | 230 | Hello, Mary. | ||
| n | 199 | Hello, Mary. | n | 231 | See you, Mary. |
| 200 | CO Mail. | 232 | See you, Mary. | ||
| 201 | CO Mail. | 233 | See you, Mary. | ||
| 202 | CO Mail. | 234 | See you, Mary. | ||
| 235 | See you, Mary. | ||||
| 236 | See you, Mary. | ||||
| 237 | See you, Mary. | ||||
| 203 | What are you doing? | 238 | What are you doing? | ||
| 204 | I'm working. | 239 | I'm working. | ||
| n | 205 | Doggy left stony. | n | ||
| 206 | Doggy left stony. | ||||
| 207 | Doggy left stony. | ||||
| 208 | Doggy left stony. | ||||
| 209 | What are you building? | 240 | What are you building? | ||
| 210 | Jathaga Unniyasthi Jathaga Unniyasthi Jathaga Unniyasthi Jathaga Unniyasthi Jath | 241 | Jathaga Unniyasthi Jathaga Unniyasthi Jathaga Unniyasthi Jathaga Unniyasthi Jath | ||
| > | aga Unniyasthi Jathaga Unniyasthi Jathaga Unniyasthi Jathaga Unniyasthi Give me | > | aga Unniyasthi Jathaga Unniyasthi Jathaga Unniyasthi Jathaga Unniyasthi Give me | ||
| > | a hammer. | > | a hammer. | ||
| 211 | Ganai velocity has consumed. | 242 | Ganai velocity has consumed. | ||
| 212 | Ganai velocity has consumed. | 243 | Ganai velocity has consumed. | ||
| 213 | Ganai velocity has consumed. | 244 | Ganai velocity has consumed. | ||
| 214 | Ganai velocity has consumed. | 245 | Ganai velocity has consumed. | ||
| 215 | Ganai velocity has consumed. | 246 | Ganai velocity has consumed. | ||
| 216 | Do you want any nails? | 247 | Do you want any nails? | ||
| n | 217 | Yes, I want nails. | n | 248 | B Club Yes, I want nails. |
| 218 | Here are a hammer and nails. | 249 | B Club uh uh uh uh uh uh uh uh uh uh uh uh Here are a hammer and nails. | ||
| 219 | I have not done anything wrong. | 250 | I'm gonna go lost yeah no I'm gonna go lost yeah no I'm gonna go lost yeah no I' | ||
| > | m gonna go lost yeah no I'm gonna go lost yeah no I'm gonna go lost yeah no Than | ||||
| > | ks. | ||||
| 220 | I have not done anything wrong. | 251 | Vata. | ||
| 221 | Thanks. | 252 | Vata. | ||
| 222 | Thanks. | 253 | Vata. | ||
| 223 | What don't? | 254 | Vata. | ||
| 224 | What don't? | 255 | Vata. | ||
| 225 | What don't? | 256 | Vata. | ||
| 226 | What don't? | 257 | Vata. | ||
| 227 | What don't? | ||||
| 228 | What don't? | ||||
| 229 | What don't? | ||||
| 230 | What don't? | ||||
| 231 | What don't? | ||||
| 232 | End of the dialogue. | 258 | End of the dialogue. | ||
| 233 | Additional vocabulary drill. | 259 | Additional vocabulary drill. | ||
| 234 | One. | 260 | One. | ||
| 235 | Bill is working. | 261 | Bill is working. | ||
| n | n | 262 | Will do language learning. | ||
| 263 | Will do language learning. | ||||
| 264 | Two. | ||||
| 236 | Bill is speaking. | 265 | Bill is speaking. | ||
| n | 237 | Bill is speaking. | n | 266 | Will go on it. |
| 238 | Bill is speaking. | 267 | Will go on it. | ||
| 239 | Bill is building a house. | 268 | Three, Bill is building a house. | ||
| 240 | We got so the honest game We got so the honest game For bill is thinking we are | 269 | Four, Bill is thinking. | ||
| > | downtown We are downtown Five. | ||||
| 241 | Bill is helping. | 270 | Five, Bill is helping. | ||
| 242 | Six. | ||||
| 243 | Bill is sleeping. | 271 | Six, Bill is sleeping. | ||
| 244 | We'll go to sleep. | 272 | We'll go to sleep. | ||
| 245 | We'll go to sleep. | 273 | We'll go to sleep. | ||
| n | n | 274 | Question Drill. | ||
| 246 | Question Drill You will hear the question, What is Bill doing? | 275 | You will hear the question, What is Bill doing? | ||
| 247 | six times. | 276 | six times. | ||
| t | 248 | Give a one -word answer using the verb found in the corresponding numbers of the | t | 277 | Give a one-word answer using the verb found in the corresponding numbers of the |
| > | additional vocabulary drill. | > | additional vocabulary drill. | ||
| 249 | One. | 278 | One. | ||
| 250 | What's your name, Will? | 279 | What's your name, Will? | ||
| 251 | Too long, Mr. Donner. | 280 | Too long, Mr. Donner. | ||
| 252 | Too long, Mr. Donner. | 281 | Too long, Mr. Donner. | ||
| 253 | Two. | 282 | Two. | ||
| 254 | What's your name, Will? | 283 | What's your name, Will? | ||
| 255 | Go on me. | 284 | Go on me. | ||
| 256 | Go on me. | 285 | Go on me. | ||
| 257 | Three. | 286 | Three. | ||
| 258 | Go on me. | 287 | Go on me. | ||
| 259 | Go on me. | 288 | Go on me. | ||
| 260 | Go on me. | 289 | Go on me. | ||
| 261 | Go on me. | 290 | Go on me. | ||
| 262 | Go on me. | 291 | Go on me. | ||
| 263 | Go on me. | 292 | Go on me. | ||
| 264 | Go on me. | 293 | Go on me. | ||
| 265 | Go on me. | 294 | Go on me. | ||
| 266 | Go on me. | 295 | Go on me. | ||
| 267 | Go on me. | 296 | Go on me. | ||
| 268 | Go on me. | 297 | Go on me. | ||
| 269 | Go on me. | 298 | Go on me. | ||
| 270 | Go on me. | 299 | Go on me. | ||
| 271 | Five. | 300 | Five. | ||
| 272 | Six. | 301 | Six. | ||
| 273 | Ten. | 302 | Ten. | ||
| 274 | Twelve. | 303 | Twelve. | ||
| 275 | Thirteen. | 304 | Thirteen. | ||
| 276 | Fourteen. | 305 | Fourteen. | ||
| 277 | Fifteen. | 306 | Fifteen. | ||
| 278 | Dialogue at normal speed. | 307 | Dialogue at normal speed. | ||
| 279 | Do not repeat. | 308 | Do not repeat. | ||
| 280 | Listen for comprehension only. | 309 | Listen for comprehension only. | ||
| 281 | End of lesson three. | 310 | End of lesson three. | ||
| 282 | Thank you. | 311 | Thank you. | ||
| 283 | Thank you. | 312 | Thank you. | ||
| Legends | ||||||||||
|---|---|---|---|---|---|---|---|---|---|---|
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| t | 1 | 《天之涯》《天之涯》《天之涯》《天之涯》《天之涯》《天之涯》《天之涯 》《天之涯》《天之涯》向各位祝贺伟大校庆一百周年感到非常非常荣幸北京大学的学生们对于 考试 | t | 1 | 《天之涯》《天之涯》《天之涯》《天之涯》《天之涯》《天之涯》《天之涯 》《天之涯》《天之涯》向各位祝贺伟大校庆一百周年感到非常非常荣幸北京大学的学生们对于 考试 |
| > | 的时间和教育的时间和这方面的问题我们将一起协助并且将更深入地理解美国大学的学生们 也有兴趣和兴趣在北京大学的100周年祝福我希望我们这个学校能够在下一个世纪仍然 | > | 的时间和教育的时间和这方面的问题我们将一起协助并且将更深入地理解美国大学的学生们 也有兴趣和兴趣在北京大学的100周年祝福我希望我们这个学校能够在下一个世纪仍然 | ||
| > | 继续 我们这个一百年或一千年的传统 我爱你 亲爱的电视机前的观众朋友们各位光临现场的北京大学的校友们大家好 我是李勇非常地高兴也是非常地荣幸今天能够在这里在我们 | > | 继续 我们这个一百年或一千年的传统 我爱你 亲爱的电视机前的观众朋友们各位光临现场的北京大学的校友们大家好 我是李勇非常地高兴也是非常地荣幸今天能够在这里在我们 | ||
| > | 中央电视台的演播大厅和大家共同来 制作这一期百年一遇的北大校友联谊会那首先呢我来介绍一下这位呢是我们北京大学最年轻的博 士生导师之一的教授严纯华先生大家好那这位 | > | 中央电视台的演播大厅和大家共同来 制作这一期百年一遇的北大校友联谊会那首先呢我来介绍一下这位呢是我们北京大学最年轻的博 士生导师之一的教授严纯华先生大家好那这位 | ||
| > | 甜美少女啊是我们北大法律系95级的本科生孙红 霞同学大家好大家好那今天这个联谊会呢就由我们三个人呢来为大家共同主持百年一遇对今天的 北大来说的确名副其实这个日子 | > | 甜美少女啊是我们北大法律系95级的本科生孙红 霞同学大家好大家好那今天这个联谊会呢就由我们三个人呢来为大家共同主持百年一遇对今天的 北大来说的确名副其实这个日子 | ||
| > | 与我们每一个北大校友息息相通因为我们每个北大人都有一段难 以忘怀的生命历程与北大百年历史中的某个片段相重合我相信此时此刻我们每一位北大校友都会 因此而快乐而自豪 | > | 与我们每一个北大校友息息相通因为我们每个北大人都有一段难 以忘怀的生命历程与北大百年历史中的某个片段相重合我相信此时此刻我们每一位北大校友都会 因此而快乐而自豪 | ||
| > | 是不是啊校友们作为学生我也非常庆幸能在这个时候遇上北大的百年滑蛋并将 同他一起步入新的世纪在这里请允许我代表所有的北大学生向海内外所有的北大校友们向我们的 师哥 | > | 是不是啊校友们作为学生我也非常庆幸能在这个时候遇上北大的百年滑蛋并将 同他一起步入新的世纪在这里请允许我代表所有的北大学生向海内外所有的北大校友们向我们的 师哥 | ||
| > | 师姐们问声好让我们一起一起向北京大学我们共有的精神家园道一声生日快乐 今天非常荣幸的是还有一些我们北京大学过去的老学长 老学友也光临到了我们的现场欢迎他们 的到 | > | 师姐们问声好让我们一起一起向北京大学我们共有的精神家园道一声生日快乐 今天非常荣幸的是还有一些我们北京大学过去的老学长 老学友也光临到了我们的现场欢迎他们 的到 | ||
| > | 来原人大常委会副委员长北大校友雷杰琼女士人大常委会副委员长北大校友彭佩芸女士全国 政协副主席北大校友罗豪才先生东方学家北大校友纪献林先生北大校长中科院院士陈嘉尔 | > | 来原人大常委会副委员长北大校友雷杰琼女士人大常委会副委员长北大校友彭佩芸女士全国 政协副主席北大校友罗豪才先生东方学家北大校友纪献林先生北大校长中科院院士陈嘉尔 | ||
| > | 教授北 大党委书记任燕生教授北大党委副书记赵存生教授人民教育出版社编审北大校友张中情先生 快走啊要上课了不忙不忙教授还没到呢至少要晚十分钟还是快走吧密苏托王李等 | > | 教授北 大党委书记任燕生教授北大党委副书记赵存生教授人民教育出版社编审北大校友张中情先生 快走啊要上课了不忙不忙教授还没到呢至少要晚十分钟还是快走吧密苏托王李等 | ||
| > | 等等等我呀你们 要去听谁的课呀古侯明先生的英国文学那怪老头的课呀听听很有意思的哦这个尊孔派呀我可不去 凑那份热闹还不如去听钱玄同先生的文字学那多较劲啊那我们道不 | > | 等等等我呀你们 要去听谁的课呀古侯明先生的英国文学那怪老头的课呀听听很有意思的哦这个尊孔派呀我可不去 凑那份热闹还不如去听钱玄同先生的文字学那多较劲啊那我们道不 | ||
| > | 同学相应大路朝天各走一边各 听各的课去你这么一说我可偏要去听了怎么了我倒要听听他到底荒谬到什么程度好啊 小批判家 那咱们就走吧走吧你怎么还慢吞吞的呀不着急呀对不 | > | 同学相应大路朝天各走一边各 听各的课去你这么一说我可偏要去听了怎么了我倒要听听他到底荒谬到什么程度好啊 小批判家 那咱们就走吧走吧你怎么还慢吞吞的呀不着急呀对不 | ||
| > | 起几位先生的课比人不感兴趣我还是去炮图 书馆吧最近来了一批新书正在那读呢那随你便不理他 万山荒郊 主君 与今日之讲英语诗实乃夕阳之十嫂夜西洋之诗一同言律一如唐宋 | > | 起几位先生的课比人不感兴趣我还是去炮图 书馆吧最近来了一批新书正在那读呢那随你便不理他 万山荒郊 主君 与今日之讲英语诗实乃夕阳之十嫂夜西洋之诗一同言律一如唐宋 | ||
| > | 之诗词因而逐君欲学西洋之诗必 有文言诸位文言所传之道乃是孔孟痴人的礼仪教而西洋语言宣扬的是德赛尔先生这才是救国的良 方当今世界生机勃发早就已经没有文言的立足之地 | > | 之诗词因而逐君欲学西洋之诗必 有文言诸位文言所传之道乃是孔孟痴人的礼仪教而西洋语言宣扬的是德赛尔先生这才是救国的良 方当今世界生机勃发早就已经没有文言的立足之地 | ||
| > | 了文言自秦汉起就已经与口语分开了不易普及 如果继续使用势必影响文学的发展文化的进步乃至民族的强大而今有小辈欲将文言以试经理语代 之粗俗不堪 笔漏浅薄中国国民素质 | > | 了文言自秦汉起就已经与口语分开了不易普及 如果继续使用势必影响文学的发展文化的进步乃至民族的强大而今有小辈欲将文言以试经理语代 之粗俗不堪 笔漏浅薄中国国民素质 | ||
| > | 之低正在于文字的难懂西洋语言横横排版从左至右这也符合 人的生理习惯我国的古书却是竖排不易阅读应当彻底废弃祖宗执法偏废道学西洋未开化之术真是 本末倒置满口祖宗道统 | > | 之低正在于文字的难懂西洋语言横横排版从左至右这也符合 人的生理习惯我国的古书却是竖排不易阅读应当彻底废弃祖宗执法偏废道学西洋未开化之术真是 本末倒置满口祖宗道统 | ||
| > | 有什么新意还不如去听听钱先生别忙 再听听吧不听了 不听了文言早 已经是江化的死的语言怎能再用它来创作活文学而汉字字形复杂更难为人所认识所以最后我们必 定要改方块 | > | 有什么新意还不如去听听钱先生别忙 再听听吧不听了 不听了文言早 已经是江化的死的语言怎能再用它来创作活文学而汉字字形复杂更难为人所认识所以最后我们必 定要改方块 | ||
| > | 字为拼音才能使中国文化得以发展 以字母代替汉字简直荒谬至极那我们岂不都成洋人了诸君总而言之言而统之文言不当废道统不可 变下课文言当废白话当兴乃是历史发展之必然下 | > | 字为拼音才能使中国文化得以发展 以字母代替汉字简直荒谬至极那我们岂不都成洋人了诸君总而言之言而统之文言不当废道统不可 变下课文言当废白话当兴乃是历史发展之必然下 | ||
| > | 课 你还不做你是我的敌人恕子不足以谋二位 且慢 蔡校长 我想大学之为大也在于囊括大典恍若重家对新旧各派兼容并包有利于学术研究的发展和学生的独 立思考正如中庸所云 | > | 课 你对我来说你是我的敌人恕尊 不足以谋二位 且慢 蔡校长 我想大学之为大也在于囊括大典恍若重家对新旧各派兼容并包有利于学术研究的发展和学生的独 立思考正如中庸 | ||
| > | 万物并育而不相害道并行而不相背吗 非常荣幸呢能够在母校的百年滑蛋之际扮演我们敬爱的老校长蔡元培先生而今天呢我们北大的现 任校长陈嘉尔先生也来到了观众席上我们请陈 | > | 所云万物并育而不相害道并行而不相背吗 非常荣幸呢能够在母校的百年滑蛋之际扮演我们敬爱的老校长蔡元培先生而今天呢我们北大的现 任校长陈嘉尔先生也来到了观众席上我们 | ||
| > | 校长说几句话好不好 我觉得我们的蔡校长提出来啊学术自由 金融并包是为了引进科学民主改革进步真正的一个核心 是为了振兴中华为了我们国家的繁荣富强所以我们一定要要继 | > | 请陈校长说几句话好不好 我觉得我们的蔡校长提出来啊学术自由 金融并包是为了引进科学民主改革进步真正的一个核心 是为了振兴中华为了我们国家的繁荣富强所以我们一定要 | ||
| > | 承我们北大的这样的传统为振兴中 华做出我们北京大学北大人的应有的贡献谢谢大家 我常常被许多白发苍苍的老教授那纯净的眼神平和的微笑所打动他们淡泊名利无怨无悔地坚守 | > | 要继承我们北大的这样的传统为振兴中 华做出我们北京大学北大人的应有的贡献谢谢大家 我常常被许多白发苍苍的老教授那纯净的眼神平和的微笑所打动他们淡泊名利无怨无悔地 | ||
| > | 在 北大这个精神家园里今天在这里请允许我代表所有的同学们向您道一声老师辛苦了黎明 黎明 黎明 黎 明 一年三岸 林教授您在北大教书已经这么久了感受最深的是什么 | > | 坚守在 北大这个精神家园里今天在这里请允许我代表所有的同学们向您道一声老师辛苦了黎明 黎明 黎明 黎 明 一年三岸 林教授您在北大教书已经这么久了感受最深的是什 | ||
| > | 我觉得这几十年在北大教书感觉感受最深的就觉得是比较辛苦在北大这个一个学术空气非常浓厚 的一个学校里面你教书啊如果不辛苦啊不拿出的百倍努力啊是不行的不论是在国内国 | > | 么 我觉得这几十年在北大教书感觉感受最深的就觉得是比较辛苦在北大这个一个学术空气非常浓厚 的一个学校里面你教书啊如果不辛苦啊不拿出的百倍努力啊是不行的不论是在国 | ||
| > | 外还是在国 内各地遇到自己的过去教过的学生有的我的名字都不记得了但是他们看到我以后总是很热情很亲 切的这给我很伤心我很受感动那我觉得我几十年的这一年的辛苦还是值 | > | 内国外还是在国 内各地遇到自己的过去教过的学生有的我的名字都不记得了但是他们看到我以后总是很热情很亲 切的这给我很伤心我很受感动那我觉得我几十年的这一年的辛苦还 | ||
| > | 得的 将来不但是全国最好的学校要全世界最好的学府这是我的期望希望北京大学第一保留真正的教学 自由的精神第二要研究中国本身传统的最好的学问也要研究全世界从古以来的 | > | 是值得的 将来不但是全国最好的学校要全世界最好的学府这是我的期望希望北京大学第一保留真正的教学 自由的精神第二要研究中国本身传统的最好的学问也要研究全世界从古以 | ||
| > | 最好的学问这一点 精神北大本来有现在还要保存还要发扬下去希望北大能够形成一个文科的中心不只是全国而且全 世界的一个文科的中心这个英文是百年孝庆所以是百寿图祝母校 | > | 来的最好的学问这一点 精神北大本来有现在还要保存还要发扬下去希望北大能够形成一个文科的中心不只是全国而且全 世界的一个文科的中心这个英文是百年孝庆所以是百寿图祝 | ||
| > | 生日快乐 无声无息的你你曾经问我的那些问题如今再没人问起分给我眼抽的胸底分给我快乐的往昔你总是 猜不对我手里的硬币摇摇头说这太神秘 你来的信写得越来越科技关于爱 | > | 母校生日快乐 无声无息的你你曾经问我的那些问题如今再没人问起分给我眼抽的胸底分给我快乐的往昔你总是 猜不对我手里的硬币摇摇头说这太神秘 你来的信写得越来越科技关 | ||
| > | 情你只字不提你说你现在有很多的朋友却再也不为那些事忧愁你 问我几时能一起回去看看我们的宿舍 我们的过去你刻在墙上的字依然清晰从内事忘记 就没有 人能杂去 你说每 | > | 于爱情你只字不提你说你现在有很多的朋友却再也不为那些事忧愁你 问我几时能 | ||
| > | 当你回头看夕阳红每当你又听到晚钟从前的点点滴滴会涌起在你来不及难过的心里睡在我 伤骨的胸底睡在我寂寞的回忆你曾经问我的那些问题不仅在没人问起那些问题不仅在没人问 | ||||
| > | 起 站在我身边的这两位尊敬的学长们就是地质学系五二届的赵鹏大校友和崔盛勤校友那么赵老师我 能问一下在您学生时代给您印象很深的让您至今还难以忘怀的同窗好友是谁吗当 | ||||
| > | 然记得因为我们 那个时候每个班的学生很少弟子系是北大理学院最大的一个系也不过才六十几个人不过我想更 重要的是因为我们是在中华民族发生大转折的伟大历史时期走进北大 | ||||
| > | 校园我想最难忘的是这么两 件事情一个是迎接解放一个是开国大典这两件事情我们作为北大地质系学生都积极参加了这也 就是为什么我们这一届的同学在相聚的时候就有一种格外 | ||||
| > | 的亲切和特殊的这么一种激情我想在座 的可能也有和我们一样同一个班的校友坐在一起也有他们最难忘的时刻吧有吗 刚才赵老师讲的呢他们是在一个北大新旧社会交替的时候入学 | ||||
| > | 的那么我们作为小平同志主持恢复 高考以后的第一批大学生那么我们十分争执我们到北大学习的机会当时在北大的时候我觉得就是 那种学习的氛围非常的浓郁我们班的有同学甚至 | ||||
| > | 外号就叫拼命门会主任然后每天他们早晨踏着晨 雾去卫明湖畔读外语然后晚上宿舍都熄了灯之后他们还在路灯的下面去看书学习当时我的感触 非常的深我觉得我一定要北大好好地 | ||||
| > | 学习我们当时可以说是带着巨大的这个使命感和自豪感进入 北大学习的可以说历史给我们创造了机会我们又用自己的行动这张图表里面有一个 很重要的故事就是这张图表里面有一 | ||||
| > | 个很重要的故事就是这张图表里面有一个很重要的故事就是 这张图表里面有一个很重要的故事就是这张图表里面有一个很重要的故事就是这张图表里面有 一个很重要的故事就是这 | ||||
| > | 张图表里面有一个很重要的故事就是这张图表里面有一个很重要的故事 就是这张图表里面有一个很重要的故事就是这张图表里面有一个很重要的故事就是这张图表里面 有一个很重 | ||||
| > | 要的故事就是这张图表里面有一个很重要的故事就是这张图表里面有一个很重要的故 事排球赛全校的同学几乎全部都关注着这场电视转播我记得我们都是在一块看着电视是吧经过艰 | ||||
| > | 苦的熬战我们中国队终于胜利了冲出了亚洲同学们非常激动激动的心情可以说是无以言表于是就 在校园里狂欢游行 喊口号大家先喊是中国队万岁然后又喊中国万岁后来有个同学 | ||||
| > | 建议他说我们 换个口号喊团结起来为中华的崛起而奋斗我当时说这个口号好挺好太长了不好喊我们就喊团结起 来振兴中华吧大家说都一直同意于是就喊了起来没想到这个口号不进 | ||||
| > | 而走没过几天吧就传遍了全 中国而且一直传到了今天 好 团结起来振兴中华这是一个多么令人振奋的口号啊虽然小二十年过去了但是现在听起来呢 还是那么的熟悉今天的中国已 | ||||
| > | 经发生了很大的变化我觉得呢今天这已经不是一个简单的口号了它 应该是时代的声音民族的新生我身边这几位呢就是从海外学成归来的北大的校友们欢迎你们到来 在这里我想问你 | ||||
| > | 们同样一个问题就是你们为什么要回国我想还是离不开北京和北大这里有我的家 人有我的老师我的同仁和学生也有我的事业北大已经完全融在了我的血液里谢谢回到自己的祖国 回 | ||||
| > | 到自己的家是不需要什么理由的19年前我也跟刚才那个小师弟一样我15岁踏进了北大所以 我想是北大培育了我那么我在国外学成回到北大回到祖国是理所当然的了虽然我在德国 | ||||
| > | 待了很长 时间但我从来没想过我不回来回国对我来说是很自然的事情 我觉得这个国家需要我我也需要这个国家这么多年我走了很多地方但是我还觉得这里更像个家 国家的变化那 | ||||
| > | 么快发展那么快那么我认为如果是说自己的事业有所发展那么最好的选择就是回来 所以我回到了北大母校 因为为什么回国有一个根本的原因就是离不开这片国土对我个人来说还有 | ||||
| > | 一个很重要的原因就是 离不开自己的母校 北大好 谢谢你们看来学生回国也是有传染性的虽然我不是北大人但是今天 在这里我和你们能够欢聚一堂感到由衷地高兴我也由衷地为 | ||||
| > | 北大也为你们而感到自豪 同是北大人林毅夫先生是在台湾读完的大学1979年他回到了北京在北京大学读完三年书后又 去了美国1992年他应母校之邀又回到了北京和几位从 | ||||
| > | 海外学成归来的学友共同创建了中国经 济研究中心今天林先生也来到了现场你好 林先生那么我想问问您您回祖国最初是基于怎么样的 一个考虑呢我想是中国重新富强起来是所有 | ||||
| > | 北大学生的共同愿望那祖国的重新截取只有在改革开 放以后这一二十年才不是一個遙不可及的夢所以我覺得呢作為我們這一代的北大學生是最幸運的 因為 這一代北大學生所共同 | ||||
| > | 追求的目標有可能在我們這一代人的努力下實現因此 我珍惜這個 為祖國的文化建設 經濟建設做點事的機會 提起祖国呢我想每一个人的脑海中的概念恐怕不是一样的它有时候呢 | ||||
| > | 像一首美妙的歌曲有的时候 呢祖国像一位慈祥的母亲有的时候呢就是活生生的鲜红的五星红旗那么最近呢这个唐师曾啊写了 一本书书面上呢是他抖开他那个摄影背心啊上面有个巨 | ||||
| > | 大的五星红旗唐师曾啊说到这儿呢你 是不是对国旗有一个更多的更深的理解国旗关键时刻是救我命的所以我这儿写国旗因为中东有 的人不认识我写一个英文新华news age | ||||
| > | ncy写一个阿文一看中国新华社之类然后现在 中国老爱一般人老爱说国旗上的鲜血是用烈士鲜血染成的一说到烈士鲜血老想到士兵其实还有农 民 工人还有好多北大毕业的这些 | ||||
| > | 我觉得他们也是烈士刚烈之士 完了 最近我写了一本书那书是海湾战争以后的第二本书我写一个献给我母校北大因为如果北大 不教我我青蛙手就不会要我 就是没有北大没有祖国 | ||||
| > | 呢这个唐师曾啊也走进不了这个金字塔我走金字塔我还其实那个罗校长罗 校长去开罗做过个大吉普我这里边写大吉普忘了写罗校长了好 谢谢 谢谢谢谢在过去了的海湾 战争的时 | ||||
| > | 候呢你深入虎穴啊拍回了很多精彩的报道啊也是你有了一个特殊的经历那么听说你在海 湾地区呢遇到了很多的校友能不能给我们讲一讲那种他乡遇故人的感觉如果我能够比其他外国 | ||||
| > | 记 者或者其他同行机会更多一点是因为我在中东许多地方碰见了我的校友比如伊拉克仅举伊拉克为 例先从那边说吧伊拉克五官助理李天天法律系七九级是我师弟 这是曹鹏麟武官 | ||||
| > | 陆军少将是巴格达武官曹武官的爸爸是曹景华老先生 这是对我帮助最多的巴格达父母官中国驻巴格达大使郑达勇我听说当时在战场上很多人都往外跑 只有两个人在往里冲一个是唐 | ||||
| > | 师曾一个就是你李天天为什么呢怎么说呢有需要是军人的职责要我 往前去好 谢谢您我听说在巴格达的时候有一段非常好听的关于国旗的故事能不能给我们讲一讲 好当时在海湾战 | ||||
| > | 争时期当时是比较危急的我们使馆需要保护的我们就在使馆最上层的一个房顶上 画了一面非常大的国旗朝向蓝天这也就是说我们在这一面红旗下来紧张地工作那面国旗有多大的 尺 | ||||
| > | 寸呢有五六十准确地说不上大概有五六十左右的平方米的那么一个大国旗那就空中的战机可以 清楚地看到它了 在科威特工作的劳务人员当时除了我国的劳务公司的劳务人员之外还 | ||||
| > | 有130多个台湾中华工程 公司的劳务人员他们在撤离的时候先找了台湾的代表台湾的代表说我置身难保你们自求平安吧结 果他们又找了美国的使馆又找了英国的使馆都被拘置门 | ||||
| > | 外在没有办法的情况下找到我们的使馆而 我们呢替他们办妥了一切手续然后送给他们一面五星红旗他们就打着这面五星红旗最后平安地返 回了家园他们的感慨感慨地说还是大陆同 | ||||
| > | 胞亲呢 爱临鸟 从南天飞过 爱到 Landesregierung 我爱 你 我愛你中國我愛你中國 我愛你春天蓬勃的陽亮我愛你秋日季篁的收光我爱你青松旗帜我爱你红 | ||||
| > | 美铭河我爱你家乡的天真 梦想如居自然着火你是我我爱你中国我爱你中国 我要把最美的歌献给你我的母亲我的祖国啊啊 啊 啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊 | ||||
| > | 啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊 啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊 啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊 | ||||
| > | 啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊 啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊 啊啊啊啊啊啊啊啊啊啊啊 | ||||
| > | 啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊 啊啊啊啊啊啊啊啊啊啊 你留學回來開始不就是在北大當教授對不對對不對一直到八十年代你不是還給北大帶 | ||||
| > | 學生嗎 是不是你前幾年還把你的著作不送到北京大學圖書館了嗎你跟北京大學有七十多年的交情了 是不是對不對对不对?那么你对北京大学有什么希望?我希望北京大学的教授不 | ||||
| > | 要借挂第二,教 授实际要有制造要写东西一下要给小生帮忙写这种东西怎么给观众朋友这里是中央电视台北京大 学建校一百周年校友联谊会欢迎继续收看今天在座的都是北京大学 | ||||
| > | 的校友你看有同学有同宿舍的 还有师生那我想这其中肯定还有夫妻肯定有这样的夫妇有请卢晓菲 朱晓明夫妇有请 那今天都是给他的校友你们两个人能不能给大家讲一讲你们当时 | ||||
| > | 的这个恋爱经过大家好 我们俩在大学二年级的时候就比较好不过那个时候 并没有向老师和同学们公开我们俩的关系大学毕业的时候正赶上西藏要求见一批大学生我们俩就 报了名 | ||||
| > | 在那安了家谈到结婚那也和进藏有关系我们是在毕业之后进藏之前结了婚因为考虑到要去 西藏如果不结婚呢到那儿就不太方便这样我们就在进藏之前结了婚但是这个情况并没有告诉 | ||||
| > | 西藏 所以接受单位呢有点措手不及人家以为呢接受了一个大学生没想到来了一对还得临时安排住房 我在西藏待了11年他在西藏待了13年我们给女儿起了一个藏族名字叫朱玛她 | ||||
| > | 在拉萨小学读了 一个学期我们的女儿现在也在北大就读 北大从50年代开始就有一批又一批的北大校友义无反顾地走上了支援西藏建设西藏的道路在 不同的年代不同的岗位上为 | ||||
| > | 建设西藏发展西藏做出了自己的贡献把自己最宝贵的青春年华献给了 青藏高原现在我们来认识一下他们有请我来向大家介绍一下他们前面的三位是60年代的北大毕 业生这位是最 | ||||
| > | 高人民法院的副院长李国光他在西藏生活和工作了24年这位是中国西藏杂志的主 编廖东凡他在西藏也生活和工作了24年这位是中国文联的刘诗意同志他在西藏工作了7年17 | ||||
| > | 年少说了10年这位是北京市文物局的张文生他在西藏工作了6年 这位是团中央书记处的书记胡春华你在西藏工作了15年收到了一份新华通讯社社长郭超仁先生 发来的贺电贺电 | ||||
| > | 是这样的在北京大学一百周年校庆之际作为北京大学五十年代后期的毕业生我感 谢母校对我的培养和教育我衷心祝愿母校以崭新的风采迈向21世纪在未来的岁月里取得更大的 辉 | ||||
| > | 煌 还有90年代毕业的校友他们从遥远的拉萨带来了向母校和校友们的问候 用一个词来描述信息时代里所发生的变化的话那么不可思议也许是最恰当的中华听众朋友欢迎收 听城 | ||||
| > | 市广讲我是主持人李威大家好 我是李威这是我的妻子孙德基北大的老师和同志们你好那么 今天非常高兴能有这样一个机会在美丽的圣城拉萨和我们的亲老小友们我们一起度过我们 | ||||
| > | 每一个 北大人一生难忘的日子我们百年孝庆那么从我们走出北大到走上社会吧可以说现在特别是在西藏 这一个特殊地区可以说我们经历的也有不少森林古老的东西全部之类都有但 | ||||
| > | 是无论如何请勿相 放心我们每一位在西藏的北大同学我们没有丢北大的脸我们一直在努力他们只能先看一个常数那 就是 这是母校百年华战之际不能亲自到宴宴感受节日的气氛实 | ||||
| > | 在是平生一大憾事感谢中央电视台给了 我这样一个机会我再次请向曾经教育过我的各位市长表示衷心的感谢祝大家身体健康扎西德勒 是谁带来远古的火花是谁留下千年的祈赞难道 | ||||
| > | 说还有梦魇的梦还是那叫做不能当怀的天 我看见一座座山一座座山川一座座山川 走进北大西校门向南拐在一池和风绿树掩映的池塘南岸有一处叫韶源的地方那就是我们北大的留 | ||||
| > | 学生楼许多年来北大作为享誉世界的名牌大学不仅为中国培养了大批的优秀人才而且也吸引了来 自世界各地的留学生们今天我们的北大校友波兰大使齐焕武先生也带来了对母校的问 | ||||
| > | 号从北大 开始就是我的住在生活的开始住在中国生活的开始我在中国已经过了23年我对所有的我可以理 解我对所有的北大的感情是非常深的我来自新加坡我来自加拿大韩国和澳 | ||||
| > | 大利亚去找纪念哟你有 黑眼睛我有黄头发安妮琳达阿曼诺夏克鲁奇哟我进了北大我又有一个家哦 忘了义父 我学会 中国王哦 进了少年 我共有一个家哦 改了名字 我学会中 | ||||
| > | 国王我叫大山 我叫大洋我叫大山 洋我叫大中 我叫大华我叫大中华我背单词 我背孙子 哥哥又爸爸我唱演唱 我唱京剧 咿咿 又呀呀我穿长袍 我穿马褂 鸡了又他啦我弹琵 | ||||
| > | 琶 我吹唢呐 狐狸又哇啦我来自新加坡 我来 自加拿大韩国和澳大利亚直到极黑呀你有黑眼睛我有黄头发安妮琳达阿曼诺塞巴鲁基亚进了北大 我又有一个家玩了音符我学会做娃 | ||||
| > | 娃进了校园我们共有一个家哦 开了名字我学会中国话小胡同 里找对眼四合院里看年华大样的牛的眼发花带起整脸的嘴发麻尝了麦串糖葫芦喝了喝口大碗茶带 香味醇薄焦子拿起筷 | ||||
| > | 子吃烤鸭南疆北调说老家阴阳怪气喊大妈分手来去面见见面问声吃了吗少原 上 少原岛一滴水滋润着天下的花上元上 上元到天下的泉水 照管着他进了北京 我又有一个 家混了 | ||||
| > | 一度 我学会中国话我进了校园 我能有一个家我改了名字 我学会怎么忘 前两天在北大的时候呢有一位许多年前在北大读过书的校友告诉我这样一件事曾经有一个很长一 段时间 | ||||
| > | 他在每天清晨都可以看到朱光潜先生在卫明湖畔跑步当时朱先生已经过了冒跌之年了而且 身体非常的瘦小最让这位校友终身难忘的是朱先生跑步的姿势由于非常的年迈了朱先生与其 | ||||
| > | 说是 在跑步还不如说是在一步一步地挪动他的身体总是在向往前探着双手张开两只眼睛炯炯有神地望 着前方由此我们想到北大的精神对北大人来说北大的精神不仅是一种响亮的口 | ||||
| > | 号或是一种深邃的 思想也是一种平时的人生和豁达的气质也是同学间永远好学的精神是老教授脸上那智慧的笑容也 正向朱光潜先生努力向前的身影我想那一切才是我们北京大学有 | ||||
| > | 血有肉的精神家园 一世人间 现真相熟悉而我心不变 终何寻 一世长年 两万千年中文字幕志愿 者 李宗盛 洪楼飞雪一世迎接先知曾书写爱过尽不命中可选一世长平一世草原 | ||||
| > | 兩端間諜黃鴿從今為世世山下 大海百年歸我們來自江南帥隊一家人相見我們朝向山上見到 中文字幕志愿者 杨 栋梁 中文字幕志愿者 李宗盛 这所我国历史上最早诞生的大学 | ||||
| > | 开创了我国教育史上的诸多底一北京大学创办于1898年最早 叫京师大学堂1902年10月14号京师大学堂举行了建校以来的第一次招生考试当时的考试 科目有史论 地理 | ||||
| > | 政治 教设算学 理化 国文 共七门考生成绩评定采用百分之每科60分 为及格这也是中国高等院校规定以60分为及格计算学生成绩的开始1904年 京师大学堂选 出4 | ||||
| > | 7名学生出国留学其中31人到日本 16人到欧洲这是京师大学堂派出的第一批留学生 1905年4月24号京师大学堂举行了第一届运动会这也是中国近代高等学校举行的第一 | ||||
| > | 次运 动会1907年京师大学堂试学馆和师范馆招收的第一批学生毕业3月13号在大学堂举行了隆 重的毕业典礼这也是我国教育史上第一次举行学生毕业典礼1920年2月王 | ||||
| > | 岚 西真 扎小元 三位女青年经校长蔡元培同意进入北京大学成为旁听生7月正式招收包括三名女青年在内的九名 本科女生这是中国高等院校最早的男女生同校以后中国各高等院 | ||||
| > | 校也开始男女生同校这是中央台 报道的日前香港青年社团联盟组织400名香港论坛在北京中国大饭店降下了帷幕来自世界著名 学府的100多位校长们我们在会上探讨了21世 | ||||
| > | 纪人类高等教育的发展趋势首先请看我们的记 者发自大会现场的报道世界著名大学校长论坛5月2日至3日在中国大饭店举行本次论坛的召开 得到了国内外高等教育界的热烈反应 | ||||
| > | 出席会议的是一批与北京大学有着广泛合作关系的世界著名 学府的校长来自包括英国牛津大学 美国斯坦福 伯克利 日本东京大学等60余所大学此外 20多所国内的著名大学 | ||||
| > | 校长以及一些高等教育问题专家也参加了会议5月2日上午论坛举行了 隆重的开幕式国务院副总理李燃清到会并发表了热情洋溢的讲话 对各位的光临表示欢迎 并且预着这次论坛 | ||||
| > | 会议取得圆满成功李兰清副总理在讲话中肯定了北京大学为开拓知识的疆域促 进中国学术与社会的进步做出的重要贡献他还指出高等教育的发展核心是学术和人才此后他又重 申了 | ||||
| > | 中国政府在教育问题上的观点 中国的高等教育在2014期一定会在中国的发展中发挥应有的很更大的作用开幕之后在会议短 暂的休息时间里记者发现此次会议的确已成为世界高 | ||||
| > | 等教育界的交流中心各大学似乎都希望通过 这次机会阐述自己在教育问题上的见解了解其他学校的动向并寻求合作的机遇称之为教育界盛会 毫不过分此外各媒体对会议反应之热烈 | ||||
| > | 使主办单位严格控制了记者人数但在休息时间的每一分钟 里各校长都成为了追踪的目标此次会议的通用语言为英语并且完全没有任何翻译这使得这次会议 并不再有浓厚的庆典色彩 | ||||
| > | 而更合乎国际学术会议的标准此次大会共同探讨了21世纪人类高等教 育发展的趋势共分为四个主要的议题二十一世纪大学的地位和作用二十一世纪的教学战略二十一 世纪大学与 | ||||
| > | 社会的联系二十一世纪大学的管理与财政事务北京大学校长 牛津大学校长斯坦福大 学校长俄国圣彼得堡大学校长等在大会上宣读了论文在一九九七年的牛津大学曾经发生过这样一 | ||||
| > | 件事情一位沙特阿拉伯的富翁为牛津大学捐助了3400万美金却意外地被牛津大学拒绝了这 件事情在世界教育界引起了非常大的争论支持牛津大学这一方的人认为牛津大学保持 | ||||
| > | 了学术上的 独立性学校的主要目的是为社会服务而不是挣钱而反对一方的意见认为牛津大学放弃的不仅仅是 3400万美金更重要的是他们放弃了一个超过剑桥成为英国第一的机 | ||||
| > | 会今天在世界大学校长的 论坛上学校的资金与管理问题再次成为讨论的焦点我首先觉得牛津大学有一点是对的因为学校是 为社会服务的而不是挣钱的他们坚持这条原则是对的但是 | ||||
| > | 如果是在这个原则下面如果能够确保 我們教育跟學術研究的自主性那麼多渠道的來籌措學校辦學的資源是可以理解的也是可以採取的 我知道像美國的哈佛大學它有兩百人的隊伍為 | ||||
| > | 學校籌措資金斯坦福大學也是如此所以我覺得特別 在我們國家雖然國家對北京大學這樣的大學給了可以說是重點的支柱 支持但是離開我們的需要 是遠遠不過的特別是要辦成一流 | ||||
| > | 的大學這是很花錢的教育是很花錢的事那麼在您的任期之內北大 資源集團是建立起來了而且北大方程的銷售額也在突破猛進而且據消息說您說北大這次辦校慶也 得到了社會各方面 | ||||
| > | 財力物力的支持那麼您是不是北大歷史上最能掙錢的一位校長當然北大自己的 財力當時的勢力正在增長但是我相信隨著國家的富強國力的增強我的將來未來的繼承者會比我更 有辦 | ||||
| > | 法更有實力您的意思是您是空前了但是沒有絕後这个话怎么讲因为我们的经济确实是发展得 很快现在要跟十年前比那增加得多了您的大学里是否也面临财政问题呢是的 非常多的问 | ||||
| > | 题现在 世界上没有一个大学不面临财政问题一方面我们尽力说服我们自己我们需要更多的钱我们总是 需要更多的钱来支持我们的学生这当然也是事实在所有国家里更多的钱来自私 | ||||
| > | 人所以我们既吸收 来自政府的钱也吸收个人捐助的资金看起来许多的研究机构需要钱当然我也希望高等教育变得更 强大一些 我希望的金錢是高級教育的是從政府那裡來的還是從 | ||||
| > | 私人那裡來的錢更多一些呢從斯坦福大學的 情況來看是從私人那裡來的更多一些從政府來的錢對於我們來說只是夠做研究用的這大約是40 %左右其余的钱就来自私人的捐助 我 | ||||
| > | 们也拒绝了不少的募款的赚款因为他们要影响我们的独立住宿权我们宁愿不要这个钱但是要保 持我们自己的学校的独立的性格这个我想在美国也很普通的但是有许多事情并不是那么 | ||||
| > | 所谓黑板 分明有很多这个很细节所以要非常之小心维持一方面一定要在财政方面要开源但另外一方面要维 持一个学校固有的这个独立的性格所以很多新的问题产生那么您觉得学校 | ||||
| > | 开源最好的办法是什么 我想开源不外乎好几个一个是跟社会要结洽得很好比如说在美国的话或者西方国家有过人的赚款 是一个很大宗的然后公司行号跟学校的合作的赚款然后还有 | ||||
| > | 政府各个不同的机构但最主要的还 是我今天讲的不是钱的问题而是要把学校的它的作用 它的想法 它的前瞻性把它跟校外的人能 够沟通这样的话自然而然比如我有许多时候去不 | ||||
| > | 是为了赚钱但是跟很多富有的公司行号或者过人 谈到我们学校的发展情况他们都是慷慨截然几百万美金就给的我想所以最主要的问题还是一个理 念的问题我们最主要的就是一方面 | ||||
| > | 要去开拓裁员就是多做点产业学合作当然我们也希望社会各界 能够多给我们点资助因为我们是企业办的大学所以我们很有这个企业的精神那您觉得大学作为 一个企业的话它社会服 | ||||
| > | 务或者赚钱哪一个更重要呢其实我想当然是最主要是社会服务不过社会服 务的话也需要有资源所以这两个其实相辅相成那您所说的大学的资源您觉得最重要的是什么呢最 重要当然 | ||||
| > | 是人力资源我们需要有最好的教授最好的职业统人还有最好的学生有消息说北京大学将 在近日合并北京医科大学和北京航空大学这意味着这所综合大学的实力将变得更为强劲而在论 | ||||
| > | 坛 上另一个重要的议题就是大学的定位问题许多专家认为不是所有的大学应该办得大而全更重要 的是办成一流的大学那么假如你说是不是将来会变成一个大而全的缺少了一些比如 | ||||
| > | 说法律啊医学 这些是不是将来不会是非常非常全面的那答案是会的但是我们虽然不搞医学院不搞法律学院不搞 建筑学院但是我们在我们的边缘都是跟一些专攻这些方向的研究型大 | ||||
| > | 学是合作非常紧密比如说 我们跟北大就会合作非常紧密那么我们就不需要在某些方面跟北大竞争了而是互补了您是否认为 校际间的合作在新的世纪里会显得非常重要呢 非常重要 | ||||
| > | 比如从1996年我们就开始了和北京大学的合作我们和当时的校长陈嘉尔签订了合作 的协议 您认为和北大的合作是否成功呢是的我们有一个非常好的开端我们的合作几乎没有什 | ||||
| > | 么困难我们 可以利用现代通讯技术相互交换科学研究方面的信息 您觉得研究工作和教学工作哪个对于大学来说更重要一些呢我觉得你很难把这两者分割开来像宾 夕法尼亚州州里 | ||||
| > | 大学或者北京大学我们都在培养非常好的学生我们就需要有很好很新的知识而这 只能建立在现代化的科学研究的基础之上 有人说英特网有一天会取代大学教育您对此持什么看法呢 | ||||
| > | 我想英特奈特可以做一部分的事情但不能取代大学做的任何事情我想Internet的主要作 用就是传播和交换信息但是大学做了更多的工作不仅仅是传播和交换信息大学创造 | ||||
| > | 了知识 更新 了知识 今天在各大学校长演讲中最频繁出现的一个词语就是Challenge 挑战许多报告中指出 如果高等教育不顺应时代的发展进行某种变革或者调整的话 | ||||
| > | 那么高等教育将面临的不仅仅是挑战 而是问题与威胁许多与会者认为这次大会的成功举办将对中国乃至世界21世纪高等教育的发展 带来深远的影响中国报道记者张全林在会议现 | ||||
| > | 场报道观众朋友上百名著名学府的校长们会集北京 引起了国内外传媒乃至中国政府世界教育界的高度重视此次活动的规模之大北大层次之高在中国 教育史上上书首次4月29日国 | ||||
| > | 家主席江泽民在北大逗游长达近三个小时用他自己的话来说他是 去为北大校庆增添气氛的明天他还将出席在人民大会堂举行的北大百年校庆的庆典并发布重要的 讲话这一切使得北 | ||||
| > | 大的校庆不再是北大或者是教育界的一件盛事而成为中国科教新国战略的一种 表白好 今天的节目就到这里结束了欢迎明天继续收看我们对北大消情的报道 4月10号刚刚组建的 | ||||
| > | 新一届中国男兰来到山海关某部队开始了为期十天的军训生活14名队员 被分成两个班有两名部队教官担任班长负责训练工作新兵武营头一课是对联训练 为什么我们要反复地练不 | ||||
| > | 断地练就是为了从对联训练中培养我们一种严肃尽力勇敢万象的作风良 好的追星姿态和气质希望大家理解对联训练的目的这样思想认识好了我们对联训练才能达到效果 不要快这些 | ||||
| > | 人高马大的队员穿的是定做的特大好迷彩服但是脚上的鞋却无法统一装备任人一眼就 看出这不是正规军一二三四一二一一一 开开开开 看到国手打军体拳时笨手笨脚的样子也许会 | ||||
| > | 怀疑他们在球场上是怎么做出那些令人眼花缭乱的高 难动作的 上午的训练内容完成之后班长要对大家的表现做一番小节加强纪律性革命无不胜唱歌也是加强纪 律性的一种有效的 | ||||
| > | 方式 我们唱一首这段讲演唱的音乐郭定英的连队预备唱郭定英的连队郭定英的兵郭定英的思想红彤彤 郭定英的子弹张着眼郭定英的刺刀血染红冲击像狂风剑手向铁掌撑国民的年轻 | ||||
| > | 英雄多国民的战士 洋洋红今天上午的训练就到这个地方加油 来到军营后中国南岚的队员们先后学会了十首部队革命歌曲 部队的歌曲呢我教了一部分二班长也教了一部分我们互相 | ||||
| > | 的我们轮流地教他们对经过的时候比较 感兴趣第一天兴趣挺高但是实际教的时候特别激动一唱起来呢就感动就唱不出来了声音比较小 没有气我是一个兵坐我是一个兵凡是参加过军 | ||||
| > | 训的人都会对开饭前的歌音比赛记忆深刻唱得越响 开饭就越早因此这时候的歌声往往是一天中最嘹亮的 中国男男在居英里享受的唯一特殊待遇是在饭桌上每人每天15元的伙食标 | ||||
| > | 准是他们在部队招待 所吃的颇为丰盛但是与平时训练局运动员造相比油水显然不够在吃过军营的第一顿饭之后队员们 就把小麦布仅有的两箱而且还是过期的蜂蜜面全都买走了 军 | ||||
| > | 营里的业余生活是单调的14个人同住的一间大屋子里打发时间的方式却只有两种看电视和玩 游戏机 来军营已经整整五天了大伙都盼望着有机会能够走出去呼吸一下军营外的空气 | ||||
| > | 30公里拉链对中国南岚的小伙子们来说是一次严峻的考验平时在球场上连续跑两三个小时同家 常便饭但是现在让他们走上一天大伙普遍感到体力透支 感觉怎么样啊弟感觉总的 | ||||
| > | 来说还行为什么要总的来说还行当然走了十多公里肯定还是比较疲劳 但是这种走法还是第一次觉得比较新鲜也是考验一下自己像这种困难挑战一下 尽管每个人都疲惫不堪但是只能 | ||||
| > | 咬牙坚持阿迪江的右脚摸出了血泡 枪对男人来说总是拥有不可抗拒的诱惑力没有摸过枪的战士更算不上是一名真正的军人有弹架卡 绳这个东西叫弹架卡绳它往前面勾住然后下放往 | ||||
| > | 后一带下来卸的时候有点分解的时候利用这个右 手的肉后部分顶住这个卡绳然后向前一推它就掉了 别看这些队员估计都是国内篮坛响当当的人物可以拿起枪来简直就像一群顽皮的 | ||||
| > | 孩子 实弹射击这一天也许是队员们在整个军训期间最快乐最投入的时刻了没有过枪营等于白来军营一 趟可像姚明这么个打法简直是在浪费子弹 哪个是我打的三个八两个八一个两 | ||||
| > | 个八一个这儿打坏的吧没有看指导怎么样打完的打完的他要几 环啊二号九环三号零环四号七十七环六号零环作为体育项目来讲呢它是这个要求能够达到一个极 限在极限当中你去努 | ||||
| > | 力去完成这个项目那在这个军训当中就不一样了所以考验一个人的精神一个 人的这个意志没有一致品质做基础你也成不了一个优秀运动员所以跟这个部队的这个要求是符合 的那以 | ||||
| > | 后还想军训吗想期待下一次军训是不是对 请别着装惊我 北大是一部书北大是一幅历史的长卷北大是一首文明的史诗1898年在戊戌变法的血与火中中 成立的北京大学标志着中 | ||||
| > | 国现代高等教育的开端是中国新文化运动的中心是五四运动的发祥地是 传播民主科学思想和马克思主义的最初基地北大是一部书这本书浓缩了中华民族百年的求索百 年的抗争百年 | ||||
| > | 的奋进今日北大继承悠久传统融会时代精神星光灿烂只是瞩目 這是一塊神奇的土地多少人魂牽夢繞多少人意望作為中國最高學府的北京大學現在位於北京西郊 的海淀區這裡曾是清 | ||||
| > | 代的皇家園林历史的人文景观与今日的人才汇翠凝聚成永恒的精神魅力鲁迅 先生概括北大的校格的时候说北大是常为心的今日的北京大学经过不断创新与发展逐渐确立了它 在中国 | ||||
| > | 教育界和学术界的崇高地位并且以一流的教学质量杰出的学术成就和深沉的文化底蕴飞升 中外科学 民主 爱国 进步一种光荣而博大的传统在这里生根发芽勤奋 严谨 求实 创 | ||||
| > | 新一 种开放而鲜活的氛围在这里绵延不绝 北京大学拥有着全国最强的师资力量作为吸引人才的家园和培养人才的摇篮这里名师云集 群星 璀璨形成了北京大学一种特有的风博深 | ||||
| > | 邃的智学品格和学术精神在目前的三千多名教师和科研人 员中有教授866人副教授801人中国科学院院士中国工程院院士29人博士生导师530人 教授和博士生导师人数均 | ||||
| > | 居全国高校首位成为全国高等院校中学科水平顶尖教育质量优秀国家重 点学科最多中国科学院院士居冠国际联系最为广泛的一所大学 许多国际著名的政治家社会活动家诺贝尔奖获 | ||||
| > | 得者等各界知名人士都是今日北大的名誉博士或者 名誉教授在北大百年辉煌的记录中一代又一代学问风波人品崇高的老师培养了一代又一代好学深 思全面发展的学子白发的先生和 | ||||
| > | 黑发的学子共同创造出了一项又一项高水平的科研成果百年来北 大培养出十几万学子其中许多人都成为卓有建树的专家学者领导干部这些优秀的人才为祖国的发 展与进步居功尽瘁 | ||||
| > | 呕心沥血在北大学习或者工作过的师生当中成为中国科学院和中国工程院院 士的就有近四百人从中国科学院学部委员到国务院学位委员会委员以及学科评议组成员包括国家 级有 | ||||
| > | 突出贡献的中青年专家和许多合作教授与兼职教授使今日北大成为一座比大海还宽广比天空 还深邃的思想宝库 今日北大即人文科学社会科学自然科学工程技术科学管理科学教育科 | ||||
| > | 学等多种学科为一身目前 已经拥有8个学院另外还有22个系87个本科生专业148个硕士生专业101个博士生专业 总计学生23900多人今日北大秉承蔡元培校长兼容并 | ||||
| > | 包思想自由的办学原则吸纳各科学领域 的发展成绩为一流人才的成长提供了广阔的空间今日北大既真实传统又放眼未来面对瞬息万变的 现代社会今日北大积极推进教学改革对现在 | ||||
| > | 开设的一千九百多门本科生课程和一千九百多门研究 生课程总计3800多门课程进行了梳理规范与合并并且有步骤地重点扶持一批机干课程 素质 课程和精品课程以淡化专业分 | ||||
| > | 流培养为方针努力探索人才培养模式和途径本科生可以同时攻读主 修和辅修两个专业开办文科和理科综合试验班对优秀学生实施通才教育等等都是今日北大教育教 学改革的重要尝 | ||||
| > | 试特别是邓小平理论课的开设受到学生们的好评今日北大正在逐步建立一个面向 21世纪的学科体系将展示出一个全新的教育格局 欲穷千里目更上一层楼穷心壮志的北大人准备再 | ||||
| > | 创下个世纪的辉煌 从教学规模到教学环境今日北大都呈现出一种日新月异的态势一种朝气蓬勃的景象良好的教学设 施和先进的仪器设备作为现代化的教学条件成为今日北大教学环 | ||||
| > | 境又一个最显著的方面北京大学 211工程首批建设36个项目其中学科建设21项基础教学建设13项从数学科学中心实验室 到现代化工实验室从多媒体制作实验室到文科计算 | ||||
| > | 机教学实验室和理科危机实验室从电教语言教 室到视觉与听觉实验室从物理到化学从地理摇杆信息到环境污染与控制从生命科学与生物工程到 核物理与核技术突出优势与重点学科 | ||||
| > | 优化与合理配置资源充分体现出国家把北京大学列为重中之 重 优先支持的宏伟构想通过这良好的教学环境和先进的教学条件可以看出国家创建世界一流大 学实施科教新国的战略 | ||||
| > | 眼光从一定的意义上说它也代表了当前中国教育环境和教育条件的最高水 准 漫步渊源新与旧中国与西方历史与未来自然与人文奇迹般的水乳交融交融成一首悠扬的乐章交融 成一 | ||||
| > | 幅绚丽的画卷交融成一篇婉转的诗歌美国友人艾德加斯诺说过这是世界上最美的校园小小的 卫明湖被北大师生当作海洋绕湖一周飞檐抖角尽入眼底小桥流水目不暇击燕园风景是所有 | ||||
| > | 北大人 心灵深处永不褪色的一张老照片北大刚一成立的时候呢它就是就取代以前的进士制度就取代以前 的科举制度所以那时候有人就管北大叫做近视官我原来是燕京大学但是我的 | ||||
| > | 老师之一引导我走上 现在道路的是北京大学毕业的北大是我一生理想的所在从很小的时候就希望能够长大以后到北大 读书我觉得这样一所学校确实是一个学习的理想之地北大的一 | ||||
| > | 个卫面湖的灵气确实应用了一代的 学者和培养了一代的学子当时北大的传统就是说是最好的老师教基础课是我一年级三门主课就是 当时的一级教授江振寒先生到北大以后看到北大 | ||||
| > | 许多有名的教授他们学诗声音深渊他们博学多才 他们的求学的精神给我也很大的影响不大的尊光你去识别虽然简单但是不大的教师教科都是非常 认真的可以说是北京大学把我推向 | ||||
| > | 了世界舞台的因为我现在从事的是国际关系的教学和研究我们 这一百多年里头我们文史这各个系产生了一大批著名的学者或者是我们今天讲的大师吧我这一生 啊在北大我是四六年 | ||||
| > | 来的到现在是五十二年超过半个世纪他们的工作手法他们的教育那个逆境的 态度他们对这个科研逆境的这种政气啊那种刻苦择念啊那种中文啊这个不大的校风非常好北京大 学的学 | ||||
| > | 术气氛很浓而且不仅仅是浓北京大学的学术气氛是很自由虽然我是毕业在吉林大学但北大 待了43年自己感觉也是北大人是这块土地上很多上热情的手帮着我迈出了成长过程中非常 | ||||
| > | 关键 的一步我去这深深地感觉到北京大学作为一所百年的老校确实有着它非常深厚的文化和科学的底 蕴当然北大也有压力这压力就来自于它是一个地中的很优秀的学者在这所以每 | ||||
| > | 天都不敢放松自己 总觉得每天都觉得一种压力我毕业的那一年正是北京大学庆祝50周年我毕业了就留校工作到 现在呢就要庆祝一百周年了北大所学习成长战斗几乎可以这么说一 | ||||
| > | 生将会成长 有乐家深的了解也会有乐家深的感情唯一的一个愿望就是怎么样北京大学扮成世界一路的一所社 会主义大学能够为实现中国科教新国的战略能够做出更大的贡献北大百 | ||||
| > | 年孝兴之际一座雄伟古朴 的现代化多功能新图书馆又拔地而起迁就图书馆浑然一体新文化运动的倡导者胡适说过大学之大 一个重要标准是必须 我可以想出我可以想出我可以想出 | ||||
| > | 我可以想出我可以想出我可以想出我可以想出我可以想出我 可以想出我可以想出我可以想出我可以想出我可以想出我可以想出 请不吝点赞 订阅 转发 打赏 支持明镜与点点栏 | ||||
| > | 目在这座图书馆里年轻的学子们与不同时空的大师们精神沟通 心灵撞击中华 文明的精华 世界文明的精华如百川归大海在这里汹涌澎湃 北京大学的地质博物馆又是一个一彩分成 | ||||
| > | 的世界采自全国各个省市自治区的岩石以及世界一些地 区的标本仿佛都在献身说法叙述着宇宙的形成和地球科学的发展几十年的辛勤积累两千多件展品 的丰厚管存使这里成为地质 | ||||
| > | 教学与科研的重要设施而且也成为国际学术交流的重要场所几代北大 学者风里来雨里去的身影在这里定格几代帝制人的汗水在这里结晶 帝制博物馆珍藏了自然界的鬼斧神工考古与 | ||||
| > | 艺术博物馆都展示了中国艺术的博大精深北京大学赛 克勒考古与艺术博物馆的藏品主要是中国旧石器时代至明清时期的历代文物以及中国考古学教学 和研究标本它是全国高校中最 | ||||
| > | 大的考古及文物馆具有良好的教学条件和优越的学术环境博物馆与 西欧 俄罗斯 日本 韩国 印度等多次进行国际交流与世界考古教学和考古科研接轨 祖风流人物 环探今朝今 | ||||
| > | 日北大有着自己新一代生机勃勃的学子除了书山有路 琴为镜学海无涯 苦作周的求学生活北大学生还拥有丰富多彩的课余生活北大校园的社团活动充满了盎然生机和青 春的活力精 | ||||
| > | 彩分成的学术讲座充满智慧的演讲比赛百花齐放的文化节竞争激烈的体育竞技形成了 独特的校园文化现有的八十个学生社团无论在数量上还是在质量上都走在了高校前列校园文化的 | ||||
| > | 活跃发展不仅使学生从中获取了知识和技能而且在这个第二课堂中陶冶了勤操 磨练了意志 增 长了才干同时也体现了北大多学科环境给学生带来的积极影响鲜明的个性 特殊的 | ||||
| > | 才华在北大都 能得到淋漓尽致的发挥 今日北大是开放的北大北大的留学生数量居全国高校之首来自五大洲四大洋的洋学生们无论是金 发碧眼的还是黑皮肤卷头发的全都深爱上了 | ||||
| > | 这座校园留学生当中既有本科生又有进修生既有硕士 生又有博士生和研究学者从文科专业扩展到理科专业对于促进中外文化交流相互了解有着重要的 意义从文史哲到数理化甚至一 | ||||
| > | 道包饺子都在外国留学生的学习课程中体现了今日北大的特色 今日北大的另一优势就是重点实验室的建设水平和整体规模目前全校总共拥有各类实验室116 个这其中国家重点实 | ||||
| > | 验室和重点学科专业实验室共16个列有国家级工程研究中心两个这使今日 北大不仅成为中国重要的教育中心同时也使它成为中国重要的科学研究基地坚持理论与实践相结 合坚持 | ||||
| > | 为经济建设中心服务在继续保持基础学科传统优势的同时着重发展应用研究特别是高科技 研究方面科研成果层出不穷许多方面都已经达到甚至超过国际先进水平 今日北大在文理科 | ||||
| > | 研究方面都做出了重大贡献一本接一本的学术专注功课难关 填补空白从国家 科技进步奖到世界各种国际奖不仅写入了今日北大的史册也载入了人类科学与文明的史册 科技是第一 | ||||
| > | 生产力科研成果转换成生产力在北大已经蔚然成分今日北大在校办高科技产业方面 已经形成了以学校雄厚的基础研究和硬研究为源头的产学研相结合的高科技产业格局不仅为北大 | ||||
| > | 做出了重要贡献也为中国高科技产业的振兴走出了一条成功之路 与国际著名大学建立学术交流关系把高水平的外籍专家学者请进来有效地促进教学科研和学科的 发展这是今日北大 | ||||
| > | 又一种开放式风范今从1996年到1997年北大就聘请来自19个国家和 地区的外国专家299人1997年北大主办协办的国际会议就达17次初期会议的境外学者6 34 | ||||
| > | 人在国内外引起了广泛影响 今日北大是一所开放型的大学它隶俗中国放眼世界扎根历史 眺望未来北大已经与遍布全球的 140多所著名大学建立了校级关系进行了卓有成效的教 | ||||
| > | 学与科研的合作互相促进 互相补充 互相学习双方都取得了长足的进步北大走向世界 世界关注北大北大是一部书从昨天翻到今天还 将从今天翻到明天每一页都记录下了北大人的 | ||||
| > | 光荣每一页都记录下了北大人的骄傲每一行字里都 隐藏着动人的故事每一行字里都蕴含着美好的理想 北大属于中国北大属于世界古老而年轻的北京大学在它未来漫长的岁月里必将 | ||||
| > | 为人类的文明做出 更加辉煌的共存 北京大学北京大学是中国人最优秀的大学我们的大学是中国人最优秀的大学北京大学是中国人最 优秀的大学我们的大学是中国人最优秀的大学 | ||||
| > | 我们在北京大学不仅想向北京优秀但也想要提供 我们期待北京和麦吉尔在下来的年代进行更严谨的合作北京大学在这一年纪念100周年在它们 的分别历史上北京大学也是一个独 | ||||
| > | 立的在中国的社会和政治进步中是一个非常重要的动力在中国 的社会和政治进步中北京大学成为了中国最高学府的中心学位在今年創立110年它是一个非常 重要的成果这是北京 | ||||
| > | 大学的优秀在这一年来它成为了高中的目标 北京大学有深厚的中华文化传统办学一百年使固有的文化发扬光大它是一个地方在哪里有传统的 中华文化和现代的中国是更加密切的在 | ||||
| > | 这一百年您的学校在世界上受到最高的关注是世界各地的 教育者和其他领导人所提供的对于北京大学的100周年庆祝我们非常重要地将这次的机会展示 在我们两个大学之间以继 | ||||
| > | 续建立更强烈的关系我们将更深入地与北京大学的关系并且将更深入地 与 北京大学的关系两大学都会成为一个进步的基础我们希望 这次的一年这次的交易会继续发展北京大学的 | ||||
| > | 学生和学生会有长久的生活在此时,我希望表达 我的信心和真实希望,在这一百年之内,我们将不但领导北京大学的影响,也将领导我们的心。 我祝你一切顺利,以你未来的工作 | ||||
| > | 进行在下一个世纪。至于未来的事,重要的是不只是预测,而 是让它成功。进驻北京大学学术精进校运昌隆我希望 能够恭喜所有在北京大学和北京大学 的同志自己繼續發揮帶頭 | ||||
| > | 作用從事科教新國的大業北京大學也為了一個大國的服務就像在印度它 也成為了一種國際發展的源頭我們在印度在4月4日在這重要的一天上來敬你北京大學的期待在 這個世紀中 | ||||
| > | 我會在這裡乾杯乾杯 字幕志愿者 杨栋梁 字幕志愿者 杨栋梁 江泽民主席代表党中央国务院并以他个人的名义道会祝贺发表讲话中共中央总书记国家主席江泽 民在讲话中强调 | ||||
| > | 指出北大在长期发展和斗争历程中形成的爱国进步民主科学的光荣传统显示的不 断钻研求实创新向上的优良学风生动的体现了中国人民自强不息开拓进取的民族精神也是北大永 保 | ||||
| > | 生机的重要动力这种优良传统和精神动力要永远发扬光大江泽民说今天是五四青年节五四运动 的精神最根本的就是中华民族爱国主义精神当代中国的广大青年要继续继承和发扬五四 | ||||
| > | 运动的光 荣传统努力担当起振兴中华的历史使命创造出无愧于时代和人民的业绩江泽民在讲话中向北大同 学和所有高等院校的大学生向全国各界青年提出了四点希望坚持学习科学 | ||||
| > | 文化与加强思想修养的 统一坚持学习书本知识与投身社会实践的统一坚持实现自身价值与服务祖国人民的统一坚持树立 远大理想与进行艰苦奋斗的统一他说祖国的未来是无限美好 | ||||
| > | 的青年的未来也是无限美好的祖国和 民族的希望寄托于青年希望广大青年和全国人民一道在党的基本理论和基本路线指引下同心同德 勇于开拓向着新世纪前进向着现代化的光辉目 | ||||
| > | 标前进向着中华民族的伟大复兴前进教育部部长陈 志力宣读了教育部的贺信联合国秘书长安南也发来贺信他高度赞扬了北京大学对中国的科学文化 生活所产生的巨大影响大会开始 | ||||
| > | 前江泽民等党和国家领导人还会见参加了庆祝大会的80多位海 外大学校长和著名科学家这是中央台报道的对于许多中国学子来说能考上北京大学是他们一生的 光荣今天4万多名 | ||||
| > | 来自世界各地的北大毕业生代表聚集到他们梦中的母校用各种方式表达他们对 北大的眷恋之情所以今天的北大可以称得上是群贤必至 少长贤极请看记者所做的新闻特写 今天的北 | ||||
| > | 京风和日丽 春风拂面北京大学校园里到处是一派喜气洋洋的气象卫明湖 武祠运动场 水塔 古朴典雅的西校门菜园培塑像等标志性景物都使北大校友们倍感亲切和激动 不少已经 | ||||
| > | 年过半百的老校友还回忆起自己当年怀揣北大录取通知书第一次迈进北大校门时的情景 第一次见到北京大学的话就是就是 嗯 当然非常激动嗯 因为在我们那边好像说一个县城里 | ||||
| > | 面 也没有一个县里面也没有一个考上北京大学的校友们面对自己上过课的教室读过书的图书馆锻炼 身体的操场当年的学习生活似乎历历在目给我印象最深刻的 排队到图书馆抢位 | ||||
| > | 子有时候那个 赶紧的有时候那个位子抢不上就拿那个书包在外面排队当年我们都是18岁的小孩子到这来之后 抱着对北大的渴求最高学府都想好好学可是我们刚一做实验的时候就 | ||||
| > | 背手背脚的老师还批评我们 北大台湾校友会平均年龄近70岁许多人是带病专程来参加百年校庆的自己也感觉到很想念很想 念回来但是我们现在有的同学已经腿了腿不能动了有的 | ||||
| > | 躺在那里我们来的时候他们就很羡慕我说 你们可以去了北大的一切都值得每一个北大人怀念而最不能让所有北大人忘怀的是北京大学爱国 进步民主科学的传统以及自由浓厚的学术 | ||||
| > | 风气还有勤奋严谨求实创新的校训北大年届九十的著名 哲学家张代年和著名语言学家纪宪林已经伴随北大走过半个多世纪的风雨历程随北大这几十年来 有一个特点就是常常是开风 | ||||
| > | 气之先能够开风气这根本就是在追求真理研究学问方面能够提出新的 观点新的见解来我们无论研究学术无论干什么最后目的是振兴中华张阳是北大年龄最小的大学生 今年还未满1 | ||||
| > | 4岁从一进校我就深深地感受到北大科学民主的优良传统这些都是我们应该学习和 继承的 这是中央台报道的最早被称为京师大学堂的北京大学从1898年创办到今天已经整整走 | ||||
| > | 过了 一个世纪的风雨历程现在我们就一起来回顾北大100年北京大学是中国历史最悠久的大学,创 立于1898年,出名京师大学堂,它是务虚维新运动的产物,也是中国近代 | ||||
| > | 第一所由中央政府 创办的国立综合性大学。1912年5月,京师大学堂改名为北京大学,严复为北京大学首任校 长。1916年12月,著名的民主主义革命家、教育家和思想 | ||||
| > | 家蔡元培,被任命为北京大学校 长。上任后,他提出《寻思想自由原则,取兼容并包主义的办学方针先后聘请了陈独秀 李大钊 鲁迅 钱玄同胡适 马寅初 马旭伦 李四光 温 | ||||
| > | 文浩 蒋孟林等一大批著名学者和具有革新思 想的人到北大任教北京大学几乎集中了当时国内所有的一流学者使北大民主思想 科学思想和 自由研究之风十分浓厚随即成为中国新 | ||||
| > | 文化运动的中心是五四爱国运动的发祥地在反帝反封建的 爱国运动中他始终走在最前列到1919年北大拥有数学 物理 化学 地质中文 英文 经济 法律等14个系2000 | ||||
| > | 多名学生是当时中国规模最大的高等学府同年鲁迅为北大设计了校徽校 徽体现了北大以人为本的精神1935年北大投身到由共产党领导的129运动中去为推动抗日 民族统一战 | ||||
| > | 线的建立发挥了作用1937年抗日战争爆发北京大学和清华大学南开大学南迁云南 昆明组成国立西南联合大学坚持教学和科学研究培养出一大批杰出人才抗战胜利后1946年北 | ||||
| > | 京大学复校胡适任北京大学校长1949年中华人民共和国成立1951年马寅初被任命为新 中国北京大学第一任校长经过近半个世纪的建设北京大学成为一所拥有自然科学、工 | ||||
| > | 程技术科 学、人文科学、社会科学、管理科学、教育科学、语言科学、医学等多种学科的综合性大学。 1958年北大成立了中国第一个原子能系,为中国国防科技事业培养了一 | ||||
| > | 批骨干人才,特别是 为中国原子弹氢弹的成功爆破做出了重大贡献。1960年至1965年由北大化学系和中国科 学院有关研究所合作在世界上第一次人工合成牛乙岛素标志着 | ||||
| > | 人类在探索生命奥秘的科学研究中 跨出了重要一步1974年北京大学又研制成功中国第一台百万次电子计算机80年代北大又研 制开发出计算机机关汉字编辑排版系统使汉字印 | ||||
| > | 刷业告别千与火的历史步入光与电的时代被誉为 中国印刷业的第二次革命目前北京大学共有8个学院和23个系87个学士专业149个硕士专 业101个博士专业52个研究所 | ||||
| > | 63个研究中心2个国家级工程研究中心11个国家重点实验 室4个国家重点学科专业实验室有中科院和中国工程院院士30人第三世界科学院院士3人教授 814人包括博士生 | ||||
| > | 导师530人北大的中科院院士 博士生导师 教授的数量均居全国高校首 位目前北大有在校生2.4万人还有来自世界上70多个国家和地区的外国留学生2000多人 建校1 | ||||
| > | 00年以来北京大学共培养毕业生近13万人勤奋 严谨 求实 创新是北京大学的校训 这是中央台报道的作为北大校庆系列活动之一北京大学星纪念雕塑揭幕仪式今天在北京大学 | ||||
| > | 举行 经国际小天体命名委员会批准由北京天文台研究员北京大学天体物理专业校友陈建生院士领导的 观测宇宙学课题组发现了一颗小行星被命名为北京大学星以一所大学的名字来 | ||||
| > | 命名天体物质这在 我国天文史上还是第一次为庆祝北京大学建校100周年国家邮政总局今天发行北京大学建校一 百年纪念邮票一枚这枚纪念邮票以北京大学百年历程中具有代表 | ||||
| > | 意义的京师大学堂张城 沙滩红 楼燕园西校门三组画面为图案生动体现了北京大学诞生崛起和发展壮大的不同历史阶段展现了北 京大学光荣的革命传统和优良的学术传统为配合这 | ||||
| > | 枚纪念邮票的发行国家邮政总局还同时发行了 成了首日封 纪念封和极限明信片这是中央台报道的另外亚洲最大的大学图书馆北京大学图书馆 新馆揭幕仪式今天在北京大学举行北 | ||||
| > | 京大学图书馆是收藏文献最多的大学图书馆现有藏书445 万册这次新图书馆的建成使北大图书馆成为亚洲最大的大学图书馆总面积达到5.2万平方米总 藏书容量超过700万 | ||||
| > | 册月览座位5000个新馆造型设计采用了北大燕园固有的民族化建筑风 格内部采用计算机网络系统光盘数据存储及检索服务系统数字通信和音像设备自动化安全监控等 先进技术 | ||||
| > | 据了解北京大学新图书馆是由香港的李嘉诚先生捐资1000万美元建造的这是中央台 报道的 今天是五四青年节为了纪念伟大的五四运动79周年全国各地各集团组织连日来举行 | ||||
| > | 了形式多样 的纪念活动天安门广场人民英雄纪念碑前北京青年继承五四光荣传统做跨世纪四友新人主题团会 在雄壮的国歌声中拉开帷幕一万名新团员面对鲜红的团旗庄严宣誓在福 | ||||
| > | 州 在西宁正值18岁青 春年华的青年学生也在今天庄严宣誓步入成人行列在山城重庆近万名团员青年在歌乐山烈士陵园 举行高举伟大旗帜奔向新世纪逝世大会来自广东江西四川 | ||||
| > | 重庆等地的81对新婚夫妇则在重庆 人民广场举行了集体婚礼81对新人还在珊瑚公园种下了一棵棵爱情长青树大连是青少年情绪五 次青春作伴爱洒绿地文明护律活动在青年节期 | ||||
| > | 间再现高潮据了解目前大连市已有30多万名青年 加入了文明护律行列昨晚数百名外来亲工相聚在广东青年文化广场欣赏了广州乐团为他们献上的 节日礼物交响音乐会广东省同创 | ||||
| > | 文明共享欢乐为主题的服务外来亲工系列文化活动也同时拉开帷 幕连日来上海 河南 山西 吉林甘肃、陕西、山东、江苏、四川、广西、深圳等地的团组织纷 纷开展了为下岗职 | ||||
| > | 工办实事帮助下岗职工掌握一技之长的系列服务活动香港青年联会 您好观众朋友欢迎收看中国报道今天也就是5月4号是北京大学100周年校庆日这意味着中国 现代高等教育有 | ||||
| > | 了一百年的历史今天早上国家主席江泽民在人民大会堂北京大学校庆庆典上发表 了重要讲话首先请看记者的报道今天上午十点北京大学一百周年校庆庆典在人民大会堂举行庆典 的 | ||||
| > | 会场选择在人民大会堂以及江泽民 朱镕基 李鹏 李瑞环等中国最高层领导人的出席使得北 大的校庆意义再次升级校庆成为真正意义上党和国家的大事可容纳八千人的会场里气氛 | ||||
| > | 极为热烈 北大校长陈嘉尔中国教育部部长陈之力牛津大学校长清华大学校长及北大学生代表分别做了讲话 联合国秘书长安南向大会发来了贺信衷心祝福与警国同呼吸共命令风雨同 | ||||
| > | 行的步校永老青春最后 江泽民主席发表了重要讲话 在国教导的科学知识是第一次必须尊重知识 尊重人才江泽民主席在报告中指出全党全社会要高 度重视知识创新人才开发对经 | ||||
| > | 济发展社会进步的重要作用使科教新国真正成为全民族的广泛共识 和实际行动而在此之前的4月29日江泽民主席还特地来到了北京大学考察近三个小时用他自己 的话说他虽然会 | ||||
| > | 参加今天在人民大会堂举行的庆典但是他还是应该亲自到北大看一看给北大的校 庆增添一点气氛这三个小时使飞飞续续中的北大沸腾起来北大的此次校庆活动成为北大发展的 一个 | ||||
| > | 重要契机也成为国家再次强调重视教育的一个机会在北大江主席参观了一些教研设施并在热 烈亲切的气氛中与北大师生代表进行了座谈他还兴致勃勃地来到了学生食堂同正在就餐的 | ||||
| > | 学生亲 切握手交谈声 掌声 笑声 问候声交织在了一起北大的校庆活动提前进入了高潮为了参加这次 校庆活动许多校友从各地赶来了他们把参加这次校庆活动作为了解北大 了 | ||||
| > | 解中国的一个机会5 月2号凌晨一辆从深圳发来的专列已经到达了北京现在出航空港的是从旧金山飞来的80名校友 大家想到那么多人千里回来呢因为我们热爱北大我们热爱我们 | ||||
| > | 的母校我们认为我们之所以有今天 也是北大培育的结果据估计今天共有4万校友回到母校校园内总人数超过7万北大周边主要交通 干线进行了交通管制但是数天以来仍造成了严重 | ||||
| > | 的交通堵塞北大四周的宾馆饭店早在数月前便 已经预定额满校园内一片喜庆气氛各系都组织了校友聚会而在新建的图书馆前留念成了最受人们 欢迎的活动你今天穿上特别鲜艳的红 | ||||
| > | 衣谢谢 因为校庆啊我觉得这个是喜庆洋洋的一些大事情北 大一百周年我们都非常非常高兴40年没有见面的老同学握在一起的手久久没有分开回到我们 40年前同学的那种情况 | ||||
| > | 了所以感到特别高兴那您今天回到校园里你觉得有什么变化吗变化很大 我在北大待了20年从50年到73年我感到我经常回北大来我们同学也经常聚会但是北大天天 都有变化日 | ||||
| > | 新月异的变化所以我经常拍活花也是为了反映北大的美北大人的精神许多校友在返校 时都带来了他们的孩子我想就是让我的孩子体验一下我们下层这种龙号的气氛就是说这种传统这 | ||||
| > | 一次这个本年小庆这个去隆重的程度我们原来也没有想到没想到会这么隆重这个说明北大还是 很有前途觉得40年前的学生和现在的学生有什么区别我想还是有区别我想从这个用 | ||||
| > | 功这个一样 的但现在的学生显然比过去的学生更开放思想更活跃眼界更宽阔我想这个跟整个我们国家整个时 代都是合拍的你觉得再过十年北大会变成什么样我想再过十年北大按照 | ||||
| > | 我们的目标来讲当然要变 成世界的第一流的大学我想我们再过十年以后我们北大的学术水平会进一步的提高跟国际能够相 比同时我们在世界上可能影响就更大引人注意的是北大这 | ||||
| > | 次校庆最主要的组成部分是16个国际 学术研讨会这意味着北大在新的历史发展时期将更注重培养人才与提高学术水平以达到北大提出 的在下一世纪成为世界一流大学的目标北京 | ||||
| > | 大学已经有了100年的历史从这一点上来说北大是 古老的但是在采访中我们发现几乎每一位回到燕园的校友都会告诉你北大在发生着巨大的变化从 这一点来说北大又是长新的事 | ||||
| > | 实上北大就像中国教育的一面镜子在悠远古老的中国文明中不断地 前进发展着中国报道记者张全林在北京大学报道 观众朋友北京大学校长陈嘉尔是北大第29任校长在他的任期内 | ||||
| > | 他迎来了北大的第100个生日 也将面临世纪之交的高等教育改革这一切将使他成为北大历史上不平凡的一位校长今天他接受了 我们中国报道记者的专访4月29号的早上江主席 | ||||
| > | 到北大进行了近三个小时的参观那么一个非常 重要的一个国家元首他到北大来进行参观我觉得这还是第一次那么他是不是对北大有所偏爱我想 江志学之所以到北大来当然一方面他 | ||||
| > | 自己讲了他跟同学讲了他说我是来跟大家同庆北大的百周年 这江志学自己讲的但是我想就不是对北大的偏爱而是体现了江志学对于教育对于人才的高度的重 视体现了我们国家实施 | ||||
| > | 科教新国战略这样一个高章远足的英明的阶层那么这次江主席走进燕园 包括一些像全世界的校长论坛这样大型的一些活动已经使这次北大的校庆不简单是一个学校的校 庆这样一个 | ||||
| > | 程度了那么我想北大它能有今天历史上这么高的地位我们可能马上就会想起比如说五 四运动新文化运动那么它始终和国家的命运是紧紧联系在一起的那么现在在一个政治相对稳定经 | ||||
| > | 济大力发展的一个情况下北大要树立一个什么样的新的形象我记得美国的一个著名教育家叫杜威 有句话他说如果要比起校长来讲是蔡元飞先生领导的北大要比任何其他一所学校对 | ||||
| > | 一个国家的影 响要大得多所以他当时给了陈建平一个很高的评价那么我想这是江主席对我们北大百中研他有个 提词他提词的内容就是说要发扬爱国进步科学民主的光荣传统为振兴 | ||||
| > | 中华做出更大的贡献这个既 是对我们北大精神的一个肯定又是对我们提出的一个要求所以现在在一个新的时期改革开放要建 设一个中国特色的社会主义建设现代化的一个繁荣富强 | ||||
| > | 的国家那么我们北京大学更应该本着这样 的精神来发展我们的高等教育培养高速度的人才在学术上能够有更大的建树我们北京大学把自己 的目标定为在下一世纪要成为世界的一流 | ||||
| > | 大学之一也就是所谓的World Major University那么如果从这样的要求来衡量的话我觉得我们首先在人才培养基础人才 方面要下功夫我们过去北京大学培养 | ||||
| > | 了一大批 很有贡献的人像您了解的蒋祖英您刚才提到了蒋祖英我想人们在想起他的时候首先想到的不是他 在学术上的能力而是他的那种奉献于科学的精神那么您觉得今天的学生在 | ||||
| > | 北大校园里仍然能学到 这些东西吗这样一个奉献的精神始终是北京大学学生所引以为荣的另外从学校来讲,我们感觉到 更需要把专业的教育跟人文素质的教育,或者叫通识教育, | ||||
| > | 有的人叫liberal education,把它结合在一起。就是什么意思呢就是不能光有专业的知识专业的知识是 需要的但是呢还需要有人文的好的素养所以我们学校里边 | ||||
| > | 文科的学生要学习自然科学理科的学生 要学中文要学中国同时我们就希望通过这个办法能够把学生的人才的素养提高那么我们知道在北 大的历史上出过非常多的名校长比如说颜福 | ||||
| > | 蔡元培这样的校长那么您觉得也许再过一百年人们 总会怎么来评价您这位校长和您任期内的这一段北大历史我当然是非常敬佩蔡元培校长还有好多 我的前任包括像马英初校长也 | ||||
| > | 好周老爷也好等等我自问自己我的能力很有限我的知识水平也很有 限 但是我想你可能知道北京大学是有一次非常优秀的教师队伍我们有世界一类的学生所以把我有限 的能力跟他 | ||||
| > | 们结合在一起这个力量就是不可估量的了为搬成世界一流的大学今午的力量来打好基 础所以我们首先要按照国家的口交信仰的战略进行教育的改革这个就包括一个是我方才提到的要 | ||||
| > | 进行使得学生他的整个的人文的素质思想道德科学文化素养要提高另外一方面呢要充分利用北京 大学学科期权技术理论墙教学研究精密结合跟国际交流比较充分这样的条件能够促 | ||||
| > | 进东方西方文 化的教会出进人文科学跟自然科学的结合创造一个宽松的学术研究的环节观众朋友现在在我们节 目播出的同时北大校庆的晚会正在宴园内进行北大校园内仍充满了热 | ||||
| > | 烈的气氛刚才我们的记者从 北大打电话回来说许多校友今天将留在校园彻夜长谈而北大办公楼礼堂前已经汇集了一群学生 因为明天上午四位得过诺贝尔奖的华人科学家将在这里进 | ||||
| > | 行演讲而许多想参与的学生们还没有得 到入场券观众朋友明天我们将对这场演讲会进行报道今天的中国报道节目就到这里结束了感谢您 的收看明天的同一时间再见 中国中央电视 | ||||
| > | 台国际频道每晚9点30分首播中央电视台第二号节目每晚11点13分重播 PK学校是中国第一个学校它在14月14日1902年中国国际上学生的联系在1904年学 校派 | ||||
| > | 出了中国的第一班学生来读外国在2月1920年学校也派出了中国女性同学的教育除了这 些派出的努力学校也作为国家社会进展的在1919年,《美国四周年》是由大学开始的 | ||||
| > | ,是 中国的最早的基础为卫生和科学思想的执行,并且是中国的传统思想。很多影响力的人物,例如 陈独秀、李大钊和毛泽东,是中国共产党的创始人,还有陆迅,一位写家曾经 | ||||
| > | 在大学教授或执行 工作国家的进步没有过多深入的在过去一百年来,大学的历史反映了中国的宗教传统而这种关注 的国家,一直继续在发生陈正亮,大学总理是大学的主要目标所 | ||||
| > | 有学生 特别是学生他们总是把 我们国家的未来当作自己的未来这是一个非常重要的心理大学的最大特点是同样的重点在科学和 自由艺术上北京大学应该继续发展自由艺术以致更 | ||||
| > | 多的贡献说了老师叶朗我们现在的社会中很多 问题很多社会问题现在的社会问题不能够解决单纯从科技和科技上而是从社会和人文学上在这 方面北京大学的自由艺术学院的富有传 | ||||
| > | 统将承担强大的职位北京大学从1949年开始担任了超 过80,000的学生很多人都成为了中国的各种发展的在这两年之内,学校在国际和省市层层 上完成了1900多项研 | ||||
| > | 究。在中国的历史中,北京大学有着特别的位置。当国家进入新一年, 北京大学将以传统价值和新的精神来进行更多的进展。刘昌英,CCTV News,北京。土 耳其大学的 | ||||
| > | 百年史今天的学生为国家的传统驱动展示了他们的支持陈晨有更多一座北京大学在6 月30日早上举行的五星红旗北京大学的学生说土耳其的土耳其文化运动 民主 和科学是在大 | ||||
| > | 学中的两种例子他说学生们想表达他们的深刻土耳其感觉在这样的庆祝中星期六庆祝准备两个月 前一群选择学生被送到天安门国际兵团以实施军事训练利用 Arena mor | ||||
| > | tal审理report 结 果 世界北京大学的共产党总裁说特别关注的就是与习近平的教育有关他说1990年代习近平的教 育取得了新的意义这让我们需要新的教育提供不 | ||||
| > | 同于以前的教育他说他希望学生们会继续持续学 校的习近平传统 陈晨,CCTV News在全亞各地的大堂書館中佈置了超過4500個書館並佈置了7萬多 本書新的書館是 | ||||
| > | 配備最進步的電子機器和電腦網絡另外 書館的管理中也使用了多媒 體系統 请不吝点赞 订阅 转 发 打赏支持明镜与点点栏目 | ||||
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| f | 1 | Tanya Cushman Reviewer's Tanya Cushman Reviewer's Tanya Cushman ...tonight and t | f | 1 | Tanya Cushman Reviewer's Tanya Cushman Reviewer's Tanya Cushman ...tonight and t |
| > | hat's the opening. | > | hat's the opening. | ||
| 2 | The opening is for me saying I'm the person who normally introduces the speaker, | 2 | The opening is for me saying I'm the person who normally introduces the speaker, | ||
| > | who introduces the evening speaker. | > | who introduces the evening speaker. | ||
| 3 | But tonight we really have no speaker. | 3 | But tonight we really have no speaker. | ||
| 4 | So the first thing I wanted to ask you is to help me welcome Mrs. | 4 | So the first thing I wanted to ask you is to help me welcome Mrs. | ||
| 5 | Pina Bausch and the dancers. | 5 | Pina Bausch and the dancers. | ||
| 6 | Now, as you imagine, although my friend Jeffrey Schnapp is standing here, I'm st | 6 | Now, as you imagine, although my friend Jeffrey Schnapp is standing here, I'm st | ||
| > | anding here, we are not going to do the performance tonight. | > | anding here, we are not going to do the performance tonight. | ||
| 7 | Maybe next time. | 7 | Maybe next time. | ||
| 8 | So Matthias Schmigel from the Tanztheater will introduce the dancers of the Tanz | 8 | So Matthias Schmigel from the Tanztheater will introduce the dancers of the Tanz | ||
| > | theater to you. | > | theater to you. | ||
| 9 | Good evening, thank you very much. | 9 | Good evening, thank you very much. | ||
| 10 | First I will start with Julie Shanahan from Australia. | 10 | First I will start with Julie Shanahan from Australia. | ||
| 11 | Juliana Arante from Brazil. | 11 | Juliana Arante from Brazil. | ||
| 12 | Rafael Delonay from France, Fernando Suell from Venezuela, and the one in charge | 12 | Rafael Delonay from France, Fernando Suell from Venezuela, and the one in charge | ||
| > | of our our music, Matthias Burckert from Germany. | > | of our our music, Matthias Burckert from Germany. | ||
| 13 | See, now you know that part of the reason to organize tonight's event was to sho | 13 | See, now you know that part of the reason to organize tonight's event was to sho | ||
| > | w you what a multicultural country Germany is, especially Wuppertal. | > | w you what a multicultural country Germany is, especially Wuppertal. | ||
| 14 | This is truly amazing. | 14 | This is truly amazing. | ||
| 15 | Talking of which, this is a very special event also to give thank you to Preside | 15 | Talking of which, this is a very special event also to give thank you to Preside | ||
| > | nt Kasper, not only for his continued support, now that we enter the final stret | > | nt Kasper, not only for his continued support, now that we enter the final stret | ||
| > | ch of the early round of the Presidential Lectures and Symposia. | > | ch of the early round of the Presidential Lectures and Symposia. | ||
| 16 | I need to say tonight that, Pina, I think that's true. | 16 | I need to say tonight that, Pina, I think that's true. | ||
| 17 | We wouldn't have gotten you without Gerhard's intervention. | 17 | We wouldn't have gotten you without Gerhard's intervention. | ||
| 18 | And there's a secret, because President Kasper and Pina Bausch are both members | 18 | And there's a secret, because President Kasper and Pina Bausch are both members | ||
| > | of the highest order, one of the highest orders of the Federal Republic of Germa | > | of the highest order, one of the highest orders of the Federal Republic of Germa | ||
| > | ny, the Puhle Merit. | > | ny, the Puhle Merit. | ||
| 19 | So this is for the two Puhle Merit prize-takers. | 19 | So this is for the two Puhle Merit prize-takers. | ||
| 20 | And I wouldn't want to miss the opportunity to briefly, briefly announce our oth | 20 | And I wouldn't want to miss the opportunity to briefly, briefly announce our oth | ||
| > | er events of this artsy program in the fall of this academic year. | > | er events of this artsy program in the fall of this academic year. | ||
| 21 | Our next event will be a colloquium, humanities, social sciences, and law on the | 21 | Our next event will be a colloquium, humanities, social sciences, and law on the | ||
| > | topic past dependencies and that will take place in the law school on November | > | topic past dependencies and that will take place in the law school on November | ||
| > | 5th, Friday, and November November 6th, a Saturday, and there will be, because t | > | 5th, Friday, and November November 6th, a Saturday, and there will be, because t | ||
| > | his is the Artsy Fall, a piano recital by Charles Rosen on the evening of Friday | > | his is the Artsy Fall, a piano recital by Charles Rosen on the evening of Friday | ||
| > | . | > | . | ||
| 22 | The following event is just the following Monday, November 8th. | 22 | The following event is just the following Monday, November 8th. | ||
| 23 | This will be a lecture in our lecture series of the art historian Svetlana Alper | 23 | This will be a lecture in our lecture series of the art historian Svetlana Alper | ||
| > | s. | > | s. | ||
| 24 | And finally, on November 29th, again a Monday, in Kresge Auditorium, we'll have | 24 | And finally, on November 29th, again a Monday, in Kresge Auditorium, we'll have | ||
| > | a bilingual poetry reading by the great Chinese poet Bei Dao and by his translat | > | a bilingual poetry reading by the great Chinese poet Bei Dao and by his translat | ||
| > | or and friend Elliot Weinberger. | > | or and friend Elliot Weinberger. | ||
| 25 | So we'll have poems in Mandarin and poems in English and the next day as always | 25 | So we'll have poems in Mandarin and poems in English and the next day as always | ||
| > | there will be ample opportunity for discussion. | > | there will be ample opportunity for discussion. | ||
| 26 | Now I was saying that I was not introducing a person who's introducing Pina Baus | 26 | Now I was saying that I was not introducing a person who's introducing Pina Baus | ||
| > | ch because so many people we know it from the hits counted have seen the website | > | ch because so many people we know it from the hits counted have seen the website | ||
| > | but I would like to inform you briefly what we have planned tonight. | > | but I would like to inform you briefly what we have planned tonight. | ||
| 27 | In a minute, in literally a minute, Pina Bausch will take over and lead you into | 27 | In a minute, in literally a minute, Pina Bausch will take over and lead you into | ||
| > | the dance rehearsal. | > | the dance rehearsal. | ||
| 28 | And the very exciting thing for us is we have no clue what's going to happen. | 28 | And the very exciting thing for us is we have no clue what's going to happen. | ||
| 29 | It's going to be great, no doubt about it. | 29 | It's going to be great, no doubt about it. | ||
| 30 | After an hour or so, Pina Bausch will ask my colleague and friend Jeffrey Schnap | 30 | After an hour or so, Pina Bausch will ask my colleague and friend Jeffrey Schnap | ||
| > | , the Rossetti Professor of Italian Literature and Comparative Literature, that' | > | , the Rossetti Professor of Italian Literature and Comparative Literature, that' | ||
| > | s not the official title but I want to say it's complete too, and he will then h | > | s not the official title but I want to say it's complete too, and he will then h | ||
| > | ave a discussion, conduct a discussion with Pina and with the dancers and we wil | > | ave a discussion, conduct a discussion with Pina and with the dancers and we wil | ||
| > | l soon open up to the floor. | > | l soon open up to the floor. | ||
| 31 | And then at 9 o 'clock sharp, more or less sharp, we will have on behalf of Pres | 31 | And then at 9 o 'clock sharp, more or less sharp, we will have on behalf of Pres | ||
| > | ident Kasper a reception here in the courtyard of Roble and that is definitely a | > | ident Kasper a reception here in the courtyard of Roble and that is definitely a | ||
| > | reception for everybody. | > | reception for everybody. | ||
| 32 | So we really have to help us to eliminate, to delete all the food which will be | 32 | So we really have to help us to eliminate, to delete all the food which will be | ||
| > | out there at 9 o'clock. | > | out there at 9 o'clock. | ||
| 33 | So thanks again for coming and Pina we are so much looking forward. | 33 | So thanks again for coming and Pina we are so much looking forward. | ||
| 34 | Oh yes. | 34 | Oh yes. | ||
| 35 | Good evening. | 35 | Good evening. | ||
| 36 | I'm very very happy and honored to be here at Stanford and I like to thank very | 36 | I'm very very happy and honored to be here at Stanford and I like to thank very | ||
| > | much for this wonderful invitation. | > | much for this wonderful invitation. | ||
| 37 | For me it's very difficult because usually I have not much work because what I h | 37 | For me it's very difficult because usually I have not much work because what I h | ||
| > | ave to say I usually try to do with my works on the stage. | > | ave to say I usually try to do with my works on the stage. | ||
| 38 | And so it was not possible to do here performance because we are on tour, we are | 38 | And so it was not possible to do here performance because we are on tour, we are | ||
| > | in the moment in Berkeley. | > | in the moment in Berkeley. | ||
| 39 | And then I thought maybe it would be very nice to just show a bit of the work. | 39 | And then I thought maybe it would be very nice to just show a bit of the work. | ||
| 40 | And I thought about the Rite of Spring from Igor Stravinsky. | 40 | And I thought about the Rite of Spring from Igor Stravinsky. | ||
| 41 | This is the part of the chosen one, the end of this work. | 41 | This is the part of the chosen one, the end of this work. | ||
| 42 | and it's a chosen one, so it's the girl who has to dance till she dies, actually | 42 | and it's a chosen one, so it's the girl who has to dance till she dies, actually | ||
| > | . | > | . | ||
| 43 | So, we are not prepared at all. | 43 | So, we are not prepared at all. | ||
| 44 | It's really something we didn't... | 44 | It's really something we didn't... | ||
| 45 | I told them yesterday, kind of, what we're going to do. | 45 | I told them yesterday, kind of, what we're going to do. | ||
| 46 | and Ruthie, she did it actually many times in the choreography. | 46 | and Ruthie, she did it actually many times in the choreography. | ||
| 47 | Rafaela has learned it two, three years ago, but she never danced it. | 47 | Rafaela has learned it two, three years ago, but she never danced it. | ||
| 48 | Julie touched it once a little bit. | 48 | Julie touched it once a little bit. | ||
| 49 | And Fernando, I also like to do it. | 49 | And Fernando, I also like to do it. | ||
| 50 | Usually it's a woman who is doing that. | 50 | Usually it's a woman who is doing that. | ||
| 51 | He never did it, but they always see it. | 51 | He never did it, but they always see it. | ||
| 52 | they see it many times because usually when this dance happens the other people | 52 | they see it many times because usually when this dance happens the other people | ||
| > | are all there, they watch how that happens. | > | are all there, they watch how that happens. | ||
| 53 | So I thought maybe I want to do something too, I thought maybe it's nice to do a | 53 | So I thought maybe I want to do something too, I thought maybe it's nice to do a | ||
| > | little work with them and that's why they are not prepared otherwise I have not | > | little work with them and that's why they are not prepared otherwise I have not | ||
| > | hing to do. | > | hing to do. | ||
| 54 | But to have just a little bit the idea of it Maybe it's a little bit difficult f | 54 | But to have just a little bit the idea of it Maybe it's a little bit difficult f | ||
| > | or Ruchi, but maybe the best is once like easily, because it's hard. | > | or Ruchi, but maybe the best is once like easily, because it's hard. | ||
| 55 | Maybe she can show once a dance, and then we do piece by piece, work a little bi | 55 | Maybe she can show once a dance, and then we do piece by piece, work a little bi | ||
| > | t on it. | > | t on it. | ||
| 56 | ¶¶ ¶¶ ¶¶ Usually it's, of course, without preparation and without the peace when | 56 | ¶¶ ¶¶ ¶¶ Usually it's, of course, without preparation and without the peace when | ||
| > | that happened, it's also it's a little complicated and usually the it's a yeah | > | that happened, it's also it's a little complicated and usually the it's a yeah | ||
| > | it's about the earth about the spring and usually when they dance it it's in the | > | it's about the earth about the spring and usually when they dance it it's in the | ||
| > | earth and when they fall it's the whole thing is very different because you nev | > | earth and when they fall it's the whole thing is very different because you nev | ||
| > | er have a floor like this the dancing and the earth so that's very different tha | > | er have a floor like this the dancing and the earth so that's very different tha | ||
| > | nk you so okay Okay, we start a little bit. | > | nk you so okay Okay, we start a little bit. | ||
| 57 | You must just a little bit help. | 57 | You must just a little bit help. | ||
| 58 | We take the first bit, a little marking. | 58 | We take the first bit, a little marking. | ||
| 59 | You remember the... | 59 | You remember the... | ||
| 60 | They all go away. | 60 | They all go away. | ||
| 61 | Please come here. | 61 | Please come here. | ||
| 62 | I don't want to dance, you should dance. | 62 | I don't want to dance, you should dance. | ||
| 63 | You know the movement, you know this one, because many things in the choreograph | 63 | You know the movement, you know this one, because many things in the choreograph | ||
| > | y, they are also in different ways, different combinations, so it's not so new, | > | y, they are also in different ways, different combinations, so it's not so new, | ||
| > | the step. | > | the step. | ||
| 64 | You have this one, only without the... | 64 | You have this one, only without the... | ||
| 65 | And this, and this with head down. | 65 | And this, and this with head down. | ||
| 66 | And then the weight, and we go back. | 66 | And then the weight, and we go back. | ||
| 67 | And again. | 67 | And again. | ||
| 68 | And with looking. | 68 | And with looking. | ||
| 69 | And go back again. | 69 | And go back again. | ||
| 70 | And you have heard me wrote this. | 70 | And you have heard me wrote this. | ||
| 71 | The third time. | 71 | The third time. | ||
| 72 | The third time, only till here. | 72 | The third time, only till here. | ||
| 73 | Yeah, only till here. | 73 | Yeah, only till here. | ||
| 74 | Here, then here, here, down, down, down, up, down, down, up. | 74 | Here, then here, here, down, down, down, up, down, down, up. | ||
| 75 | And, oh, I'm sorry. | 75 | And, oh, I'm sorry. | ||
| 76 | Sorry. | 76 | Sorry. | ||
| 77 | I'm sorry, yeah. | 77 | I'm sorry, yeah. | ||
| 78 | One more time. | 78 | One more time. | ||
| 79 | And this. | 79 | And this. | ||
| 80 | One more. | 80 | One more. | ||
| 81 | And like you're getting yourself and then up. | 81 | And like you're getting yourself and then up. | ||
| 82 | Changing direction. | 82 | Changing direction. | ||
| 83 | One more. | 83 | One more. | ||
| 84 | Not much. | 84 | Not much. | ||
| 85 | Okay. | 85 | Okay. | ||
| 86 | Okay. | 86 | Okay. | ||
| 87 | Okay, yeah. | 87 | Okay, yeah. | ||
| 88 | Oh, it's down, the accent is always . | 88 | Oh, it's down, the accent is always . | ||
| 89 | The accent is down. | 89 | The accent is down. | ||
| 90 | And right away. | 90 | And right away. | ||
| 91 | With looking. | 91 | With looking. | ||
| 92 | Third time. | 92 | Third time. | ||
| 93 | Okay. | 93 | Okay. | ||
| 94 | And up and again this one, like this. | 94 | And up and again this one, like this. | ||
| 95 | It's like so. | 95 | It's like so. | ||
| 96 | You go here and then you take it from here, you squeeze, you take it out here li | 96 | You go here and then you take it from here, you squeeze, you take it out here li | ||
| > | ke this. | > | ke this. | ||
| 97 | Out and it's like you hit. | 97 | Out and it's like you hit. | ||
| 98 | No, no. | 98 | No, no. | ||
| 99 | You take it out and it's like you're hitting yourself. | 99 | You take it out and it's like you're hitting yourself. | ||
| 100 | and then and then and then and then and then and then and then and then back and | 100 | and then and then and then and then and then and then and then and then back and | ||
| > | then change maybe we mark it a few times and we just hear it with the music jus | > | then change maybe we mark it a few times and we just hear it with the music jus | ||
| > | t marking yeah Matthias? | > | t marking yeah Matthias? | ||
| 101 | without the fall without the fall in the beginning Not much yet. | 101 | without the fall without the fall in the beginning Not much yet. | ||
| 102 | Just that you know with the music. | 102 | Just that you know with the music. | ||
| 103 | Easy. | 103 | Easy. | ||
| 104 | Not too much. | 104 | Not too much. | ||
| 105 | Okay, okay, okay. | 105 | Okay, okay, okay. | ||
| 106 | Okay. | 106 | Okay. | ||
| 107 | Okay. | 107 | Okay. | ||
| 108 | Okay. | 108 | Okay. | ||
| 109 | Okay. | 109 | Okay. | ||
| 110 | Okay. | 110 | Okay. | ||
| 111 | Okay. | 111 | Okay. | ||
| 112 | Okay. | 112 | Okay. | ||
| 113 | da da da, da da da, only below. | 113 | da da da, da da da, only below. | ||
| 114 | da da da, and you have this arm, this arm, and you put together, so, round toget | 114 | da da da, and you have this arm, this arm, and you put together, so, round toget | ||
| > | her, oh, microphone, and like a curve, like a curve back. | > | her, oh, microphone, and like a curve, like a curve back. | ||
| 115 | Can you show it again please? | 115 | Can you show it again please? | ||
| 116 | Just a little bit. | 116 | Just a little bit. | ||
| 117 | Just that. | 117 | Just that. | ||
| 118 | Yeah. | 118 | Yeah. | ||
| 119 | This like a circle. | 119 | This like a circle. | ||
| 120 | Like make a circle. | 120 | Like make a circle. | ||
| n | 121 | Yeah, okay. | n | 121 | Yeah. |
| 122 | And then from here, you have with the leg, I do it without the leg, you have thi | 122 | Okay. | ||
| > | s arm, We go here, we go here, and the leg up, up, and it's my microphone. | ||||
| 123 | And then from here, you have with the leg, I do it without the leg. | ||||
| 124 | You have this arm. | ||||
| 125 | From here, you go here with the leg. | ||||
| 126 | Up, up. | ||||
| 127 | And it's like, oops, it's my microphone. | ||||
| 123 | Here. | 128 | Here. | ||
| n | 124 | So we're here, like to cover yourself, and then it's like, yeah, da, da, yeah, d | n | 129 | So over here, like to cover yourself. |
| > | a, da, yeah, da, da. | ||||
| 125 | And then you have the music, when you have some music, da, hum, again, da, da, h | 130 | And then it's like, yeah, da, da, yeah. | ||
| > | um, hum. | ||||
| 131 | Da, da, yeah. | ||||
| 132 | Da, da, and then you have the music when you have some music. | ||||
| 133 | Again, da, da, hum, hum. | ||||
| 134 | Yeah. | ||||
| 126 | So, again. | 135 | So, again. | ||
| n | 127 | hmm and I'm hoping oh yeah I said in the music was my nerve is over the music, t | n | 136 | In the music you have to hear it. |
| > | hat's over the music, there's a certain sound you do up down down down up arm it | ||||
| > | 's small yes Yeah. | ||||
| 128 | Yeah. | 137 | It's over the music. | ||
| 138 | There's a certain sound you do. | ||||
| 139 | Up, down, down, down, up, arm. | ||||
| 140 | Again. | ||||
| 141 | Wait, let's do it again. | ||||
| 142 | Do it again without. | ||||
| 143 | Yes, that's just small, there's little time. | ||||
| 144 | It's small, yes. | ||||
| 145 | Yes, with the head, head. | ||||
| 146 | That's one passé, yes. | ||||
| 147 | Not too diagonally, a little flatter. | ||||
| 148 | A little flatter. | ||||
| 129 | And then somebody takes you here on the wrist. | 149 | Up. Like somebody takes you here on the wrist. | ||
| 130 | Yes. | ||||
| 131 | And that is like quick. | 150 | And that is like quick. | ||
| 132 | No, not looking up, but looking. | 151 | No, not looking up, but looking. | ||
| n | 133 | Yes. | n | 152 | Yes, like you cover yourself, you protect yourself, yes. |
| 134 | Like you cover yourself. | ||||
| 135 | You protect yourself. | ||||
| 136 | Yes. | ||||
| 137 | And then you go in all directions like fighting like this. | 153 | And then you go in all directions, like fighting, like this. | ||
| 138 | And then using this leg up down, down down, up arm. | 154 | And then using this like up, down. | ||
| 155 | Down, down, up, up. | ||||
| 139 | Maybe we mark it from the beginning including this. | 156 | Maybe we mark it from the beginning, including this. | ||
| 140 | Thank you. | 157 | Okay. | ||
| 141 | yeah Heinrich the позion perfect well bling Like a little jump, like stretched l | 158 | It wouldn't be nice if you那 would not sn entsprech That's an extra before you ac | ||
| > | egs. | > | tually start running. | ||
| 159 | Down, down, up, like a little jump, straight legs. | ||||
| 160 | Down, down. | ||||
| 142 | Have you realized the music? | 161 | Have you realized the music? | ||
| n | 143 | this is up down down down up without putting the hand extra don't have it here y | n | 162 | This... |
| > | eah that's more like squeezing in it's like the knees you know here so it's like | ||||
| > | like it's not like so but together just up here here here so actually this is l | ||||
| > | ooking out far this is up and it's done So, yeah, you are here and then it's lik | ||||
| > | e a jump. | ||||
| 144 | down, down, down, and then down, down, down, down. | 163 | After that... | ||
| 164 | Up, down, down, down, up, up. | ||||
| 165 | Without putting the hand extra, don't have it here. | ||||
| 166 | So you are, you just are up, down. | ||||
| 167 | That's more like squeezing in, it's like the knees, you know, here. | ||||
| 168 | So it's like, it's not like so, but together. | ||||
| 169 | Like that. | ||||
| 170 | Just up. | ||||
| 171 | And then like that. | ||||
| 172 | You know, here. | ||||
| 173 | here, here, here. | ||||
| 174 | So actually this is looking out, far. | ||||
| 175 | This is up, and that's down. | ||||
| 176 | Third. | ||||
| 177 | Yeah, you are here, and then it's like a jump. | ||||
| 178 | Yeah, yeah. | ||||
| 179 | down, down, and then down, down, down, down. | ||||
| 180 | Yeah. | ||||
| 145 | We continue a little bit, continue a little bit. | 181 | We continue a little bit, continue a little bit. | ||
| n | n | 182 | So the other one with the music you know. | ||
| 146 | So the other one with the music, you know, so you're here, you wait, and then wh | 183 | So you're here, you wait, and then when this music comes, it's like you're in so | ||
| > | en this music comes, it's like you're in so big tension, and it's like, it's lik | > | big tension, and it's like, it's like a shock. | ||
| > | e a shock. | ||||
| 147 | It has no shape. | 184 | It has no shape. | ||
| n | 148 | It's this, you listen, you don't know where to go. | n | 185 | It has a, it's this, you listen, you don't know where to go. |
| 149 | It's just like a reaction. | 186 | It's just like a reaction. | ||
| n | 150 | The second one is running so fast as possible, like you wanna escape, but you ca | n | 187 | The second one is running so fast as possible, like you want to escape, but you |
| > | n't. | > | can't. | ||
| 151 | You're running here. | 188 | you're running here and the third one is like we stolper like around yourself an | ||
| > | d then you continue yes it has no no special and then you it's like somebody is | ||||
| > | behind you a little bit like so Fernando that way a little bit And then sometime | ||||
| > | s quicker, sometimes faster. | ||||
| 152 | And the third one is like we, I don't know what this is, we stomp. | ||||
| 153 | Stomp, yeah. | ||||
| 154 | Like around yourself, and then you continue. | ||||
| 155 | Yes, it has no special, and then you it's like somebody is behind you a little b | ||||
| > | it like so Fernando but that's that way. | ||||
| 156 | A little bit like that. | ||||
| 157 | Yes, Zorro is like that way. | ||||
| 158 | And then sometimes quicker, sometimes faster. | ||||
| 159 | Yeah, till the new movement comes again. | 189 | Yeah, until the new movement comes again. | ||
| 160 | Again, this one. | 190 | This one. | ||
| 161 | And then just the weight let go. | 191 | And then just the weight let go. | ||
| n | 162 | It's like a little hop thing. | n | 192 | go down when you're down it's already like the preparation to like you You stret |
| > | ch knees, yes. | ||||
| 163 | When you are down, it's already like the preparation to stretch the knees. | ||||
| 164 | The arms are here. | 193 | Yes, and the arms are here. | ||
| 165 | Then from here, you turn and you do a rond. | 194 | Then from here, you turn and you do a rond. | ||
| n | 166 | The hands go here on your legs. | n | 195 | The hands go here on your legs, yes. |
| 167 | yes you have a wall to the floor turn here in and now through the hip up and you | 196 | You have a rond to the floor. | ||
| > | go into this moment yes from here you go into this one And then this one. | ||||
| 197 | The floor. | ||||
| 198 | Turn here, in, and now Now, through the hip, up, and you go into this movement, | ||||
| > | yes. | ||||
| 199 | From here, you go into this movement. | ||||
| 200 | This is this. | ||||
| 201 | Yeah, we know this one here. | ||||
| 202 | This one. | ||||
| 203 | And then this one. | ||||
| 168 | One or two. | 204 | One or two. | ||
| n | 169 | And here you wave. | n | 205 | And here you wave, here you wave. |
| 170 | Here you wave. | 206 | And you have, da, da, da. | ||
| 171 | Da da da. | ||||
| 172 | Oop. | 207 | Oop. | ||
| n | 173 | Da da da. | n | ||
| 174 | Da da da. | ||||
| 175 | Da, da, da. | 208 | Da, da, da. | ||
| 176 | Da, da, da. | 209 | Da, da, da. | ||
| n | 177 | Attitude. | n | 210 | Da, da. |
| 178 | Fall. | 211 | Da, da, da. | ||
| 179 | Look, run. | 212 | attitude for look run again stop slowly slowly from where from where I am so tha | ||
| > | t's clear from here what could be clear is this one it's a little diagonal Runni | ||||
| > | ng. | ||||
| 180 | Again, stop. | ||||
| 181 | Yeah, yeah. | ||||
| 182 | Slowly, slowly. | ||||
| 183 | From where? | ||||
| 184 | From where? | ||||
| 185 | Ah, yeah. | ||||
| 186 | So that's clear. | ||||
| 187 | From here, walk over clear. | ||||
| 188 | It's this one, so it's a little diagonal. | ||||
| 189 | Running. | ||||
| 190 | Walking around. | 213 | Walking around. | ||
| 191 | And now you have a up, down, step, step, down, down. | 214 | And now you have a up, down, step, step, down, down. | ||
| n | 192 | done take it easy pa pa pa ta turn here continue into this and go on into this a | n | 215 | Take it easy. |
| > | nd continue di da da here wait and then yeah bum bum dee dee dee dee oh sorry fr | ||||
| > | om here from here when you are from here you have this and you're over here I'm | ||||
| > | afraid to hit my chest here. | ||||
| 193 | Yeah. | 216 | Turn here, continue into this and go on into this and continue. | ||
| 217 | you. | ||||
| 218 | Here wait and then. | ||||
| 219 | Oh, sorry. | ||||
| 220 | From here, from here, when you are, from here. | ||||
| 221 | You have You have this and you're over here. | ||||
| 222 | Actually, I'm afraid to hit my chest here. | ||||
| 194 | And then down, like you've cut, down. | 223 | And then, like you cut. | ||
| 224 | Yeah. | ||||
| 195 | Bam, bam. | 225 | Bam, bam, bam. | ||
| 196 | Bam, bam, bam. | 226 | Bam, bam, bam. | ||
| 197 | Bam, bam. | 227 | Bam, bam. | ||
| n | 198 | Yeah, arm, arm. | n | 228 | Yeah. |
| 229 | Arm, arm. | ||||
| 199 | Arm. | 230 | Arm. | ||
| 200 | Yeah. | 231 | Yeah. | ||
| 201 | Yum, bam, bam. | 232 | Yum, bam, bam. | ||
| 202 | I did it. | 233 | I did it. | ||
| n | 203 | Fall. | n | 234 | Fall, look, run. |
| 204 | Look. | ||||
| 205 | It's a real fall. | 235 | It's a real fall. | ||
| n | 206 | It's a real fall, but that's a... | n | 236 | It's a real fall, but that's a. |
| 207 | They have to mark this as little... | 237 | They have to mark this as little. | ||
| 208 | Maybe we can try once from here with the music to mark a little bit where the mu | 238 | Maybe we can try once from here with the music to mark a little bit where the mu | ||
| > | sic is. | > | sic is. | ||
| 209 | Okay, okay. | 239 | Okay, okay. | ||
| n | 210 | Okay, take it a bit more easy. | n | 240 | Take it a bit more easy. |
| 211 | It's a, it's a, it's a, Gucci line, it's, it's right as my easy, just with the m | 241 | It's easy, it's a, it's, Gucci line, it's right as my easy, just with the music, | ||
| > | usic, you know. | > | you know? | ||
| 212 | Just for the music, just marking, yeah, just marking. | 242 | Just for the music, just marking, yeah? | ||
| 243 | Just marking. | ||||
| 213 | Julie, did you hear Rafaela marking? | 244 | Julie, did you hear Rafaela? | ||
| 214 | Just like a, okay. | 245 | Marking, just like a, okay. | ||
| 215 | Okay. | 246 | Okay. | ||
| n | 216 | How long it takes to... | n | 247 | How long it takes to? |
| 217 | You have to hear the music first. | 248 | You have to hear the music. | ||
| 218 | Yeah, yeah. | 249 | Yeah, yeah. | ||
| n | 219 | I was listening to the club. | n | ||
| 220 | So okay, the next bit you have this with the head. | 250 | So okay, the next bit you have this with the head. | ||
| n | 221 | You just try to follow the rhythm of the looking, hearing, you know, just these | n | 251 | You just try to follow the rhythm of the looking, hearing, you know, just this l |
| > | little head movements with the music. | > | ittle head movement with the music. | ||
| 222 | And from there, you have the head movements. | 252 | and from here it's like your weight you you leave your weight and you just like | ||
| > | go in this direction yeah it's not high point it's not it's just like this and f | ||||
| > | rom here comes yes this one And again into this one. | ||||
| 223 | From here it's like your weight, you leave your weight and you just go in this d | 253 | And then you have this with the raw. | ||
| > | irection. | ||||
| 224 | Here. | 254 | Over and stretching, turn and always ending profile. | ||
| 225 | It's not high point, it's just like this. | 255 | and the after profile ending after the turn profile yes to ending here and then | ||
| > | from here you start again again into the attitude and turn it forget yes okay th | ||||
| > | is you have three times i think i think it goes up and then it's from here You g | ||||
| > | o down like this, yes. | ||||
| 226 | Then from here comes this one. | 256 | Huh? | ||
| 227 | one, you know all. | ||||
| 228 | This, here, pulling, and again into this one. | ||||
| 229 | And then you have this with the raw, raw, over, and stretching, turn, and always | ||||
| > | ending profile, after profile ending. | ||||
| 230 | After the turn, profile, yes. | ||||
| 231 | You're ending here and then from here you start again. | ||||
| 232 | Again into the attitude. | ||||
| 233 | Attitude, to the front, over and turn in profile, yes. | ||||
| 234 | Down, down, down. | ||||
| 235 | Okay, this you have three times I think, no? | ||||
| 236 | I think it goes up and then from here. | ||||
| 237 | It goes down like this, yes. | ||||
| 238 | You go like this, but then when you turn, you just forget, you go the same on th | 257 | You go like this, but then when you turn, yeah, you just forget you go, you go, | ||
| > | e next one, yes. | > | you think on the next one, yes. | ||
| 239 | And this one is always like with a little bit, it's not so low, it's higher here | 258 | And this one is always like with a little bit, it's not, not so low, it's higher | ||
| > | with the wrist. | > | here with the lift. | ||
| 240 | It's like you're pushing, yes, fighting it here. | 259 | It's like you're pushing, yes. | ||
| 241 | Till it's straight, that's the arm stretch. | 260 | Fighting it, yes. | ||
| 261 | Till it's straight. | ||||
| 262 | That's the arm stretch. | ||||
| 242 | And then, actually now there is just a stop. | 263 | And then, actually now there is just a stop. | ||
| 243 | There is certain music is about three times. | 264 | There is certain music is about three times. | ||
| 244 | Yeah, it's a kind of stop. | 265 | Yeah, it's a kind of stop. | ||
| 245 | And then actually the beginning comes again. | 266 | And then actually the beginning comes again. | ||
| 246 | You repeat the beginning. | 267 | You repeat the beginning. | ||
| n | 247 | Repeat the beginning. | n | 268 | beginning, looking, and then from here it's like, make the whole the whole circl |
| > | e. | ||||
| 248 | Looking. | ||||
| 249 | And then from here it's like, you make the whole circle. | ||||
| 250 | Circle. | ||||
| 251 | Also certain music. | 269 | Also certain music. | ||
| n | 252 | We're having this movement, just this. | n | 270 | We have this movement, just this. |
| 253 | Oh, yes. | 271 | Oh, yes. | ||
| n | 254 | Till here. | n | 272 | Until here. |
| 255 | OK. | ||||
| 256 | So where do we do from where? | 273 | So, where do we go from where? | ||
| 257 | after the looking, just to think again what it was, so you have before you had d | 274 | After the looking, just to think again what it was, so you have before you had d | ||
| > | one, you remember? | > | one, you remember? | ||
| 258 | After the looking comes this, yeah. | 275 | After the looking comes this, yeah. | ||
| 259 | So first you are here, you have the looking, and then from here you go in this d | 276 | So first you are here, you have the looking, and then from here you go in this d | ||
| > | irection. | > | irection. | ||
| 260 | Now comes this movement. | 277 | Now comes this movement. | ||
| 261 | This goes into the attitude. | 278 | This goes into the attitude. | ||
| 262 | Profile. | 279 | Profile. | ||
| n | 263 | Stop. | n | ||
| 264 | And then comes the beginning again. | 280 | And then comes the beginning again. | ||
| 265 | Well, that's clear. | 281 | Well, that's clear. | ||
| 266 | The beginning is clear. | 282 | The beginning is clear. | ||
| t | 267 | Only you can take even more space. | t | 283 | Yeah, only you can take even more space. |
| 268 | Yes. | 284 | Yes. | ||
| 269 | But then it says the whole beginning except the end is after the running around | 285 | But then it says the whole beginning except the end is after the running around | ||
| > | that you have to have a cue for this. | > | that you have to have a cue for this. | ||
| 270 | This and this. | 286 | This and this. | ||
| 271 | Okay, let's have this with music maybe from the... | 287 | Okay, let's have this with music maybe from the... | ||
| 272 | Maybe a little bit here, please. | 288 | Maybe a little bit here, please. | ||
| 273 | Ah, from here. | 289 | Ah, from here. | ||
| 274 | You walk here and then it's just like this. | 290 | You walk here and then it's just like this. | ||
| 275 | Just like direct. | 291 | Just like direct. | ||
| 276 | This is, yes, you have to go like right away into it because there's not so much | 292 | This is, yes, you have to go like right away into it because there's not so much | ||
| > | time. | > | time. | ||
| 277 | You have to already, when you turn, you have to start with your arms. | 293 | You have to already, when you turn, you have to start with your arms. | ||
| 278 | Yeah. | 294 | Yeah. | ||
| 279 | It's too late. | 295 | It's too late. | ||
| 280 | You have to be quicker here. | 296 | You have to be quicker here. | ||
| 281 | Anyway, this movement, wait, wait. | 297 | Anyway, this movement, wait, wait. | ||
| 282 | You're here, you're here, one line on the shoulder. | 298 | You're here, you're here, one line on the shoulder. | ||
| 283 | This still tries to stay diagonal. | 299 | This still tries to stay diagonal. | ||
| 284 | Actually the leg is more front, Rafaela. | 300 | Actually the leg is more front, Rafaela. | ||
| 285 | Yes, I think it's more like an opposite direction. | 301 | Yes, I think it's more like an opposite direction. | ||
| 286 | And then you go back to the standing leg. | 302 | And then you go back to the standing leg. | ||
| 287 | But this is here. | 303 | But this is here. | ||
| 288 | Yeah, the whole body is, you stay here, here, here. | 304 | Yeah, the whole body is, you stay here, here, here. | ||
| 289 | So, this shoulder is a little deeper. | 305 | So, this shoulder is a little deeper. | ||
| 290 | This one here. | 306 | This one here. | ||
| 291 | And then the hip pulls you front, but the body back. | 307 | And then the hip pulls you front, but the body back. | ||
| 292 | So very far backwards, yes, like that. | 308 | So very far backwards, yes, like that. | ||
| 293 | And then go and right away the arm turn. | 309 | And then go and right away the arm turn. | ||
| 294 | Better, yes. | 310 | Better, yes. | ||
| 295 | Yeah. | 311 | Yeah. | ||
| 296 | Let's go straight down. | 312 | Let's go straight down. | ||
| 297 | Up, and now you go straight. | 313 | Up, and now you go straight. | ||
| 298 | Straight down. | 314 | Straight down. | ||
| 299 | Straight and straight. | 315 | Straight and straight. | ||
| 300 | No, you don't... | 316 | No, you don't... | ||
| 301 | Yes, there. | 317 | Yes, there. | ||
| 302 | And then you... | 318 | And then you... | ||
| 303 | Down. | 319 | Down. | ||
| 304 | It goes lower, a little bit lower. | 320 | It goes lower, a little bit lower. | ||
| 305 | When this arm comes, it goes a bit lower. | 321 | When this arm comes, it goes a bit lower. | ||
| 306 | and push through and turn okay yeah okay we hear this with music Maybe we'll sta | 322 | and push through and turn okay yeah okay we hear this with music Maybe we'll sta | ||
| > | rt with these little heads. | > | rt with these little heads. | ||
| 307 | Easy. | 323 | Easy. | ||
| 308 | No, no, no, easy. | 324 | No, no, no, easy. | ||
| 309 | You are able to continue? | 325 | You are able to continue? | ||
| 310 | Is it brighter? | 326 | Is it brighter? | ||
| 311 | The timing of the... | 327 | The timing of the... | ||
| 312 | We can do it again. | 328 | We can do it again. | ||
| 313 | Just mark it, of course. | 329 | Just mark it, of course. | ||
| 314 | Don't do it too much. | 330 | Don't do it too much. | ||
| 315 | When you start too late, you never... | 331 | When you start too late, you never... | ||
| 316 | it's impossible to... | 332 | it's impossible to... | ||
| 317 | Just easy. | 333 | Just easy. | ||
| 318 | Maybe the same spot. | 334 | Maybe the same spot. | ||
| 319 | maybe a little tiny little bit before we can do this accents here, so with the r | 335 | maybe a little tiny little bit before we can do this accents here, so with the r | ||
| > | unning. | > | unning. | ||
| 320 | Oh, gee. | 336 | Oh, gee. | ||
| 321 | I think you're very good. | 337 | I think you're very good. | ||
| 322 | Huh? | 338 | Huh? | ||
| 323 | Yeah, it's just the weight brings you a little bit. | 339 | Yeah, it's just the weight brings you a little bit. | ||
| 324 | Actually it moves a little bit, yes. | 340 | Actually it moves a little bit, yes. | ||
| 325 | Wait a minute, so now we are here. | 341 | Wait a minute, so now we are here. | ||
| 326 | Now you have a, you touch your hand here. | 342 | Now you have a, you touch your hand here. | ||
| 327 | Touch it, you have your, like you're going this around, so this makes you move. | 343 | Touch it, you have your, like you're going this around, so this makes you move. | ||
| 328 | So this, up, up, up, and. | 344 | So this, up, up, up, and. | ||
| 329 | And sometimes leave it together, so it's not all the same. | 345 | And sometimes leave it together, so it's not all the same. | ||
| 330 | So you have to move so far with the arm that his foot has to move. | 346 | So you have to move so far with the arm that his foot has to move. | ||
| 331 | You have to move. | 347 | You have to move. | ||
| 332 | And also this brings it back. | 348 | And also this brings it back. | ||
| 333 | So it happens, this movement in the foot. | 349 | So it happens, this movement in the foot. | ||
| 334 | And sometimes you leave it even. | 350 | And sometimes you leave it even. | ||
| 335 | Sometimes you're only going like this, and then you open it again. | 351 | Sometimes you're only going like this, and then you open it again. | ||
| 336 | And then open it. | 352 | And then open it. | ||
| 337 | and slow ones and very fast ones very fat up but always up reaching reaching alw | 353 | and slow ones and very fast ones very fat up but always up reaching reaching alw | ||
| > | ays I in the app is reaching is important up always up Up. Up. Rafa. | > | ays I in the app is reaching is important up always up Up. Up. Rafa. | ||
| 338 | Why don't we all go more front? | 354 | Why don't we all go more front? | ||
| 339 | Sorry. | 355 | Sorry. | ||
| 340 | Come, talk a bit. | 356 | Come, talk a bit. | ||
| Legends | ||||||||||
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| reference | transcript | ||||
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| f | 1 | Yeah, so you're having, you have this movement and you can hear very well when y | f | 1 | Yeah, so you're having, you have this movement and you can hear very well when y |
| > | ou open and it's just your, you don't think about your step, they're just tired | > | ou open and it's just your, you don't think about your step, they're just tired | ||
| > | the legs, so they're you're deep and you walk with your chest. | > | the legs, so they're you're deep and you walk with your chest. | ||
| 2 | So for me it's like you are walking like this, walking here. | 2 | So for me it's like you are walking like this, walking here. | ||
| 3 | here, then we have this movement, this one, over, hold circle to here, and then | 3 | here, then we have this movement, this one, over, hold circle to here, and then | ||
| > | through the back, through the back, here, and then quick up, and again down, qui | > | through the back, through the back, here, and then quick up, and again down, qui | ||
| > | ck up, and down, Oh yeah, and then you have your accent, so you do again this on | > | ck up, and down, Oh yeah, and then you have your accent, so you do again this on | ||
| > | e. | > | e. | ||
| 4 | Okay. | 4 | Okay. | ||
| 5 | Yeah, and then it tells you to stop anyway. | 5 | Yeah, and then it tells you to stop anyway. | ||
| 6 | Marking maybe from this part. | 6 | Marking maybe from this part. | ||
| 7 | So from the music, we like just like let's learn the music. | 7 | So from the music, we like just like let's learn the music. | ||
| 8 | I think, Matthias, when we're... | 8 | I think, Matthias, when we're... | ||
| 9 | Okay, okay. | 9 | Okay, okay. | ||
| 10 | This is with the steps also, no? | 10 | This is with the steps also, no? | ||
| 11 | This one is still with the, like with the raw, still like with the raw. | 11 | This one is still with the, like with the raw, still like with the raw. | ||
| 12 | And step, step, so it's a kind of step, step, yes, it's only in small, but the r | 12 | And step, step, so it's a kind of step, step, yes, it's only in small, but the r | ||
| > | hythm, but the feet stay. | > | hythm, but the feet stay. | ||
| 13 | Then from here, you go in this direction, you have a small attitude, leg, leg, a | 13 | Then from here, you go in this direction, you have a small attitude, leg, leg, a | ||
| > | rm, arm, this, again this movement, Till you have an attitude, then you have thi | > | rm, arm, this, again this movement, Till you have an attitude, then you have thi | ||
| > | s what the men do before, this, this, cut, passe, passe soutenu, till here, big | > | s what the men do before, this, this, cut, passe, passe soutenu, till here, big | ||
| > | raw to the floor, on the knee, yeah, all the way to the, yes, like that turn aro | > | raw to the floor, on the knee, yeah, all the way to the, yes, like that turn aro | ||
| > | und very low and then very very front and one yes big fall and then you push bac | > | und very low and then very very front and one yes big fall and then you push bac | ||
| > | k and you go again into this movement one. | > | k and you go again into this movement one. | ||
| 14 | This, this, this, arm, arm. | 14 | This, this, this, arm, arm. | ||
| 15 | Here we won't have time really. | 15 | Here we won't have time really. | ||
| 16 | And then comes turn, turn, Hop, step, step. | 16 | And then comes turn, turn, Hop, step, step. | ||
| 17 | Yes, yeah. | 17 | Yes, yeah. | ||
| 18 | So, yeah. | 18 | So, yeah. | ||
| 19 | Then you have to go a little bit backwards again to the foot, otherwise you are | 19 | Then you have to go a little bit backwards again to the foot, otherwise you are | ||
| > | traveling too far. | > | traveling too far. | ||
| 20 | So you go always like it stays on the spot, yes. | 20 | So you go always like it stays on the spot, yes. | ||
| 21 | But not, not, not, the steps are not too big. | 21 | But not, not, not, the steps are not too big. | ||
| 22 | the step is not too big yeah yeah okay okay yes whatever from the attitude you k | 22 | the step is not too big yeah yeah okay okay yes whatever from the attitude you k | ||
| > | now where we ended Yeah. | > | now where we ended Yeah. | ||
| 23 | Yeah, yeah, yeah, okay. | 23 | Yeah, yeah, yeah, okay. | ||
| 24 | Also... | 24 | Also... | ||
| 25 | but we're coming soon to the end anyway marking again just but mark really you k | 25 | but we're coming soon to the end anyway marking again just but mark really you k | ||
| > | now it's it's hard fernando Yeah, come a bit more forward. | > | now it's it's hard fernando Yeah, come a bit more forward. | ||
| 26 | No, my reserve is still a bit. | 26 | No, my reserve is still a bit. | ||
| 27 | Okay, okay, okay, okay. | 27 | Okay, okay, okay, okay. | ||
| 28 | Now with this new music, you're having a parallel jump in contraction. | 28 | Now with this new music, you're having a parallel jump in contraction. | ||
| 29 | You're having the arms like this in the jump. | 29 | You're having the arms like this in the jump. | ||
| 30 | It's fist, actually fist, no? | 30 | It's fist, actually fist, no? | ||
| 31 | Yeah, this, then it's like very fast. | 31 | Yeah, this, then it's like very fast. | ||
| 32 | It's the turn, this, you turn, but this goes into, you turn like this, but this | 32 | It's the turn, this, you turn, but this goes into, you turn like this, but this | ||
| > | goes into this movement. | > | goes into this movement. | ||
| 33 | You jump like this, you jump here. | 33 | You jump like this, you jump here. | ||
| 34 | then you start the turn like this and from here you already touch it again you m | 34 | then you start the turn like this and from here you already touch it again you m | ||
| > | eet and you go into this movement this into the move and then you will be interr | > | eet and you go into this movement this into the move and then you will be interr | ||
| > | upted and you do another one i'm sorry i'm sorry i mixed it up with the second t | > | upted and you do another one i'm sorry i'm sorry i mixed it up with the second t | ||
| > | ime yes oh sorry I mix it up with the second time. | > | ime yes oh sorry I mix it up with the second time. | ||
| 35 | So again, so you have this, you turn into this and it comes here, down and up. | 35 | So again, so you have this, you turn into this and it comes here, down and up. | ||
| 36 | go into this and open and down and very quick up you're done either way up and a | 36 | go into this and open and down and very quick up you're done either way up and a | ||
| > | little bit of this woman and then it's just like you just have no energy just o | > | little bit of this woman and then it's just like you just have no energy just o | ||
| > | n the knees they collapse and then And then just ploof and back. | > | n the knees they collapse and then And then just ploof and back. | ||
| 37 | And actually, well anyway, that routine is before actually. | 37 | And actually, well anyway, that routine is before actually. | ||
| 38 | And then goes the whole diagonal. | 38 | And then goes the whole diagonal. | ||
| 39 | Jump, accent, accent. | 39 | Jump, accent, accent. | ||
| 40 | Then actually you're over there, very far. | 40 | Then actually you're over there, very far. | ||
| 41 | I speak here anyway. | 41 | I speak here anyway. | ||
| 42 | So you are, then comes again this one with this movement but without the turn. | 42 | So you are, then comes again this one with this movement but without the turn. | ||
| 43 | You do jump again. | 43 | You do jump again. | ||
| 44 | It goes into this movement and the music will interrupt you. | 44 | It goes into this movement and the music will interrupt you. | ||
| 45 | So we have to kind of do another one. | 45 | So we have to kind of do another one. | ||
| 46 | So and to the hands, to the face. | 46 | So and to the hands, to the face. | ||
| 47 | Yes, and then it's this music where it happened to you. | 47 | Yes, and then it's this music where it happened to you. | ||
| 48 | You have to continue. | 48 | You have to continue. | ||
| 49 | Yes, it's like, yes. | 49 | Yes, it's like, yes. | ||
| 50 | You go kind of middle. | 50 | You go kind of middle. | ||
| 51 | Yeah. | 51 | Yeah. | ||
| 52 | up and then the last one is a mixture out of this movement and out of this momen | 52 | up and then the last one is a mixture out of this movement and out of this momen | ||
| > | t the very quick ones on the end so where do we start from Music like? | > | t the very quick ones on the end so where do we start from Music like? | ||
| 53 | It's easier with music, the music tells you. | 53 | It's easier with music, the music tells you. | ||
| 54 | And no more really. | 54 | And no more really. | ||
| 55 | . | 55 | . | ||
| 56 | Yeah, stop, yes. | 56 | Yeah, stop, yes. | ||
| 57 | Okay, do from here. | 57 | Okay, do from here. | ||
| 58 | Here, altitude. | 58 | Here, altitude. | ||
| 59 | Up. Yes, it's many times more, more than that, but anyway, you don't have to go | 59 | Up. Yes, it's many times more, more than that, but anyway, you don't have to go | ||
| > | on this actually. | > | on this actually. | ||
| 60 | Is this the other leg? | 60 | Is this the other leg? | ||
| 61 | Yes, and turn, turn, up, open, open, down, up. | 61 | Yes, and turn, turn, up, open, open, down, up. | ||
| 62 | That's very quickly, up, up. | 62 | That's very quickly, up, up. | ||
| 63 | and then comes right away this one. | 63 | and then comes right away this one. | ||
| 64 | This one and knee, fall and And... | 64 | This one and knee, fall and And... | ||
| 65 | Just try it down, this time you're here, and then you have either way, yes. | 65 | Just try it down, this time you're here, and then you have either way, yes. | ||
| 66 | One time, then a jump again. | 66 | One time, then a jump again. | ||
| n | 67 | No, the outside leg, the outside leg always. | n | 67 | No, the outside leg. |
| 68 | The outside leg always. | ||||
| 69 | Yes. | ||||
| 68 | And then into the middle. | 70 | And then into the middle. | ||
| 69 | This is like over the music, the end, well you know the music anyway. | 71 | This is like over the music, the end, well you know the music anyway. | ||
| 70 | Anyway. | 72 | Anyway. | ||
| 71 | From here. | 73 | From here. | ||
| 72 | From the place where we were just now, Matthias. | 74 | From the place where we were just now, Matthias. | ||
| 73 | Let's go. | 75 | Let's go. | ||
| 74 | Matthias? | 76 | Matthias? | ||
| 75 | But really, she's also resting, right? | 77 | But really, she's also resting, right? | ||
| 76 | Yes, I'm resting. | 78 | Yes, I'm resting. | ||
| 77 | I'm making sure. | 79 | I'm making sure. | ||
| 78 | Yes, yes, yes. | 80 | Yes, yes, yes. | ||
| 79 | Okay. | 81 | Okay. | ||
| 80 | Okay. | 82 | Okay. | ||
| 81 | I don't know about after you. | 83 | I don't know about after you. | ||
| 82 | Thank you. | 84 | Thank you. | ||
| n | 83 | about You want to mark it. | n | 85 | I want to ask if you have the You want to mark it. |
| 84 | Thank you. | 86 | Thank you. | ||
| n | 85 | Let's see if we can get another one in. | n | 87 | Thank you. |
| 86 | Who was it for? | ||||
| 87 | Rafaela. | ||||
| 88 | Actually, I didn't know how long it takes, but I thought if we start something, | 88 | Actually, I didn't know how long it takes, but I thought if we start something, | ||
| > | we have to kind of go through the whole thing. | > | we have to kind of go through the whole thing. | ||
| 89 | It's terribly hard. | 89 | It's terribly hard. | ||
| 90 | It's really, and I think they did fantastic. | 90 | It's really, and I think they did fantastic. | ||
| n | 91 | and actually I thought we do something else but it's almost the opposite very li | n | 91 | And actually, I thought we'd do something else, but it's almost the opposite, ve |
| > | ght very nice very funny way but I think it got too late so I thought I just wan | > | ry light and very nice, very funny, but I think it got too late. | ||
| > | ted to do two very different things but it's already I think they want to speak. | ||||
| 92 | So I thought I just I just wanted to do two very different things, but it's alre | ||||
| > | ady. | ||||
| 93 | To warm down. | ||||
| 94 | To warm down. | ||||
| 95 | To warm down. | ||||
| 96 | To warm down. | ||||
| 97 | To warm down. | ||||
| 98 | I know. | ||||
| 99 | Yeah. | ||||
| 100 | 1980? | ||||
| 101 | It's too short, so I think. | ||||
| 102 | Uh-huh. | ||||
| 103 | I think it's too cold. | ||||
| 104 | I think they want to speak. | ||||
| 105 | It's around them. | ||||
| 92 | It looks like we only have three seats, so we'll have to play musical chairs. | 106 | It looks like we only have three seats, so we'll have to play musical chairs. | ||
| n | 93 | Yeah, but anyway, you have to... | n | 107 | Yeah, but anyway, you have to, you have to. |
| 94 | We'll let you cool down. | 108 | I'll let you cool down. | ||
| 95 | Otherwise, I'll come back to it. | 109 | Sonst komme ich darauf zurück. | ||
| 96 | You can put on something and drink water. | 110 | Tut euch mal was anziehen und trinkt Wasser. | ||
| 111 | Is it on? | ||||
| 97 | Yeah. | 112 | Yeah. | ||
| n | n | 113 | Yeah. | ||
| 114 | More chairs? | ||||
| 98 | Yeah, why don't you bring out a couple more chairs? | 115 | Yeah, why don't you bring out a couple more chairs. | ||
| 116 | Pina, do you want to sit down here? | ||||
| 117 | We can start here. | ||||
| 99 | As you can see, this is a, actually, you're participating, you're spectating in | 118 | As you can see, this is a, actually you're participating, you're spectating in t | ||
| > | the context of an improvised three-act play. | > | he context of an improvised three-act play. | ||
| 100 | And this is the second act, and it's going to be a divided act in the sense that | 119 | And this is the second act. | ||
| > | the first part of it will consist in a sort of, a fairly informal conversation | ||||
| > | between myself and Pina Bausch, and hopefully the dancers once they've recovered | ||||
| > | from their efforts. | ||||
| 101 | And then in the second half I'm going to just open up the floor to a general con | 120 | And it's going to be a divided act in the sense that the first part of it will c | ||
| > | versation so members of the audience will be invited to ask their questions and | > | onsist in a sort of a fairly informal conversation between myself and and Pina B | ||
| > | then the third act the triumphal act will be where we feed you out in the courty | > | ausch and hopefully the dancers once they've recovered from their efforts and th | ||
| > | ard out here as a conclusion of the event and it is meant as a genuine third act | > | en in the second half I'm going to just open up the floor to a general conversat | ||
| > | in the sense that it is participatory but it's participatory not adjusting the | > | ion so members of the audience will be invited to ask their questions and then t | ||
| > | gastronomical sense it's your opportunity to actually meet with Pina Bausch hers | > | he third act the triumphal act will be where we feed you out in the courtyard ou | ||
| > | elf, with the dancers who will be partaking of our repast with us. | > | t here as a conclusion of the event and it is meant as a genuine third act in th | ||
| > | e sense that it is participatory but it's participatory not just in the gastrono | ||||
| > | mical sense it's your opportunity to actually meet with with Peter Bausch hersel | ||||
| > | f with the dancers who will be partaking of our repast with us I thought as a ki | ||||
| > | nd of introduction to our conversation I would ask you since the Rite of Spring | ||||
| > | is a piece that has been a long been a part of your career and it is one of the | ||||
| > | central monuments in a sense in the history of modern dance it's a piece of musi | ||||
| > | c and the choreographies of which have really marked the entire history of moder | ||||
| > | n dance and it's also a dance and a piece of music that is so much built around | ||||
| > | the polarity of dance as associated with renewal on the one side with resurgent | ||||
| > | life and on the other side with with depth with expenditure I was just curious a | ||||
| > | s a sort of starting question ask you what your personal relationship is to this | ||||
| > | piece I mean in what sense it's a piece that you've returned to in in the cours | ||||
| > | e of your career as a dancer and a choreographer. | ||||
| 102 | I thought as a kind of introduction to our conversation I would ask you, since t | ||||
| > | he Rite of Spring is a piece that has long been a part of your career, and it is | ||||
| > | one of the central monuments in a sense in the history of modern dance. | ||||
| 103 | It's a piece of music and the choreographies of which have really marked the ent | ||||
| > | ire history of modern dance and it's also a dance and a piece of music that is s | ||||
| > | o much built around the polarity of dance as associated with renewal on the one | ||||
| > | side with resurgent life and on the other side with depth, with expenditure. | ||||
| 104 | I was just curious as a sort of starting question to ask you what your personal | ||||
| > | relationship is to this piece. | ||||
| 105 | I mean in what sense is it a piece that you've returned to in the course of your | ||||
| > | career as a dancer and a choreographer? | ||||
| 106 | You mean why we are doing it again or something? | 121 | Anne McLean, You mean why we are doing it again or something? | ||
| 107 | Yeah. | ||||
| 108 | Actually we keep a very big repertoire. | 122 | Actually, we keep a very big repertoire. | ||
| 109 | I do every day, every year a new work and we perform about 12, 14 different even | 123 | I do every day, every year a new work and we have, we perform about 12, 14 diffe | ||
| > | ings from the repertoire in a year. | > | rent evenings from the repertoire in a year. | ||
| 110 | And sometimes because of, I don't know for certain because of where we travel or | 124 | And sometimes because of, I don't know for certain because because of where we t | ||
| > | because a dancer is leaving or something, so we lose a piece. | > | ravel or because a dancer is leaving or something, so we lose a piece. | ||
| 111 | And then every year I try also to have one of the old ones. | 125 | And then every year I try also to have one of the old ones. | ||
| 112 | But Sacre we always carry with us the whole time. | 126 | But Sacre we always carry with us the whole time. | ||
| 113 | We always perform it from time to time. | 127 | We always perform it from time to time. | ||
| n | 114 | It was always there. | n | 128 | So it was always there. |
| 115 | And in a way it's also very healthy, I think, for the company, the new ones. | 129 | And so in a way it's also very healthy, I think, for the company, the new ones. | ||
| 116 | Everybody, you know, have to kind of go through many different things. | 130 | Everybody everybody have to kind of go through many different things. | ||
| 117 | The other way, many people sometimes say, and I say, why don't you do another Sa | 131 | And the other way, many people sometimes say, why don't you do another Sacre? | ||
| > | cre? | ||||
| 118 | And they say, but we do Sacre, you know? | 132 | And I say, but we do Sacre. | ||
| 119 | So it makes me also with each new work, I have to open another door. | 133 | It makes me also with each new work, I have to open another door. | ||
| 120 | So if I keep my own works like they are, I have to always like go somewhere else | 134 | So if I keep my own works like if they are, I have to always like go somewhere e | ||
| > | , what I think is very good to do. | > | lse. | ||
| 135 | What I think is very good to do. | ||||
| 121 | But in the course of your performance of it, do you alter the basic way in which | 136 | But in the course of your performance of it, do you alter the basic way way in w | ||
| > | you present the piece, the different aspects of the choreography itself, or has | > | hich you present the piece, the different aspects of the choreography itself, or | ||
| > | it remained relatively stable in the course of the years? | > | has it remained relatively stable in the course of the years? | ||
| 122 | No, I tried to do what I did in the beginning. | 137 | No, I try to do what I did in the beginning. | ||
| 123 | And the first performance, it goes back to the mid-70s? | 138 | And the first performance, it goes back to the mid-70s? | ||
| 124 | Yes, 76 or something, no? | 139 | Yes, 76 or something, no? | ||
| 125 | 77. | 140 | 77. | ||
| 126 | I haven't seen the original staging of it, but in the ordinary staging, you were | 141 | I haven't seen the original staging of it, but in the ordinary staging, you were | ||
| > | referring to the fact that this is a real floor, but you would ordinarily perfo | > | referring to the fact that this is a real floor, but you would ordinarily perfo | ||
| > | rm it with loam or peat moss. | > | rm it with loam or peat moss. | ||
| 127 | Yeah, this is with turf. | 142 | Yeah, this is with turf. | ||
| 128 | I don't know, turf. | 143 | I don't know, turf. | ||
| 129 | And so it's a completely different experience. | 144 | And so it's a completely different experience. | ||
| n | 130 | I mean, there are many, many dancers involved in this piece, and so it's really, | n | 145 | I mean, there are many, many dancers involved in this piece, and the music is in |
| > | and the music is incredible. | > | credible. | ||
| 146 | It's incredible. | ||||
| 131 | It's so strong. | 147 | It's so strong. | ||
| 132 | It's very, very energetic. | 148 | It's very, very energetic. | ||
| n | 133 | So this is just a little bit from the end, you know, but and before it's so it's | n | 149 | This is just a little bit from the end. |
| > | but what I like about I mean the the earth, the talk, because it the effect it | ||||
| > | has on a body. | ||||
| 150 | But what I like about the earth, the talk, because the effect it has on the body | ||||
| > | . | ||||
| 134 | First of all also it's completely different to it's all about the earth. | 151 | First of all, also, it's completely different to, it's all about the earth. | ||
| 135 | Also the starting I mean why they are arriving there and all this but but also b | 152 | Also the starting, I mean, why they are arriving there and all this. | ||
| > | ecause when they start sweating and moving, so it sticks onto them. | ||||
| 153 | But also because when they start sweating and moving, so it sticks onto them. | ||||
| 136 | So when they fall, they are everywhere full of earth. | 154 | So when they fall, they are everywhere full of earth. | ||
| 137 | So you should see them when they are all after the, when they come for buying, i | 155 | So you should see them when they are all after the, when they come for buying, i | ||
| > | t's like they are all over with earth and they look fantastic, I think. | > | t's like they are all over with earth and they look fantastic, I think. | ||
| t | 138 | It's interesting that you mentioned that because in the piece that you were perf | t | 156 | It's interesting that you mention that because in the piece that you've been you |
| > | orming at Zellerbach, Nelken carnations, the stage is covered with carnations, w | > | were performing at Zellerbach, Nelken carnations, the stage is covered with wit | ||
| > | ith hundreds and hundreds of fresh carnations and similarly there not fresh i'm | > | h carnations with hundreds and hundreds of fresh carnations and similarly they'r | ||
| > | sorry they look fresh from the audience but in any case the the sort of interact | > | e not fresh, they look fresh from the audience, but in any case the sort of inte | ||
| > | ion between the bodies and the support this you know natural support is a centra | > | raction between the bodies and the support, this natural support is a central fe | ||
| > | l feature of the piece is it what how did it first the the notion of using these | > | ature of the piece. | ||
| > | kinds of of you know they're not not natural landscapes obviously, but they're | ||||
| > | ways of transforming the stage first arise in your work. | ||||
| 139 | Well of course when it's already, it's usually a later moment when to think abou | 157 | How did it first, the notion of using these kinds of, they're not natural landsc | ||
| > | t on what is the stage like, because first always only when I know in what kind | > | apes obviously, but they're ways of transforming the stage first arise in your w | ||
| > | of direction this piece will go then it's only possible to speak well how what c | > | ork? | ||
| > | ould be I mean and I mean myself I like very much the experience that you have y | ||||
| > | ou have to pay an attention to something. | ||||
| 158 | Well of course when it's already, it's usually a later moment when to think abou | ||||
| > | t on what is the stage like. | ||||
| 159 | Because first always only when I know in what kind of direction this piece will | ||||
| > | go, then it's only possible to speak what could be. | ||||
| 160 | And me, myself, I like very much the experience that you have to pay an attentio | ||||
| > | n to something. | ||||
| 140 | So it's always a different experience, you know, like it's very central in a way | 161 | So it's always a different experience, you know, like it's very sensual in a way | ||
| > | . | > | . | ||
| 141 | Also we have a piece like you come in the opera house and the whole stage is thr | 162 | Also we have a piece like, you come in the opera house and the whole stage is, t | ||
| > | ough the walls is grass, green grass, or another piece it's water. | > | he walls is grass, green grass. | ||
| 142 | And of course all this is, there's so many things, you know, with the grass it's | 163 | Or another piece is water. | ||
| > | a different smell, it's silence, there are sometimes mosquitoes and little thin | ||||
| > | gs, and it changes with the images, it gets another, it gets something else, so | ||||
| > | it can, with certain things, so it is a grass change and you look at the grass c | ||||
| > | ompletely different, you look at the grass new, like in a place where it didn't | ||||
| > | belong. | ||||
| 143 | Also, or the experience when things in water happen because it's like a mirror i | 164 | And of course all this, there are so many things, you know. | ||
| > | n a way. | ||||
| 165 | With the grass it's a different smell, it's silence, there are sometimes mosquit | ||||
| > | oes and little things. | ||||
| 166 | and it changes with images it gets another it gets something else so it can with | ||||
| > | certain things so it is a grass change and and you look at the grass completely | ||||
| > | different you look at the grass new like in a place where it didn't belong also | ||||
| > | all the experience and things in water happen because of It's like a mirror in | ||||
| > | a way. | ||||
| 144 | All the dresses are wet, the clothes get heavy, they are freezing. | 167 | All the dresses are wet, the clothes get heavy, they are freezing. | ||
| 145 | It makes certain music, it makes a lot of noise. | 168 | It makes certain music, it makes a lot of noise. | ||
| 146 | You can splash the water, you can do all kinds of things with the water. | 169 | You can splash the water, you can do all kinds of things with the water. | ||
| 147 | And it has so many different meanings too. | 170 | And it has so many different meanings too. | ||
| 148 | And so for me, all this together means a lot. | 171 | And so for me, all this together means a lot. | ||
| 149 | Not only the movement, but for me the space, the music, the audience, also every | 172 | Not only the movement, but for me the space, the music, the audience, also every | ||
| > | thing I think I'd like to join or something. | > | thing I think I'd like to join or something. | ||
| 150 | Speaking of that, I mean frequently, as was the case at Zellerbach for instance, | 173 | Speaking of that, I mean frequently, as was the case at Zellerbach for instance, | ||
| > | your company is performing in fairly traditional window box type stages. | > | your company is performing in fairly traditional window box type stages. | ||
| 151 | I mean stages where there's a separation between audience and performance space. | 174 | I mean stages where there's a separation between audience and performance space. | ||
| 152 | That's a little bit less true here where we're in a gymnasium which essentially | 175 | That's a little bit less true here where we're in a gymnasium which essentially | ||
| > | is used for athletic events, but other kinds of events as well. | > | is used for athletic events, but other kinds of events as well. | ||
| 153 | What I mean for you, what is an ideal performance situation given exactly the co | 176 | What I mean for you, what is an ideal performance situation given exactly the co | ||
| > | ncept of spectacle that's inclusive that you were just describing? | > | ncept of spectacle that's inclusive that you were just describing? | ||
| 154 | I think it had to do with where I was. | 177 | I think it had to do with where I was. | ||
| 155 | I mean this was a fantastic possibility and these pieces are made also for being | 178 | I mean this was a fantastic possibility and these pieces are made also for being | ||
| > | in a normal theater because I mean it's even you know even to put water on the | > | in a normal theater because I mean it's even you know even to put water on the | ||
| > | stage it means for me I like the water in the opera house. | > | stage it means for me I like the water in the opera house. | ||
| 156 | It's already it means something so if you put water somewhere else it's not the | 179 | It's already it means something so if you put water somewhere else it's not the | ||
| > | same but in the opera house it's special. | > | same but in the opera house it's special. | ||
| 157 | So it's already, so I think it's already the switch is, in this case, you know, | 180 | So it's already, so I think it's already the switch is, in this case, you know, | ||
| > | I never had the possibility to do different, but not because, not only the possi | > | I never had the possibility to do different, but not because, not only the possi | ||
| > | bilities, but because we also, we are traveling a lot, so it's for us also impor | > | bilities, but because we also, we are traveling a lot, so it's for us also impor | ||
| > | tant, this work, they need a certain space and a certain size and possibilities, | > | tant, this work, they need a certain space and a certain size and possibilities, | ||
| > | If I would do a piece in a certain space, that means it can't travel. | > | If I would do a piece in a certain space, that means it can't travel. | ||
| 158 | It's also complicated, you know. | 181 | It's also complicated, you know. | ||
| 159 | I was curious about that because in a certain tradition of, well in some of the | 182 | I was curious about that because in a certain tradition of, well in some of the | ||
| > | cases that really the founding, the inaugural cases in the history of dance, par | > | cases that really the founding, the inaugural cases in the history of dance, par | ||
| > | ticularly the strain in dance theater that leads into expression dance, dance, t | > | ticularly the strain in dance theater that leads into expression dance, dance, t | ||
| > | he notion of outdoor performance was absolutely central to the whole sense of da | > | he notion of outdoor performance was absolutely central to the whole sense of da | ||
| > | nce's social mission. | > | nce's social mission. | ||
| 160 | So your particular variation on having grass in the opera house or water in the | 183 | So your particular variation on having grass in the opera house or water in the | ||
| > | opera house seems like a particularly ironic twist. | > | opera house seems like a particularly ironic twist. | ||
| 161 | Sometimes we performed also outdoor, of course, but this were also, but there's | 184 | Sometimes we performed also outdoor, of course, but this were also, but there's | ||
| > | is only with pieces possible which are having nothing important what is used fro | > | is only with pieces possible which are having nothing important what is used fro | ||
| > | m hanging or certain things and also and it depends on the space. | > | m hanging or certain things and also and it depends on the space. | ||
| 162 | One question I wanted to ask you that seems to be a really striking feature of y | 185 | One question I wanted to ask you that seems to be a really striking feature of y | ||
| > | our the way in which you construct scenes and your different performances is the | > | our the way in which you construct scenes and your different performances is the | ||
| > | the emphasis on bodies falling to the ground, the contact between bodies and th | > | the emphasis on bodies falling to the ground, the contact between bodies and th | ||
| > | e ground. | > | e ground. | ||
| 163 | You just mentioned in the case of your staging of the Rite of Spring, the import | 186 | You just mentioned in the case of your staging of the Rite of Spring, the import | ||
| > | ance for you that the bodies bear the trace of the support on which they perform | > | ance for you that the bodies bear the trace of the support on which they perform | ||
| > | . | > | . | ||
| 164 | Whereas so much of classical ballet, and a great deal of modern and contemporary | 187 | Whereas so much of classical ballet, and a great deal of modern and contemporary | ||
| > | dance focuses so much on aerial effects. | > | dance focuses so much on aerial effects. | ||
| 165 | Is that something that you do a lot of thinking about it seems like such a stron | 188 | Is that something that you do a lot of thinking about it seems like such a stron | ||
| > | g current in your work. | > | g current in your work. | ||
| 166 | I think this is in each work is it's different it's very different but I I think | 189 | I think this is in each work is it's different it's very different but I I think | ||
| > | in in the Rite of Spring of course I I feel it's it's very the the music it's I | > | in in the Rite of Spring of course I I feel it's it's very the the music it's I | ||
| > | think the music is telling me that. | > | think the music is telling me that. | ||
| 167 | You're just taking dictation. | 190 | You're just taking dictation. | ||
| 168 | Yes in that case yes I mean this is with Sacre and also a few other pieces which | 191 | Yes in that case yes I mean this is with Sacre and also a few other pieces which | ||
| > | when I really saw this incredible strength and this feeling what was in this mu | > | when I really saw this incredible strength and this feeling what was in this mu | ||
| > | sic where I felt I have something to do with. | > | sic where I felt I have something to do with. | ||
| 169 | I wanted very much to try to do. | 192 | I wanted very much to try to do. | ||
| 170 | But other works, they are not fixed. | 193 | But other works, they are not fixed. | ||
| 171 | It s like I take many different different musics and I make a new work and that' | 194 | It s like I take many different different musics and I make a new work and that' | ||
| > | s completely different then. | > | s completely different then. | ||
| 172 | And it depends also the big influence on the dancers also, the people which are | 195 | And it depends also the big influence on the dancers also, the people which are | ||
| > | in the company. | > | in the company. | ||
| 173 | It also has an influence and also in which time we are living. | 196 | It also has an influence and also in which time we are living. | ||
| 174 | So it's not just doing a choreography but I think being aware of the feelings we | 197 | So it's not just doing a choreography but I think being aware of the feelings we | ||
| > | are all having or what we are knowing or all all these kind of things, it all t | > | are all having or what we are knowing or all all these kind of things, it all t | ||
| > | akes part. | > | akes part. | ||
| 175 | And if what we had seen this evening was instead of a rehearsal of a piece that | 198 | And if what we had seen this evening was instead of a rehearsal of a piece that | ||
| > | you've choreographed and represented many, many times, if you were in the proces | > | you've choreographed and represented many, many times, if you were in the proces | ||
| > | s of developing a new piece, what would have been different about what the audie | > | s of developing a new piece, what would have been different about what the audie | ||
| > | nce experienced tonight? | > | nce experienced tonight? | ||
| 176 | I mean, this is also quite unusual because usually we don't do this. | 199 | I mean, this is also quite unusual because usually we don't do this. | ||
| 177 | I mean, that I'm teaching this solo to now all the dancers, this was like also a | 200 | I mean, that I'm teaching this solo to now all the dancers, this was like also a | ||
| > | n exception, I must say. | > | n exception, I must say. | ||
| 178 | Well, it's of course, what is very different. | 201 | Well, it's of course, what is very different. | ||
| 179 | I mean, here you can still you feel what is sacred. | 202 | I mean, here you can still you feel what is sacred. | ||
| 180 | But in the other works, there are so many little different stories inside or tho | 203 | But in the other works, there are so many little different stories inside or tho | ||
| > | ughts or images or whatever, what comes out of it. | > | ughts or images or whatever, what comes out of it. | ||
| 181 | And each of the dancers, each one is in a different way important and also their | 204 | And each of the dancers, each one is in a different way important and also their | ||
| > | certain personality and the way how the influence and also they each have their | > | certain personality and the way how the influence and also they each have their | ||
| > | own dances, their own different way of dancing and choreography. | > | own dances, their own different way of dancing and choreography. | ||
| 182 | So that's completely, it's very complicated. | 205 | So that's completely, it's very complicated. | ||
| 183 | I mean, it's just like the best is to see it. | 206 | I mean, it's just like the best is to see it. | ||
| 184 | That's always true. | 207 | That's always true. | ||
| 185 | But I guess what I was curious about is in terms of your working method, when yo | 208 | But I guess what I was curious about is in terms of your working method, when yo | ||
| > | u're developing a new piece, What's the degree to which you have a fairly clear | > | u're developing a new piece, What's the degree to which you have a fairly clear | ||
| > | concept of what the shape of a particular passage should be versus what happens | > | concept of what the shape of a particular passage should be versus what happens | ||
| > | by accident, by serendipity, by virtue, by dint of improvisation? | > | by accident, by serendipity, by virtue, by dint of improvisation? | ||
| 186 | I think that is a very big change from when I started the way how I work now. | 209 | I think that is a very big change from when I started the way how I work now. | ||
| 187 | In the beginning when I came having this company in Bukhara, I always tried to p | 210 | In the beginning when I came having this company in Bukhara, I always tried to p | ||
| > | repare everything, to be very prepared and planned and thought everything becaus | > | repare everything, to be very prepared and planned and thought everything becaus | ||
| > | e I was scared. | > | e I was scared. | ||
| 188 | I was afraid somebody asked me, what do we do? | 211 | I was afraid somebody asked me, what do we do? | ||
| 189 | And I said, I don't know. | 212 | And I said, I don't know. | ||
| 190 | So I was thinking of everything and then I never come into this situation. | 213 | So I was thinking of everything and then I never come into this situation. | ||
| 191 | I was terribly scared to say or to speak about it because for me, in one way I d | 214 | I was terribly scared to say or to speak about it because for me, in one way I d | ||
| > | on't find the right word. | > | on't find the right word. | ||
| 192 | In another way, I always feel like if I say something too important, I never can | 215 | In another way, I always feel like if I say something too important, I never can | ||
| > | reach what I say. | > | reach what I say. | ||
| 193 | I mean, it's better I don't say nothing and hopefully something arrives. | 216 | I mean, it's better I don't say nothing and hopefully something arrives. | ||
| 194 | you know. | 217 | you know. | ||
| 195 | But already in the beginning I felt sometimes you know you work and certainly so | 218 | But already in the beginning I felt sometimes you know you work and certainly so | ||
| > | mething happened in the rehearsal, you see something very little but has nothing | > | mething happened in the rehearsal, you see something very little but has nothing | ||
| > | to do with what you have planned and you don't know exactly why is it so import | > | to do with what you have planned and you don't know exactly why is it so import | ||
| > | ant. | > | ant. | ||
| 196 | Why is it It's so important. | 219 | Why is it It's so important. | ||
| 197 | Then you have to think, I mean, you have to think what you do. | 220 | Then you have to think, I mean, you have to think what you do. | ||
| 198 | I mean, is this what you think, why, what you like most certainly so much and in | 221 | I mean, is this what you think, why, what you like most certainly so much and in | ||
| > | terest you, do you follow this or you follow your plan? | > | terest you, do you follow this or you follow your plan? | ||
| 199 | So what I did, I followed always that. | 222 | So what I did, I followed always that. | ||
| 200 | I left my plans behind. | 223 | I left my plans behind. | ||
| 201 | That is also very difficult. | 224 | That is also very difficult. | ||
| 202 | You go somewhere where you don't know it brings you. | 225 | You go somewhere where you don't know it brings you. | ||
| 203 | So in a way you have to just trust it and actually we are there, the company and | 226 | So in a way you have to just trust it and actually we are there, the company and | ||
| > | me, and life is there. | > | me, and life is there. | ||
| 204 | And now what do we do? | 227 | And now what do we do? | ||
| 205 | We speak about life, about love, about everything what is important, of course i | 228 | We speak about life, about love, about everything what is important, of course i | ||
| > | n the beginning of the years I had I judged some like I did if you gain you of T | > | n the beginning of the years I had I judged some like I did if you gain you of T | ||
| > | aurus from look an opera and it like a dance opera I did it just with dancers an | > | aurus from look an opera and it like a dance opera I did it just with dancers an | ||
| > | d also offers in a really good I did blue beard I did soccer and and the seven d | > | d also offers in a really good I did blue beard I did soccer and and the seven d | ||
| > | eadly sins. | > | eadly sins. | ||
| 206 | But at the same time already I did other works. | 229 | But at the same time already I did other works. | ||
| 207 | I just things I like. | 230 | I just things I like. | ||
| 208 | And because also, you see these pieces which I was just telling you, that means | 231 | And because also, you see these pieces which I was just telling you, that means | ||
| > | there is like a solo part in it. | > | there is like a solo part in it. | ||
| 209 | There is a main figure. | 232 | There is a main figure. | ||
| 210 | You know, if you give me the or here you have, I mean there's everybody in the c | 233 | You know, if you give me the or here you have, I mean there's everybody in the c | ||
| > | horeography is very important, but still there is this girl on the end. | > | horeography is very important, but still there is this girl on the end. | ||
| 211 | It's the main part. | 234 | It's the main part. | ||
| 212 | and also in Bluebeard, you have Bluebeard and Judith. | 235 | and also in Bluebeard, you have Bluebeard and Judith. | ||
| 213 | But then I had so many beautiful dancers. | 236 | But then I had so many beautiful dancers. | ||
| 214 | They are all so different personalities and so fantastic and each one very diffe | 237 | They are all so different personalities and so fantastic and each one very diffe | ||
| > | rent. | > | rent. | ||
| 215 | So I wanted very much to create something for them. | 238 | So I wanted very much to create something for them. | ||
| 216 | So it started to be a completely different work. | 239 | So it started to be a completely different work. | ||
| 217 | And I think we are speaking much more about in this work, heroes in that way don | 240 | And I think we are speaking much more about in this work, heroes in that way don | ||
| > | 't exist. | > | 't exist. | ||
| 218 | It's just like, it's talking about us. | 241 | It's just like, it's talking about us. | ||
| 219 | I mean, not us personally, not private. | 242 | I mean, not us personally, not private. | ||
| 220 | I don't mean this. | 243 | I don't mean this. | ||
| 221 | And the way how to do this is of course each choreographer has to find their own | 244 | And the way how to do this is of course each choreographer has to find their own | ||
| > | way how to find, how to do this. | > | way how to find, how to do this. | ||
| 222 | Because when there is no piece, is no music, is no set, where do you start? | 245 | Because when there is no piece, is no music, is no set, where do you start? | ||
| 223 | You have to find a kind of way, you know, like I never did start from the beginn | 246 | You have to find a kind of way, you know, like I never did start from the beginn | ||
| > | ing. | > | ing. | ||
| 224 | I start with question, like maybe sometimes question I have to myself or other q | 247 | I start with question, like maybe sometimes question I have to myself or other q | ||
| > | uestion and because I know what I want but I don't, has no shape, has no words. | > | uestion and because I know what I want but I don't, has no shape, has no words. | ||
| 225 | So but how can I find, how can I shape it, this what I really know what I'm look | 248 | So but how can I find, how can I shape it, this what I really know what I'm look | ||
| > | ing for because it's really, it's so clear what I'm looking for but I couldn't s | > | ing for because it's really, it's so clear what I'm looking for but I couldn't s | ||
| > | ay it, you know. | > | ay it, you know. | ||
| 226 | So I start with many, many questions. | 249 | So I start with many, many questions. | ||
| 227 | And each one, each member in the company, they have this question, they sing, an | 250 | And each one, each member in the company, they have this question, they sing, an | ||
| > | d then you think you are not in a dance studio, they sit and sing and do the pen | > | d then you think you are not in a dance studio, they sit and sing and do the pen | ||
| > | cil. | > | cil. | ||
| 228 | And then each one is doing something, or maybe not, maybe they tell me tomorrow, | 251 | And then each one is doing something, or maybe not, maybe they tell me tomorrow, | ||
| > | or like like this, and they can do some movement or something that comes to the | > | or like like this, and they can do some movement or something that comes to the | ||
| > | ir mind, or talking or singing or whatever. | > | ir mind, or talking or singing or whatever. | ||
| 229 | And this I do actually many, many, like for weeks, and also bringing maybe other | 252 | And this I do actually many, many, like for weeks, and also bringing maybe other | ||
| > | ideas into it, but the questions are all around something, kind of. | > | ideas into it, but the questions are all around something, kind of. | ||
| 230 | But these These weeks are just like making material or try to find material beca | 253 | But these These weeks are just like making material or try to find material beca | ||
| > | use actually it will be maybe 5% of what we are all doing maybe will arrive in t | > | use actually it will be maybe 5% of what we are all doing maybe will arrive in t | ||
| > | he work. | > | he work. | ||
| 231 | So the final process to when to start, I mean, it's much, much later and also ne | 254 | So the final process to when to start, I mean, it's much, much later and also ne | ||
| > | ver from from the beginning it's something so complicated and so delicate when y | > | ver from from the beginning it's something so complicated and so delicate when y | ||
| > | ou try to put two little things together. | > | ou try to put two little things together. | ||
| 232 | And when you try that little bit with another one, it's completely different. | 255 | And when you try that little bit with another one, it's completely different. | ||
| 233 | It means something else. | 256 | It means something else. | ||
| 234 | It feels something different. | 257 | It feels something different. | ||
| 235 | And when you add a music even too, it's so complicated and it's so rich and it's | 258 | And when you add a music even too, it's so complicated and it's so rich and it's | ||
| > | endless and possibilities. | > | endless and possibilities. | ||
| 236 | So you have to Thank you. | 259 | So you have to Thank you. | ||
| Legends | ||||||||||
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| reference | transcript | ||||
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| f | 1 | . | f | 1 | . |
| 2 | My name is Elvira Prieto. | 2 | My name is Elvira Prieto. | ||
| 3 | I'm a sophomore in human biology here. | 3 | I'm a sophomore in human biology here. | ||
| 4 | I'm from Reedley, California, which is a small agricultural town in the San Joaq | 4 | I'm from Reedley, California, which is a small agricultural town in the San Joaq | ||
| > | uin Valley. | > | uin Valley. | ||
| 5 | My parents are migrant workers, and I've worked in the fields with them all my l | 5 | My parents are migrant workers, and I've worked in the fields with them all my l | ||
| > | ife, up until I started coming to school. | > | ife, up until I started coming to school. | ||
| 6 | My name is Eva Silva. | 6 | My name is Eva Silva. | ||
| 7 | I'm a senior majoring in human biology with an emphasis on education in the dive | 7 | I'm a senior majoring in human biology with an emphasis on education in the dive | ||
| > | rse classroom. | > | rse classroom. | ||
| 8 | And I'm from Salinas, California, and I'm going to be a math teacher. | 8 | And I'm from Salinas, California, and I'm going to be a math teacher. | ||
| 9 | My name is Tamara Alvarado and I'm majoring in Spanish Chicano Studies. | 9 | My name is Tamara Alvarado and I'm majoring in Spanish Chicano Studies. | ||
| 10 | I'm from a town in San Diego called Escondido and what else? | 10 | I'm from a town in San Diego called Escondido and what else? | ||
| 11 | That's it for now. | 11 | That's it for now. | ||
| 12 | My name is Julia Gonzalez Luna. | 12 | My name is Julia Gonzalez Luna. | ||
| 13 | I am a senior majoring in public policy with a focus on on education. | 13 | I am a senior majoring in public policy with a focus on on education. | ||
| 14 | And I'm from Burbank, California, and I'm going to be a social studies high scho | 14 | And I'm from Burbank, California, and I'm going to be a social studies high scho | ||
| > | ol teacher. | > | ol teacher. | ||
| 15 | Do you want to ask some questions here as to how this started? | 15 | Do you want to ask some questions here as to how this started? | ||
| 16 | In your own words, how did it start? | 16 | In your own words, how did it start? | ||
| 17 | How did this hunter strike start and why? | 17 | How did this hunter strike start and why? | ||
| 18 | Why? | 18 | Why? | ||
| 19 | How did it start? | 19 | How did it start? | ||
| 20 | Speak to us as if we don't know. | 20 | Speak to us as if we don't know. | ||
| 21 | Okay. | 21 | Okay. | ||
| 22 | Speak to me like you do. | 22 | Speak to me like you do. | ||
| 23 | Well, I guess it was a buildup of a lot of different things that have been happe | 23 | Well, I guess it was a buildup of a lot of different things that have been happe | ||
| > | ning, not only on this campus, but overall in this nation with the status of Chi | > | ning, not only on this campus, but overall in this nation with the status of Chi | ||
| > | canos and Chicanas in the United States, in the universities and everywhere else | > | canos and Chicanas in the United States, in the universities and everywhere else | ||
| > | . | > | . | ||
| 24 | So, you know, I guess I can run down, like, since my freshman year, so many thin | 24 | So, you know, I guess I can run down, like, since my freshman year, so many thin | ||
| > | gs have happened, the closing down of the Office of Chicano Affairs, and then wi | > | gs have happened, the closing down of the Office of Chicano Affairs, and then wi | ||
| > | th all the threats, with the budget cuts to the ethnic centers, and just these a | > | th all the threats, with the budget cuts to the ethnic centers, and just these a | ||
| > | ttacks on the theme houses, on the ethnic centers, and everything else, and then | > | ttacks on the theme houses, on the ethnic centers, and everything else, and then | ||
| > | the laying off of Cecilia Burciaga. | > | the laying off of Cecilia Burciaga. | ||
| 25 | I mean everything just like piled down piled down and so many things are happeni | 25 | I mean everything just like piled down piled down and so many things are happeni | ||
| > | ng that we say wait we need to do something about it and we need to change what' | > | ng that we say wait we need to do something about it and we need to change what' | ||
| > | s going on because nothing's happening that we want to happen I'm tired, I'm sor | > | s going on because nothing's happening that we want to happen I'm tired, I'm sor | ||
| > | ry. | > | ry. | ||
| 26 | No, you sound good. | 26 | No, you sound good. | ||
| 27 | Some people wonder why you would need to take a drastic measure like this. | 27 | Some people wonder why you would need to take a drastic measure like this. | ||
| 28 | I think you'll say why didn't you? | 28 | I think you'll say why didn't you? | ||
| 29 | Because the administration has been very, whenever we've had like meetings and t | 29 | Because the administration has been very, whenever we've had like meetings and t | ||
| > | ownhouse meetings or whatever, get togethers with any of the administrators, we | > | ownhouse meetings or whatever, get togethers with any of the administrators, we | ||
| > | don't get any results that we're happy with. | > | don't get any results that we're happy with. | ||
| 30 | And so it seemed to me like for them to really understand how extreme the situat | 30 | And so it seemed to me like for them to really understand how extreme the situat | ||
| > | ion is on this campus and how extreme things are outside in terms of immigrant b | > | ion is on this campus and how extreme things are outside in terms of immigrant b | ||
| > | ashing and just the way that people in Ispa Lo Alto are, that it was maybe the o | > | ashing and just the way that people in Ispa Lo Alto are, that it was maybe the o | ||
| > | nly way that they would, I don't know if it would touch their heart or if they w | > | nly way that they would, I don't know if it would touch their heart or if they w | ||
| > | ould just stop to think about it or if we could get enough bad press for this un | > | ould just stop to think about it or if we could get enough bad press for this un | ||
| > | iversity so that they could finally just really think about it. | > | iversity so that they could finally just really think about it. | ||
| 31 | Because otherwise they weren't paying attention. | 31 | Because otherwise they weren't paying attention. | ||
| 32 | It was just like everything had to go business as usual and there seemed to be t | 32 | It was just like everything had to go business as usual and there seemed to be t | ||
| > | his idea about hierarchy here that it was from top down it was what they said fi | > | his idea about hierarchy here that it was from top down it was what they said fi | ||
| > | rst and then if we could deal with that if we as students could deal with what t | > | rst and then if we could deal with that if we as students could deal with what t | ||
| > | he university wanted well then that was fine and if we couldn't that's too bad b | > | he university wanted well then that was fine and if we couldn't that's too bad b | ||
| > | ecause they're at their position because you know they earned it or whatever yea | > | ecause they're at their position because you know they earned it or whatever yea | ||
| > | h because meeting after meeting like you didn't get anything concrete from meeti | > | h because meeting after meeting like you didn't get anything concrete from meeti | ||
| > | ng with them every single time it was just okay I'll give I'll give you a meetin | > | ng with them every single time it was just okay I'll give I'll give you a meetin | ||
| > | g from 6 to 7, I'll give you a meeting from 5.30 to 6 or whatever. | > | g from 6 to 7, I'll give you a meeting from 5.30 to 6 or whatever. | ||
| 33 | We've tried their methods. | 33 | We've tried their methods. | ||
| 34 | We've tried their methods of working things out. | 34 | We've tried their methods of working things out. | ||
| 35 | And their methods are to draw things out for as long as possible in order to not | 35 | And their methods are to draw things out for as long as possible in order to not | ||
| > | give us things. | > | give us things. | ||
| 36 | At least, you know, they may say differently, but that's what it feels like. | 36 | At least, you know, they may say differently, but that's what it feels like. | ||
| 37 | And it's ridiculous to have to spend... | 37 | And it's ridiculous to have to spend... | ||
| 38 | I'm sorry I'm slow, but I'm a little bit tired. | 38 | I'm sorry I'm slow, but I'm a little bit tired. | ||
| 39 | It's ridiculous to spend so much time just talking and talking about things. | 39 | It's ridiculous to spend so much time just talking and talking about things. | ||
| 40 | And they're trying to tire us out with just talking. | 40 | And they're trying to tire us out with just talking. | ||
| 41 | So that's what it had to come to. | 41 | So that's what it had to come to. | ||
| 42 | And when people are not heard, and this happens in society at large, when people | 42 | And when people are not heard, and this happens in society at large, when people | ||
| > | are not heard, yeah, I don't know if I want to say abnormal behaviors, but beha | > | are not heard, yeah, I don't know if I want to say abnormal behaviors, but beha | ||
| > | viors that are not normal are what happen. | > | viors that are not normal are what happen. | ||
| 43 | And yeah, this is not normal. | 43 | And yeah, this is not normal. | ||
| 44 | This is not normal behavior for us to be not eating. | 44 | This is not normal behavior for us to be not eating. | ||
| 45 | But you know... | 45 | But you know... | ||
| 46 | I really like to eat. | 46 | I really like to eat. | ||
| 47 | Yeah, we like to eat. | 47 | Yeah, we like to eat. | ||
| 48 | And I emphasize, you know, why are Chicanos in prison? | 48 | And I emphasize, you know, why are Chicanos in prison? | ||
| 49 | Why are Chicanos in poverty? | 49 | Why are Chicanos in poverty? | ||
| 50 | That's not normal. | 50 | That's not normal. | ||
| 51 | That's not normal for people. | 51 | That's not normal for people. | ||
| 52 | But because of society, that's how we are. | 52 | But because of society, that's how we are. | ||
| 53 | We've waited long enough for this. | 53 | We've waited long enough for this. | ||
| 54 | I mean, I know the administration is probably thinking, well, you know, be patie | 54 | I mean, I know the administration is probably thinking, well, you know, be patie | ||
| > | nt and these changes will happen. | > | nt and these changes will happen. | ||
| 55 | But we've been patient long enough. | 55 | But we've been patient long enough. | ||
| 56 | And, you know, the Chicano Studies major has been, was envisioned back in the 70 | 56 | And, you know, the Chicano Studies major has been, was envisioned back in the 70 | ||
| > | s, even the 60s. | > | s, even the 60s. | ||
| 57 | And we've been waiting since then. | 57 | And we've been waiting since then. | ||
| 58 | And it's about time that we get recognized. | 58 | And it's about time that we get recognized. | ||
| 59 | You know, Chicanos are the biggest, are coming to be a majority in California. | 59 | You know, Chicanos are the biggest, are coming to be a majority in California. | ||
| 60 | you know, maybe even in the whole country after a while, but I mean it's about t | 60 | you know, maybe even in the whole country after a while, but I mean it's about t | ||
| > | ime that our issues get recognized and that other people just realize that we're | > | ime that our issues get recognized and that other people just realize that we're | ||
| > | not going to go away. | > | not going to go away. | ||
| 61 | And if they don't educate themselves about us, then it's just going to be worse | 61 | And if they don't educate themselves about us, then it's just going to be worse | ||
| > | for them. | > | for them. | ||
| 62 | Julia, you co-authored a really beautiful poem entitled Somos Mujeres. | 62 | Julia, you co-authored a really beautiful poem entitled Somos Mujeres. | ||
| 63 | What for you What do you think is the significance of having four Chicanas takin | 63 | What for you What do you think is the significance of having four Chicanas takin | ||
| > | g the Vanguard role in this movement, which is really bigger than this campus? | > | g the Vanguard role in this movement, which is really bigger than this campus? | ||
| 64 | For me, I mean... | 64 | For me, I mean... | ||
| 65 | I don't know. | 65 | I don't know. | ||
| 66 | We didn't really realize it was four women until somebody pointed it out to us. | 66 | We didn't really realize it was four women until somebody pointed it out to us. | ||
| 67 | I mean, we knew it was girls, but we didn't see it like, you know, oh, there's n | 67 | I mean, we knew it was girls, but we didn't see it like, you know, oh, there's n | ||
| > | o guys here, and what's up with the guys? | > | o guys here, and what's up with the guys? | ||
| 68 | but I don't know I mean we have a lot of supporters that are male and maybe they | 68 | but I don't know I mean we have a lot of supporters that are male and maybe they | ||
| > | didn't say they're gonna go for the long run but they've been you know there th | > | didn't say they're gonna go for the long run but they've been you know there th | ||
| > | e whole time everybody like has had has their roles and it's like there's some p | > | e whole time everybody like has had has their roles and it's like there's some p | ||
| > | eople that are the negotiators there's people that are security over here there' | > | eople that are the negotiators there's people that are security over here there' | ||
| > | s like everybody has a roles and you know we're not the the most important becau | > | s like everybody has a roles and you know we're not the the most important becau | ||
| > | se if it wasn't for them then you know nobody would be listening to us or whatev | > | se if it wasn't for them then you know nobody would be listening to us or whatev | ||
| > | er and there's other people that have been fasting also like Felipe sitting over | > | er and there's other people that have been fasting also like Felipe sitting over | ||
| > | there again he's been fasting these three days with us as well and like there's | > | there again he's been fasting these three days with us as well and like there's | ||
| > | people that committed to three days and others that do one one day cycles to sh | > | people that committed to three days and others that do one one day cycles to sh | ||
| > | ow their support and solidarity it's true there are a lot of males that are doin | > | ow their support and solidarity it's true there are a lot of males that are doin | ||
| > | g really important stuff in terms of really trying you know like with the rest o | > | g really important stuff in terms of really trying you know like with the rest o | ||
| > | f the women also trying to take care of us and and trying to watch out for this, | > | f the women also trying to take care of us and and trying to watch out for this, | ||
| > | and they're just constantly looking out to see what we need or what needs to be | > | and they're just constantly looking out to see what we need or what needs to be | ||
| > | done for the whole group. | > | done for the whole group. | ||
| 69 | And so it's, I don't know, I don't know that it's specifically a female thing to | 69 | And so it's, I don't know, I don't know that it's specifically a female thing to | ||
| > | be fasting or anything like that. | > | be fasting or anything like that. | ||
| 70 | Yeah, because I think... | 70 | Yeah, because I think... | ||
| 71 | Because everybody really does have their own role, and everybody's been really s | 71 | Because everybody really does have their own role, and everybody's been really s | ||
| > | upportive, and we're working together. | > | upportive, and we're working together. | ||
| 72 | It just so happened that we're the ones that... | 72 | It just so happened that we're the ones that... | ||
| 73 | It was quite... | 73 | It was quite... | ||
| 74 | that we're the ones that were ready mentally at this time to fast. | 74 | that we're the ones that were ready mentally at this time to fast. | ||
| 75 | And it just so happens that we're all women. | 75 | And it just so happens that we're all women. | ||
| 76 | People are calling us guerrillas and revolucionarias. | 76 | People are calling us guerrillas and revolucionarias. | ||
| 77 | That's fine. | 77 | That's fine. | ||
| 78 | That's nice. | 78 | That's nice. | ||
| 79 | That's really nice. | 79 | That's really nice. | ||
| 80 | But everybody's been revolutionary. | 80 | But everybody's been revolutionary. | ||
| n | 81 | And you know, it comes down to like... | n | 81 | And it comes down to what your, I don't want to say your talents, because I don' |
| > | t think our talent is to be hungry, but pretty much everybody is taking on the r | ||||
| > | ole that is best suited for themselves. | ||||
| 82 | The focus should be on everybody. | 82 | There's Felipe. | ||
| 83 | Yeah, it comes down to like what your, you know, I don't want to say your talent | 83 | There's Felipe. | ||
| > | s, because I don't think our talent is to be hungry, but... | ||||
| 84 | But pretty much like everybody is taking on the role that is best suited for the | ||||
| > | mselves. | ||||
| 85 | There's Felipe! There's Felipe! You have all the things that you could have done | 84 | You have all the things that you could have done, all the actions you could have | ||
| > | , all the actions you could have taken. | > | taken. | ||
| 86 | Why fasting? | 85 | Why fasting? | ||
| 87 | Why did you choose to fast? | 86 | Why did you choose to fast? | ||
| 88 | Well, it's obviously a really strong statement. | 87 | Well, it's obviously a really strong statement. | ||
| n | 89 | It's something that is uncompromising and it's something that shows just how ser | n | 88 | You know, it's something that, it's uncompromising, and it's something that show |
| > | ious we are about these issues. | > | s just how serious we are about these issues. | ||
| 90 | They are issues that our fathers, grandfathers, and people way before us have fo | 89 | They're issues that our fathers, grandfathers, and people way before us, and hav | ||
| > | ught for. | > | e fought for them. | ||
| 91 | We have a responsibility to those ancestors of ours to make sure that those drea | 90 | We have a responsibility to those ancestors of ours to make sure that those drea | ||
| > | ms that they had, that vision they had, is fulfilled. | > | ms that they had, that vision they had is fulfilled. | ||
| 92 | We can't just, you know, it may be 20 years, 20, 30, 20 years later from the Chi | 91 | We can't just, you know, it may be 20 years, 20, 30, 20 years later from the Chi | ||
| > | cano movement that people think is dead, but it's not dead. | > | cano movement that people think is dead, but it's not dead. | ||
| 93 | We're here and we're living and we're the Chicano movement. | 92 | We're here and we're living and we're the Chicano movement. | ||
| n | n | 93 | And Chicana movement. | ||
| 94 | Yeah. | ||||
| 95 | Chicano, Chicana. | ||||
| 96 | Chicano movement. | ||||
| 94 | Felipe, you just joined us, but actually you've been with us throughout this who | 97 | Felipe, you just joined us, but actually you've been with us throughout this who | ||
| > | le struggle from the beginning as was pointed out. | > | le struggle from the beginning as it was pointed out. | ||
| 95 | Can you tell us a little bit about yourself, where you're from, and your reflect | 98 | Can you tell us a little bit about yourself, where you're from, and your reflect | ||
| > | ion on this struggle? | > | ion on this struggle? | ||
| 96 | Sure. | 99 | Sure. | ||
| n | 97 | My name is Felipe Barragan. | n | 100 | My name is Felipe Barayan. |
| 98 | I'm a freshman, originally from Los Angeles, California. | 101 | I'm a freshman, originally from Los Angeles, California. | ||
| 99 | This struggle, I think for me, it's something that's very important because I we | 102 | This struggle, I think for me, it's something that's very important because I we | ||
| > | nt to high school in Watts and a lot of people know what Watts is like, 1965, Wa | > | nt to high school in Watts and a lot of people know what Watts is like, 1965, Wa | ||
| > | tts Rebellion, the Ninety-Two Riots. | > | tts Rebellion, the Ninety-Two Riots. | ||
| n | 100 | There I saw issues that the educational system for high school students and Chic | n | 103 | There I saw issues that the educational system for high school students and Chic |
| > | anos, Latinos there wasn't addressing the real issues. | > | ano-Tatinos there wasn't addressing the real issues. | ||
| 101 | Once I came here, I got a taste of it, I got a taste of Chicano studies and I fo | 104 | Once I came here, I got a taste of it, I got a taste of Chicano studies and I fo | ||
| > | und out how crucial that was. | > | und out how crucial that was. | ||
| 102 | And I think that getting involved with the struggle is important for me to build | 105 | And I think that getting involved with the struggle is important for me to build | ||
| > | the processes with which we learn to deal with inner city to wipe out the margi | > | the processes with which we learn to deal with inner city to wipe out the margi | ||
| > | nalization of our people. | > | nalization of our people. | ||
| 103 | In terms of your actions, a lot of people are probably thinking that you came he | 106 | In terms of your actions, a lot of people are probably thinking that you came he | ||
| > | re to study and that you should be in the classroom, not protesting. | > | re to study and that you should be in the classroom, not protesting. | ||
| n | 104 | So you're making a decision, because it is a pretty tough university to be at an | n | 107 | So you're making a decision because it is a pretty tough university to be at and |
| > | d there's a lot of demands and you're kind of out there really taking a big chan | > | there's a lot of demands and you're kind of out there really taking a big chanc | ||
| > | ce. | > | e. | ||
| 105 | How did you make that decision? | 108 | How did you make that decision? | ||
| n | 106 | See, I guess the main thing is, I never, when I came here I didn't want to come | n | 109 | See, I guess, like, the main thing is, is, like, I never, like, when I came here |
| > | and just study and go to class and go back home, study, do my work and just conc | > | , I didn't want to come and just study and go to class and go back home, study, | ||
| > | entrate on myself. | > | do my work, and just concentrate on myself. | ||
| 107 | While there's people out there, there's students in the high schools that are ge | 110 | While there's people out there, there's students in the high schools that are ge | ||
| > | tting pushed pushed out of the schools, there's the farm workers that are gettin | > | tting pushed out of the schools, there's the farm workers that are getting treat | ||
| > | g treated badly, there's kids being born without hands because of the pesticides | > | ed badly, there's kids being born without hands because of the pesticides that t | ||
| > | that they put on the grapes. | > | hey put on the grapes. | ||
| 108 | I mean, I can't just sit and concentrate on my own work and not worry about what | 111 | I mean, I can't just sit and concentrate on my own work and not worry about what | ||
| > | 's going on because that's my people, that's my parents, that's my family, that' | > | 's going on because that's my people, that's my parents, that's my family, that' | ||
| > | s everybody. | > | s everybody. | ||
| n | 109 | I wouldn't be able to live with myself without doing anything about it. | n | 112 | And I wouldn't be able to live with myself without doing anything about it. |
| 110 | I wouldn't be able to live with myself without just thinking about myself and my | 113 | I wouldn't be able to live with myself with just thinking about myself and my ca | ||
| > | career and getting straight A's and and doing my resumes and stuff like that, I | > | reer and getting straight A's and doing my resumes and stuff like that. | ||
| > | wouldn't be able to do that. | ||||
| 114 | I wouldn't be able to do that. | ||||
| 111 | I mean, both things can be done. | 115 | I mean both things can be done. | ||
| 112 | You know, so, like, I think that we're doing this so that, you know, later gener | 116 | And also like I think that we're doing this so that you know later generations o | ||
| > | ations of Stanford Chicanos and Chicanas don't have to do it. | > | f Stanford Chicanos and Chicanas don't have to do it. | ||
| 113 | Today we had, you know, little Chicanitas and Chicanitos from East Palo Alto com | 117 | Today we had you know little Chicanitas and Chicanitos from East Palo Alto come | ||
| > | e out and from a Vale Afro-Clerico group called Raíces de México, and they came | > | out and from a group called Raices de Mexico and they came out and they're you k | ||
| > | out and they came out and supported us. | > | now they they came and supported us. | ||
| 114 | You know, they're just little kids. | 118 | You know, they're just little kids. | ||
| n | 115 | I don't know, they're probably, like, from 5 to, like, 12. | n | 119 | I don't know, they're probably like from 5 to like 12 maybe. |
| 116 | maybe and you know the reason we're doing this now and sacrificing our academic | 120 | And, you know, the reason we're doing this now and sacrificing our academic time | ||
| > | times or study hours or whatever um you so that they when they come here you kno | > | s or study hours or whatever, so that they, when they come here, you know, they | ||
| > | w you know they can focus you know on on doing the things that they need to do i | > | can focus, you know, on doing the things that they need to do instead of having | ||
| > | nstead of having to struggle so much i mean i think it's just like our parents y | > | to struggle so much. | ||
| > | ou know they struggle so that we don't have to struggle and we don't i mean we d | ||||
| > | on't struggle we're still struggling but at a different level You know what I me | ||||
| > | an? | ||||
| 121 | I mean, I think it's just like our parents, you know. | ||||
| 122 | They struggle so that we don't have to struggle. | ||||
| 123 | And we don't, I mean, we don't... | ||||
| 124 | We're still struggling, but at a different level. | ||||
| 125 | You know what I mean? | ||||
| 117 | We're not, I mean, we don't have to worry, once we get out of here, we're not go | 126 | We're not, I mean, we don't have to worry, once we get out of here, we're not go | ||
| > | ing to have to worry about where am I going to get something to eat like before | > | ing to have to worry about where am I going to get something to eat, like before | ||
| > | or how are we going to pay the bills. | > | . | ||
| 127 | Or how are we going to pay the bills. | ||||
| 118 | We're probably going to have to, you know, we're probably going to be able to pa | 128 | We're probably going to have to, you know, we're probably going to be able to pa | ||
| > | y even our parents' bills. | > | y even our parents' bills. | ||
| 119 | Hopefully, yeah. | 129 | Hopefully, yeah. | ||
| n | n | 130 | Yeah, I think the teachers are going to teach us how to eat. | ||
| 120 | Yeah, I think it also goes back to the question about where, why did we choose a | 131 | I think it also goes back to the question about why did we choose a hunger strik | ||
| > | hunger strike. | > | e. | ||
| 121 | It's kind of like, you know, we know that our grades are going to suffer from th | 132 | It's kind of like, you know, we know that our grades are going to suffer from th | ||
| > | is and we're not going to graduate with a great GPA, you know, as we could have. | > | is and we're not going to graduate with a great GPA, you know, as we could have. | ||
| 122 | And I mean, it's to show that, I mean, we know that we're capable of doing a wor | 133 | And I mean, it's to show that, I mean, we know that we're capable of doing a wor | ||
| > | k, but we feel so strongly about this that we're willing to do a little bit, you | > | k, but we feel so strongly about this that we're willing to do a little bit, you | ||
| > | know, worse than everybody else because our issues are so important. | > | know, worse than everybody else because our issues are so important. | ||
| n | 123 | I don't know if the administration sees that, but I don't know if anybody sees t | n | 134 | I mean, I think, I don't know if the administration sees that, but I don't know |
| > | hat. | > | if anybody sees that. | ||
| 124 | I know that I could be a nice student, but I choose to better be a human being f | 135 | But I mean, you know, I know that I could be a nice student, you know, but, you | ||
| > | irst, first and to care more about my people than about my grades. | > | know, I choose to better be like, to be a human being first and to care more abo | ||
| > | ut my people than about my grades. | ||||
| 125 | I was going to ask you, related to the incident that happened on Sunday at the F | 136 | I was going to ask you, related to the incident that happened on Sunday at the F | ||
| > | lix, the film, notaries of shows, how do you feel or what steps can the universi | > | lix, at the film, Notaries of Sholom, how do you feel, or what steps can the uni | ||
| > | ty take to educate the student community, even staff and faculty, about the issu | > | versity take to educate the student community, even staff and faculty, about the | ||
| > | e of ongoing racism, the issue why it's important to have abandoned graves on th | > | issue of ongoing racism, the issue of why it's important to have abandoned grav | ||
| > | is campus. | > | es on this campus. | ||
| 126 | How do you think the university can take a proactive role in educating the commu | 137 | How do you think the university can take a proactive role in educating the commu | ||
| > | nity? | > | nity? | ||
| 127 | I think if they really truly believe that that isn't right, that the incident at | 138 | I think if they really truly believe that that isn't right, that the incident at | ||
| > | Flix isn't right, or that people should know and should understand that the pes | > | Flix isn't right, or that people should know and should understand that the pes | ||
| > | ticides and the harm that they're doing to people is wrong, then they should tak | > | ticides and the harm that they're doing to people is wrong, then they should tak | ||
| > | e it upon themselves to educate this university. | > | e it upon themselves to educate this university. | ||
| 128 | If they really feel responsible for the education of their students, if they rea | 139 | If they really feel responsible for the education of their students, if they rea | ||
| > | lly, if they believe that that is an important issue, that people's lives and pe | > | lly, if they believe that that is an important issue, that people's lives and pe | ||
| > | ople's health and the reaction of some or a lot of students finding that amusing | > | ople's health and the reaction of some or a lot of students finding that amusing | ||
| > | , there's something wrong with that. | > | , there's something wrong with that. | ||
| n | 129 | There's something wrong with the mentality or with the ignorance level or someth | n | 140 | that there's something wrong with the mentality or with the ignorance level or s |
| > | ing of the students at this university. | > | omething of the students at this university. | ||
| 130 | And they are responsible because they're the administrators, they're in charge o | 141 | And they are responsible because they're the administrators, they're in charge o | ||
| > | f this school. | > | f this school. | ||
| 131 | They're here to serve the students, but they're also here to help educate them. | 142 | They're here to serve the students, but they're also here to help educate them. | ||
| 132 | And there's, I mean, to me that proved just a lot of ignorance. | 143 | And there's, I mean, to me that proved just a lot of ignorance. | ||
| 133 | It didn't surprise me, but it was very offensive and it was very disrespectful. | 144 | It didn't surprise me, but it was very offensive and it was very disrespectful. | ||
| 134 | And if they really, if they agree with that at all, then it's their responsibili | 145 | And if they really, if they agree with that at all, then it's their responsibili | ||
| > | ty to deal with it. | > | ty to deal with it. | ||
| n | 135 | I mean, the main things that we're, you know, just to bring up what we're striki | n | 146 | I mean the main things that were, you know, just to bring up what we're striking |
| > | ng striking about. | > | about, we have these issues that we have been dealing with as a community for a | ||
| > | long time. | ||||
| 136 | We have these issues that we have been dealing with as a community for a long ti | ||||
| > | me. | ||||
| 137 | One of them being a campus ban on grapes, the development of a Chicano Studies p | 147 | And you know, one of them being a campus ban on grapes, the development of a Chi | ||
| > | rogram, and the community center in Hispalo Alto. | > | cano studies program and the community center in Hispano Alto. | ||
| 138 | These are things that we can talk about specifically and offered for Cecilia Bul | 148 | And you know, these are things that we can talk about specifically. | ||
| > | ciaga. | ||||
| 149 | And the offer for Cecilia Bulciaga. | ||||
| 139 | And the offer for a high-level position for Cecilia Bulciaga, a high -level admi | 150 | And the offer for a high level position for Cecilia Bulciaga, a high level admin | ||
| > | nistrator here. | > | istrator here. | ||
| 151 | Chicama administrator. | ||||
| 140 | Why is it important for the university to recognize Cecilia's contributions? | 152 | Why is it important for the university to recognize recognize Cecilia's contribu | ||
| > | tions. | ||||
| 141 | Why is Cecilia's position in Cecilia's role included among these other three? | 153 | Why Cecilia's position, Cecilia's role included among these other three? | ||
| 142 | Well basically because it ties down to the whole approach that we're taking that | 154 | Well, basically because it ties down to the whole approach that we're taking tha | ||
| > | our education isn't addressing the real issues. | > | t our education isn't addressing the real issues. | ||
| 143 | You know the issues being poverty, the joblessness, and you know the over repres | 155 | You know, the issues being poverty, the joblessness, homelessness, and the over- | ||
| > | entation we have in the jails and just everything. | > | representation we have in the jails, and just everything. | ||
| 144 | anything. | ||||
| 145 | And she ties into that because Cecilia has always worked for those issues. | 156 | And she ties into that because Cecilia has always worked for those issues. | ||
| 146 | She was working on the Boycott Grapes campaign. | 157 | She was working on the Boycott Grapes campaign. | ||
| n | 147 | And when she gets here, you get here, she's like a role model. | n | 158 | And when she gets here, I mean, when she's here, you get here. |
| 159 | I mean, she's like a role model. | ||||
| 160 | A role model. | ||||
| 161 | What is this? | ||||
| 162 | A role mother. | ||||
| 148 | Oh, man, I'm getting tired. | 163 | Oh, man, I'm getting tired. | ||
| n | 149 | Oh, no, you're good. | n | 164 | Oh, no. |
| 150 | Yeah, what we're talking about, she's a role model and a role mother. | 165 | Yeah, what we're talking about, she's a role model and a role mother. | ||
| 151 | Mother figure. | 166 | Mother figure. | ||
| 152 | Mother figure. | 167 | Mother figure. | ||
| 153 | That's it. | 168 | That's it. | ||
| n | n | 169 | No, I guess basically because she helps in just keeping us here. | ||
| 154 | No, I guess basically because she helps in just keeping us here because it's har | 170 | Because it's hard to survive in a campus like this when you have people, like, S | ||
| > | d to survive in a campus like this when you have people like Sunday nights at Fl | > | unday nights at Flick saying, Beaners, go home, or, you know, saying stuff like | ||
| > | ick saying, beaners go home or, you know, saying stuff like that here at Stanfor | > | that here at Stanford. | ||
| > | d. | ||||
| 155 | I mean, how are we supposed to survive in a climate that doesn't even accept us, | 171 | I mean, how are we supposed to survive in a climate that doesn't even accept us, | ||
| > | that you have to justify your existence? | > | that you have to justify your existence? | ||
| n | 156 | And you need people like Cecilia Bustiaga and like Francis that just help you ou | n | 172 | And you need people like Cecilia Burciaga and like Francis that just help you ou |
| > | t just to make, like, especially the transition from, like, your first year. | > | t just to make, like, especially the transition from, like, your first year. | ||
| 157 | I mean, that's what helped me so much living in Zapata my very first year is, Be | 173 | I mean, that's what helped me so much living in Zapata my very first year is, yo | ||
| > | cause I survived the whole year because I was living there, I think. | > | u know, I survived the whole year because I was living there, I think. | ||
| 158 | She helped out a lot with my parents and just everything. | 174 | Because, I mean, she helped out a lot, like, with my parents and just everything | ||
| > | . | ||||
| 159 | They're always caring for you. | 175 | I mean, I think, like, they're always caring for you. | ||
| 160 | She's an important contact for us. | 176 | She's an important contact for us. | ||
| n | 161 | There's so few of us here. | n | 177 | I mean, there's so few of us here. |
| 162 | And then there's so few of our Chicano and Chicana role models here that we can | 178 | And then there's so few of our, you know, Chicano and Chicana role models here t | ||
| > | talk to and say, hey, this happened to me today. | > | hat we can, you know, talk to and say, you know, hey, you know, this happened to | ||
| > | me today. | ||||
| 163 | Or, you know, I really, it's really strange for me to be here and not be back ho | 179 | Or, you know, I really, it's really strange for me to be here and not be back ho | ||
| > | me where I see a lot of people who look like myself, you know. | > | me where I see a lot of people who look like myself, you know. | ||
| 164 | And these are people that you can talk to. | 180 | And these are people that you can talk to. | ||
| n | n | 181 | too. | ||
| 165 | Like Cecilia, you know, she's, she's, I mean, I find it incredible she always ha | 182 | Like Cecilia, you know, she's, she's, I mean, I find it incredible, she always h | ||
| > | s time to hear us out. | > | as time to hear us out. | ||
| 166 | Always. | 183 | Always. | ||
| n | 167 | Yeah, when, when I was a freshman, like I have a really nice story about her tha | n | 184 | Yeah, when, um, when I was a freshman, like, I have a really nice story about he |
| > | t, when when I, well I didn't, for some dumb chance, I didn't get to live in Zap | > | r, that, um, when I, well, I didn't, for some dumb chance, I didn't get to live | ||
| > | ata my freshman year. | > | in Zapata my freshman year. | ||
| 168 | And so, so like I had a lot of problems like just trying to adapt and trying to, | 185 | And so, so, like, I had a lot of problems, like, just trying to adapt and and tr | ||
| > | trying to decide like what I was going to do with my life. | > | ying to decide what I was going to do with my life. | ||
| 169 | And I had this whole big problem about deciding whether to be a doctor and secur | 186 | And I had this whole big problem about deciding whether to be a doctor and secur | ||
| > | e a good financial future for myself and for my family or do what I really wante | > | e a good financial future for myself and for my family or do what I really wante | ||
| > | d to do, which was to be a teacher. | > | d to do, which was to be a teacher. | ||
| n | 170 | And my, my freshman advisor recommended that I go to her because he had heard so | n | 187 | And my freshman advisor recommended that I go to her because he had heard so man |
| > | many nice things about her that he thought she could help me. | > | y nice things about her that he thought she could help me. | ||
| 171 | And I remember going into her office and just like crying my guts out because I | 188 | And I remember going into her office and just, like, crying my guts out because | ||
| > | didn't know what, I didn't know where I fit into this university. | > | I didn't know where I fit into this university. | ||
| 172 | And she talked, she had time, like she sat with me in her office and talked to m | 189 | And she had time. | ||
| > | e and encouraged me to do what I felt was right, you know, to let my heart decid | ||||
| > | e And, I mean, for the university not to recognize that she is capable of keepin | ||||
| > | g me here because I was ready to leave. | ||||
| 190 | She sat with me in her office and talked to me and encouraged me to do what I fe | ||||
| > | lt was right, to let my heart decide. | ||||
| 191 | And, I mean, for the university not to recognize that she is capable of keeping | ||||
| > | me here because I was ready to leave. | ||||
| 192 | leave. | ||||
| 173 | And she literally helped me to stay. | 193 | And she literally helped me to stay. | ||
| 174 | And if it wasn't for her, I mean, I wouldn't be here. | 194 | And if it wasn't for her, I mean, I wouldn't be here. | ||
| n | 175 | All of you are members of METCHA, Movimiento Estudante de Chicano. | n | 195 | All of you are members of MECHA, Movimiento Estudiantil Chicanos. |
| 176 | That's long history. | 196 | That's long history. | ||
| 177 | What is the significance of this new phase? | 197 | What is the significance of this new phase? | ||
| 178 | And I'm referring specifically to the various events that started at UCLA, UC Sa | 198 | And I'm referring specifically to the various events that started at UCLA, UC Sa | ||
| > | nta Barbara, Colorado, University of Colorado, and Michigan State. | > | nta Barbara, Colorado, University of Colorado, and Michigan State. | ||
| n | 179 | Virginia, too. | n | 199 | Virginia too. |
| 180 | Virginia, too. | 200 | Virginia too. | ||
| 181 | Can you talk about this in the context of the overall resurgence of MECHA and Ch | 201 | Can you talk about this in the context of the overall resurgence of Mecha and Ch | ||
| > | icano student activism? | > | icano student activism? | ||
| 182 | I think as Mecha is the Chicano student movement and there's a long history of a | 202 | I think as Mecha is the Chicano student movement, and there's a long history of | ||
| > | ctivism there, leading back to the original plan of Plan de Santa Aurora. | > | activism there, dating back to the original planet and I think that each of us h | ||
| > | as maintained that goal of the betterment of La Raza. | ||||
| 183 | And I think that each of us has maintained that goal of the betterment of la raz | ||||
| > | a. | ||||
| 184 | Our Mecha is very strong and we support with those founding Mechistas, came up w | 203 | And our Mecha is very strong and we support with those founding Mechistas came u | ||
| > | ith in terms of the plan of Santa Barbara. | > | p with in terms of the Plan de Santa Barbara. | ||
| 185 | It's gaining, it's in UCLA and UC Santa Barbara and other universities, Mecha me | 204 | and it's gaining its and UCLA and UC Santa Barbara and other universities Mecha | ||
| > | mbers and and other organizations are taking the leadership and moving the unive | > | members and other organizations are taking the leadership and moving the univers | ||
| > | rsities to meet the demands. | > | ities to meet the demands the thing is playing instrumental role They got misquo | ||
| > | ted? | ||||
| 186 | The thing is playing instruments to roll. | 205 | They're going to print tomorrow. | ||
| 187 | They got misquoted? | ||||
| 188 | Are they in support? | 206 | Are they in support? | ||
| 189 | Yeah. | 207 | Yeah. | ||
| n | n | 208 | We're rolling. | ||
| 190 | So what happened? | 209 | So what happened? | ||
| n | n | 210 | They're going to print tomorrow. | ||
| 191 | That sucks man. | 211 | That sucks, man. | ||
| 192 | I feel bad for lying about it. | 212 | I feel bad for mine. | ||
| 193 | Oh yeah, sorry. | 213 | Oh yeah. | ||
| 194 | Sorry. | 214 | Sorry. | ||
| n | 195 | I was going to ask you, I know earlier I talked to your dad, and I talked to you | n | 215 | Sorry. |
| > | r mom, and I know from them that it's been really hard for them. | ||||
| 216 | I was going to ask you, I know earlier I talked to your dad and I talked to your | ||||
| > | mom. | ||||
| 217 | I know from them that it's been really hard for them. | ||||
| 196 | I mean, they haven't been eating as well. | 218 | I mean, they haven't been eating as well. | ||
| 197 | They're also, in a way, also in the hunger strike. | 219 | They're also, in a way, also in the hunger strike. | ||
| t | 198 | How do you feel about your parents' role in this? | t | 220 | How do you feel? |
| 199 | How are you going to explain it to your parents once it's over and you haven't r | ||||
| > | eally explained it yet? | ||||
| 200 | Well, I told my biggest worry in terms of deciding to take part in the fast was | ||||
| > | how my mom was going to take it. | ||||
| 201 | Because I thought she was going to, you know, she's an asthmatic and I thought s | ||||
| > | he was going to get sick because any time she stresses out she has really bad at | ||||
| > | tacks and stuff. | ||||
| 202 | I just knew I was going to worry her and I was going to hurt her and that was th | ||||
| > | e thing that scared me the most. | ||||
| 203 | But I talked to her about it and I kind of eased her into it. | ||||
| 204 | But I started telling her first about the plan to stay out of the quarter and st | ||||
| > | uff like that. | ||||
| 205 | And she was like, well, she told me before I even mentioned to her that I was go | ||||
| > | ing to fast. | ||||
| 206 | She said, well, Mija, when you are leading, when you are a leader and you want t | ||||
| > | o take part in changing things when they're bad, sometimes you have to make sacr | ||||
| > | ifices. | ||||
| 207 | She said, and you know, whatever happens, you guys, you know, you have my prayer | ||||
| > | s and you have my support. | ||||
| 208 | And so then when I told her, she was like, oh, and I guess she maybe understood | ||||
| > | or was getting, you know, thought that I was going to get to that because I told | ||||
| > | her and she She was like, well, she said, I'm not going to tell you to do it, a | ||||
| > | nd I'm not going to tell you not to do it, because I don't want to feel responsi | ||||
| > | ble for you doing it, and I don't want to feel responsible for you feeling bad b | ||||
| > | ecause maybe it didn't succeed or because you really didn't want to do what you | ||||
| > | wanted to. | ||||
| 209 | She said, but I'm really scared. | ||||
| 210 | But she said that she had faith in God, and as long as I had faith in God, that | ||||
| > | everything was going to be okay. | ||||
| 211 | And so for me, it was very empowering, because the minute I got off the phone, I | ||||
| > | decided, I decided, I really felt strongly about it already and I decided that | ||||
| > | this was something I was going to do. | ||||
| 212 | And even though I was going to cause her a lot of pain, that I was going to get | ||||
| > | through it and she was going to get through it. | ||||
| 213 | And I'm pretty sure that she hasn't been eating either. | ||||
| 214 | And I haven't been able to speak with her since that last time I talked to her. | ||||
| 215 | But like she told me, she said, you know, she said for herself that she's alread | ||||
| > | y past her youth and she doesn't know that she can do that much anymore. | ||||
| 216 | And she said, it's our turn. | ||||
| 217 | And so here we are, we're trying to make changes because I don't want to, I real | ||||
| > | ly don't want my little brother to have to do something like this. | ||||
| 218 | And I have a younger sister who's here also and I don't want her to have to, you | ||||
| > | know, continue this. | ||||
| 219 | I mean, she probably won't have to just because that's the way things are around | ||||
| > | here. | ||||
| 220 | But, you know, if I can help out in some way so that, you know, the kids that co | ||||
| > | me here later don't have to be going through this, then that would be awesome. | ||||
| 221 | So, yeah. | ||||
| 222 | I guess that was the hardest thing for me as well. | ||||
| 223 | I knew when we thought of the idea, I knew that I wanted to do it. | ||||
| 224 | I wanted to be part of the hunger strike. | ||||
| 225 | I just knew that I could do it and I was going to have the willpower to go throu | ||||
| > | gh with it. | ||||
| 226 | it, but the only thing was my mom. | ||||
| 227 | I didn't know how to tell her. | ||||
| 228 | I didn't know what to tell her. | ||||
| 229 | I was scared because I know that the way my mom is, she worries and she doesn't | ||||
| > | sleep at night and she can't eat. | ||||
| 230 | It's just bad. | ||||
| 231 | I hate it. | ||||
| 232 | I don't like doing that to her because she still works and she's getting older a | ||||
| > | nd everything. | ||||
| 233 | I don't know. | ||||
| 234 | It's just something I felt so deep from my heart. | ||||
| 235 | I just thought, you know, so many people are are going to gain a lot from this. | ||||
| 236 | So many people are going to have a lot of things come out of this, especially wi | ||||
| > | th the Ispa Lo Alto Community Center and with the boycott on the graves. | ||||
| 237 | It's just immediate help for people that are dying and being born with birth def | ||||
| > | ects. | ||||
| 238 | So when I told her, she was telling me she didn't want me to do it. | ||||
| 239 | She was telling me I'm anemic, that I was anemic. | ||||
| 240 | Then my dad told me I had a low red blood cell count. | ||||
| 241 | They were just coming up with all these things that I had that I shouldn't be do | ||||
| > | ing it because I was so skinny and I was going to disappear and this and that. | ||||
| 242 | So then, oh, sorry. | ||||
| 243 | So then after, oh, when I told her, I mean, it was really hard. | ||||
| 244 | She was crying and everything. | ||||
| 245 | And then I called her after the first day of the hunger strike, like, and she co | ||||
| > | uldn't talk to me because she didn't want to cry on the phone. | ||||
| 246 | So that just made me, I was just crying. | ||||
| 247 | I was talking to my sister and my sister was, you know, I was telling her, tell | ||||
| > | my mom that I'm not hungry. | ||||
| 248 | Tell her that I'm feeling good, the issues are keeping me alive and they're goin | ||||
| > | g to keep me alive and I'm going to be okay. | ||||
| 249 | So, but she's going to come today because she's worried and she wants to see me. | ||||
| 250 | Well, the hardest part of this whole thing was just to tell my mom and dad that | ||||
| > | I was going to do this because we've all said we don't want to make them suffer. | ||||
| 251 | But I told her and she said, okay, well if you guys are still out there after th | ||||
| > | ree days then I'm going to come out. | ||||
| 252 | out. | ||||
| 253 | And then right like a few minutes before I left I was talking to her, y me estab | ||||
| > | a dando la bendicion. | ||||
| 254 | Do I have to translate that? | ||||
| 255 | Oh, okay. | ||||
| 256 | And then, um, and then, um, so, you know, she was crying and I could tell and sh | ||||
| > | e was giving me the bendicion. | ||||
| 257 | And so she was like, you know what, I'm going to be out there tomorrow and stuff | ||||
| > | . | ||||
| 258 | And, you know, my mom and dad got some money together and then so my mom could f | ||||
| > | ly out here and and stuff. | ||||
| 259 | And so she came out last night and I mean I think it was better for her to come | ||||
| > | because she was upset when she saw me and she was crying and stuff but she's bee | ||||
| > | n really good and everybody's been really supportive of her and she's been, I th | ||||
| > | ink it makes her feel good to feel useful to this thing. | ||||
| 260 | She feels a part of this strike and she feels a part of the movement and I think | ||||
| > | that she is because we're fighting for her and for for everybody. | ||||
| 261 | She slept out there with us last night. | ||||
| 262 | She's hardcore. | ||||
| 263 | For me, that was definitely the hardest part. | ||||
| 264 | After I did it, I wished that I didn't have to, but I know that if I hadn't, it | ||||
| > | would have been worse for her if she had found out some other way. | ||||
| 265 | I'm just really worried about her because she has heart problems. | ||||
| 266 | I was afraid that if she saw me on the news or something, you know, , you know, | ||||
| > | we'd end up everything with yours. | ||||
| 267 | But, you know, she's fine and she already told me that she supports me. | ||||
| 268 | And even though it's the hardest thing, you know, for her, like, she knows. | ||||
| 269 | So I told her that it was her who taught me how to fight and maybe that, hopeful | ||||
| > | ly that made her feel a little bit better but maybe, hopefully, I don't know. | ||||
| 270 | I don't know exactly how she is. | ||||
| 271 | Last time I talked to her she sounded very weak and my dad called me like the ne | ||||
| > | xt morning, the morning after I told my mom and he tried his hardest to convince | ||||
| > | me not to do it. | ||||
| 272 | He told me all kinds of things. | ||||
| 273 | And he told me, why do you want to go through another hunger after you've suffer | ||||
| > | ed so many hungers in your life? | ||||
| 274 | And just reminding me of all the things that I've had to go through just to get | ||||
| > | where I am and trying to tell me, well, don't do it. | ||||
| 275 | But I still did it, and he's here right now, and he came and told me. | ||||
| 276 | He's still trying to convince me to stop because he goes, he says, you know, you | ||||
| > | r mom's going to come up here tomorrow, and if you're still on the strike, she's | ||||
| > | going to strike with you. | ||||
| 277 | I think generally my parents have the same feelings as all the others do, but it | ||||
| > | 's a little bit easier for them to handle because tonight's going to be my last | ||||
| > | day fasting. | ||||
| 278 | So that's basically it. | ||||
| 279 | Last word, Yvonne? | ||||
| 280 | Well, okay. | ||||
| 281 | You said it's for historical purposes, right? | ||||
| 282 | So when, you know, 20 years from now when other Chicanos look at this, you know, | ||||
| > | we... | ||||
| 283 | And Chicanas. | ||||
| 284 | And Chicanas. | ||||
| 285 | Sorry, I'm tired. | ||||
| 286 | You know, when other gente see this, just to remember that, you know, even when | ||||
| > | you're looking at this now, 20 years later, the movement is still alive in you. | ||||
| 287 | And we still have to keep struggling because, you know... | ||||
| 288 | Well, hopefully we can stop. | ||||
| 289 | Hopefully we can stop some of it, but I mean if it's still it's still bad, you k | ||||
| > | now now You know we can do it. | ||||
| 290 | Yeah, and don't take advantage of what You know what you have I guess like like | ||||
| > | for us is very important to say Oh, we have we have a sento and there's a lot of | ||||
| > | people that work hard for it Settle for what you don't settle for you have and | ||||
| > | don't forget us pretty much Don't forget the people who fought before you all th | ||||
| > | e things like the people that fought before us and before us and before them and | ||||
| > | just remember we're doing this for you for the future. | ||||
| 291 | For the youth! My name is Sh... | ||||
| 292 | Oh, okay. | ||||
| 293 | The new message is this... | ||||
| 294 | It is currently about 7.30 on the 6th of May, Friday, 1994. | ||||
| 295 | We have just collected, witnessed the five testimonials from five of the hunger | ||||
| > | strikers, which have included at one point over 100 solidarity strikers. | ||||
| 296 | At this time, we've received the latest response from the Administration, which | ||||
| > | has been recalcitrant up to this point. | ||||
| 297 | and I understand that there's still many points that need to be go need to be re | ||||
| > | viewed and some more dialogue that needs to be that needs to take place but at t | ||||
| > | he moment it looks as though statement that that we have made as a community the | ||||
| > | Chicano community and the statement that comes from various communities through | ||||
| > | out the Bay Area and the nation and solidarity with us has has begun to open the | ||||
| > | administration's eyes to the justness of our cause and our demands. | ||||
| 298 | However, as I said, there still is some work to be done. | ||||
| 299 | For the moment, it seems as though our first demand, that is the offering of a h | ||||
| > | igh-level position to Associate Dean Cecilia Bursiaga, is still not being met. | ||||
| 300 | And as I said, this is our first demand and it's very important to us. | ||||
| 301 | So more negotiation has to go on with regards to that. | ||||
| 302 | The second demand involves the establishment of a community center in East Palo | ||||
| > | Alto to serve the community that literally works to preserve the functioning of | ||||
| > | this university. | ||||
| 303 | And as far as the administration is concerned, they are receptive to the initiat | ||||
| > | ive that the Chicano students, the Chicano and Chicana students have presented i | ||||
| > | n terms of bridging the gap between the community and the academy. | ||||
| 304 | This has been a very important component to the struggle here. | ||||
| 305 | As a matter of fact, this is a component that isn't new. | ||||
| 306 | It goes all the way back to the Plan de Santa Barbara, which inaugurated Mecha. | ||||
| 307 | So we are very hopeful that some breakthrough will come through here. | ||||
| 308 | As regards to the Chicano and Chicana studies, again, this is the justness and t | ||||
| > | he feasibility of this demand has led the administration to also give overtures | ||||
| > | that are encouraging. | ||||
| 309 | Finally, the issue of grapes on campus has, and specifically the negative reacti | ||||
| > | ons, the racist reactions to our efforts to educate the community at Stanford ha | ||||
| > | s, and our protest, our protest against those negative reactions has led the uni | ||||
| > | versity to embark upon an initiative to educate all the dorms through the showin | ||||
| > | g of the no grapes video and also through establishing a dialogue with our commu | ||||
| > | nity, the Chicano community, in an effort to bridge the gaps that have been caus | ||||
| > | ed, bridge the divisions that have been caused by the racism that's very often a | ||||
| > | result of an academy which is very hierarchical and one which is institutionall | ||||
| > | y and structurally hostile to the presence of minorities and other marginalized | ||||
| > | people. | ||||
| 310 | With this, I would just like to say, Que viva la raza y adelante. | ||||
| 311 | We're going to win this one. | ||||
| 312 | Thank you. | ||||
| 313 | Thank you. | ||||
| Legends | ||||||||||
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| reference | transcript | ||||
|---|---|---|---|---|---|
| f | 1 | That is Roscoe. | f | 1 | That is Roscoe. |
| 2 | Here is the news read by Sergei Horny. | 2 | Here is the news read by Sergei Horny. | ||
| 3 | Thanks for the headline. | 3 | Thanks for the headline. | ||
| 4 | In Geneva, the Italian delegate has supported the Soviet proposal on the Laos qu | 4 | In Geneva, the Italian delegate has supported the Soviet proposal on the Laos qu | ||
| > | estion. | > | estion. | ||
| 5 | In Van Zandt, Laos, the population held an anti-American demonstration. | 5 | In Van Zandt, Laos, the population held an anti-American demonstration. | ||
| 6 | Once again racial outbursts are about to flare up in Montgomery, Alabama. | 6 | Once again racial outbursts are about to flare up in Montgomery, Alabama. | ||
| 7 | Cuba will strive to win back Guantanamo Bay peacefully. | 7 | Cuba will strive to win back Guantanamo Bay peacefully. | ||
| 8 | April Castro. | 8 | April Castro. | ||
| 9 | Nikita Khrushchev met Prime Minister Ali Sadmak of Somalia in Moscow today. | 9 | Nikita Khrushchev met Prime Minister Ali Sadmak of Somalia in Moscow today. | ||
| 10 | The Somali leader has come to the USSR on an official spokesperson. | 10 | The Somali leader has come to the USSR on an official spokesperson. | ||
| 11 | Those are the headlines. | 11 | Those are the headlines. | ||
| 12 | They're now part of the session. | 12 | They're now part of the session. | ||
| 13 | At the international conference for a Laotian settlement, the Chinese foreign mi | 13 | At the international conference for a Laotian settlement, the Chinese foreign mi | ||
| > | nister Chen Yin announced the Laotian people's striving for independence and ins | > | nister Chen Yin announced the Laotian people's striving for independence and ins | ||
| > | anity proclaimed by the representatives of the royal government and the Patek La | > | anity proclaimed by the representatives of the royal government and the Patek La | ||
| > | os. | > | os. | ||
| 14 | The Chinese minister also upheld the Soviet proposal. | 14 | The Chinese minister also upheld the Soviet proposal. | ||
| 15 | At the same time, he turned down the American proposals as being incompatible wi | 15 | At the same time, he turned down the American proposals as being incompatible wi | ||
| > | th the Canadian of 1954, and favor T.D.A. as placing Laos under an international | > | th the Canadian of 1954, and favor T.D.A. as placing Laos under an international | ||
| > | condominium. | > | condominium. | ||
| 16 | Chen Xi emphasized that in no case could interference in Laos' domestic affairs | 16 | Chen Xi emphasized that in no case could interference in Laos' domestic affairs | ||
| > | be tolerated. | > | be tolerated. | ||
| 17 | The Chinese foreign minister also affirmed the international organs proposed by | 17 | The Chinese foreign minister also affirmed the international organs proposed by | ||
| > | the Americans to control the foreign aid received by Laos as being incompatible | > | the Americans to control the foreign aid received by Laos as being incompatible | ||
| > | with Laos' sovereignty. | > | with Laos' sovereignty. | ||
| 18 | You are bound to say that peace and security could not be ensured in Asia until | 18 | You are bound to say that peace and security could not be ensured in Asia until | ||
| > | the United States stopped its policy of interference and aggression against the | > | the United States stopped its policy of interference and aggression against the | ||
| > | countries of Asia. | > | countries of Asia. | ||
| 19 | The threat to the peace and security in Southeast Asia, including Laos, stems fr | 19 | The threat to the peace and security in Southeast Asia, including Laos, stems fr | ||
| > | om the policy of aggression and interference pursued by the United States and th | > | om the policy of aggression and interference pursued by the United States and th | ||
| > | e CETA war bloc. | > | e CETA war bloc. | ||
| 20 | Cheney expressed the point that peace and security in Southeast Asia could only | 20 | Cheney expressed the point that peace and security in Southeast Asia could only | ||
| > | be guaranteed when the United States stops its aggression and its efforts, and w | > | be guaranteed when the United States stops its aggression and its efforts, and w | ||
| > | hen a peace area is formed in Southeast Asia in place of the CTO military bloc. | > | hen a peace area is formed in Southeast Asia in place of the CTO military bloc. | ||
| 21 | The Chinese delegate further pointed out that the two proposals put forward by t | 21 | The Chinese delegate further pointed out that the two proposals put forward by t | ||
| > | he Soviet Union for a Laotian settlement stem from principles as we've expressed | > | he Soviet Union for a Laotian settlement stem from principles as we've expressed | ||
| > | for years as independence and sovereignty, and dovetail with the Geneva agreeme | > | for years as independence and sovereignty, and dovetail with the Geneva agreeme | ||
| > | nts of 1954. | > | nts of 1954. | ||
| 22 | The Chinese delegation believes that the Soviet report should serve as a basis f | 22 | The Chinese delegation believes that the Soviet report should serve as a basis f | ||
| > | or discussion with the government and as a basis for agreement. | > | or discussion with the government and as a basis for agreement. | ||
| 23 | Chen added that other delegations had also made proposals for a Lao-Chi settleme | 23 | Chen added that other delegations had also made proposals for a Lao-Chi settleme | ||
| > | nt. | > | nt. | ||
| 24 | We are prepared, he said, in the course of discussion and consultations, to thor | 24 | We are prepared, he said, in the course of discussion and consultations, to thor | ||
| > | oughly study and consider all that is constructed in these proposals. | > | oughly study and consider all that is constructed in these proposals. | ||
| 25 | The next to speak was the Foreign Minister of Thailand, Thanat Ketne. | 25 | The next to speak was the Foreign Minister of Thailand, Thanat Ketne. | ||
| 26 | In violation of the agreement reached on who is to represent laws at the confere | 26 | In violation of the agreement reached on who is to represent laws at the confere | ||
| > | nce, he proposed that representatives of all Russian political parties be includ | > | nce, he proposed that representatives of all Russian political parties be includ | ||
| > | ed in the number of negotiators. | > | ed in the number of negotiators. | ||
| 27 | The chairman, Georgi Pushkin, of the USSR, explained the situation to the Thaila | 27 | The chairman, Georgi Pushkin, of the USSR, explained the situation to the Thaila | ||
| > | nd representative. | > | nd representative. | ||
| 28 | The former Thailand foreign minister had been linked to the opening of the confe | 28 | The former Thailand foreign minister had been linked to the opening of the confe | ||
| > | rence and was unaware that these points had been cleared up prior to the opening | > | rence and was unaware that these points had been cleared up prior to the opening | ||
| > | of the talks. | > | of the talks. | ||
| 29 | Georgi Puskin further announced that at the request of a number of delegations, | 29 | Georgi Puskin further announced that at the request of a number of delegations, | ||
| > | the conference would adjourn for two to three days to enable the delegates to ex | > | the conference would adjourn for two to three days to enable the delegates to ex | ||
| > | amine the proposals and perhaps prepare their own. | > | amine the proposals and perhaps prepare their own. | ||
| 30 | The next meeting will be called no later than on Monday, he said. | 30 | The next meeting will be called no later than on Monday, he said. | ||
| 31 | In Vang Vieng, Laos, meanwhile, the population held a meeting and demonstration | 31 | In Vang Vieng, Laos, meanwhile, the population held a meeting and demonstration | ||
| > | in protest against American imperialism by the Samarnakheti, who are trying to t | > | in protest against American imperialism by the Samarnakheti, who are trying to t | ||
| > | orpedo the conference in Geneva and the park in Namon. | > | orpedo the conference in Geneva and the park in Namon. | ||
| 32 | The head of the royal government's delegation at the Namon Park described a poli | 32 | The head of the royal government's delegation at the Namon Park described a poli | ||
| > | cy of genuine peace and neutrality to the end of the political program of the oi | > | cy of genuine peace and neutrality to the end of the political program of the oi | ||
| > | l government. | > | l government. | ||
| 33 | The head of the Pataslao delegation at the talk urged all Laotians to rally arou | 33 | The head of the Pataslao delegation at the talk urged all Laotians to rally arou | ||
| > | nd the legitimate government headed by Prince Sivanapuma, who to support his pol | > | nd the legitimate government headed by Prince Sivanapuma, who to support his pol | ||
| > | itical program had to work energetically for a generally peaceful and neutral wo | > | itical program had to work energetically for a generally peaceful and neutral wo | ||
| > | rld. | > | rld. | ||
| 34 | The Democratic Republic of Vietnam is being swept by a wave of protest demonstra | 34 | The Democratic Republic of Vietnam is being swept by a wave of protest demonstra | ||
| > | tions against the aggressor actions of the United States and South Vietnam. | > | tions against the aggressor actions of the United States and South Vietnam. | ||
| 35 | Dozens of petitions from public organizations and political parties demanding a | 35 | Dozens of petitions from public organizations and political parties demanding a | ||
| > | stop to American aggressive action on behalf of Vietnam have been sent to the co | > | stop to American aggressive action on behalf of Vietnam have been sent to the co | ||
| > | -chairs of the Geneva Conference and to the International Inspection and Control | > | -chairs of the Geneva Conference and to the International Inspection and Control | ||
| > | Commission in Vietnam. | > | Commission in Vietnam. | ||
| 36 | American factors, members of the Lincoln-Rockwell Nazi Organization, have arrive | 36 | American factors, members of the Lincoln-Rockwell Nazi Organization, have arrive | ||
| > | d in Montgomery, Alabama to help the local Ku Klux Klan members. | > | d in Montgomery, Alabama to help the local Ku Klux Klan members. | ||
| 37 | The Brown Theater's Sponsor Command Enforcement has declared that they will wipe | 37 | The Brown Theater's Sponsor Command Enforcement has declared that they will wipe | ||
| > | out the participants of the Freedom Line. | > | out the participants of the Freedom Line. | ||
| 38 | Judging from all this, blood will be spilled in Montgomery once again. | 38 | Judging from all this, blood will be spilled in Montgomery once again. | ||
| 39 | Martin Sleety King, leader of the Fox News, a community progress of the colored | 39 | Martin Sleety King, leader of the Fox News, a community progress of the colored | ||
| > | people, told a press conference in Montgomery West today that the opponents of r | > | people, told a press conference in Montgomery West today that the opponents of r | ||
| > | acial discrimination were before to continue the Freedom Riders. | > | acial discrimination were before to continue the Freedom Riders. | ||
| 40 | The New Gray leaders said that despite all the racial lawlessness, threats, and | 40 | The New Gray leaders said that despite all the racial lawlessness, threats, and | ||
| > | brute force confronting the Freedom Riders, they would not stop what they had sp | > | brute force confronting the Freedom Riders, they would not stop what they had sp | ||
| > | oken. | > | oken. | ||
| 41 | Mr. King said that another eight racial segregation opponents had arrived in Mon | 41 | Mr. King said that another eight racial segregation opponents had arrived in Mon | ||
| > | tgomery from Nashville, Tennessee, to join the Freedom Riders. | > | tgomery from Nashville, Tennessee, to join the Freedom Riders. | ||
| 42 | The American press, as well as the world, said, has been extensively commenting | 42 | The American press, as well as the world, said, has been extensively commenting | ||
| > | the racial outbursts in Alabama. | > | the racial outbursts in Alabama. | ||
| 43 | For example, the Washington Post and Times-Herald wrote that there was not a sha | 43 | For example, the Washington Post and Times-Herald wrote that there was not a sha | ||
| > | dow of a doubt that the cruelty and beatings in Alabama were getting headline st | > | dow of a doubt that the cruelty and beatings in Alabama were getting headline st | ||
| > | ories in many world papers. | > | ories in many world papers. | ||
| 44 | The Washington paper wrote that there was no way of estimating the damage done t | 44 | The Washington paper wrote that there was no way of estimating the damage done t | ||
| > | o America's prestige by the racial riots. | > | o America's prestige by the racial riots. | ||
| 45 | The British Yorkshire Post spitefully commented that the racial slurs in America | 45 | The British Yorkshire Post spitefully commented that the racial slurs in America | ||
| > | would hardly help the American president to convince the media media and underd | > | would hardly help the American president to convince the media media and underd | ||
| > | eveloped countries that the United States was carrying a torch showing them the | > | eveloped countries that the United States was carrying a torch showing them the | ||
| > | way to freedom and democracy. | > | way to freedom and democracy. | ||
| 46 | Cotão Osocava, a radio personal commentator, characteristically remarked that th | 46 | Cotão Osocava, a radio personal commentator, characteristically remarked that th | ||
| > | e New Hope question was a dirty spot in the history of the United States. | > | e New Hope question was a dirty spot in the history of the United States. | ||
| 47 | Speaking at a meeting in Santiago, Cuba, Defense Minister Raul Castro declared t | 47 | Speaking at a meeting in Santiago, Cuba, Defense Minister Raul Castro declared t | ||
| > | hat the American naval base of Guantanamo was a constant hotbed of provocation a | > | hat the American naval base of Guantanamo was a constant hotbed of provocation a | ||
| > | gainst Cuba. | > | gainst Cuba. | ||
| 48 | American planes, says Al Costo, have recently violated Cuban airspace 259 times. | 48 | American planes, says Al Costo, have recently violated Cuban airspace 259 times. | ||
| 49 | They made provocative flights over Cuban territory and photographed it. | 49 | They made provocative flights over Cuban territory and photographed it. | ||
| 50 | In conclusion, the Cuban minister said that the Republic of Cuba would spare no | 50 | In conclusion, the Cuban minister said that the Republic of Cuba would spare no | ||
| > | effort to liquidating that American base in Cuba through peaceful raids. | > | effort to liquidating that American base in Cuba through peaceful raids. | ||
| 51 | In New York, our Radio Moscow correspondent sent us the following dispatch. | 51 | In New York, our Radio Moscow correspondent sent us the following dispatch. | ||
| 52 | The failure of the Cuban invasion has intensified the clash between individual g | 52 | The failure of the Cuban invasion has intensified the clash between individual g | ||
| > | roups of the Cuban counter-revolutionaries in the United States. | > | roups of the Cuban counter-revolutionaries in the United States. | ||
| 53 | For example, the Emanuela Reyes group asked for it from the so-called Revolution | 53 | For example, the Emanuela Reyes group asked for it from the so-called Revolution | ||
| > | ary Council Uniting Reactionary Emigrants. | > | ary Council Uniting Reactionary Emigrants. | ||
| 54 | A person of that group said that with a blessing from the Central Intelligence A | 54 | A person of that group said that with a blessing from the Central Intelligence A | ||
| > | gency, the Revolutionary Council so called, was enlisting supporters of ex-dicta | > | gency, the Revolutionary Council so called, was enlisting supporters of ex-dicta | ||
| > | tor Batista for a new mercenary army without supporting the rare group. | > | tor Batista for a new mercenary army without supporting the rare group. | ||
| 55 | The New York Times reports that the rare group had received information from its | 55 | The New York Times reports that the rare group had received information from its | ||
| > | agents in Cuba that underground activity there was almost impossible since ther | > | agents in Cuba that underground activity there was almost impossible since ther | ||
| > | e was not a single house The Afro-Asian delegation at the United Nations has com | > | e was not a single house The Afro-Asian delegation at the United Nations has com | ||
| > | e to the conclusion that the situation in Portuguese Angola could be discussed b | > | e to the conclusion that the situation in Portuguese Angola could be discussed b | ||
| > | y the Security Council. | > | y the Security Council. | ||
| 56 | The French news agency says that they may call for a meeting of the Security Cou | 56 | The French news agency says that they may call for a meeting of the Security Cou | ||
| > | ncil in the near future. | > | ncil in the near future. | ||
| 57 | The Prime Minister of Somalia, Abdirahid Ali Canemar, has arrived in Moscow on a | 57 | The Prime Minister of Somalia, Abdirahid Ali Canemar, has arrived in Moscow on a | ||
| > | n official visit. | > | n official visit. | ||
| 58 | He was led to the airfield by members of the civil service headed by the chairma | 58 | He was led to the airfield by members of the civil service headed by the chairma | ||
| > | n of the council of ministries Nikita Khrushchev and other officials. | > | n of the council of ministries Nikita Khrushchev and other officials. | ||
| 59 | The diplomatic corps were also at the airfield. | 59 | The diplomatic corps were also at the airfield. | ||
| 60 | A big crowd thwarted the statement made by the two prime ministers. | 60 | A big crowd thwarted the statement made by the two prime ministers. | ||
| 61 | Nikita Khrushchev said that the civil service people follow in great sympathy th | 61 | Nikita Khrushchev said that the civil service people follow in great sympathy th | ||
| > | e efforts made by the Somali and other peoples of Africa who have rid themselves | > | e efforts made by the Somali and other peoples of Africa who have rid themselves | ||
| > | of the fetters of of colonialism and who are now trying to liquidate the burden | > | of the fetters of of colonialism and who are now trying to liquidate the burden | ||
| > | some heritage of the past and to further strengthen their national independence. | > | some heritage of the past and to further strengthen their national independence. | ||
| 62 | We wish them all success in this, added Nikita Pujan. | 62 | We wish them all success in this, added Nikita Pujan. | ||
| 63 | He also noted the satisfaction of wonderful views of the Somali and Soviet gover | 63 | He also noted the satisfaction of wonderful views of the Somali and Soviet gover | ||
| > | nments on a number of major international issues that came to light during the r | > | nments on a number of major international issues that came to light during the r | ||
| > | ecent negotiations and from the exchanges of opinions between the Soviet goodwil | > | ecent negotiations and from the exchanges of opinions between the Soviet goodwil | ||
| > | l missions and the Somali government. | > | l missions and the Somali government. | ||
| 64 | We are satisfied, he went on, that friendly relations have been established and | 64 | We are satisfied, he went on, that friendly relations have been established and | ||
| > | are successfully developing between the Soviet Union and the Somali Republic, re | > | are successfully developing between the Soviet Union and the Somali Republic, re | ||
| > | lations founded on principles of mutual respect and non -interference in the bes | > | lations founded on principles of mutual respect and non -interference in the bes | ||
| > | t of the terms. | > | t of the terms. | ||
| 65 | Nikita Khrushchev stressed the point that there are broad possibilities for a fu | 65 | Nikita Khrushchev stressed the point that there are broad possibilities for a fu | ||
| > | rther spiritual development of serious Somali relations. | > | rther spiritual development of serious Somali relations. | ||
| 66 | For successful economic cooperation between the two countries and a putting of a | 66 | For successful economic cooperation between the two countries and a putting of a | ||
| > | critical and mutual benefit. | > | critical and mutual benefit. | ||
| 67 | Speaking in reply, Abdi Dacid Ali Shatambar expressed gratitude for the cause of | 67 | Speaking in reply, Abdi Dacid Ali Shatambar expressed gratitude for the cause of | ||
| > | the revolution. | > | the revolution. | ||
| 68 | The powerful arrival of a goodwill mission from Somali is an important stage in | 68 | The powerful arrival of a goodwill mission from Somali is an important stage in | ||
| > | the Republic's historical development. | > | the Republic's historical development. | ||
| 69 | It not only shows the independence of our country, he added, but the independenc | 69 | It not only shows the independence of our country, he added, but the independenc | ||
| > | e of its policy. | > | e of its policy. | ||
| 70 | We hope that relations and cooperation will continue to develop in the future, s | 70 | We hope that relations and cooperation will continue to develop in the future, s | ||
| > | aid Somali Prime Minister El-Bassar. | > | aid Somali Prime Minister El-Bassar. | ||
| 71 | And that's the end of the news broadcast to you from Radio Moscow. | 71 | And that's the end of the news broadcast to you from Radio Moscow. | ||
| 72 | Our commentary is now over. | 72 | Our commentary is now over. | ||
| 73 | Here is what he writes. | 73 | Here is what he writes. | ||
| 74 | American newspapers have long been discussing the question of a meeting between | 74 | American newspapers have long been discussing the question of a meeting between | ||
| > | President Kennedy and Premier Fouchal. | > | President Kennedy and Premier Fouchal. | ||
| 75 | All the while, the reaction has been favorable to the news that a meeting will t | 75 | All the while, the reaction has been favorable to the news that a meeting will t | ||
| > | ake place. | > | ake place. | ||
| 76 | But some influential circles in America, circles that think in terms of a Cold W | 76 | But some influential circles in America, circles that think in terms of a Cold W | ||
| > | ar, have strong dissatisfaction. | > | ar, have strong dissatisfaction. | ||
| 77 | At first, Wolfpacker urged the President to highlight the idea altogether. | 77 | At first, Wolfpacker urged the President to highlight the idea altogether. | ||
| 78 | together. | 78 | together. | ||
| 79 | Conquered by Kelly and Senator Kate Hart were two of the men who had gestured mo | 79 | Conquered by Kelly and Senator Kate Hart were two of the men who had gestured mo | ||
| > | st previously. | > | st previously. | ||
| 80 | Then, after the announcement that the President and Mr. Khrushchev would be meet | 80 | Then, after the announcement that the President and Mr. Khrushchev would be meet | ||
| > | ing in Vienna early in June, these circles began offering Mr. Kennedy advice on | > | ing in Vienna early in June, these circles began offering Mr. Kennedy advice on | ||
| > | how to conduct himself. | > | how to conduct himself. | ||
| 81 | The history journals for one enjoined him to warn Premier Khrushchev not to nego | 81 | The history journals for one enjoined him to warn Premier Khrushchev not to nego | ||
| > | tiate the point. | > | tiate the point. | ||
| 82 | America, according to the Marchants of Big Business, should show the private uni | 82 | America, according to the Marchants of Big Business, should show the private uni | ||
| > | on that it was strong and firm. | > | on that it was strong and firm. | ||
| 83 | Good advice is certainly surprising, to say the least. | 83 | Good advice is certainly surprising, to say the least. | ||
| 84 | These councillors as much as urged President Kennedy to try to dictate to the pr | 84 | These councillors as much as urged President Kennedy to try to dictate to the pr | ||
| > | ivate union some positions of strength, even their HEPA policy has been complete | > | ivate union some positions of strength, even their HEPA policy has been complete | ||
| > | ly discredited itself, especially over the years of an Eisenhower-Dulles adminis | > | ly discredited itself, especially over the years of an Eisenhower-Dulles adminis | ||
| > | tration. | > | tration. | ||
| 85 | More than once, this polity has brought the world to the brink of war. | 85 | More than once, this polity has brought the world to the brink of war. | ||
| 86 | Remember the provocations against Syria, Iraq and troops landings in Lebanon, wh | 86 | Remember the provocations against Syria, Iraq and troops landings in Lebanon, wh | ||
| > | ich were postponed by the Republic of Iraq, the gangster Utah flight deep into S | > | ich were postponed by the Republic of Iraq, the gangster Utah flight deep into S | ||
| > | oviet airspace, and the invasion of Cuba. | > | oviet airspace, and the invasion of Cuba. | ||
| 87 | In that one case, did the United States achieve its purpose by force? | 87 | In that one case, did the United States achieve its purpose by force? | ||
| 88 | But the policies did cause it a lot of unpleasantness. | 88 | But the policies did cause it a lot of unpleasantness. | ||
| 89 | The steam and oil cities set a new low. | 89 | The steam and oil cities set a new low. | ||
| 90 | Last year, during the election campaign, leaders of the Democratic Party slayed | 90 | Last year, during the election campaign, leaders of the Democratic Party slayed | ||
| > | the Republican administration for this policy. | > | the Republican administration for this policy. | ||
| 91 | There was good cause for their criticism, and the attempts made since then to fo | 91 | There was good cause for their criticism, and the attempts made since then to fo | ||
| > | llow in the footsteps of the Eisenhower government in respect to China. | > | llow in the footsteps of the Eisenhower government in respect to China. | ||
| 92 | And that, for example, has made it more than clear that any continuation of such | 92 | And that, for example, has made it more than clear that any continuation of such | ||
| > | a policy has an irreparable damage to America's proposed earnest positions in o | > | a policy has an irreparable damage to America's proposed earnest positions in o | ||
| > | ther countries. | > | ther countries. | ||
| 93 | Neither has a situation the Trump policy benefited the United States, especially | 93 | Neither has a situation the Trump policy benefited the United States, especially | ||
| > | in its relations with the Soviet Union. | > | in its relations with the Soviet Union. | ||
| 94 | The Soviet Union has always said that a position to change policy toward a socia | 94 | The Soviet Union has always said that a position to change policy toward a socia | ||
| > | list country is sure to fail. | > | list country is sure to fail. | ||
| 95 | It always has and always will. | 95 | It always has and always will. | ||
| 96 | The only realistic policy is peace of coexistence, a broad point of the dispute | 96 | The only realistic policy is peace of coexistence, a broad point of the dispute | ||
| > | between the Soviet the Syrian early United States on a basis of equality and mut | > | between the Soviet the Syrian early United States on a basis of equality and mut | ||
| > | ual respect. | > | ual respect. | ||
| 97 | The late Franklin Bernhardt said, maintain, that good relations with the Soviet | 97 | The late Franklin Bernhardt said, maintain, that good relations with the Soviet | ||
| > | Union are the foundation on which more peaceful peace could be strengthened. | > | Union are the foundation on which more peaceful peace could be strengthened. | ||
| 98 | Referring to the cooperation of the two countries during World War II, Mr. Roose | 98 | Referring to the cooperation of the two countries during World War II, Mr. Roose | ||
| > | velt declared there would be no table peace unless these relations were preserve | > | velt declared there would be no table peace unless these relations were preserve | ||
| > | d and built up in peace time. | > | d and built up in peace time. | ||
| 99 | The arbitrary purpose that had united the two nations and the constitution of th | 99 | The arbitrary purpose that had united the two nations and the constitution of th | ||
| > | e war, he said, should be pre-transformed into close and lasting cooperation alo | > | e war, he said, should be pre-transformed into close and lasting cooperation alo | ||
| > | ng with other like -minded countries in gaining a fair and lasting peace. | > | ng with other like -minded countries in gaining a fair and lasting peace. | ||
| 100 | If the spirit of Franklin Delano of policy is present at the Vienna meeting. | 100 | If the spirit of Franklin Delano of policy is present at the Vienna meeting. | ||
| 101 | We may expect some progress. | 101 | We may expect some progress. | ||
| 102 | We may expect a vindication of people's hope. | 102 | We may expect a vindication of people's hope. | ||
| 103 | That personal contact between a head of state of the world's two mightiest power | 103 | That personal contact between a head of state of the world's two mightiest power | ||
| > | s will improve historic American relations and better the international situatio | > | s will improve historic American relations and better the international situatio | ||
| > | n as a whole. | > | n as a whole. | ||
| 104 | You've been listening to a commentary by Leonid Vavilov. | 104 | You've been listening to a commentary by Leonid Vavilov. | ||
| 105 | It came to you from the studios The various nationalities inhabiting the Soviet | 105 | It came to you from the studios The various nationalities inhabiting the Soviet | ||
| > | Union are described in the talk you hear now. | > | Union are described in the talk you hear now. | ||
| 106 | There are more than 200,000,000 ,000 people living in the USSR. | 106 | There are more than 200,000,000 ,000 people living in the USSR. | ||
| 107 | As for the Chinese People's Republic and immigrants, it has the 4 largest popula | 107 | As for the Chinese People's Republic and immigrants, it has the 4 largest popula | ||
| > | tion in the world. | > | tion in the world. | ||
| 108 | The Soviet Union. | 108 | The Soviet Union. | ||
| 109 | As soon as the Constitutional Republic comprises the Soviet Union. | 109 | As soon as the Constitutional Republic comprises the Soviet Union. | ||
| 110 | Of the country's total population, Russians account for a little more than 114 m | 110 | Of the country's total population, Russians account for a little more than 114 m | ||
| > | illion persons. | > | illion persons. | ||
| 111 | Armenia 102 million, about 40 million are Ukrainians, some 8 million are Belarus | 111 | Armenia 102 million, about 40 million are Ukrainians, some 8 million are Belarus | ||
| > | ians, and 6 million are U.S.A. Here we will have to start for a complaint matter | > | ians, and 6 million are U.S.A. Here we will have to start for a complaint matter | ||
| > | . | > | . | ||
| 112 | The difficulties of the years are which are the most important. | 112 | The difficulties of the years are which are the most important. | ||
| 113 | take too much time. | 113 | take too much time. | ||
| 114 | There are more than 100 different nationalities and peoples in our country. | 114 | There are more than 100 different nationalities and peoples in our country. | ||
| 115 | They are all different, both as to the way the people look and the native custom | 115 | They are all different, both as to the way the people look and the native custom | ||
| > | s. | > | s. | ||
| 116 | Some of these peoples live in the foreign world. | 116 | Some of these peoples live in the foreign world. | ||
| 117 | Others have never been found. | 117 | Others have never been found. | ||
| 118 | I love you. | 118 | I love you. | ||
| t | 119 | 9. | t | 119 | S'zo. |
| 120 | 10. | 120 | Ne. devenir, devenir, avoir épuisé, avoir épuisé, davantage, davantage. | ||
| 121 | devenir devenir devenir avoir épuisé avoir épuisé davantage davantage bien messi | 121 | Bien, messieurs, c'est tout pour aujourd 'hui. | ||
| > | eurs c'est tout pour aujourd'hui | ||||
| Legends | ||||||||||
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| reference | transcript | ||||
|---|---|---|---|---|---|
| f | 1 | I'm sorry. | f | 1 | I'm sorry. |
| 2 | Music At SRI, we are experimenting with a mobile robot. | 2 | Music At SRI, we are experimenting with a mobile robot. | ||
| 3 | We call him Shaky. | 3 | We call him Shaky. | ||
| 4 | Our goal is to give Shakey some of the abilities associated with intelligence, a | 4 | Our goal is to give Shakey some of the abilities associated with intelligence, a | ||
| > | bilities like planning and learning. | > | bilities like planning and learning. | ||
| 5 | Even though the tasks we give Shakey seem quite simple, the programs needed to p | 5 | Even though the tasks we give Shakey seem quite simple, the programs needed to p | ||
| > | lan and coordinate his activities are complex. | > | lan and coordinate his activities are complex. | ||
| 6 | The main purpose of our research is to learn how to design these programs so tha | 6 | The main purpose of our research is to learn how to design these programs so tha | ||
| > | t robots can be employed in a variety of tasks ranging from space exploration to | > | t robots can be employed in a variety of tasks ranging from space exploration to | ||
| > | industrial automation. | > | industrial automation. | ||
| 7 | Shakey operates in this experimental environmental environment of rooms, doorway | 7 | Shakey operates in this experimental environmental environment of rooms, doorway | ||
| > | s, and simple objects. | > | s, and simple objects. | ||
| 8 | The top lens belongs to Shakey's television camera. | 8 | The top lens belongs to Shakey's television camera. | ||
| 9 | He uses it to obtain visual information about his own location or about other ob | 9 | He uses it to obtain visual information about his own location or about other ob | ||
| > | jects. | > | jects. | ||
| 10 | These walls were made high enough so that Shakey cannot see over them with his t | 10 | These walls were made high enough so that Shakey cannot see over them with his t | ||
| > | elevision camera. | > | elevision camera. | ||
| 11 | camera. | 11 | camera. | ||
| 12 | Shakey uses these feelers or cat whiskers to tell him if he has bumped into anyt | 12 | Shakey uses these feelers or cat whiskers to tell him if he has bumped into anyt | ||
| > | hing. | > | hing. | ||
| 13 | He can push objects with this push bar. | 13 | He can push objects with this push bar. | ||
| 14 | The programs controlling Shakey reside in a large PDP-10 computer and occupy ove | 14 | The programs controlling Shakey reside in a large PDP-10 computer and occupy ove | ||
| > | r 300,000 36-bit words of storage. | > | r 300,000 36-bit words of storage. | ||
| 15 | Shakey communicates with the computer over a radio link. | 15 | Shakey communicates with the computer over a radio link. | ||
| 16 | We use a teletype to give instructions to the computer programs that control Sha | 16 | We use a teletype to give instructions to the computer programs that control Sha | ||
| > | key. | > | key. | ||
| 17 | Shakey reports back to us using the teletype and the cathode ray tube display. | 17 | Shakey reports back to us using the teletype and the cathode ray tube display. | ||
| 18 | An executive program handles communication between the experimenter and and the | 18 | An executive program handles communication between the experimenter and and the | ||
| > | robot system. | > | robot system. | ||
| 19 | Shakey's movements are directly controlled by a set of low-level action programs | 19 | Shakey's movements are directly controlled by a set of low-level action programs | ||
| > | . | > | . | ||
| 20 | These programs convert orders such as roll 2.1 feet into appropriate commands to | 20 | These programs convert orders such as roll 2.1 feet into appropriate commands to | ||
| > | circuits on the vehicle that control Shakey's motors. | > | circuits on the vehicle that control Shakey's motors. | ||
| 21 | Two other examples of low-level actions are pan fan, and tilt. | 21 | Two other examples of low-level actions are pan fan, and tilt. | ||
| 22 | The low level actions provide some of the building blocks for more complicated a | 22 | The low level actions provide some of the building blocks for more complicated a | ||
| > | nd powerful programs called intermediate level actions. | > | nd powerful programs called intermediate level actions. | ||
| 23 | One such action is go-to. | 23 | One such action is go-to. | ||
| 24 | Go-to plans and executes a route to a named goal location, marked with a cross h | 24 | Go-to plans and executes a route to a named goal location, marked with a cross h | ||
| > | ere, circumventing obstacles if need be. | > | ere, circumventing obstacles if need be. | ||
| 25 | The Go-To program plans a route by first computing whether any obstacles lie on | 25 | The Go-To program plans a route by first computing whether any obstacles lie on | ||
| > | a direct path. | > | a direct path. | ||
| 26 | If so, points near the obstacle are set up as sub-goals. | 26 | If so, points near the obstacle are set up as sub-goals. | ||
| 27 | After Shakey computes a route, he traverses it to the goal. | 27 | After Shakey computes a route, he traverses it to the goal. | ||
| 28 | Another intermediate level action pushes a named object, box one in this example | 28 | Another intermediate level action pushes a named object, box one in this example | ||
| > | , to a location specified by a pair of coordinates. | > | , to a location specified by a pair of coordinates. | ||
| 29 | A feature of the intermediate level actions is their ability to recover from unf | 29 | A feature of the intermediate level actions is their ability to recover from unf | ||
| > | oreseen accidents. | > | oreseen accidents. | ||
| 30 | Our gremlin, Charlie, symbolizes as an agent of change unknown to Shakey. | 30 | Our gremlin, Charlie, symbolizes as an agent of change unknown to Shakey. | ||
| 31 | Shakey's sensors tell him that the box has slipped off the push bar, but his cat | 31 | Shakey's sensors tell him that the box has slipped off the push bar, but his cat | ||
| > | whiskers tell him where the box is so he can get behind it and resume pushing. | > | whiskers tell him where the box is so he can get behind it and resume pushing. | ||
| 32 | level actions is designed to try again if the first attempt fails. | 32 | level actions is designed to try again if the first attempt fails. | ||
| 33 | We use the push program in another intermediate level action that blocks a doorw | 33 | We use the push program in another intermediate level action that blocks a doorw | ||
| > | ay with a box. | > | ay with a box. | ||
| 34 | We also have an intermediate level action to take Shakey through a doorway into | 34 | We also have an intermediate level action to take Shakey through a doorway into | ||
| > | an adjacent room. | > | an adjacent room. | ||
| 35 | Ordinarily, Shakey keeps track of his own position by counting wheel revolutions | 35 | Ordinarily, Shakey keeps track of his own position by counting wheel revolutions | ||
| > | . | > | . | ||
| 36 | This dead reckoning navigation is quite accurate, but errors do accumulate. | 36 | This dead reckoning navigation is quite accurate, but errors do accumulate. | ||
| 37 | If an intermediate level action needs more precise location information, it call | 37 | If an intermediate level action needs more precise location information, it call | ||
| > | s on a special picture taking routine called landmark for orientation. | > | s on a special picture taking routine called landmark for orientation. | ||
| 38 | Here we see Shakey taking a picture of the nearest reliable landmark, in this ca | 38 | Here we see Shakey taking a picture of the nearest reliable landmark, in this ca | ||
| > | se a corner of the room. | > | se a corner of the room. | ||
| 39 | Shakey's view is shown on the TV monitor. | 39 | Shakey's view is shown on the TV monitor. | ||
| 40 | His vision programs enhance the edges of of the picture to produce a line repres | 40 | His vision programs enhance the edges of of the picture to produce a line repres | ||
| > | entation on the cathode ray tube display. | > | entation on the cathode ray tube display. | ||
| 41 | If Shakey's dead reckoned estimate of his position were correct, the outline of | 41 | If Shakey's dead reckoned estimate of his position were correct, the outline of | ||
| > | the corner would have looked like this. | > | the corner would have looked like this. | ||
| 42 | Shakey uses the new picture information to improve his estimate of his location. | 42 | Shakey uses the new picture information to improve his estimate of his location. | ||
| 43 | The intermediate level actions communicate directly with the executive program a | 43 | The intermediate level actions communicate directly with the executive program a | ||
| > | nd indirectly with the vehicle. | > | nd indirectly with the vehicle. | ||
| 44 | To summarize, intermediate level actions are pre-programmed to work on frequentl | 44 | To summarize, intermediate level actions are pre-programmed to work on frequentl | ||
| > | y encountered tasks. | > | y encountered tasks. | ||
| 45 | They can recover from several types of errors and accidents and they incorporate | 45 | They can recover from several types of errors and accidents and they incorporate | ||
| > | powerful subroutines for analyzing pictures and for navigating. | > | powerful subroutines for analyzing pictures and for navigating. | ||
| 46 | Of course, for intermediate level actions to work, they need information about S | 46 | Of course, for intermediate level actions to work, they need information about S | ||
| > | hakey's experimental environmental environment. | > | hakey's experimental environmental environment. | ||
| 47 | Shakey models his environment with a list of assertions giving information about | 47 | Shakey models his environment with a list of assertions giving information about | ||
| > | the locations of walls, doorways, other objects, and himself. | > | the locations of walls, doorways, other objects, and himself. | ||
| 48 | From his model, Shakey knows that the floor plan of his world looks like this. | 48 | From his model, Shakey knows that the floor plan of his world looks like this. | ||
| 49 | The small hand points to Shakey. | 49 | The small hand points to Shakey. | ||
| 50 | His model may be incomplete. | 50 | His model may be incomplete. | ||
| 51 | complete. | 51 | complete. | ||
| 52 | For example, it happens that the contents of this room are unknown. | 52 | For example, it happens that the contents of this room are unknown. | ||
| 53 | The model may also be inaccurate. | 53 | The model may also be inaccurate. | ||
| 54 | It shows that the upper right-hand corner of room two is empty, even though a bo | 54 | It shows that the upper right-hand corner of room two is empty, even though a bo | ||
| > | x is in fact present. | > | x is in fact present. | ||
| t | 55 | The executive and the action programs communicate with the model so that it can | t | 55 | The executive and the action programs communicate with the models. |
| > | be updated either by a user or by Shakey himself. | ||||
| 56 | We want Shakey to be able to combine intermediate level actions to perform new t | ||||
| > | asks not covered by any single action. | ||||
| 57 | For this purpose, Shakey uses a planning program called STRIPS. | ||||
| 58 | STRIPS employs such artificial intelligence techniques as means-ends analysis an | ||||
| > | d automatic theorem improving. | ||||
| 59 | A special action model tells strips about the preconditions and the predicted ef | ||||
| > | fects of each intermediate level action. | ||||
| 60 | For example, the action that takes Shakey through a door requires that he be nea | ||||
| > | r the door. | ||||
| 61 | Its effect is that he will end up in the next room. | ||||
| 62 | The action model uses the language of the predicate calculus rather than English | ||||
| > | as shown here. | ||||
| 63 | STRIPS uses the action model to predict what the state of the environment would | ||||
| > | be if various actions were taken. | ||||
| 64 | First, STRIPS finds those actions that are most relevant to the task. | ||||
| 65 | The preconditions of these relevant actions are set up as subgoals. | ||||
| 66 | These subgoals, in turn, lead to others. | ||||
| 67 | Finally, all of the needed actions are assembled into a plan to accomplish the g | ||||
| > | oal. | ||||
| 68 | This chart shows the major components of the complete robot system. | ||||
| 69 | Now we'll watch Shakey solve some problems. | ||||
| 70 | In our first task for Shakey, we want him to use this box to block this door, st | ||||
| > | arting from this position. | ||||
| 71 | The robot executive is capable of understanding a wide variety of English statem | ||||
| > | ents, questions, and commands. | ||||
| 72 | We can type Shakey's first task in English, which is translated into to predicat | ||||
| > | e calculus, the language used by Strips. | ||||
| 73 | Strips analyzes the task and produces a plan to solve it. | ||||
| 74 | Let's diagram the plan found by Strips. | ||||
| 75 | First, Shakey plans to use the action go to D5 that will take him to the doorway | ||||
| > | . | ||||
| 76 | Then he will use the actions go through D5 and go to D3. | ||||
| 77 | Finally, he plans to use go through D3 and block D4 with box 1. | ||||
| 78 | After computing the plan, Shakey begins to execute it. | ||||
| 79 | He moves to the first doorway by using the action, go to D5. | ||||
| 80 | He looks through the doorway because he is uncertain about the contents of the n | ||||
| > | ext room. | ||||
| 81 | room. | ||||
| 82 | His view of the floor along his path shows no obstructions, so he moves into the | ||||
| > | next room by using the action, go through D5. | ||||
| 83 | But just after this move, Charlie the Gremlin blocks the next doorway with a box | ||||
| > | . | ||||
| 84 | Shakey doesn't know it yet, but the box is right in his planned path. | ||||
| 85 | Because the contents of this room are unknown, he checks the next leg of his jou | ||||
| > | rney with a television camera. | ||||
| 86 | The box is in Shakey's field of view. | ||||
| 87 | This is how it appears on the TV monitor. | ||||
| 88 | Shaky's vision programs analyze the picture and tell him that his path to the do | ||||
| > | orway is obstructed. | ||||
| 89 | He takes another TV picture of the obstructing object. | ||||
| 90 | Here we monitor on the cathode ray tube display the results of vision programs t | ||||
| > | hat enhance edges, identify the main regions of the scene and determine the loca | ||||
| > | tion of the box on the floor. | ||||
| 91 | Once located, the object that blocks his path can be entered in Shakey's model a | ||||
| > | nd given a name, Box 2. | ||||
| 92 | Now Shakey realizes that he cannot carry out the original version of his plan. | ||||
| 93 | His first recourse is to see if some other version of the old plan might work. | ||||
| 94 | Shakey remembers the form of a plan and can substitute other symbols into the sa | ||||
| > | me form to produce another version of the plan. | ||||
| 95 | In this case, Shakey was fortunate. | ||||
| 96 | The new version will solve his problem. | ||||
| 97 | Otherwise, he would have had to use strips to make a brand new plan, possibly on | ||||
| > | e that used the unblock action to clear the doorway. | ||||
| 98 | Here though, strips was not needed, so Shakey begins to execute the new version | ||||
| > | of the old plan. | ||||
| 99 | First he turns and goes to another door. | ||||
| 100 | He goes through the door and then goes over to the next door. | ||||
| 101 | Finally, he goes through the next doorway where he can use the intermediate leve | ||||
| > | l action block D4 with box one. | ||||
| 102 | The block program automatically plans a route to a pushing place behind box one. | ||||
| 103 | These lights come on whenever Shakey intends to push an object or back away from | ||||
| > | one. | ||||
| 104 | Shaky knows he has to maneuver box one around the wedge. | ||||
| 105 | Finally, box one is pushed in front of the doorway. | ||||
| 106 | When the task is completed, Shakey doesn't forget the plan he has generated. | ||||
| 107 | The form of this plan is remembered and stored away as a new action routine call | ||||
| > | ed Macrop 1. | ||||
| 108 | Macrop 1 is a learned macro action that takes Shakey from one room through an in | ||||
| > | termediate room and into a third where he blocks a doorway. | ||||
| 109 | When Macrop 1 is added to Shakey's action repertoire, a description of it is add | ||||
| > | ed to his model of actions so that strips can use it in planning more complex ta | ||||
| > | sks. | ||||
| 110 | Let's see how Shakey makes use of this newly learned action to unblock the door | ||||
| > | that was blocked by Charlie. | ||||
| 111 | Strips is given the task in English and begins to analyze the available actions | ||||
| > | to determine which will help to solve the problem. | ||||
| 112 | Strips decides that it must apply the action unblock. | ||||
| 113 | To do so it has the sub problem of getting to the room containing box two. | ||||
| 114 | Strips solves this sub problem by using the first four components of Macrop 1. | ||||
| 115 | The new plan is rapidly found to be a simple modification of the old one and Sha | ||||
| > | key is ready to execute it. | ||||
| 116 | This ability to learn enables Shakey to plan his second task in one-third the ti | ||||
| > | me that it took to plan his first plan. | ||||
| 117 | Let's watch Shakey execute the plan. | ||||
| 118 | First he uses the action go to D1. | ||||
| 119 | Shaky navigates around the wedge to get to the doorway. | ||||
| 120 | He goes through the first door and decides to take a TV picture to update his ow | ||||
| > | n location. | ||||
| 121 | The new location information is used to correct his position in the model. | ||||
| 122 | Confident of his position, Shakey turns to go to the next door. | ||||
| 123 | He goes through the door into the room containing box two. | ||||
| 124 | Once in this room, he can use the action unblock D3. | ||||
| 125 | He calculates an accessible pushing place and heads toward it to push the box aw | ||||
| > | ay. | ||||
| 126 | Our experiments with Shakey have helped us learn more about how a computer can b | ||||
| > | e programmed to control a robot. | ||||
| 127 | Continuing research at major centers like SRI will someday allow intelligent rob | ||||
| > | ots to leave the laboratory and enter the service of man. | ||||
| 128 | Thank you. | ||||
| Legends | ||||||||||
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| reference | transcript | ||||
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| f | 1 | One in the middle that's taken. | f | 1 | One in the middle that's taken. |
| 2 | One over here, two over here. | 2 | One over here, two over here. | ||
| 3 | Maybe people in the aisles can move in. | 3 | Maybe people in the aisles can move in. | ||
| 4 | Any more? | 4 | Any more? | ||
| 5 | A couple over here. | 5 | A couple over here. | ||
| 6 | My name is Wanda Korn. | 6 | My name is Wanda Korn. | ||
| 7 | I'm director of the Stanford Humanities Center. | 7 | I'm director of the Stanford Humanities Center. | ||
| 8 | It's the Stanford Humanities Center, which is a research institute on campus ded | 8 | It's the Stanford Humanities Center, which is a research institute on campus ded | ||
| > | icated to arts and letters, that has been hosting Joseph Brodsky's visit here th | > | icated to arts and letters, that has been hosting Joseph Brodsky's visit here th | ||
| > | is week. | > | is week. | ||
| 9 | This is the last of four public presentations and many more informal ones that M | 9 | This is the last of four public presentations and many more informal ones that M | ||
| > | r. Brodsky has made on campus this week. | > | r. Brodsky has made on campus this week. | ||
| 10 | In fact, as a matter of curiosity, I wonder how many of you in the audience toni | 10 | In fact, as a matter of curiosity, I wonder how many of you in the audience toni | ||
| > | ght have attended another event with our visitor this week. | > | ght have attended another event with our visitor this week. | ||
| 11 | Thank you. | 11 | Thank you. | ||
| 12 | For those of you who have been able to hear Mr. Brodsky this week, each time on | 12 | For those of you who have been able to hear Mr. Brodsky this week, each time on | ||
| > | a different subject, I'm sure you would agree that there is something very speci | > | a different subject, I'm sure you would agree that there is something very speci | ||
| > | al and unusual about about having the opportunity to hear a gifted person give, | > | al and unusual about about having the opportunity to hear a gifted person give, | ||
| > | as it were, different pieces of himself in a concentrated period of time. | > | as it were, different pieces of himself in a concentrated period of time. | ||
| 13 | While an exhausting marathon for our speaker, it is extremely enriching for thos | 13 | While an exhausting marathon for our speaker, it is extremely enriching for thos | ||
| > | e on campus. | > | e on campus. | ||
| 14 | And by way of introduction, I want to tell you how Joseph Brodsky's visit came a | 14 | And by way of introduction, I want to tell you how Joseph Brodsky's visit came a | ||
| > | bout. | > | bout. | ||
| 15 | out. | 15 | out. | ||
| 16 | If you've read your program, you know that Rhoda and Elliot Leventhal establishe | 16 | If you've read your program, you know that Rhoda and Elliot Leventhal establishe | ||
| > | d a new endowment last year at the Stanford Humanities Center, one that they spe | > | d a new endowment last year at the Stanford Humanities Center, one that they spe | ||
| > | cially designed to bring to campus persons of significant achievement in humanit | > | cially designed to bring to campus persons of significant achievement in humanit | ||
| > | ies and world affairs. | > | ies and world affairs. | ||
| 17 | It was the Leventhal's idea that this visitor should not just come, give a lectu | 17 | It was the Leventhal's idea that this visitor should not just come, give a lectu | ||
| > | re or reading, and go, but rather to stay long enough on campus to have signific | > | re or reading, and go, but rather to stay long enough on campus to have signific | ||
| > | ant interaction with students, faculty, and others in the Stanford community. | > | ant interaction with students, faculty, and others in the Stanford community. | ||
| 18 | Joseph Brodsky has been the first Leventhal distinguished visitor and a most gen | 18 | Joseph Brodsky has been the first Leventhal distinguished visitor and a most gen | ||
| > | erous visitor he has been. | > | erous visitor he has been. | ||
| 19 | Listening to his presentations has been rather like absorbing a cubist painting, | 19 | Listening to his presentations has been rather like absorbing a cubist painting, | ||
| > | a new facet or layer building each day into into a fuller portrait. | > | a new facet or layer building each day into into a fuller portrait. | ||
| 20 | Monday, the Mount Holyoke teacher of literature. | 20 | Monday, the Mount Holyoke teacher of literature. | ||
| 21 | Tuesday, the meditative essayist that we read in the New Republic and the New Yo | 21 | Tuesday, the meditative essayist that we read in the New Republic and the New Yo | ||
| > | rk Review of Books. | > | rk Review of Books. | ||
| 22 | Wednesday, the seasoned and mature poet talking about his craft. | 22 | Wednesday, the seasoned and mature poet talking about his craft. | ||
| 23 | And tonight, Thursday, the Nobel Prize winning poet and fifth poet laureate of t | 23 | And tonight, Thursday, the Nobel Prize winning poet and fifth poet laureate of t | ||
| > | he United States. | > | he United States. | ||
| 24 | I'm reminded at the end of this week of one of the qualities Mr. Brodsky said he | 24 | I'm reminded at the end of this week of one of the qualities Mr. Brodsky said he | ||
| > | admired in the poetry of Thomas Hardy and Robert Frost a quality called expansi | > | admired in the poetry of Thomas Hardy and Robert Frost a quality called expansi | ||
| > | ve motion. | > | ve motion. | ||
| 25 | The expansive motion of a line. | 25 | The expansive motion of a line. | ||
| 26 | It's continually opening out. | 26 | It's continually opening out. | ||
| 27 | It's a similar expansiveness and unfolding that so many of us have experienced t | 27 | It's a similar expansiveness and unfolding that so many of us have experienced t | ||
| > | his week in the man himself. | > | his week in the man himself. | ||
| 28 | So in your welcoming applause I hope you will pay tribute tonight not only to th | 28 | So in your welcoming applause I hope you will pay tribute tonight not only to th | ||
| > | e poet, artist, teacher, philosopher who will read for us this evening, but also | > | e poet, artist, teacher, philosopher who will read for us this evening, but also | ||
| > | include a thank you to the Leventhals who made it possible for him to spend thi | > | include a thank you to the Leventhals who made it possible for him to spend thi | ||
| > | s full week at Stanford. | > | s full week at Stanford. | ||
| 29 | Thank you, Joseph. | 29 | Thank you, Joseph. | ||
| 30 | Thank you, Rhoda and Elliot. | 30 | Thank you, Rhoda and Elliot. | ||
| 31 | Thank you. | 31 | Thank you. | ||
| 32 | Good evening. | 32 | Good evening. | ||
| 33 | We'll be here for about one hour, and in the course of that hour, I'm going to r | 33 | We'll be here for about one hour, and in the course of that hour, I'm going to r | ||
| > | ead you a few poems. | > | ead you a few poems. | ||
| 34 | Most of them I'll read to you in English, but three or four, presumably, I will | 34 | Most of them I'll read to you in English, but three or four, presumably, I will | ||
| > | read both in English and in Russian. | > | read both in English and in Russian. | ||
| 35 | I wish actually it were the other way around because English is far from being m | 35 | I wish actually it were the other way around because English is far from being m | ||
| > | y mother tongue and well, there's plenty of accent in it. | > | y mother tongue and well, there's plenty of accent in it. | ||
| 36 | So the only thing I can, well, I cannot hope for you is your indulgence and I'll | 36 | So the only thing I can, well, I cannot hope for you is your indulgence and I'll | ||
| > | try to do my level best. | > | try to do my level best. | ||
| 37 | Well, I would like to start. | 37 | Well, I would like to start. | ||
| 38 | I'm not so sure that this is a true thing that I'm trying to say that I would li | 38 | I'm not so sure that this is a true thing that I'm trying to say that I would li | ||
| > | ke to start. | > | ke to start. | ||
| 39 | Actually, I wouldn't like to start at all. | 39 | Actually, I wouldn't like to start at all. | ||
| 40 | But I think I would like, I think I will start with the poem. | 40 | But I think I would like, I think I will start with the poem. | ||
| 41 | It's a somewhat oldish poem. | 41 | It's a somewhat oldish poem. | ||
| 42 | It's the title of this poem is Letters from the Ming Dynasty. | 42 | It's the title of this poem is Letters from the Ming Dynasty. | ||
| 43 | It consists of two parts. | 43 | It consists of two parts. | ||
| 44 | Obviously, Obviously these are not the real letters, it's a stylization. | 44 | Obviously, Obviously these are not the real letters, it's a stylization. | ||
| 45 | The poem, the first part is a letter by a woman by Kurtier, something like a lad | 45 | The poem, the first part is a letter by a woman by Kurtier, something like a lad | ||
| > | y in waiting to her traveling faraway husband. | > | y in waiting to her traveling faraway husband. | ||
| 46 | And the second poem is the husband's presumed reply. | 46 | And the second poem is the husband's presumed reply. | ||
| 47 | Oh, you ought to know for the purposes of the poem. | 47 | Oh, you ought to know for the purposes of the poem. | ||
| 48 | well, I mean for the purposes of better grasping what's going on is that while t | 48 | well, I mean for the purposes of better grasping what's going on is that while t | ||
| > | he Ming Dynasty is about the most cruel dynasty in the history of China, it was | > | he Ming Dynasty is about the most cruel dynasty in the history of China, it was | ||
| > | awfully good on the artifacts as well. | > | awfully good on the artifacts as well. | ||
| 49 | The red Ming vases are justly famous. | 49 | The red Ming vases are justly famous. | ||
| 50 | The expression land under heaven stands for, it's a euphemism for the celestial | 50 | The expression land under heaven stands for, it's a euphemism for the celestial | ||
| > | empire, which is in its own right, the euphemic name for China and the word Li i | > | empire, which is in its own right, the euphemic name for China and the word Li i | ||
| > | s something like one-third of a mile in length and well hieroglyphs obviously it | > | s something like one-third of a mile in length and well hieroglyphs obviously it | ||
| > | 's sort of some of the mistranslation the word hieroglyph it's always like a cha | > | 's sort of some of the mistranslation the word hieroglyph it's always like a cha | ||
| > | racter. | > | racter. | ||
| 51 | Well letters from the Ming dynasty. | 51 | Well letters from the Ming dynasty. | ||
| 52 | I read it to you in English and in Russian. | 52 | I read it to you in English and in Russian. | ||
| 53 | Soon it will be 13 years soon it will be 13 years since the nightingale fluttere | 53 | Soon it will be 13 years soon it will be 13 years since the nightingale fluttere | ||
| > | d out of its cage and vanished and at nightfall the Emperor washes down his medi | > | d out of its cage and vanished and at nightfall the Emperor washes down his medi | ||
| > | cine with the blood of another tailor then propped on silk pillows turns on a je | > | cine with the blood of another tailor then propped on silk pillows turns on a je | ||
| > | weled bird that lulls him with its level identical song. | > | weled bird that lulls him with its level identical song. | ||
| 54 | It's this sort of anniversary, unnumbered, wrong that we celebrate these days in | 54 | It's this sort of anniversary, unnumbered, wrong that we celebrate these days in | ||
| > | our land and the heaven. | > | our land and the heaven. | ||
| 55 | The special mirror that smooths wrinkles even costs more every year. | 55 | The special mirror that smooths wrinkles even costs more every year. | ||
| 56 | Our small garden is choked with weeds, the sky too is pierced by spires like pin | 56 | Our small garden is choked with weeds, the sky too is pierced by spires like pin | ||
| > | s in the shoulder blades of someone so sick that his back is all we're allowed t | > | s in the shoulder blades of someone so sick that his back is all we're allowed t | ||
| > | o see. | > | o see. | ||
| 57 | And begins to joke. | 57 | And begins to joke. | ||
| 58 | This letter to you, beloved, from your wild duck is brushed on the scented rice | 58 | This letter to you, beloved, from your wild duck is brushed on the scented rice | ||
| > | paper given me by the empress. | > | paper given me by the empress. | ||
| 59 | Lately there is no rice, but the flow of rice paper is endless. | 59 | Lately there is no rice, but the flow of rice paper is endless. | ||
| 60 | A thousand -lea long road starts with the first step as the proverb goes. | 60 | A thousand -lea long road starts with the first step as the proverb goes. | ||
| 61 | Pity the road home doesn't depend on that same step. | 61 | Pity the road home doesn't depend on that same step. | ||
| 62 | It exceeds ten times a thousand Li, especially counting from zeros. | 62 | It exceeds ten times a thousand Li, especially counting from zeros. | ||
| 63 | One thousand Li, two thousand Li. A thousand means thou shalt not ever see thy n | 63 | One thousand Li, two thousand Li. A thousand means thou shalt not ever see thy n | ||
| > | ative place. | > | ative place. | ||
| 64 | And the meaninglessness, like a plague, spreads from words onto numbers, onto ze | 64 | And the meaninglessness, like a plague, spreads from words onto numbers, onto ze | ||
| > | ros especially. | > | ros especially. | ||
| 65 | Wind blows us westward like the yellow tears from a dried pod there by the wall | 65 | Wind blows us westward like the yellow tears from a dried pod there by the wall | ||
| > | towers. | > | towers. | ||
| 66 | Against it, man's figure is ugly and stiff as a frightening hieroglyph, as any i | 66 | Against it, man's figure is ugly and stiff as a frightening hieroglyph, as any i | ||
| > | llegible scripture at which one stares. | > | llegible scripture at which one stares. | ||
| 67 | This pull in one direction only has made me something elongated, like a horse's | 67 | This pull in one direction only has made me something elongated, like a horse's | ||
| > | head, and all the body should do is span by its shadow, rustling across the wild | > | head, and all the body should do is span by its shadow, rustling across the wild | ||
| > | barleys with a blade. | > | barleys with a blade. | ||
| 68 | I know the same poem in Russian. | 68 | I know the same poem in Russian. | ||
| 69 | The letters of the Ming dynasty. | 69 | The letters of the Ming dynasty. | ||
| n | 70 | not a happy, not a good anniversary special mirror smoothing wrinkles every year | n | 70 | not a happy, not a good anniversary special mirror smoothing wrinkles every year |
| > | our little garden is born in decline the sky is also cut with spines like a sho | > | our little garden is born in decline the sky is also cut with spines like a sho | ||
| > | ulder blade and the back of a sick person whose back we only see and sometimes I | > | ulder blade and the back of a sick person whose back we only see and sometimes I | ||
| > | explain to my son the nature of the Bogdekhan of the stars and he lets go of th | > | explain to my son the nature of the Bogdekhan of the stars and he lets go of th | ||
| > | e joke this is a letter from you Foreign So отчитывая от о. | > | e joke this is a letter from you mitad отчитывая от о. | ||
| 71 | Одна ли тысяча ли? | 71 | Одна ли тысяча ли? | ||
| 72 | Две ли тысяча ли? | 72 | Две ли тысяча ли? | ||
| 73 | Тысяча означает, что ты сейчас вдали от родимого крова, и зараза бессмысленности | 73 | Тысяча означает, что ты сейчас вдали от родимого крова, и зараза бессмысленности | ||
| > | со слова перекидывается на цифры, особенно на нули. | > | со слова перекидывается на цифры, особенно на нули. | ||
| 74 | Ветер несет нас на запад, как бурые семена из лопнувшего стручка туда, где стоит | 74 | Ветер несет нас на запад, как бурые семена из лопнувшего стручка туда, где стоит | ||
| > | стена. | > | стена. | ||
| 75 | Let's switch to something else. | 75 | Let's switch to something else. | ||
| 76 | Yeah. | 76 | Yeah. | ||
| 77 | Thanks. | 77 | Thanks. | ||
| 78 | Well, the title of the next poem is Transatlantic. | 78 | Well, the title of the next poem is Transatlantic. | ||
| 79 | It's a short poem. | 79 | It's a short poem. | ||
| 80 | The last twenty years were good for practically everybody save the dead. | 80 | The last twenty years were good for practically everybody save the dead. | ||
| 81 | But maybe for them as well, maybe the Almighty himself has turned a bit bourgeoi | 81 | But maybe for them as well, maybe the Almighty himself has turned a bit bourgeoi | ||
| > | s and uses a credit card, for otherwise time's passage makes no sense. | > | s and uses a credit card, for otherwise time's passage makes no sense. | ||
| 82 | Hence memories, recollections, values, deportment. | 82 | Hence memories, recollections, values, deportment. | ||
| 83 | One hopes one hasn't spent one's mother or father or both or a handful of friend | 83 | One hopes one hasn't spent one's mother or father or both or a handful of friend | ||
| > | s entirely as this is to hound one's dreams. | > | s entirely as this is to hound one's dreams. | ||
| 84 | One's dreams, unlike the city, become less populous the older one gets. | 84 | One's dreams, unlike the city, become less populous the older one gets. | ||
| 85 | That's why the eternal rest cancels analysis. | 85 | That's why the eternal rest cancels analysis. | ||
| 86 | The last 20 years were good for practically everybody and constituted the afterl | 86 | The last 20 years were good for practically everybody and constituted the afterl | ||
| > | ife for the dead. | > | ife for the dead. | ||
| 87 | Its quality could be questioned, but not its duration. | 87 | Its quality could be questioned, but not its duration. | ||
| 88 | The dead, one assumes, would not mind attaining a homely status and sleep in arc | 88 | The dead, one assumes, would not mind attaining a homely status and sleep in arc | ||
| > | hways or watch pregnant submarines returning to their native pen after a worldwi | > | hways or watch pregnant submarines returning to their native pen after a worldwi | ||
| > | de journey without destroying destroying life on earth without even a proper fla | > | de journey without destroying destroying life on earth without even a proper fla | ||
| > | g to hoist. | > | g to hoist. | ||
| 89 | The next poem is somewhat longish. | 89 | The next poem is somewhat longish. | ||
| 90 | Indeed, it's a fairly long poem. | 90 | Indeed, it's a fairly long poem. | ||
| 91 | It's called An Admonition. | 91 | It's called An Admonition. | ||
| 92 | Essentially, it's an advice to a traveler. | 92 | Essentially, it's an advice to a traveler. | ||
| 93 | Admonition. | 93 | Admonition. | ||
| 94 | Trekking in Asia, spending nights in odd dwellings, in granaries, cabins, shacks | 94 | Trekking in Asia, spending nights in odd dwellings, in granaries, cabins, shacks | ||
| > | , timber abodes whose thin squinted window panes harness the world, sleep dresse | > | , timber abodes whose thin squinted window panes harness the world, sleep dresse | ||
| > | d, wrapped in your sheepskin, and do your best always to tuck your head into the | > | d, wrapped in your sheepskin, and do your best always to tuck your head into the | ||
| > | corner, as in the corner It's harder and a darkness of that to swing an axe ove | > | corner, as in the corner It's harder and a darkness of that to swing an axe ove | ||
| > | r your heavy booze laden Gerd and to chop it off nicely Square the circle in sho | > | r your heavy booze laden Gerd and to chop it off nicely Square the circle in sho | ||
| > | rt fear broil cheekbones Including the moons poke marked skin and prefer blue ey | > | rt fear broil cheekbones Including the moons poke marked skin and prefer blue ey | ||
| > | es to brown eyes Search hard for the blue ones Especially when the road takes yo | > | es to brown eyes Search hard for the blue ones Especially when the road takes yo | ||
| > | u into the wood in dates thick on the whole for the as for the eyes One should w | > | u into the wood in dates thick on the whole for the as for the eyes One should w | ||
| > | atch for they cut, for at your last instant it's better to stare at that which t | > | atch for they cut, for at your last instant it's better to stare at that which t | ||
| > | hough cold, pyramids sink through, ice may crack, yet wallowing in an ice hole i | > | hough cold, pyramids sink through, ice may crack, yet wallowing in an ice hole i | ||
| > | s far better than in honey-like viscous lies. | > | s far better than in honey-like viscous lies. | ||
| 95 | Always pick a house with baby clothes hanging out in the yard. | 95 | Always pick a house with baby clothes hanging out in the yard. | ||
| 96 | Deal only with the over-50 crowd. | 96 | Deal only with the over-50 crowd. | ||
| 97 | A hick at that age knows too much about faith to gain anything by attempting to | 97 | A hick at that age knows too much about faith to gain anything by attempting to | ||
| > | bust your brain. | > | bust your brain. | ||
| 98 | Same thing as squaw. | 98 | Same thing as squaw. | ||
| 99 | hide mine in your fur coats color or if you are traveling light in your brown cu | 99 | hide mine in your fur coats color or if you are traveling light in your brown cu | ||
| > | lotte under the knee but not in your boots since they'll find the door easily th | > | lotte under the knee but not in your boots since they'll find the door easily th | ||
| > | ere in Asia boots are the first to go in the mountains move slowly if you must c | > | ere in Asia boots are the first to go in the mountains move slowly if you must c | ||
| > | reep then creep magnificent in the distance meaningless closer up mountains abou | > | reep then creep magnificent in the distance meaningless closer up mountains abou | ||
| > | t the surface standing on end the snail like and it seems horizontal meandering | > | t the surface standing on end the snail like and it seems horizontal meandering | ||
| > | trail is in fact vertical. | > | trail is in fact vertical. | ||
| 100 | Lying flat in the mountains, you stand. | 100 | Lying flat in the mountains, you stand. | ||
| 101 | Standing up, you lie flat, which suggests your true freedom isn't falling down. | 101 | Standing up, you lie flat, which suggests your true freedom isn't falling down. | ||
| 102 | That's the way it appears to conquer. | 102 | That's the way it appears to conquer. | ||
| 103 | Once in the mountains, vertigo ruptures fears. | 103 | Once in the mountains, vertigo ruptures fears. | ||
| 104 | If somebody yells, hey stranger, don't answer. | 104 | If somebody yells, hey stranger, don't answer. | ||
| 105 | Play deaf and dumb. | 105 | Play deaf and dumb. | ||
| 106 | Even though you may know it, don't speak the tongue. | 106 | Even though you may know it, don't speak the tongue. | ||
| 107 | Try not to stand out, either in profile or full face, simply don't wash your fac | 107 | Try not to stand out, either in profile or full face, simply don't wash your fac | ||
| > | e at times. | > | e at times. | ||
| 108 | What's more, when the rip occurs, throw it with a saw, don't cringe. | 108 | What's more, when the rip occurs, throw it with a saw, don't cringe. | ||
| 109 | Smoking douse your butt with spittle and besides arrange to wear gray, the hue o | 109 | Smoking douse your butt with spittle and besides arrange to wear gray, the hue o | ||
| > | f the earth, especially under clothes, to reduce the temptation to blend your fl | > | f the earth, especially under clothes, to reduce the temptation to blend your fl | ||
| > | esh with earth. | > | esh with earth. | ||
| 110 | When you hold in the desert, make an arrow from pebbles, so if suddenly Suddenly | 110 | When you hold in the desert, make an arrow from pebbles, so if suddenly Suddenly | ||
| > | woken up, you grasp which way to go in the darkness. | > | woken up, you grasp which way to go in the darkness. | ||
| 111 | At night, demons in deserts try travelers' hearts. | 111 | At night, demons in deserts try travelers' hearts. | ||
| 112 | One who heeds their cry is easily disoriented. | 112 | One who heeds their cry is easily disoriented. | ||
| 113 | One steps sideways and well, said two. | 113 | One steps sideways and well, said two. | ||
| 114 | Ghosts, specters, demons are at home in the desert. | 114 | Ghosts, specters, demons are at home in the desert. | ||
| 115 | You too will discover that's true when sand creaking under your soul. | 115 | You too will discover that's true when sand creaking under your soul. | ||
| 116 | All that remains of you is your soul. | 116 | All that remains of you is your soul. | ||
| 117 | Nobody ever knows anything for a fact. | 117 | Nobody ever knows anything for a fact. | ||
| 118 | Gazing ahead at your stooping guides, sturdy back, think that you gaze at the fu | 118 | Gazing ahead at your stooping guides, sturdy back, think that you gaze at the fu | ||
| > | ture, and keep your distance, if that is possible, from him. | > | ture, and keep your distance, if that is possible, from him. | ||
| 119 | Since, in principle, life also means but a distance between here and there, and | 119 | Since, in principle, life also means but a distance between here and there, and | ||
| > | quickening the pace, pace only when you discern the sound behind of those runnin | > | quickening the pace, pace only when you discern the sound behind of those runnin | ||
| > | g after you down the path, with lowered heads, be they murderers, thieves, the p | > | g after you down the path, with lowered heads, be they murderers, thieves, the p | ||
| > | ast. | > | ast. | ||
| 120 | in the saw with a frogs, a frogs, in the burned down fume, prized indifference o | 120 | in the saw with a frogs, a frogs, in the burned down fume, prized indifference o | ||
| > | f things to being regarded from afar, and in turn lose your own silhouette, turn | > | f things to being regarded from afar, and in turn lose your own silhouette, turn | ||
| > | ing thus unattainable for binoculars, gendarmes, mass, coughing in a cloud of du | > | ing thus unattainable for binoculars, gendarmes, mass, coughing in a cloud of du | ||
| > | st, wading through mud, map, what difference does it make how you would look clo | > | st, wading through mud, map, what difference does it make how you would look clo | ||
| > | se up, it's even better if some character with a blade figures out you're a stra | > | se up, it's even better if some character with a blade figures out you're a stra | ||
| > | nger a bit too late. | > | nger a bit too late. | ||
| 121 | Rivers in Asia are longer than elsewhere, more rich in alluvium that is murkier. | 121 | Rivers in Asia are longer than elsewhere, more rich in alluvium that is murkier. | ||
| 122 | As you reach for a mouthful, your cupped fingers ladle sealed, and one who has d | 122 | As you reach for a mouthful, your cupped fingers ladle sealed, and one who has d | ||
| > | runk this water would prefer it spilled. | > | runk this water would prefer it spilled. | ||
| 123 | Never trust its reflection. | 123 | Never trust its reflection. | ||
| 124 | Crossing it, cross it on a raft built with no other hands but the pair you own. | 124 | Crossing it, cross it on a raft built with no other hands but the pair you own. | ||
| 125 | Note that the gleam of campfire, your nightly bliss, will by sliding downstream | 125 | Note that the gleam of campfire, your nightly bliss, will by sliding downstream | ||
| > | betray you to enemies. | > | betray you to enemies. | ||
| 126 | In your letters from these parts, don't divulge whom and what you've seen on you | 126 | In your letters from these parts, don't divulge whom and what you've seen on you | ||
| > | r way. | > | r way. | ||
| 127 | If anything should be penned, use your various feelings, musings, regrets at all | 127 | If anything should be penned, use your various feelings, musings, regrets at all | ||
| > | . | > | . | ||
| 128 | A letter can be intercepted and after all, the movement of a pen across paper is | 128 | A letter can be intercepted and after all, the movement of a pen across paper is | ||
| > | in itself the worsening of the break between you and those with whom you won't | > | in itself the worsening of the break between you and those with whom you won't | ||
| > | any longer sit or lie down with whom. | > | any longer sit or lie down with whom. | ||
| 129 | unlike the letter you won't share who cares why a home when you stand on a stony | 129 | unlike the letter you won't share who cares why a home when you stand on a stony | ||
| > | on an empty stony plateau alone under the fathomless dome of Asia in whose blue | > | on an empty stony plateau alone under the fathomless dome of Asia in whose blue | ||
| > | ness an airplane or an angel sometimes sweeps up its starch or star when you're | > | ness an airplane or an angel sometimes sweeps up its starch or star when you're | ||
| > | shattered how infinitesimally small you are remember space that appears to need | > | shattered how infinitesimally small you are remember space that appears to need | ||
| > | nothing does crave as a matter of fact an outside gaze, a criterion of emptiness | > | nothing does crave as a matter of fact an outside gaze, a criterion of emptiness | ||
| > | , of its depth and scope, and it's only you who can do the job. | > | , of its depth and scope, and it's only you who can do the job. | ||
| 130 | The title of the next poem is a footnote to weather forecasts. | 130 | The title of the next poem is a footnote to weather forecasts. | ||
| 131 | A footnote to weather forecasts. | 131 | A footnote to weather forecasts. | ||
| 132 | A garden alley with statues of hardened mud, akin to knurled, stunted tree trunk | 132 | A garden alley with statues of hardened mud, akin to knurled, stunted tree trunk | ||
| > | s. | > | s. | ||
| 133 | Some of them I knew personally, the rest I see for the first time ever. | 133 | Some of them I knew personally, the rest I see for the first time ever. | ||
| 134 | Presumably they are gods of local woods and streams, guardians of silence. | 134 | Presumably they are gods of local woods and streams, guardians of silence. | ||
| 135 | As for the feminine shapes, nymphs and so forth, they look thought-like, that is | 135 | As for the feminine shapes, nymphs and so forth, they look thought-like, that is | ||
| > | unfinished, each one strives to keep, even here, in the future that came, her v | > | unfinished, each one strives to keep, even here, in the future that came, her v | ||
| > | agrant status. | > | agrant status. | ||
| 136 | status. | 136 | status. | ||
| 137 | A cheap monk won't pop up and cross the path. | 137 | A cheap monk won't pop up and cross the path. | ||
| 138 | No bird song is audible, nor moreover a motor. | 138 | No bird song is audible, nor moreover a motor. | ||
| 139 | The future is a panacea against anything prone to repetition, and in the sky the | 139 | The future is a panacea against anything prone to repetition, and in the sky the | ||
| > | y're scattered like a bachelor's clothes. | > | y're scattered like a bachelor's clothes. | ||
| 140 | Clouds turned inside out, oppressed. | 140 | Clouds turned inside out, oppressed. | ||
| 141 | It smells of conifer. | 141 | It smells of conifer. | ||
| 142 | This prickly substance of not so familiar places. | 142 | This prickly substance of not so familiar places. | ||
| 143 | Sculptures loom in the twilight, darkening thanks to the proximity to each other | 143 | Sculptures loom in the twilight, darkening thanks to the proximity to each other | ||
| > | , thanks to the indifference of the surrounding landscape. | > | , thanks to the indifference of the surrounding landscape. | ||
| 144 | Should any one of them speak, you would sigh, rather than gasp or shudder. | 144 | Should any one of them speak, you would sigh, rather than gasp or shudder. | ||
| 145 | Upon hearing well-known voices, hearing something like, the child wasn't yours, | 145 | Upon hearing well-known voices, hearing something like, the child wasn't yours, | ||
| > | or true, I testified against him, but out of fear, not jealousy, petty, 20-odd-y | > | or true, I testified against him, but out of fear, not jealousy, petty, 20-odd-y | ||
| > | ear-old secrets of pure blind hearts, obsessed with a silly quest for power over | > | ear-old secrets of pure blind hearts, obsessed with a silly quest for power over | ||
| > | their likes, the best ones among the worst ones, the executioners and the victi | > | their likes, the best ones among the worst ones, the executioners and the victi | ||
| > | ms. | > | ms. | ||
| 146 | It's good that someone else's memories interfere with your own. | 146 | It's good that someone else's memories interfere with your own. | ||
| 147 | It's good that some of these figures to you appear alien. | 147 | It's good that some of these figures to you appear alien. | ||
| 148 | Their presence hints at different events, at a different sort of fate, perhaps n | 148 | Their presence hints at different events, at a different sort of fate, perhaps n | ||
| > | ot a better one, yet clearly the one that you missed. | > | ot a better one, yet clearly the one that you missed. | ||
| 149 | This unshackles memory more than imagination, not forever of course, but for a w | 149 | This unshackles memory more than imagination, not forever of course, but for a w | ||
| > | hile, to learn that you've been deceived, It seems that you've been completely f | > | hile, to learn that you've been deceived, It seems that you've been completely f | ||
| > | orgotten all the other way around, that you are still being hated is extremely u | > | orgotten all the other way around, that you are still being hated is extremely u | ||
| > | npleasant. | > | npleasant. | ||
| 150 | But to regard yourself as the hub of even negligible universe, unbearable and in | 150 | But to regard yourself as the hub of even negligible universe, unbearable and in | ||
| > | decent, a rare, perhaps the only visitor to these parts, I have, I suppose, a ri | > | decent, a rare, perhaps the only visitor to these parts, I have, I suppose, a ri | ||
| > | ght to describe the observed. | > | ght to describe the observed. | ||
| 151 | Here it is, our little Valhalla, our long-overgrown estate in time with a handfu | 151 | Here it is, our little Valhalla, our long-overgrown estate in time with a handfu | ||
| > | l of mortgage souls with its meadows where sharpened sickle won't roam in all li | > | l of mortgage souls with its meadows where sharpened sickle won't roam in all li | ||
| > | kelihood with abandon and where snowflakes float in the air as a good example of | > | kelihood with abandon and where snowflakes float in the air as a good example of | ||
| > | poise in a vacuum. | > | poise in a vacuum. | ||
| 152 | Well, something lighter. | 152 | Well, something lighter. | ||
| 153 | The title of this poem is an epitaph for a centaur. | 153 | The title of this poem is an epitaph for a centaur. | ||
| 154 | You know, there's a half horse, half human creature. | 154 | You know, there's a half horse, half human creature. | ||
| 155 | Richard. | 155 | Richard. | ||
| 156 | Epitaph for a centaur. | 156 | Epitaph for a centaur. | ||
| 157 | To say that he was unhappy is either to say too much or too little, depending on | 157 | To say that he was unhappy is either to say too much or too little, depending on | ||
| > | who's the audience. | > | who's the audience. | ||
| 158 | Still, the smell he'd give off was a bit too odious, and his canter was also qui | 158 | Still, the smell he'd give off was a bit too odious, and his canter was also qui | ||
| > | te hard to match. | > | te hard to match. | ||
| 159 | He said they meant just a monument, but something went astray. | 159 | He said they meant just a monument, but something went astray. | ||
| 160 | The the womb, the assembly line, the economy, or else the war never happened. | 160 | The the womb, the assembly line, the economy, or else the war never happened. | ||
| 161 | They befriended the enemy, and he was left... | 161 | They befriended the enemy, and he was left... | ||
| 162 | Well, let me start again, because it's kind of filled up. | 162 | Well, let me start again, because it's kind of filled up. | ||
| 163 | To say that he was unhappy is either to say too much or too little, depending on | 163 | To say that he was unhappy is either to say too much or too little, depending on | ||
| > | who's the audience. | > | who's the audience. | ||
| 164 | Still, the smell he'd give off was a bit too odious, and his canter was also qui | 164 | Still, the smell he'd give off was a bit too odious, and his canter was also qui | ||
| > | te hard to match. | > | te hard to match. | ||
| 165 | He said they meant just a monument, but something went astray. | 165 | He said they meant just a monument, but something went astray. | ||
| 166 | The womb, the assembly line, the economy. | 166 | The womb, the assembly line, the economy. | ||
| 167 | Where else the war never happened? | 167 | Where else the war never happened? | ||
| 168 | They befriended the enemy, and he was left as it is, presumably to portray intra | 168 | They befriended the enemy, and he was left as it is, presumably to portray intra | ||
| > | nsigence, incompatibility, that sort of thing which proves not so much one's uni | > | nsigence, incompatibility, that sort of thing which proves not so much one's uni | ||
| > | queness or virtue, but probability. | > | queness or virtue, but probability. | ||
| 169 | For years, resembling a cloud, he wandered in olive groves, marveling at one-leg | 169 | For years, resembling a cloud, he wandered in olive groves, marveling at one-leg | ||
| > | gedness, the mother of immobility, learned to lie to himself and turned it into | > | gedness, the mother of immobility, learned to lie to himself and turned it into | ||
| > | an art for want of a better company, also to check his sanity. | > | an art for want of a better company, also to check his sanity. | ||
| 170 | And he died fairly young because his animal part turned out to be less durable t | 170 | And he died fairly young because his animal part turned out to be less durable t | ||
| > | han his humanity. | > | han his humanity. | ||
| 171 | I understand we like short and simple stuff, don't we? | 171 | I understand we like short and simple stuff, don't we? | ||
| 172 | Okay, here's one example of that. | 172 | Okay, here's one example of that. | ||
| 173 | One more. | 173 | One more. | ||
| 174 | A song. | 174 | A song. | ||
| 175 | I wish you were here, dear. | 175 | I wish you were here, dear. | ||
| 176 | I wish you were here. | 176 | I wish you were here. | ||
| 177 | I wish you sat on the sofa and I sat near. | 177 | I wish you sat on the sofa and I sat near. | ||
| 178 | The handkerchief could be yours. | 178 | The handkerchief could be yours. | ||
| 179 | The tear could be mine, chin bound Though it could be, of course, the other way | 179 | The tear could be mine, chin bound Though it could be, of course, the other way | ||
| > | around I wish you were here, dear I wish you were here I wish we were in my car | > | around I wish you were here, dear I wish you were here I wish we were in my car | ||
| > | And you'd shift the gear We'd find ourselves elsewhere On an unknown shore Or el | > | And you'd shift the gear We'd find ourselves elsewhere On an unknown shore Or el | ||
| > | se we'd repair to where we've been before I wish you were here, dear I wish you | > | se we'd repair to where we've been before I wish you were here, dear I wish you | ||
| > | were here I wish I knew no astronomy When stars appear When the moon skims the w | > | were here I wish I knew no astronomy When stars appear When the moon skims the w | ||
| > | ater that sighs and shifts in its lumber. | > | ater that sighs and shifts in its lumber. | ||
| 180 | I wish it were still a quarter to dial your number. | 180 | I wish it were still a quarter to dial your number. | ||
| 181 | I wish you were here, dear, in this hemisphere. | 181 | I wish you were here, dear, in this hemisphere. | ||
| 182 | As I sit on the porch, sipping a beer. | 182 | As I sit on the porch, sipping a beer. | ||
| 183 | It's evening, the sun is setting, boys shout and girls are crying. | 183 | It's evening, the sun is setting, boys shout and girls are crying. | ||
| 184 | What's the point of forgetting if it's followed by dying? | 184 | What's the point of forgetting if it's followed by dying? | ||
| 185 | The title of this poem is Lines for the Winter Recess. | 185 | The title of this poem is Lines for the Winter Recess. | ||
| 186 | It's for the recess of the Congress, of the US Congress. | 186 | It's for the recess of the Congress, of the US Congress. | ||
| 187 | Well, I spent indeed the last year in Washington, and here's the sort of a bypro | 187 | Well, I spent indeed the last year in Washington, and here's the sort of a bypro | ||
| > | duct, if you will. | > | duct, if you will. | ||
| 188 | Though the best, I think, outcome of a year spent in Washington in the Library o | 188 | Though the best, I think, outcome of a year spent in Washington in the Library o | ||
| > | f Congress was the following two-liner, of which I'm terribly proud. | > | f Congress was the following two-liner, of which I'm terribly proud. | ||
| 189 | It goes like this. | 189 | It goes like this. | ||
| 190 | I sit at my desk. | 190 | I sit at my desk. | ||
| 191 | My life is grotesque. | 191 | My life is grotesque. | ||
| 192 | Okay. | 192 | Okay. | ||
| 193 | Okay. | 193 | Okay. | ||
| 194 | Lines for the winter recess. | 194 | Lines for the winter recess. | ||
| 195 | Well, it starts with a description, with somewhat fanciful, perhaps some of you, | 195 | Well, it starts with a description, with somewhat fanciful, perhaps some of you, | ||
| > | description of the capital in winter. | > | description of the capital in winter. | ||
| 196 | A hard-boiled egg, cupped by the marble cold, cracks showing its evening yoke. | 196 | A hard-boiled egg, cupped by the marble cold, cracks showing its evening yoke. | ||
| 197 | The infinite avenue gobbles up cubes, rhomboids perlilipipeds, with preglacial a | 197 | The infinite avenue gobbles up cubes, rhomboids perlilipipeds, with preglacial a | ||
| > | ppetite and simile in geometry. | > | ppetite and simile in geometry. | ||
| 198 | A snowbound airfield is lapping the neither milk nor honey of the meandering loc | 198 | A snowbound airfield is lapping the neither milk nor honey of the meandering loc | ||
| > | al river, sluggish, reluctant to make the ocean. | > | al river, sluggish, reluctant to make the ocean. | ||
| 199 | Gentlemen, these are the good old days. | 199 | Gentlemen, these are the good old days. | ||
| 200 | Your toxic up on the highway still overtakes a hearse. | 200 | Your toxic up on the highway still overtakes a hearse. | ||
| 201 | A wolf flies down eagerly with a lamb or lame duck, sighting low temperature, gr | 201 | A wolf flies down eagerly with a lamb or lame duck, sighting low temperature, gr | ||
| > | een hues survive nevertheless in the streetlights. | > | een hues survive nevertheless in the streetlights. | ||
| 202 | The mow unbundles things overseas, the richer ones cuisine, and if stocks don't | 202 | The mow unbundles things overseas, the richer ones cuisine, and if stocks don't | ||
| > | shoot up any longer like obelisks, they still bear resemblance to dory columns h | > | shoot up any longer like obelisks, they still bear resemblance to dory columns h | ||
| > | olding a portico tight while beggars murder beggars. | > | olding a portico tight while beggars murder beggars. | ||
| 203 | Lyrical and myopic stars blink in the winter sky like suburbia after hours, full | 203 | Lyrical and myopic stars blink in the winter sky like suburbia after hours, full | ||
| > | of prayers sensitive to elapse in gravity but unconscious of its limits in fact | > | of prayers sensitive to elapse in gravity but unconscious of its limits in fact | ||
| > | quite expanding and yet the future surrounding your tender issue with bathroom | > | quite expanding and yet the future surrounding your tender issue with bathroom | ||
| > | tiles from onana Republic or manufactured locally is nowhere inside this are the | > | tiles from onana Republic or manufactured locally is nowhere inside this are the | ||
| > | good old days still with the quaint attractions with the unfinished business si | > | good old days still with the quaint attractions with the unfinished business si | ||
| > | nce frankly even a single swarm equals two in profile which which foils reflecti | > | nce frankly even a single swarm equals two in profile which which foils reflecti | ||
| > | on if not applause, sincere window, past midnight, gleams, like a Chinaman scann | > | on if not applause, sincere window, past midnight, gleams, like a Chinaman scann | ||
| > | ing the yellow pages, stalling dreams, with their routine flat tire, with red me | > | ing the yellow pages, stalling dreams, with their routine flat tire, with red me | ||
| > | at curting knives, or a pasture, its herbivores. | > | at curting knives, or a pasture, its herbivores. | ||
| 204 | And here's something different. | 204 | And here's something different. | ||
| 205 | Well, it's a song of welcome. | 205 | Well, it's a song of welcome. | ||
| 206 | I should have read it at the beginning. | 206 | I should have read it at the beginning. | ||
| 207 | Song of welcome. | 207 | Song of welcome. | ||
| 208 | Here is your mom, here is your dad, welcome to being they flesh and blood, why d | 208 | Here is your mom, here is your dad, welcome to being they flesh and blood, why d | ||
| > | o you look so sad? | > | o you look so sad? | ||
| 209 | Here's your food, here's your drink, also some thoughts if you care to think, we | 209 | Here's your food, here's your drink, also some thoughts if you care to think, we | ||
| > | lcome Welcome to everything. | > | lcome Welcome to everything. | ||
| 210 | Here's your practically clean slate. | 210 | Here's your practically clean slate. | ||
| 211 | Welcome to it, though it's kind of late. | 211 | Welcome to it, though it's kind of late. | ||
| 212 | Welcome at any rate. | 212 | Welcome at any rate. | ||
| 213 | Here's your paycheck. | 213 | Here's your paycheck. | ||
| 214 | Here's your rent. | 214 | Here's your rent. | ||
| 215 | Money is nature's fifth element. | 215 | Money is nature's fifth element. | ||
| 216 | Welcome to every cent. | 216 | Welcome to every cent. | ||
| 217 | Here's your swarm and your huge beehive. | 217 | Here's your swarm and your huge beehive. | ||
| 218 | Welcome to that there is roughly five billion like you alive. | 218 | Welcome to that there is roughly five billion like you alive. | ||
| 219 | Welcome to the phone book that stars your name. | 219 | Welcome to the phone book that stars your name. | ||
| 220 | Digits are democracy's secret aim. | 220 | Digits are democracy's secret aim. | ||
| 221 | welcome to a claim to fame. | 221 | welcome to a claim to fame. | ||
| 222 | Here's your marriage and here's divorce. | 222 | Here's your marriage and here's divorce. | ||
| 223 | Now that's the order you can't reverse, welcome to it, up yours. | 223 | Now that's the order you can't reverse, welcome to it, up yours. | ||
| 224 | Here's your blade, here's your blade, here's your wrist, welcome to playing your | 224 | Here's your blade, here's your blade, here's your wrist, welcome to playing your | ||
| > | own terrorist, call this your Middle East. | > | own terrorist, call this your Middle East. | ||
| 225 | Here's your mirror, your dental gleam, here's an octopus in your dream, why do y | 225 | Here's your mirror, your dental gleam, here's an octopus in your dream, why do y | ||
| > | ou try to scream? | > | ou try to scream? | ||
| 226 | Here's your corncob, your TV set, your Your candidate suffering and upset, welco | 226 | Here's your corncob, your TV set, your Your candidate suffering and upset, welco | ||
| > | me to what he said. | > | me to what he said. | ||
| 227 | Here's your porch, see the cars pass by. | 227 | Here's your porch, see the cars pass by. | ||
| 228 | Here's your shitting dog's guilty eye, welcome to its alibi. | 228 | Here's your shitting dog's guilty eye, welcome to its alibi. | ||
| 229 | Here's your cicadas, the ,, the bulbs dried tear in your lemon tea, welcome to i | 229 | Here's your cicadas, the ,, the bulbs dried tear in your lemon tea, welcome to i | ||
| > | nfinity. | > | nfinity. | ||
| 230 | Here are your pills on the plastic tray, your disappointing crisp x-ray, you are | 230 | Here are your pills on the plastic tray, your disappointing crisp x-ray, you are | ||
| > | welcome to pray. | > | welcome to pray. | ||
| 231 | Here's your cemetery, a well-kept glen, Welcome to a voice that says, Amen The e | 231 | Here's your cemetery, a well-kept glen, Welcome to a voice that says, Amen The e | ||
| > | nd of the road, old man Here's your will, and here's a few takers Here's an empt | > | nd of the road, old man Here's your will, and here's a few takers Here's an empt | ||
| > | y pew, here's life after you And here are your stars, which appear still keen On | > | y pew, here's life after you And here are your stars, which appear still keen On | ||
| > | shining as though you have never been They might have a point, old being Here's | > | shining as though you have never been They might have a point, old being Here's | ||
| > | your afterlife, with no trace of you Especially of your face Welcome, and call | > | your afterlife, with no trace of you Especially of your face Welcome, and call | ||
| > | it space Welcome to where one cannot breathe wreath. | > | it space Welcome to where one cannot breathe wreath. | ||
| 232 | This way space resembles what's underneath and Saturn holds the wreath. | 232 | This way space resembles what's underneath and Saturn holds the wreath. | ||
| 233 | I'm going to read to you a shorter poem now and I read to you both in English an | 233 | I'm going to read to you a shorter poem now and I read to you both in English an | ||
| > | d in Russian if I can find... | > | d in Russian if I can find... | ||
| 234 | Well, it's called Breeze Marine. | 234 | Well, it's called Breeze Marine. | ||
| 235 | It's obviously, the title is obviously pinched from Mallarmé. | 235 | It's obviously, the title is obviously pinched from Mallarmé. | ||
| 236 | Dear, I ventured out of the house late this this evening, merely for a breath of | 236 | Dear, I ventured out of the house late this this evening, merely for a breath of | ||
| > | fresh air from the ocean not far away. | > | fresh air from the ocean not far away. | ||
| 237 | The sun was smoldering low like a Chinese fan in a gallery, and a cloud reared u | 237 | The sun was smoldering low like a Chinese fan in a gallery, and a cloud reared u | ||
| > | p its huge lid like a Steinway. | > | p its huge lid like a Steinway. | ||
| 238 | A quarter century back, you craved curry and dates from Senegal, tried your voic | 238 | A quarter century back, you craved curry and dates from Senegal, tried your voic | ||
| > | e for the stage, scratched profiles in a sketch pad, dallied with me, but later, | > | e for the stage, scratched profiles in a sketch pad, dallied with me, but later, | ||
| > | alloyed with a chemical engineer and judging by letters grew fairly stupid. | > | alloyed with a chemical engineer and judging by letters grew fairly stupid. | ||
| 239 | These days you've been seen in churches, in the capital, and in provinces. | 239 | These days you've been seen in churches, in the capital, and in provinces. | ||
| 240 | At rights for our friends, acquaintances now continues. | 240 | At rights for our friends, acquaintances now continues. | ||
| 241 | Yet I'm glad after all that the world still promises distances more inconceivabl | 241 | Yet I'm glad after all that the world still promises distances more inconceivabl | ||
| > | e than the one between us. | > | e than the one between us. | ||
| 242 | Understand me correctly though, your body, your verbal, your middle name now sti | 242 | Understand me correctly though, your body, your verbal, your middle name now sti | ||
| > | r practically nothing. | > | r practically nothing. | ||
| 243 | Not that they've ceased to burgeon, but to forget one life. | 243 | Not that they've ceased to burgeon, but to forget one life. | ||
| 244 | A man needs at minimum one more life and I've done that portion. | 244 | A man needs at minimum one more life and I've done that portion. | ||
| 245 | You got luck as well. | 245 | You got luck as well. | ||
| 246 | Whales save in a snapshot perhaps. | 246 | Whales save in a snapshot perhaps. | ||
| 247 | Will you forever remain free of wrinkles, lithe, caustic, vivid. | 247 | Will you forever remain free of wrinkles, lithe, caustic, vivid. | ||
| 248 | Having bumped into memory, time learns impotence. | 248 | Having bumped into memory, time learns impotence. | ||
| 249 | Aptide, I I smoke in the darkness and inhale rank seaweed. | 249 | Aptide, I I smoke in the darkness and inhale rank seaweed. | ||
| 250 | Actually, I ruined the line here. | 250 | Actually, I ruined the line here. | ||
| 251 | Well, it went, having bumped into memory, time learns its impotence. | 251 | Well, it went, having bumped into memory, time learns its impotence. | ||
| 252 | For what it's worth, I repeated it. | 252 | For what it's worth, I repeated it. | ||
| 253 | Well, the same poem is in Russian. | 253 | Well, the same poem is in Russian. | ||
| n | 254 | Dear, I came out of my house late in the evening To breathe fresh air from the o | n | 254 | Dear, I came out of my house late in the evening To breathe fresh air from the o |
| > | cean The sunset was burning in the ground with a Chinese wind And the clouds wer | > | cean The sunset was burning in the ground with a Chinese wind And the clouds wer | ||
| > | e like a cover of a concert piano A quarter of a century ago You were eating wit | > | e like a cover of a concert piano A quarter of a century ago You were eating wit | ||
| > | h passion to the lullaby and to the phoenix You were drawing clouds in a noteboo | > | h passion to the lullaby and to the phoenix You were drawing clouds in a noteboo | ||
| > | k, singing a little You were having fun with me, but then you got together Thank | > | k, singing a little You were having fun with me, but then you got together The N | ||
| > | you. | > | o one destroyed them. | ||
| 255 | No one destroyed them. | ||||
| 256 | But to forget one life, A person needs at least one more life. | 255 | But to forget one life, a person needs at least another life. | ||
| 257 | And I lived this fate. | 256 | And I lived this fate. | ||
| 258 | You were lucky too. | 257 | You were lucky too. | ||
| n | 259 | Where else, except for the photos, You will always be without wrinkles, Young, c | n | 258 | Where else, except for the photos, you will always be without wrinkles, young, c |
| > | heerful, gloomy. | > | heerful, gloomy. | ||
| 260 | For time, colliding with memory, Learns about its infidelity. | 259 | And in time, colliding with memory, he learns about his immorality. | ||
| 261 | I drink in the dark and inhale the rot from the lava. | 260 | I smoke in the dark and inhale the rot from the lily. | ||
| 262 | Now you are, I'm afraid indeed for a long haul. | 261 | Now you are, I'm afraid, indeed for a long haul. | ||
| 262 | Well, I... | ||||
| 263 | Well, I, it's a lengthy poem. | 263 | It's a lengthy poem. | ||
| 264 | It's titled Found the Circle. | 264 | It's titled, Fund the Circle. | ||
| 265 | circle. | 265 | And... | ||
| 266 | And it's a lengthy poem indeed, so try to bear with me. | 266 | It's a lengthy poem indeed, so try to bear with me. | ||
| 267 | The century will soon be over, but sooner it will be me. | 267 | The century will soon be over, but sooner it will be me. | ||
| n | 268 | That's not the message, though, of a trembling knee, rather the influence of not | n | 268 | That's not the message though of a trembling knee, Rather the influence of not t |
| > | to be, on to be, of the hunter upon, so to speak, his fowl, be that one's heart | > | o be on to be, Of the hunter upon, so to speak, his fowl, Be that one's heart va | ||
| > | valve or a red brick wall. | > | lve or a red brick wall, We hear the whiplash's fowl whistle, Recalling vainly t | ||
| > | he surnames of those who have loved us back, Writing in the slippery palms of th | ||||
| > | e local quack, The world has just lost the knack of being the place where a sofa | ||||
| > | , a foxtrot, A lampshade's cream-trimming abodes, A risky utterance reigns supre | ||||
| > | me. | ||||
| 269 | We hear the whiplash's foul whistle recalling vainly the surnames of those who h | ||||
| > | ave loved us back, writhing in the slippery palms of the local quack. | ||||
| 270 | The world has just lost the knack of being the place where a sofa, a foxtrot, a | ||||
| > | lampshade's cream-trimming abodes, a risky utterance reigns supreme. | ||||
| 271 | Who could foresee time's grim eraser razor, wiping them off like some chicken sc | 269 | Who could foresee time's grim eraser, Wiping them off like some chicken's crow F | ||
| > | roll from an old pad. | > | rom an old pod? | ||
| 272 | Nobody, not a soul, yet time's shuffling soul has accomplished just that. | 270 | Nobody, not a soul, Yet time's shuffling soul Has accomplished just that. | ||
| 273 | Censurate, go ahead. | ||||
| 274 | Now everywhere the antennas, ping-pongs, stumps instead of trees. | 271 | Censurate, go ahead, Now everywhere there are antennas, Ping-pongs, stumps inste | ||
| > | ad of trees. | ||||
| 275 | No chance of your sporting at a little café, your confrère, ruined by kismet. | 272 | No chance of your sporting, No chance of your sporting at a little cafe, your co | ||
| > | nfrere, ruined by kismet. | ||||
| 276 | Nor at the bar, the silk-clad angel who failed to soar above herself and her whi | 273 | Nor at the bar, the silk-clad angel who failed to soar above herself and her whi | ||
| > | skey sour on ice. | > | skey sour on ice. | ||
| n | 277 | And all over the place people obscure their view. | n | 274 | And all over the place, people obscure their view. |
| 278 | Now forming a solid mass, now a lengthy queue. | 275 | Now forming a solid mass, now a lengthy queue. | ||
| n | 279 | A tyrant's no longer a bugaboo but a plain mediocrity. | n | 276 | A tyrant's no longer a boogaboo but a plain mediocrity. |
| 280 | Likewise, a car, at last, isn't a luxury but the means of extracting dust out of | 277 | Likewise, a car, at last, isn't a luxury but the means of extracting dust out of | ||
| > | the street where the cast iron leg of a veteran fell silent for good, of course | > | the street where the cast iron leg of a veteran fell silent for good, of course | ||
| > | , and the child is convinced that the gray wolf is worse than infantry or the Ai | > | , and the child is convinced that the gray wolf is worse than infantry or the Ai | ||
| > | r Force. | > | r Force. | ||
| n | 281 | And somehow your hanky, bypassing your nose more and more often, leaps to your o | n | 278 | And somehow, your hanky, bypassing your nose more and more often, leaps to your |
| > | rgan of sight, trained on rustling leaves, taking personally the least new gap i | > | organ of sight, trained on rustling leaves, taking personally the least new gap | ||
| > | n the emptiness shielding fence, the letters E.D. heralding the past tense, an a | > | in the emptiness shielding fence, the letters E.D. heralding the past tense, an | ||
| > | ria of suspense sung by a cuckoo's voice. | > | area of suspense sung by a cuckoo's voice. | ||
| 282 | Now it sounds more crude than say, Cavaradossis, approximately like, like hey du | 279 | Now it sounds more crude than sake of rhodosis, approximately like, hey dude, or | ||
| > | de, or at best like you should quit drinking. | > | at best like, you should quit drinking, and your limp palm glides over the deca | ||
| > | nter's skin. | ||||
| 283 | And your limp palm glides over the decanter's skin. | ||||
| 284 | Though it's neither the priest nor the rabbi that's barging in but the air calle | 280 | Though it's neither the priest nor the rabbi that's barging in but the air calle | ||
| > | d from the circle. | > | d from the circle. | ||
| n | 285 | Black things are in vogue, camisole, bloomers, hoes. | n | 281 | Black things are in vogue, camisoles, bloomers, hoes. |
| 286 | When in the end you relieve your playmate of those items, your humble house sudd | 282 | When in the end you relieve your playmate of those items, your humble house sudd | ||
| > | enly gets lit up by something like 20 watt. | > | enly gets lit up by something like 20 watts. | ||
| 287 | But instead of an exuberant vivat, the leaves drop a flat sorry new times lament | 283 | But instead of an exuberant vivat, the leaves drop a flat sorry. | ||
| > | able sorry times goods and shop windows spurting nicknames entice us into tellin | ||||
| > | g the types of things which are managed easily from the kinds which we technolog | ||||
| > | ical become behind now equate to mankind's ancient quest not so much for somethi | ||||
| > | ng that lets you save energy as one inanimate sort of slave on the whole for saf | ||||
| > | e anonymity that's the the logical, though unwelcome end of multiplying, of the | ||||
| > | demographic trend who sources neither the Orient nor zippers but electricity. | ||||
| 284 | New times, lamentable sorry times. | ||||
| 285 | Goods in shop windows, spurting nicknames, entice us into telling the types of t | ||||
| > | hings which are managed easily from the kinds which we, technologically behind, | ||||
| > | now equate to mankind's ancient quest, not so much for something that lets you s | ||||
| > | ave energy as for an inanimate sort of slave on the whole for safe anonymity. | ||||
| 286 | That's the logical, though unwelcome end of multiplying, of the demographic tren | ||||
| > | d who sources neither the Orient nor zippers but electricity. | ||||
| 288 | The centuries winding down the rush of time, demanding a ruin a victim rejects a | 287 | The centuries winding down the rush of time demanding a ruin, a victim rejects h | ||
| > | trash bag and a man won't wash either. | > | is trash bag and a man won't wash either. | ||
| 289 | No, give it sentiments, give it ideas plus memories, such as time's a last sweet | 288 | No, give it sentiments, give it ideas, plus memories, such as times our last swe | ||
| > | tooth. | > | et tooth. | ||
| 290 | Well, I make no fuss and and give, I am not yellow, I am ready to play a thing o | 289 | Well, I make no fuss and give. | ||
| > | f the past, if that's so interesting to time, lying absentmindedly over its shou | ||||
| > | lder, its measly couch, which still shows some movement, though not much else, a | ||||
| > | nd is still warm to touch. | ||||
| 291 | I am ready to sing for good in them shifting sands, and I am prepared that a tra | 290 | I am not yellow. | ||
| > | veler shambling by won't focus the beady eye of his camera on me, and that he wo | ||||
| > | n't succumb to some powerful feeling on my account. | ||||
| 292 | It It so happens, I can't stand, I can't stand time that moves on. | 291 | I am ready to play a thing of the past, if that's so interesting to time, eyeing | ||
| > | absentmindedly over its shoulder its measly catch, which still shows some movem | ||||
| > | ent, though not much else, and is still warm to touch. | ||||
| 293 | Time that stands still, I still can't stand. | 292 | I am ready to sing for good in them shifting sands and I am prepared for the tra | ||
| > | veler, shambling by won't focus the BDI of his camera on me and that he won't su | ||||
| > | ccumb to some powerful feeling on my account. | ||||
| 294 | Like a solid facade whose style echoes now a stockpile, now a chessboard. | 293 | It so happens I can't stand, I can't stand time that moves on, time that stands | ||
| > | still, I still can't stand like a solid facade whose style echoes now a stockpil | ||||
| > | e, now a chessboard. | ||||
| 295 | The century was indeed not so bad. | 294 | The century was indeed not so bad. | ||
| n | 296 | Well, perhaps the dead run a surplus. | n | 295 | Well, perhaps the dead run a surplus, yet the living did did just that as well, |
| > | so substantially, in fact, that presently they could be pickled, packed, and sea | ||||
| > | led to attract stellar customers known for their grand deep-freeze machinery, un | ||||
| > | less, of course, they insist on cheese, which could be vesicle, is arranged, the | ||||
| > | holes in the collective memory are the proof, to the accompaniment of air crush | ||||
| > | es in not far off spots, the century ends, a prof mumbles, poking his finger upw | ||||
| > | ard about the atmosphere's layers, expanding the heat, explaining the heat and a | ||||
| > | ttendant fears, but not how one steers from here to where the cumulus bulky fron | ||||
| > | t is suffused with our forgive and don't forsake me, which don't the ray interch | ||||
| > | anging its gold into some silver row. | ||||
| 297 | Yet the living did just that as well. | 296 | Yet the century, rummaging through its bureau, treats as retro even that. | ||
| 298 | So substantially, in fact, that presently they could be pickled, packed, and sea | 297 | Well, small wonder, the more it ticks and tocks, the busier young dicks, the mor | ||
| > | led to attract stellar customers known for their grand deep-freeze machinery. | > | e the antiques and relics including the planet stuck in its orbit and curting a | ||
| > | sitting duck the runaway called the suck of a comet including the dog ear files | ||||
| > | of the fallen giant since every bullet flies from the future which plies its urg | ||||
| > | ent trade with the present and thus needs room now therefore no heirloom lasts i | ||||
| > | n the doory of bloom for long at the north pole at the North Pole, a husky barks | ||||
| > | , and a flock still twists. | ||||
| 299 | machinery, unless of course they insist on cheese, which could be visible is arr | 298 | In the west, they stare eastward, through their clenched fists, making out at le | ||
| > | anged, the holes in the collective memory are the proof. | > | ast some barks, gone suddenly lively, spooked by the forest of hands. | ||
| 300 | To the accompaniment of air crashes in not far off spots, the century ends, a pr | 299 | Birds, too, flutter and then take wing rapidly, heading due south to its valleys | ||
| > | of mumbles, poking his finger upward, about the atmosphere's layers, expanding t | > | , to its minarets, turbans, palm trees, and further down, tom-tom row, row, tom- | ||
| > | he heat, explaining the heat and attendant fears, but not how one steers from he | > | toms row, but the longer you scan strange features, the more they go you. | ||
| > | re, to where the cumulus bulky a frond is suffused with our forgive and don't fo | ||||
| > | rsake me which don't the ray interchanging is gold into some silver row yet the | ||||
| > | century rummaging through its bureau treats as retro even that well small wonder | ||||
| > | the more it ticks and tocks the busier young digs the more the antiques and rel | ||||
| > | ics including the planet stuck in its orbit and curting a sitting duck the runaw | ||||
| > | ay cool the suck of a a comet, including the dog-ear files of the fallen giant, | ||||
| > | since every bullet flies from the future which plies its urgent trade with the p | ||||
| > | resent and thus needs room now. | ||||
| 301 | Therefore, no heirloom lasts in the dolyard bloom for long. | ||||
| 302 | At the North Pole, a husky barks and a flag still twists. | ||||
| 303 | In the West, they stare eastward through their clenched fists, making out at lea | ||||
| > | st some barks, gone suddenly lively, spooked by the forest of hands, birds too, | ||||
| > | flutter and then take wing rapidly, heading due south to its valleys, to its min | ||||
| > | arets, turbans, palm trees, and further down, tom -tom row, tom-toms row. | ||||
| 304 | But the longer you scan strange features, the more they go you. | ||||
| 305 | You conclude that all over the place, the kinship between plain old dirt and say | 300 | You conclude that all over the place the kinship between plain old dirt and, say | ||
| > | a great painting of the classical sort lies in that you won't hurt either's ori | > | , a great painting of the classical sword lies, and that you won't hurt either's | ||
| > | ginal ever. | > | original ever. | ||
| 306 | That nature, like minstrels of yesteryear, longing for carbons, like thalamus ho | 301 | That nature, like minstrels of yesteryear longing for carbons, like thalamus hol | ||
| > | lding dear black letters, like a honeybee near its hive, truly cherishes the mas | > | ding holding dear black letters like a honeybee near its hive, truly cherishes t | ||
| > | s scale, profuse outputs, dreading uniqueness for its abuse of energy, whose bes | > | he mass scale, profuse outputs, dreading uniqueness for its abuse of energy, who | ||
| > | t guardian is licentiousness. | > | se best guardian is licentiousness. | ||
| 302 | Space is fully settled. | ||||
| 307 | Space is fully settled, time is welcome to rub against its new surface. | 303 | Time is welcome to rub against its new surface. | ||
| 308 | I'm sure space is fully settled, time is welcome to rub against its new surface. | 304 | I'm sure space is fully settled. | ||
| 309 | I'm sure indefinitely, all the same, your eyelid is drooping, only the seas alon | 305 | Time is welcome to rub against its new surface. | ||
| > | e remain unruffled and bloom, telling the dawn, go on, which sounds from afar li | ||||
| > | ke gone, And upon hearing that, one wants to quit one's travail, Shoveling, digg | ||||
| > | ing, and board a steamship, And sail, and sail, in order to hail in the end, Not | ||||
| > | an island, not an organism, lineus never found, Not the charms of new latitudes | ||||
| > | , but the other way around, Something of no account. | ||||
| 306 | I'm sure indefinitely. | ||||
| 307 | All the same your eyelid is drooping only the seas alone Remain unruffled and bl | ||||
| > | ue telling the dome go on Which sounds from afar like gone and upon hearing that | ||||
| > | one wants to quit one's travail Shoveling digging and board a steamship and sai | ||||
| > | l and sail in order to hail in the end not an island Not an organism Linnaeus ne | ||||
| > | ver found not the charms of new latitudes but the other way around, something of | ||||
| > | no account. | ||||
| 310 | Let me see what else is here. | 308 | Let me see what else is here. | ||
| 311 | Something short. | 309 | Something short. | ||
| 312 | It's a bit early for this poem. | 310 | It's a bit early for this poem. | ||
| 313 | It's a very simple poem. | 311 | It's a very simple poem. | ||
| n | 314 | It's the Star of Nativity. | n | 312 | it's the Star of Nativity in the cold season in the locality accustomed to heat |
| > | more than to cold the horizontality more than to a mountain a child was born in | ||||
| > | a cave in order to save the world it blew as only in deserts in the winter it bl | ||||
| > | ows athwart to him all things seemed enormous enormous his mother's breast, the | ||||
| > | steam out of the ox's nostrils, Kaspar, Baltazar, Melchior, the team of Magi, th | ||||
| > | eir presence heaped by the door, ajar. | ||||
| 315 | In the cold season, in a locality accustomed to heat more than to cold, To horiz | ||||
| > | ontality more than to a mountain, A child was born in a cave in order to save th | ||||
| > | e world. | ||||
| 316 | It blew as only in deserts, in winter it blows athwart. | ||||
| 317 | To him all things seemed enormous, His mother's breast, the steam out of the ox' | ||||
| > | s nostrils, Kaspar, Baltazar, Melchior, the team of Magi, Their presence heaped | ||||
| > | by the door, ajar. | ||||
| 318 | He was but a dot, and a dot was the star, keenly, without blinking, through pall | 313 | He was but a dot, and a dot was the star, keenly, without blinking, through pall | ||
| > | id, stray clouds, upon a child in the manger, from far away, from the depth of t | > | id, stray clouds, upon a child in the manger, from far away, from the depth of t | ||
| > | he universe, from its opposite end, the star was looking into the cave, and that | > | he universe, from its opposite end, the star was looking into the cave, and that | ||
| > | was the father's stare. | > | was the Father's Stare. | ||
| 319 | There. | 314 | оказалось огромным грудь матери желтый пар из воровьих ноздрей волхвы болтозар г | ||
| > | осподь мельхиор их подарки втащенные сюда он был всего лишь точкой и точкой было | ||||
| > | звезда внимательно не мигая сквозь редкие облака на лежащего в яслях ребенка из | ||||
| > | далека из глубины вселенной Well, I'm going to read to you two more poems. | ||||
| 320 | becusa.com Well, I'm going to read to you two more poems. | 315 | poems. | ||
| 321 | Oh, well, I'm going to read you one more, well, several more poems. | 316 | Oh, well, I'm going to read you one more, well, several more poems. | ||
| n | 322 | Now I think you've displayed enough patience. | n | 317 | Now I think you've just played enough equations and you deserve to be entertaine |
| > | d. | ||||
| 323 | and you deserve to be entertained. | ||||
| 324 | Okay. | 318 | Okay. | ||
| t | 325 | Well, this is what you're going to hear. | t | 319 | Well, this This is what you're going to hear is essentially a translation. |
| 326 | It's essentially a translation. | ||||
| 327 | I translated this poem into English from, believe it or not, from a Sumerian lan | 320 | I translated this poem into English from, believe it or not, from a Sumerian lan | ||
| > | guage, from Akkadian to be precise. | > | guage, from Akkadian to be precise. | ||
| Legends | ||||||||||
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| f | 1 | David Shainberg Reviewer 1 Dates back to the 11th or 10th century BC. | f | 1 | David Shainberg Reviewer 1 Dates back to the 11th or 10th century BC. |
| 2 | And it's known among Sumerian scholars as dialogue on pessimism. | 2 | And it's known among Sumerian scholars as dialogue on pessimism. | ||
| 3 | Well, that's one set of scholars think of this poem as a dialogue on pessimism. | 3 | Well, that's one set of scholars think of this poem as a dialogue on pessimism. | ||
| 4 | The other set of scholars, presumably now as numerous, claims that it's being so | 4 | The other set of scholars, presumably now as numerous, claims that it's being so | ||
| > | rt of a theatrical skit. | > | rt of a theatrical skit. | ||
| 5 | Well, you will decide yourself what it is. | 5 | Well, you will decide yourself what it is. | ||
| 6 | If you can help it in the course of my reading it to you, don't just laugh. | 6 | If you can help it in the course of my reading it to you, don't just laugh. | ||
| 7 | Don't laugh so readily. | 7 | Don't laugh so readily. | ||
| 8 | Well, it's about two pages, basically. | 8 | Well, it's about two pages, basically. | ||
| 9 | slave come slave come to my service slave come to my service yes my master yes q | 9 | slave come slave come to my service slave come to my service yes my master yes q | ||
| > | uick fetch my chariot hitch up the course the horses i'll drive to the palace dr | > | uick fetch my chariot hitch up the course the horses i'll drive to the palace dr | ||
| > | ive to the palace my master drive to the palace the king will be pleased to see | > | ive to the palace my master drive to the palace the king will be pleased to see | ||
| > | you he will be benevolent to you no slave i won't go go to the palace. | > | you he will be benevolent to you no slave i won't go go to the palace. | ||
| 10 | Don't, my master, don't go to the palace. | 10 | Don't, my master, don't go to the palace. | ||
| 11 | The king will send you on a faraway expedition down the unknown road through hos | 11 | The king will send you on a faraway expedition down the unknown road through hos | ||
| > | tile mountains. | > | tile mountains. | ||
| 12 | Day and night he will make you experience pain and hardship. | 12 | Day and night he will make you experience pain and hardship. | ||
| 13 | Slave, come to my service. | 13 | Slave, come to my service. | ||
| 14 | Yes, my master, yes. | 14 | Yes, my master, yes. | ||
| 15 | Fetch water, pour it over my hands. | 15 | Fetch water, pour it over my hands. | ||
| 16 | I am to eat my supper. | 16 | I am to eat my supper. | ||
| 17 | Eat your supper, my master, eat your supper. | 17 | Eat your supper, my master, eat your supper. | ||
| 18 | Frequent meals glutton one's heart. | 18 | Frequent meals glutton one's heart. | ||
| 19 | Man's supper is the supper of his God and clean hands catch the eye of Shamash. | 19 | Man's supper is the supper of his God and clean hands catch the eye of Shamash. | ||
| 20 | No slave, I won't eat my supper. | 20 | No slave, I won't eat my supper. | ||
| 21 | Don't eat your supper, master. | 21 | Don't eat your supper, master. | ||
| 22 | Don't eat your supper. | 22 | Don't eat your supper. | ||
| 23 | Drink and thirst, food and hunger. | 23 | Drink and thirst, food and hunger. | ||
| 24 | Never leave men alone that alone each other. | 24 | Never leave men alone that alone each other. | ||
| 25 | Slave, come to my service. | 25 | Slave, come to my service. | ||
| 26 | Yes, my master, yes. | 26 | Yes, my master, yes. | ||
| 27 | Quick, fetch my chariot, hitch up the horses. | 27 | Quick, fetch my chariot, hitch up the horses. | ||
| 28 | I'll go for a ride in the country. | 28 | I'll go for a ride in the country. | ||
| 29 | Do that, my master, do that. | 29 | Do that, my master, do that. | ||
| 30 | A carefree wanderer always feels his belly. | 30 | A carefree wanderer always feels his belly. | ||
| 31 | A stray dog always finds a bone. | 31 | A stray dog always finds a bone. | ||
| 32 | A migrating swallow is especially skilled in nesting. | 32 | A migrating swallow is especially skilled in nesting. | ||
| 33 | A wild donkey finds the grass in the driest desert. | 33 | A wild donkey finds the grass in the driest desert. | ||
| 34 | No slave, I won't go for a ride in the country. | 34 | No slave, I won't go for a ride in the country. | ||
| 35 | Don't go, my master, don't bother. | 35 | Don't go, my master, don't bother. | ||
| 36 | The lot of a wanderer is always dicey. | 36 | The lot of a wanderer is always dicey. | ||
| 37 | A stray dog loses its teeth. | 37 | A stray dog loses its teeth. | ||
| 38 | The nest of a migrating swallow gets buried in plaster. | 38 | The nest of a migrating swallow gets buried in plaster. | ||
| 39 | Naked earth is a wild donkey's bedding. | 39 | Naked earth is a wild donkey's bedding. | ||
| 40 | Slave, come to my service. | 40 | Slave, come to my service. | ||
| 41 | Yes, my master, yes. | 41 | Yes, my master, yes. | ||
| 42 | I feel like starting a family, like begetting children good thinking my master s | 42 | I feel like starting a family, like begetting children good thinking my master s | ||
| > | tart a family start a family who has children secures his name repeated in posth | > | tart a family start a family who has children secures his name repeated in posth | ||
| > | umous prayers no slave I won't start a family I won't have children don't start | > | umous prayers no slave I won't start a family I won't have children don't start | ||
| > | at my master don't have them a family is like a broken door is hinges creaking o | > | at my master don't have them a family is like a broken door is hinges creaking o | ||
| > | nly a third of a once children are healthy two -thirds always sickly so should I | > | nly a third of a once children are healthy two -thirds always sickly so should I | ||
| > | start a family don't start a family who starts a family waste his ancestral hou | > | start a family don't start a family who starts a family waste his ancestral hou | ||
| > | se slave come to my service yes my master yes i shall deal to my enemy in the co | > | se slave come to my service yes my master yes i shall deal to my enemy in the co | ||
| > | urt i will still silent before my detractors right my master right yield to your | > | urt i will still silent before my detractors right my master right yield to your | ||
| > | enemy keep silence my master before detractors no slave i won't be silent and i | > | enemy keep silence my master before detractors no slave i won't be silent and i | ||
| > | won't yield don't heal my master and don't be silent even if you don't open you | > | won't yield don't heal my master and don't be silent even if you don't open you | ||
| > | r mouth at all your enemies will be merciless and cruel to you as well as numero | > | r mouth at all your enemies will be merciless and cruel to you as well as numero | ||
| > | us slave come to my service yes my master yes I feel looked like doing some evil | > | us slave come to my service yes my master yes I feel looked like doing some evil | ||
| > | and do that my master by all means do some evil for how otherwise can you stuff | > | and do that my master by all means do some evil for how otherwise can you stuff | ||
| > | your belly how without doing evil you can you dress yourself warmly no slave I | > | your belly how without doing evil you can you dress yourself warmly no slave I | ||
| > | shall do no evil evil doers I either killed of laid alive and blinded or blind a | > | shall do no evil evil doers I either killed of laid alive and blinded or blind a | ||
| > | nd inflate alive and thrown into a dungeon slave come to my service Yes, my mast | > | nd inflate alive and thrown into a dungeon slave come to my service Yes, my mast | ||
| > | er, yes. | > | er, yes. | ||
| 43 | I'll fall in love with a woman. | 43 | I'll fall in love with a woman. | ||
| 44 | Fall in love with my master. | 44 | Fall in love with my master. | ||
| 45 | Fall in love. | 45 | Fall in love. | ||
| 46 | Who falls in love with a woman forgets his griefs and sorrows. | 46 | Who falls in love with a woman forgets his griefs and sorrows. | ||
| 47 | No slave. | 47 | No slave. | ||
| 48 | I won't fall in love with a woman. | 48 | I won't fall in love with a woman. | ||
| 49 | Don't love, my master. | 49 | Don't love, my master. | ||
| 50 | Don't love. | 50 | Don't love. | ||
| 51 | Woman is a snare, a trap, a dark pit. | 51 | Woman is a snare, a trap, a dark pit. | ||
| 52 | Woman is a sharp steel blade slitting man's throat in darkness. | 52 | Woman is a sharp steel blade slitting man's throat in darkness. | ||
| 53 | Slave, come to my service. | 53 | Slave, come to my service. | ||
| 54 | Yes, my master, yes. | 54 | Yes, my master, yes. | ||
| 55 | Quick fetch water to wash my hands. | 55 | Quick fetch water to wash my hands. | ||
| 56 | I am to make an offering to my God. | 56 | I am to make an offering to my God. | ||
| 57 | Make an offering. | 57 | Make an offering. | ||
| 58 | Make an offering. | 58 | Make an offering. | ||
| 59 | Who makes offering to his God fills his heart with riches. | 59 | Who makes offering to his God fills his heart with riches. | ||
| 60 | He feels generous and his purse is open. | 60 | He feels generous and his purse is open. | ||
| 61 | No slave. | 61 | No slave. | ||
| 62 | I won't make an offering. | 62 | I won't make an offering. | ||
| 63 | Rightly so, my master. | 63 | Rightly so, my master. | ||
| 64 | Rightly so. | 64 | Rightly so. | ||
| 65 | Can you really train your God to follow you like a doggie? | 65 | Can you really train your God to follow you like a doggie? | ||
| 66 | All the time he demands obedience, retail, sacrifices. | 66 | All the time he demands obedience, retail, sacrifices. | ||
| 67 | Slave, come to my service. | 67 | Slave, come to my service. | ||
| 68 | Yes, my master, yes. | 68 | Yes, my master, yes. | ||
| 69 | I will invest with interest. | 69 | I will invest with interest. | ||
| 70 | I will loan for the interest. | 70 | I will loan for the interest. | ||
| 71 | Yes, invest with interest, make loans for the interest. | 71 | Yes, invest with interest, make loans for the interest. | ||
| 72 | Who does, preserves his own, his profit though is enormous, is enormous. | 72 | Who does, preserves his own, his profit though is enormous, is enormous. | ||
| 73 | No slave, I won't lend and I won't invest. | 73 | No slave, I won't lend and I won't invest. | ||
| 74 | Don't invest, my master, don't lend. | 74 | Don't invest, my master, don't lend. | ||
| 75 | To lend is like loving a woman, to receive like siring but children. | 75 | To lend is like loving a woman, to receive like siring but children. | ||
| 76 | People always curse those whose grain they eat. | 76 | People always curse those whose grain they eat. | ||
| 77 | They resent you and try to reduce your profit. | 77 | They resent you and try to reduce your profit. | ||
| 78 | Slave, come to my service. | 78 | Slave, come to my service. | ||
| 79 | Yes, my master, yes. | 79 | Yes, my master, yes. | ||
| 80 | I shall do a good deed for my nation. | 80 | I shall do a good deed for my nation. | ||
| 81 | Very good, my master, very good. | 81 | Very good, my master, very good. | ||
| 82 | You do that. | 82 | You do that. | ||
| 83 | Who does good deeds for his nation has his name in Marduk's gold signet. | 83 | Who does good deeds for his nation has his name in Marduk's gold signet. | ||
| 84 | No slave. | 84 | No slave. | ||
| 85 | I won't do a good deed for my nation. | 85 | I won't do a good deed for my nation. | ||
| 86 | Don't do that, my master. | 86 | Don't do that, my master. | ||
| 87 | Don't bother. | 87 | Don't bother. | ||
| 88 | Get up and stroll across ancient ruins. | 88 | Get up and stroll across ancient ruins. | ||
| 89 | scant the skulls of simple folk and nobles. | 89 | scant the skulls of simple folk and nobles. | ||
| 90 | Which one of them was a villain? | 90 | Which one of them was a villain? | ||
| 91 | Which one? | 91 | Which one? | ||
| 92 | A benefactor? | 92 | A benefactor? | ||
| 93 | Slave, come to my service. | 93 | Slave, come to my service. | ||
| 94 | Yes, my master, yes. | 94 | Yes, my master, yes. | ||
| 95 | If all this is so, then what is good? | 95 | If all this is so, then what is good? | ||
| 96 | To have your neck broken and my neck broken, to be thrown into a river, that's w | 96 | To have your neck broken and my neck broken, to be thrown into a river, that's w | ||
| > | hat is good. | > | hat is good. | ||
| 97 | Who is so tall as to reach the heavens? | 97 | Who is so tall as to reach the heavens? | ||
| 98 | Who is so broad as to embrace plains and mountains? | 98 | Who is so broad as to embrace plains and mountains? | ||
| 99 | mountains. | 99 | mountains. | ||
| 100 | If that's so, I should kill your slave. | 100 | If that's so, I should kill your slave. | ||
| 101 | I'd rather you go before me. | 101 | I'd rather you go before me. | ||
| 102 | And does my master believe that he can survive for three days without me?" Well, | 102 | And does my master believe that he can survive for three days without me?" Well, | ||
| > | and just one more poem. | > | and just one more poem. | ||
| 103 | Well, why don't I do this? | 103 | Well, why don't I do this? | ||
| 104 | The title of this poem is New Life. | 104 | The title of this poem is New Life. | ||
| 105 | And reading it constitutes a world premiere for this poem. | 105 | And reading it constitutes a world premiere for this poem. | ||
| 106 | I'll try to go as slowly as possible about the lines. | 106 | I'll try to go as slowly as possible about the lines. | ||
| 107 | New life. | 107 | New life. | ||
| 108 | Imagine that war is over, that peace has resumed its reign, that you can still m | 108 | Imagine that war is over, that peace has resumed its reign, that you can still m | ||
| > | ake a mirror, that it's a cuckoo or a magpie and not the junkers that chirps in | > | ake a mirror, that it's a cuckoo or a magpie and not the junkers that chirps in | ||
| > | the twigs again. | > | the twigs again. | ||
| 109 | That the window frames not the town's rubble but its rococo palms, magnolias, pi | 109 | That the window frames not the town's rubble but its rococo palms, magnolias, pi | ||
| > | ne trees, tenacious ivy, grass, laurel. | > | ne trees, tenacious ivy, grass, laurel. | ||
| 110 | That the cast iron lace the moon used to shepherd clouds in endured in the end t | 110 | That the cast iron lace the moon used to shepherd clouds in endured in the end t | ||
| > | he onslaught of mimosa plus burst of agave. | > | he onslaught of mimosa plus burst of agave. | ||
| 111 | That life must start from the very threshold. | 111 | That life must start from the very threshold. | ||
| 112 | People exit their rooms whose chairs like letters B or else H, shield them from | 112 | People exit their rooms whose chairs like letters B or else H, shield them from | ||
| > | vertigo on occasion. | > | vertigo on occasion. | ||
| 113 | They have used to nobody save themselves pavement flagstones, the rules of multi | 113 | They have used to nobody save themselves pavement flagstones, the rules of multi | ||
| > | plication. | > | plication. | ||
| 114 | Thus the impact of statues, of the empty niches more accurately. | 114 | Thus the impact of statues, of the empty niches more accurately. | ||
| 115 | Well, failing sanctity one still can use is by word. | 115 | Well, failing sanctity one still can use is by word. | ||
| 116 | Imagine that this is all true. | 116 | Imagine that this is all true. | ||
| 117 | Imagine you speak of yourself while speaking of them of anything extra, side wor | 117 | Imagine you speak of yourself while speaking of them of anything extra, side wor | ||
| > | d. | > | d. | ||
| 118 | Life Life starts in you indeed like this, with a painted view of a volcanic erup | 118 | Life Life starts in you indeed like this, with a painted view of a volcanic erup | ||
| > | tion, of a dinghy high wave's billiger, with that attendant feeling it's only yo | > | tion, of a dinghy high wave's billiger, with that attendant feeling it's only yo | ||
| > | u who surveyed the disaster, with the feeling that you are eager to shift your g | > | u who surveyed the disaster, with the feeling that you are eager to shift your g | ||
| > | aze any moment, catch sight of a couch, a blast of peonies in Chinese ways, sall | > | aze any moment, catch sight of a couch, a blast of peonies in Chinese ways, sall | ||
| > | ow against the plaster. | > | ow against the plaster. | ||
| 119 | They garish colors, they wilting mouths, must be in their turn harbingers of a d | 119 | They garish colors, they wilting mouths, must be in their turn harbingers of a d | ||
| > | isaster. | > | isaster. | ||
| 120 | Each thing is vulnerable. | 120 | Each thing is vulnerable. | ||
| 121 | The very thought about the thing gets quickly forgotten. | 121 | The very thought about the thing gets quickly forgotten. | ||
| 122 | Things are in truth the leeches of thought. | 122 | Things are in truth the leeches of thought. | ||
| 123 | Hence their shapes. | 123 | Hence their shapes. | ||
| 124 | Each one is a brain cut out. | 124 | Each one is a brain cut out. | ||
| 125 | The attachment to place. | 125 | The attachment to place. | ||
| 126 | The Penelope features that is taste for the future. | 126 | The Penelope features that is taste for the future. | ||
| 127 | At sunrise a rooster is heard. | 127 | At sunrise a rooster is heard. | ||
| 128 | Stepping out of the tub, wrapped in the bed sheets, leaning in a hotel. | 128 | Stepping out of the tub, wrapped in the bed sheets, leaning in a hotel. | ||
| 129 | In the new life you learn the the herd of four-legged furniture, mahogany, and c | 129 | In the new life you learn the the herd of four-legged furniture, mahogany, and c | ||
| > | ast iron. | > | ast iron. | ||
| 130 | Imagine that epics shrink into idylls, that words about the converse of flames, | 130 | Imagine that epics shrink into idylls, that words about the converse of flames, | ||
| > | long tongues, of that raging sermon which used to devour your betters greedily l | > | long tongues, of that raging sermon which used to devour your betters greedily l | ||
| > | ike dry wood, that flame found it difficult to determine your worth, not to ment | > | ike dry wood, that flame found it difficult to determine your worth, not to ment | ||
| > | ion warmth. | > | ion warmth. | ||
| 131 | That's why you've survived intact. | 131 | That's why you've survived intact. | ||
| 132 | That's why you can stomach apathy. | 132 | That's why you can stomach apathy. | ||
| 133 | That's why you feel fit to mingle with Pomona, Vertumni, Ceres, this place is pa | 133 | That's why you feel fit to mingle with Pomona, Vertumni, Ceres, this place is pa | ||
| > | cked with. | > | cked with. | ||
| 134 | That's why on your lips is this shepherd's jingle. | 134 | That's why on your lips is this shepherd's jingle. | ||
| 135 | For how long can one justify oneself? | 135 | For how long can one justify oneself? | ||
| 136 | However you hide the ace, the table gets hit with jacks of some old suit or tail | 136 | However you hide the ace, the table gets hit with jacks of some old suit or tail | ||
| > | or. | > | or. | ||
| 137 | Imagine the more sincere the voice, the less it retains the trace of love for no | 137 | Imagine the more sincere the voice, the less it retains the trace of love for no | ||
| > | matter what, of anger, of tears, of terror. | > | matter what, of anger, of tears, of terror. | ||
| 138 | Imagine your wireless catching at times your old anthems hum. | 138 | Imagine your wireless catching at times your old anthems hum. | ||
| 139 | Imagine that here too each letter is trailed by a weaning retinue of its likes, | 139 | Imagine that here too each letter is trailed by a weaning retinue of its likes, | ||
| > | forming blindly now Betsy, now Ibrahim, dragging the pen past the limits of alph | > | forming blindly now Betsy, now Ibrahim, dragging the pen past the limits of alph | ||
| > | abet and meaning. | > | abet and meaning. | ||
| 140 | Twilight in the the new life, cicadas that don't relent, a classicist perspectiv | 140 | Twilight in the the new life, cicadas that don't relent, a classicist perspectiv | ||
| > | e that lacks a tank or burying that dank fog patches to obfuscate its end, a bar | > | e that lacks a tank or burying that dank fog patches to obfuscate its end, a bar | ||
| > | e parquet floor that never sustained a tango. | > | e parquet floor that never sustained a tango. | ||
| 141 | In the new life they don't beg the moment, stay, brought to a standstill, it qui | 141 | In the new life they don't beg the moment, stay, brought to a standstill, it qui | ||
| > | ckly succumbs to dotage, and your features on top of that are glazed enough anyw | > | ckly succumbs to dotage, and your features on top of that are glazed enough anyw | ||
| > | ay to scratch on their mat side high and attach the postage. | > | ay to scratch on their mat side high and attach the postage. | ||
| 142 | The white stuccoed walls of a room are turning more white because of a glance sh | 142 | The white stuccoed walls of a room are turning more white because of a glance sh | ||
| > | ot in their direction and boding censure, steep not so much in great meadows' mo | > | ot in their direction and boding censure, steep not so much in great meadows' mo | ||
| > | rose repose as in the spectrum's lack of their self-negating tincture. | > | rose repose as in the spectrum's lack of their self-negating tincture. | ||
| 143 | A thing can be pardoned plenty, especially when it comes, zones, where it reache | 143 | A thing can be pardoned plenty, especially when it comes, zones, where it reache | ||
| > | s its end, ultimately one's unbound curiosity about these empty zones, about thi | > | s its end, ultimately one's unbound curiosity about these empty zones, about thi | ||
| > | s objectless vista is what art seems to be all about. | > | s objectless vista is what art seems to be all about. | ||
| 144 | In the new life, a cloud is better than the bright sun. | 144 | In the new life, a cloud is better than the bright sun. | ||
| 145 | The rain, akin to self-knowledge, appears perpetual. | 145 | The rain, akin to self-knowledge, appears perpetual. | ||
| 146 | On the other hand, an unexpected train you don't wait for alone on the platform | 146 | On the other hand, an unexpected train you don't wait for alone on the platform | ||
| > | arrives on schedule. | > | arrives on schedule. | ||
| 147 | A sail is passing its judgment on the horizon's lie. | 147 | A sail is passing its judgment on the horizon's lie. | ||
| 148 | The eye tracks the sleeping self, though it's the foam that's famous. | 148 | The eye tracks the sleeping self, though it's the foam that's famous. | ||
| 149 | And should anyone ask you, who are you? | 149 | And should anyone ask you, who are you? | ||
| 150 | You reply, who? | 150 | You reply, who? | ||
| 151 | I? | 151 | I? | ||
| 152 | I am nobody, as Ulysses once muttered to Polyphemus. | 152 | I am nobody, as Ulysses once muttered to Polyphemus. | ||
| 153 | That's an old poem. | 153 | That's an old poem. | ||
| 154 | Okay, I'll do that. | 154 | Okay, I'll do that. | ||
| 155 | I was asked to read you one more poem. | 155 | I was asked to read you one more poem. | ||
| 156 | It's an old poem indeed, and if I can find it, I'll read it to you. | 156 | It's an old poem indeed, and if I can find it, I'll read it to you. | ||
| 157 | Well, let me see. | 157 | Well, let me see. | ||
| 158 | Maybe I should look at the table of comments. | 158 | Maybe I should look at the table of comments. | ||
| 159 | Charles Junkerman from Humanity Center asked me to read this poem and I can't de | 159 | Charles Junkerman from Humanity Center asked me to read this poem and I can't de | ||
| > | ny my host. | > | ny my host. | ||
| 160 | The title of this poem is, it's an old poem, it's about 20 years ago, it's calle | 160 | The title of this poem is, it's an old poem, it's about 20 years ago, it's calle | ||
| > | d Odysseus to Telemachus. | > | d Odysseus to Telemachus. | ||
| 161 | My dear Telemachus, the Trojan War is over now. | 161 | My dear Telemachus, the Trojan War is over now. | ||
| 162 | I don't recall who won it, the Greeks no doubt, for only they would leave so man | 162 | I don't recall who won it, the Greeks no doubt, for only they would leave so man | ||
| > | y dead so far from their own homeland. | > | y dead so far from their own homeland. | ||
| 163 | But still, my homeward way has proved too long. | 163 | But still, my homeward way has proved too long. | ||
| 164 | While we were wasting time there, old Poseidon, it almost seems, stretched an ex | 164 | While we were wasting time there, old Poseidon, it almost seems, stretched an ex | ||
| > | tended space. | > | tended space. | ||
| 165 | I don't know where I am or what this place can be. | 165 | I don't know where I am or what this place can be. | ||
| 166 | It would appear some filthy island with bushes, buildings and great grunting hun | 166 | It would appear some filthy island with bushes, buildings and great grunting hun | ||
| > | ting pigs, a garden choked with weeds, some queen or other, grass and huge stone | > | ting pigs, a garden choked with weeds, some queen or other, grass and huge stone | ||
| > | s. | > | s. | ||
| 167 | Telemachus, my son, to wander the faces of all islands resemble one another and | 167 | Telemachus, my son, to wander the faces of all islands resemble one another and | ||
| > | the mind trips numbering waves, eyes soar from sea horizons, run and the flesh o | > | the mind trips numbering waves, eyes soar from sea horizons, run and the flesh o | ||
| > | f water stuffs the ears. | > | f water stuffs the ears. | ||
| 168 | I can't remember how the war came out, even how old you are, I can't remember. | 168 | I can't remember how the war came out, even how old you are, I can't remember. | ||
| 169 | Remember, grow up then, my Telemachus, grow strong. | 169 | Remember, grow up then, my Telemachus, grow strong. | ||
| 170 | Only the gods know if we'll see each other again. | 170 | Only the gods know if we'll see each other again. | ||
| 171 | You've long since ceased to be that babe before whom I reined in the plowing bul | 171 | You've long since ceased to be that babe before whom I reined in the plowing bul | ||
| > | locks. | > | locks. | ||
| 172 | Had it not been for Palamedes' trick, we two would still be living in one househ | 172 | Had it not been for Palamedes' trick, we two would still be living in one househ | ||
| > | old. | > | old. | ||
| 173 | But maybe he was right. | 173 | But maybe he was right. | ||
| 174 | Away from me. | 174 | Away from me. | ||
| 175 | You are quite safe from all Oedipal passions. | 175 | You are quite safe from all Oedipal passions. | ||
| 176 | And your dreams, my Telemachus, are blameless. | 176 | And your dreams, my Telemachus, are blameless. | ||
| 177 | Okay, I read this poem in Russian. | 177 | Okay, I read this poem in Russian. | ||
| n | 178 | odyssey telemark my telemark Trojan war is over who won I don't remember there m | n | 178 | odyssey telemark my telemark Trojan war is over who won I don't remember there m |
| > | ust be Greeks so many dead people can't be thrown away only Greeks can and still | > | ust be Greeks so many dead people can't be thrown away only Greeks can and still | ||
| > | the host home the road The road seemed too long, like Poseidon While we were th | > | the host home the road The road seemed too long, like Poseidon While we were th | ||
| > | ere, we lost time, stretched the space I don't know where I am, what's in front | > | ere, we lost time, stretched the space I don't know where I am, what's in front | ||
| > | of me Some dirty island, bushes, buildings, growling of pigs A overgrown garden, | > | of me Some dirty island, bushes, buildings, growling of pigs A overgrown garden, | ||
| > | some kind of queen, grass to the stones A cute telemark, all the islands look l | > | some kind of queen, grass to the stones A cute telemark, all the islands look l | ||
| > | ike each other foreign When you wander so long, and your brain is already beatin | > | ike each other a young manter from me I don't remember how the war ended And how | ||
| > | g, counting the waves, Your eyes are covered with a horizon, crying, and the wat | > | old you are now I don't remember Grow up, my big telemark, grow up Only the god | ||
| > | er's flesh is covered with a sound. | > | s know Will we meet again You are no longer the same young man Before whom I hel | ||
| > | d the bulls Like a long-lived palm tree We lived together But maybe he's right W | ||||
| > | ithout me you are saved from the passions of the Oedipus, and your dreams, my te | ||||
| > | lemark, are flawless. | ||||
| 179 | I don't remember how the war ended, and how old you are now, I don't remember. | ||||
| 180 | Grow up, my big telemark, grow up! Only the gods know if we will meet again. | ||||
| 181 | Thank you. | ||||
| 182 | Thank you very much. | 179 | Thank you very much. | ||
| 183 | Thank you very much. | 180 | Thank you very much. | ||
| 184 | You appear to be very patient people. | 181 | You appear to be very patient people. | ||
| 185 | Thank you. | 182 | Thank you. | ||
| 186 | Thank you. | 183 | Thank you. | ||
| 187 | Thank you. | 184 | Thank you. | ||
| 188 | Thank you. | 185 | Thank you. | ||
| 189 | Thank you. | 186 | Thank you. | ||
| t | t | 187 | Thank you. | ||
| Legends | ||||||||||
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| reference | transcript | ||||
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| f | 1 | All right. | f | 1 | All right. |
| 2 | Welcome to CS547. | 2 | Welcome to CS547. | ||
| 3 | I've just got a few words of administrative stuff. | 3 | I've just got a few words of administrative stuff. | ||
| 4 | The official sign-in list is right here. | 4 | The official sign-in list is right here. | ||
| 5 | It should have everyone's name on it who was here last time. | 5 | It should have everyone's name on it who was here last time. | ||
| 6 | Just give your signature next to it, and that should be enough. | 6 | Just give your signature next to it, and that should be enough. | ||
| 7 | If you're not on the list, just put your name at the end. | 7 | If you're not on the list, just put your name at the end. | ||
| 8 | And we've also had some problems in the past with the list sort of being stuck o | 8 | And we've also had some problems in the past with the list sort of being stuck o | ||
| > | ver here. | > | ver here. | ||
| 9 | So if you're holding the list over here and it's not going anywhere, make sure i | 9 | So if you're holding the list over here and it's not going anywhere, make sure i | ||
| > | t gets over there because that seems to be a perpetual problem. | > | t gets over there because that seems to be a perpetual problem. | ||
| 10 | And subbing for today is Karen Butler, and she's going to give an introduction. | 10 | And subbing for today is Karen Butler, and she's going to give an introduction. | ||
| 11 | Yes, I'm substituting for Professor Winograd today. | 11 | Yes, I'm substituting for Professor Winograd today. | ||
| 12 | and I just wanted to briefly introduce our speaker for today. | 12 | and I just wanted to briefly introduce our speaker for today. | ||
| 13 | Lucy Suchman was one of the first to apply anthropology to the whole area of hum | 13 | Lucy Suchman was one of the first to apply anthropology to the whole area of hum | ||
| > | an-computer interaction. | > | an-computer interaction. | ||
| 14 | She is the author of Plans and Situated Actions, which came out of her dissertat | 14 | She is the author of Plans and Situated Actions, which came out of her dissertat | ||
| > | ion work. | > | ion work. | ||
| 15 | and she has been working at Xerox PARC for several years where she's head of the | 15 | and she has been working at Xerox PARC for several years where she's head of the | ||
| > | is it product work practices area and where she's really an expert in work patt | > | is it product work practices area and where she's really an expert in work patt | ||
| > | erns and applying this whole area so she's going to be speaking us to us today a | > | erns and applying this whole area so she's going to be speaking us to us today a | ||
| > | bout some of her work in this area thank you OK. | > | bout some of her work in this area thank you OK. | ||
| 16 | Oh, it's the left-right problem, I see. | 16 | Oh, it's the left-right problem, I see. | ||
| 17 | I have to reverse the little clip. | 17 | I have to reverse the little clip. | ||
| 18 | Okay, is that as it's supposed to be as far as you can tell? | 18 | Okay, is that as it's supposed to be as far as you can tell? | ||
| 19 | Okay, my talk today is, the title is Putting Working Document Collections Online | 19 | Okay, my talk today is, the title is Putting Working Document Collections Online | ||
| > | , and I'm going to use a current project that I'm involved with as a kind of ill | > | , and I'm going to use a current project that I'm involved with as a kind of ill | ||
| > | ustration of the work that I and my colleagues at Xerox PARC have been doing, an | > | ustration of the work that I and my colleagues at Xerox PARC have been doing, an | ||
| > | d this is very much a joint project with my colleagues Jeanette Blomberg, who's | > | d this is very much a joint project with my colleagues Jeanette Blomberg, who's | ||
| > | also an anthropologist, Randy Trigg, who's a computer scientist, and David Levy, | > | also an anthropologist, Randy Trigg, who's a computer scientist, and David Levy, | ||
| > | who's a computer scientist. | > | who's a computer scientist. | ||
| 20 | So this is a thoroughly collaborative effort that I'm presenting to you today. | 20 | So this is a thoroughly collaborative effort that I'm presenting to you today. | ||
| 21 | And as you'll see, the title is Putting Working Document Collections Online. | 21 | And as you'll see, the title is Putting Working Document Collections Online. | ||
| 22 | That's sort of the more general project, and then the more specific instance of | 22 | That's sort of the more general project, and then the more specific instance of | ||
| > | it that I'm going to be talking about is located in a particular organization, n | > | it that I'm going to be talking about is located in a particular organization, n | ||
| > | amely our beloved State Department of Transportation, Caltrans. | > | amely our beloved State Department of Transportation, Caltrans. | ||
| 23 | And you'll hear a lot more about that as I go along. | 23 | And you'll hear a lot more about that as I go along. | ||
| 24 | I wanted to start out by showing you one model of the problem of current design | 24 | I wanted to start out by showing you one model of the problem of current design | ||
| > | practice and how to address it. | > | practice and how to address it. | ||
| 25 | And I'm showing you this because this is not our model. | 25 | And I'm showing you this because this is not our model. | ||
| 26 | And I'll let you digest it here. | 26 | And I'll let you digest it here. | ||
| 27 | So this wonderful cartoon, which I like very much, posits a particular view of w | 27 | So this wonderful cartoon, which I like very much, posits a particular view of w | ||
| > | hat the problem might be with existing design practice and how it might be corre | > | hat the problem might be with existing design practice and how it might be corre | ||
| > | cted. | > | cted. | ||
| 28 | And we're interested in viewing both sides of this in a very different way. | 28 | And we're interested in viewing both sides of this in a very different way. | ||
| 29 | You know, we see this not as a behavioral problem of individual designers, but a | 29 | You know, we see this not as a behavioral problem of individual designers, but a | ||
| > | s a very complex and multifaceted problem that really includes how design as a p | > | s a very complex and multifaceted problem that really includes how design as a p | ||
| > | ractice is currently located within what I think are two self -contained sort of | > | ractice is currently located within what I think are two self -contained sort of | ||
| > | insular environments environments and sort of overly professionalized world so | > | insular environments environments and sort of overly professionalized world so | ||
| > | that even designers, practicing designers who would really like to do things in | > | that even designers, practicing designers who would really like to do things in | ||
| > | a different way find it quite difficult to do that. | > | a different way find it quite difficult to do that. | ||
| 30 | And it shifts from being a kind of a psychological problem to being a social pro | 30 | And it shifts from being a kind of a psychological problem to being a social pro | ||
| > | blem and one that implicates I think a fairly broad range of forms of social cha | > | blem and one that implicates I think a fairly broad range of forms of social cha | ||
| > | nge if we really want want to address it that have to do with how the working re | > | nge if we really want want to address it that have to do with how the working re | ||
| > | lationships of technology production and use are currently organized. | > | lationships of technology production and use are currently organized. | ||
| 31 | I'm not going to elaborate on that today, but that's kind of a framing for how w | 31 | I'm not going to elaborate on that today, but that's kind of a framing for how w | ||
| > | e're looking at the question of design practice and potential changes and improv | > | e're looking at the question of design practice and potential changes and improv | ||
| > | ements to it. | > | ements to it. | ||
| 32 | And let me give you, just to continue the prelude here a little bit longer, anot | 32 | And let me give you, just to continue the prelude here a little bit longer, anot | ||
| > | her kind of motivating view of our motivating problem. | > | her kind of motivating view of our motivating problem. | ||
| 33 | Any of you who have heard me talk before have probably seen this slide because I | 33 | Any of you who have heard me talk before have probably seen this slide because I | ||
| > | 'm very fond of it. | > | 'm very fond of it. | ||
| 34 | I apologize for any repetition. | 34 | I apologize for any repetition. | ||
| 35 | But it's an image that's taken from an ad in a computing magazine a few years ba | 35 | But it's an image that's taken from an ad in a computing magazine a few years ba | ||
| > | ck. | > | ck. | ||
| 36 | and the question that it asks is why do this at the top you have the sort of pro | 36 | and the question that it asks is why do this at the top you have the sort of pro | ||
| > | verbial paper napkin on which brilliant ideas have been scribbled over the cours | > | verbial paper napkin on which brilliant ideas have been scribbled over the cours | ||
| > | e of a lunch and so the question is why do this use a paper napkin when you can | > | e of a lunch and so the question is why do this use a paper napkin when you can | ||
| > | do this and it's a little hard to see but we've got these two guys sitting at a | > | do this and it's a little hard to see but we've got these two guys sitting at a | ||
| > | very small table and they have a laptop in between them and of course it's not c | > | very small table and they have a laptop in between them and of course it's not c | ||
| > | lear you know where they would put their lunch or their napkins or whatever but | > | lear you know where they would put their lunch or their napkins or whatever but | ||
| > | you know it's a little bit of poetic or artistic license here. | > | you know it's a little bit of poetic or artistic license here. | ||
| 37 | And the project that we've taken on, I think of it as taking this as a serious q | 37 | And the project that we've taken on, I think of it as taking this as a serious q | ||
| > | uestion. | > | uestion. | ||
| 38 | So rather than treating it as a kind of rhetorical question, as I think the writ | 38 | So rather than treating it as a kind of rhetorical question, as I think the writ | ||
| > | ers of this ad copy do, you know, the answer to this question is self-evident, w | > | ers of this ad copy do, you know, the answer to this question is self-evident, w | ||
| > | e're saying, well, you know, what might be the reasons that you would do this gi | > | e're saying, well, you know, what might be the reasons that you would do this gi | ||
| > | ven the opportunity to do that? | > | ven the opportunity to do that? | ||
| 39 | And that starts by taking existing artifacts seriously. | 39 | And that starts by taking existing artifacts seriously. | ||
| 40 | Paper napkins as, you know, for us an extremely relevant artifact in so far as, | 40 | Paper napkins as, you know, for us an extremely relevant artifact in so far as, | ||
| > | in this case, it's been turned into a document. | > | in this case, it's been turned into a document. | ||
| 41 | And that's what we're interested in at Xerox. | 41 | And that's what we're interested in at Xerox. | ||
| 42 | But so let's start by seeing what are the media that people are using at present | 42 | But so let's start by seeing what are the media that people are using at present | ||
| > | . | > | . | ||
| 43 | And what are the particular resources that those media provide? | 43 | And what are the particular resources that those media provide? | ||
| 44 | and have that as a background that informs the answer to the question, how is th | 44 | and have that as a background that informs the answer to the question, how is th | ||
| > | e introduction of new media, how does the introduction of new media relate to th | > | e introduction of new media, how does the introduction of new media relate to th | ||
| > | e use of existing media? | > | e use of existing media? | ||
| 45 | So we want to take it as a serious question. | 45 | So we want to take it as a serious question. | ||
| 46 | We also want to, again, I think that this image assumes that we're in a situatio | 46 | We also want to, again, I think that this image assumes that we're in a situatio | ||
| > | n where we're going from one medium to the next. | > | n where we're going from one medium to the next. | ||
| 47 | So it's going to be a wholesale displacement transformation. | 47 | So it's going to be a wholesale displacement transformation. | ||
| 48 | this is the paperless office sort of fantasy. | 48 | this is the paperless office sort of fantasy. | ||
| 49 | And instead, we're going to assume that we are now and will continue to be livin | 49 | And instead, we're going to assume that we are now and will continue to be livin | ||
| > | g in a world made up of multiple media. | > | g in a world made up of multiple media. | ||
| 50 | That for a lot of both practical reasons, paper is going to be staying around. | 50 | That for a lot of both practical reasons, paper is going to be staying around. | ||
| 51 | It's just tremendously, there's a very, very extensive investment in paper media | 51 | It's just tremendously, there's a very, very extensive investment in paper media | ||
| > | that can't be transformed overnight. | > | that can't be transformed overnight. | ||
| 52 | night and also of course as people like my colleagues Abby Sellin and Richard Ha | 52 | night and also of course as people like my colleagues Abby Sellin and Richard Ha | ||
| > | rper at the Cambridge lab of Xerox have pointed out paper has certain affordance | > | rper at the Cambridge lab of Xerox have pointed out paper has certain affordance | ||
| > | s that are that are quite powerful and effective so for both practical reasons a | > | s that are that are quite powerful and effective so for both practical reasons a | ||
| > | nd because paper is a useful medium we are going to continue to live in a world | > | nd because paper is a useful medium we are going to continue to live in a world | ||
| > | that's made up of multiple media and the sense I have is that you know we might | > | that's made up of multiple media and the sense I have is that you know we might | ||
| > | just be becoming sophisticated enough technologically that we can actually desig | > | just be becoming sophisticated enough technologically that we can actually desig | ||
| > | n for a world that includes both paper and digital media and that involves of co | > | n for a world that includes both paper and digital media and that involves of co | ||
| > | urse making it much easier for people to move between those media so that's the | > | urse making it much easier for people to move between those media so that's the | ||
| > | goal is supporting multiple media and and relations between them rather than you | > | goal is supporting multiple media and and relations between them rather than you | ||
| > | know transforming ourselves from paper to digital. | > | know transforming ourselves from paper to digital. | ||
| 53 | And then finally the kind of reworking that we want to do of this image is rathe | 53 | And then finally the kind of reworking that we want to do of this image is rathe | ||
| > | r than taking the artifacts, the technologies that we're interested in as these | > | r than taking the artifacts, the technologies that we're interested in as these | ||
| > | objects floating in white space as they are so nicely here, we want to locate th | > | objects floating in white space as they are so nicely here, we want to locate th | ||
| > | em in the environments where they're actually going to be used. | > | em in the environments where they're actually going to be used. | ||
| 54 | And that means going out into work sites and seeing how it is that people are ac | 54 | And that means going out into work sites and seeing how it is that people are ac | ||
| > | tually using the artifacts and the technologies that we're interested in in the | > | tually using the artifacts and the technologies that we're interested in in the | ||
| > | course of their everyday activities. | > | course of their everyday activities. | ||
| 55 | Okay, so with that kind of background, what I'm going to try to do in the time t | 55 | Okay, so with that kind of background, what I'm going to try to do in the time t | ||
| > | hat remains is first a little bit of an introduction, again, to give you a sense | > | hat remains is first a little bit of an introduction, again, to give you a sense | ||
| > | of a couple of general aspects of the approach that we're taking. | > | of a couple of general aspects of the approach that we're taking. | ||
| 56 | The first, what we're calling case-based prototyping, which I'll explain, and th | 56 | The first, what we're calling case-based prototyping, which I'll explain, and th | ||
| > | en this idea of working document collections. | > | en this idea of working document collections. | ||
| 57 | And then having sort of talked briefly about those two general ideas, move into | 57 | And then having sort of talked briefly about those two general ideas, move into | ||
| > | the specific project that we're involved with at Caltrans, and in particular our | > | the specific project that we're involved with at Caltrans, and in particular our | ||
| > | work with their project files, and then the prototype that we've developed to a | > | work with their project files, and then the prototype that we've developed to a | ||
| > | ddress the problems that we've found. | > | ddress the problems that we've found. | ||
| 58 | Okay, so first of all case-based prototypes. | 58 | Okay, so first of all case-based prototypes. | ||
| 59 | This is another kind of framing image for the work that we're doing, which is fo | 59 | This is another kind of framing image for the work that we're doing, which is fo | ||
| > | cused on this idea of the project of design being artful integration. | > | cused on this idea of the project of design being artful integration. | ||
| 60 | that increasingly design is as much if not more about embedding artifacts and te | 60 | that increasingly design is as much if not more about embedding artifacts and te | ||
| > | chnologies new in new ways into existing environments as it is about inventing t | > | chnologies new in new ways into existing environments as it is about inventing t | ||
| > | hings completely de novo so and the things that we're trying to integrate are bo | > | hings completely de novo so and the things that we're trying to integrate are bo | ||
| > | th to integrate the technology both with the activities that people are engaged | > | th to integrate the technology both with the activities that people are engaged | ||
| > | in with their work practices and with the rest of their technology environment. | > | in with their work practices and with the rest of their technology environment. | ||
| 61 | And a sort of center for that for us is what we're calling case-based prototypes | 61 | And a sort of center for that for us is what we're calling case-based prototypes | ||
| > | . | > | . | ||
| 62 | Case-based because these are prototypes that actually incorporate real work, som | 62 | Case-based because these are prototypes that actually incorporate real work, som | ||
| > | e understanding of real work practices and work materials into them in contrast | > | e understanding of real work practices and work materials into them in contrast | ||
| > | to some of the demonstration prototypes that we have around that take some kind | > | to some of the demonstration prototypes that we have around that take some kind | ||
| > | of a generic corpus of materials and try to show what it would be like to work w | > | of a generic corpus of materials and try to show what it would be like to work w | ||
| > | ith the system. | > | ith the system. | ||
| 63 | And our experience is that when people are assessing a prototype that actually h | 63 | And our experience is that when people are assessing a prototype that actually h | ||
| > | as their documents in it, their work materials, they have a base for doing that | > | as their documents in it, their work materials, they have a base for doing that | ||
| > | assessment that's much, much richer than if they're looking at the Encyclopedia | > | assessment that's much, much richer than if they're looking at the Encyclopedia | ||
| > | Britannica or something that we all kind of recognize but none of us is actively | > | Britannica or something that we all kind of recognize but none of us is actively | ||
| > | engaged with. | > | engaged with. | ||
| 64 | So it strengthens the grounds on which people can assess the prototype. | 64 | So it strengthens the grounds on which people can assess the prototype. | ||
| 65 | And then the other piece of integration that we're trying to do in our prototype | 65 | And then the other piece of integration that we're trying to do in our prototype | ||
| > | s is to bring together the work that people are doing with both emerging park te | > | s is to bring together the work that people are doing with both emerging park te | ||
| > | chnologies and existing Xerox technologies. | > | chnologies and existing Xerox technologies. | ||
| 66 | So we're trying to configure, sort of craft together an interesting relationship | 66 | So we're trying to configure, sort of craft together an interesting relationship | ||
| > | between those things, and the prototype is the manifestation, the demonstration | > | between those things, and the prototype is the manifestation, the demonstration | ||
| > | of that. | > | of that. | ||
| 67 | And the particular focus for us has been this relationship between paper and dig | 67 | And the particular focus for us has been this relationship between paper and dig | ||
| > | ital media, both the kinds of translations that we have to enable between the tw | > | ital media, both the kinds of translations that we have to enable between the tw | ||
| > | o and also the kind of cohabitations that we want them to be able to do. | > | o and also the kind of cohabitations that we want them to be able to do. | ||
| 68 | What does it mean to live in a world where some of your documents are on paper, | 68 | What does it mean to live in a world where some of your documents are on paper, | ||
| > | some are online, they're shifting back and forth across that border? | > | some are online, they're shifting back and forth across that border? | ||
| 69 | How do you maintain the coherence across media in that kind of situation? | 69 | How do you maintain the coherence across media in that kind of situation? | ||
| 70 | And then given the general strategy of case-based prototyping, the focus that we | 70 | And then given the general strategy of case-based prototyping, the focus that we | ||
| > | 've taken recently has been this idea of working document collections. | > | 've taken recently has been this idea of working document collections. | ||
| 71 | And here's a sort of set of defining is probably too strong a term, but characte | 71 | And here's a sort of set of defining is probably too strong a term, but characte | ||
| > | rizing criteria for those. | > | rizing criteria for those. | ||
| 72 | Basically, what we mean by working collections are the documents that are in bet | 72 | Basically, what we mean by working collections are the documents that are in bet | ||
| > | ween the documents that are on your desk at any given moment. | > | ween the documents that are on your desk at any given moment. | ||
| 73 | Although for most of us, I think many of the documents on our desk should be in | 73 | Although for most of us, I think many of the documents on our desk should be in | ||
| > | our working collection. | > | our working collection. | ||
| 74 | But the idealized view is that you have this sort of three-part division. | 74 | But the idealized view is that you have this sort of three-part division. | ||
| 75 | You've got your active documents on your desk. | 75 | You've got your active documents on your desk. | ||
| 76 | You've got documents that are often in archives somewhere, filed some distance f | 76 | You've got documents that are often in archives somewhere, filed some distance f | ||
| > | rom your office. | > | rom your office. | ||
| 77 | And then you've got your working document collections, the canonical form of thi | 77 | And then you've got your working document collections, the canonical form of thi | ||
| > | s is your file cabinets. | > | s is your file cabinets. | ||
| 78 | And our premise is that many organizations have a tremendous investment in docum | 78 | And our premise is that many organizations have a tremendous investment in docum | ||
| > | ent collections that have this character, and that there's a large opportunity i | > | ent collections that have this character, and that there's a large opportunity i | ||
| > | n finding ways to help people partly migrate those collections online, partly in | > | n finding ways to help people partly migrate those collections online, partly in | ||
| > | tegrate those collections with their with their online document repositories the | > | tegrate those collections with their with their online document repositories the | ||
| > | the documents that get into this these collections are selectively saved by peo | > | the documents that get into this these collections are selectively saved by peo | ||
| > | ple with the idea that they're going to be useful either as a reference or maybe | > | ple with the idea that they're going to be useful either as a reference or maybe | ||
| > | actually to be reused in some way in the future and and very importantly you ca | > | actually to be reused in some way in the future and and very importantly you ca | ||
| > | n it's very difficult to predict what the value of any given document is going t | > | n it's very difficult to predict what the value of any given document is going t | ||
| > | o be in advance you couldn't go through most most file cabinets and definitely t | > | o be in advance you couldn't go through most most file cabinets and definitely t | ||
| > | he collection that I'm going to be talking about at Caltrans and weight the docu | > | he collection that I'm going to be talking about at Caltrans and weight the docu | ||
| > | ments according to their value because the value of the document is tied to its | > | ments according to their value because the value of the document is tied to its | ||
| > | availability at the moment when it's needed. | > | availability at the moment when it's needed. | ||
| 79 | It becomes valuable in relation to some ongoing activity. | 79 | It becomes valuable in relation to some ongoing activity. | ||
| 80 | So it's this contingent value that depends much more on the accessibility of the | 80 | So it's this contingent value that depends much more on the accessibility of the | ||
| > | document in relation to the activity than on its intrinsic characteristics. | > | document in relation to the activity than on its intrinsic characteristics. | ||
| 81 | The The documents in the collections that we're looking at are very diverse, bot | 81 | The The documents in the collections that we're looking at are very diverse, bot | ||
| > | h in quality, they include everything from documents that have been faxed three | > | h in quality, they include everything from documents that have been faxed three | ||
| > | times and photocopied to very, very nice, cleanly printed ASCII documents, and a | > | times and photocopied to very, very nice, cleanly printed ASCII documents, and a | ||
| > | lso very variable in format, and I'll show you more of that. | > | lso very variable in format, and I'll show you more of that. | ||
| 82 | The thing that interests us about that is, again, a sense that when we look at t | 82 | The thing that interests us about that is, again, a sense that when we look at t | ||
| > | he document repositories that are often used in research, they tend to be rather | > | he document repositories that are often used in research, they tend to be rather | ||
| > | homogeneous. | > | homogeneous. | ||
| 83 | So people who are doing different aspects of document image and document recogni | 83 | So people who are doing different aspects of document image and document recogni | ||
| > | tion and document retrieval work are working with these sort of standard corpora | > | tion and document retrieval work are working with these sort of standard corpora | ||
| > | . | > | . | ||
| 84 | And when we look at these real world corpora, they have different characteristic | 84 | And when we look at these real world corpora, they have different characteristic | ||
| > | s that pose some interesting problems and challenges. | > | s that pose some interesting problems and challenges. | ||
| 85 | Document research, document search through these collections relies very heavily | 85 | Document research, document search through these collections relies very heavily | ||
| > | on their visual characteristics. | > | on their visual characteristics. | ||
| 86 | I mean this is just a simple observation that when you go to your paper file cab | 86 | I mean this is just a simple observation that when you go to your paper file cab | ||
| > | inet, you get a huge amount of information from being able to scan the visual or | > | inet, you get a huge amount of information from being able to scan the visual or | ||
| > | ganization of the folders, to open up a folder and scan through the documents th | > | ganization of the folders, to open up a folder and scan through the documents th | ||
| > | at are in there. | > | at are in there. | ||
| 87 | And so images, we have a very strong emphasis as you'll see on preserving docume | 87 | And so images, we have a very strong emphasis as you'll see on preserving docume | ||
| > | nt images. | > | nt images. | ||
| 88 | Shared access to the collection is facilitated by its creator. | 88 | Shared access to the collection is facilitated by its creator. | ||
| 89 | These are collections that generally, you know, they're owned by somebody and th | 89 | These are collections that generally, you know, they're owned by somebody and th | ||
| > | at person acts, to the extent that the collections are shared, that person acts | > | at person acts, to the extent that the collections are shared, that person acts | ||
| > | effectively as a kind of librarian for the collection. | > | effectively as a kind of librarian for the collection. | ||
| 90 | And there are really interesting issues then if you're moving those collections | 90 | And there are really interesting issues then if you're moving those collections | ||
| > | online, giving people distributed access, what happens to the role of the owner | > | online, giving people distributed access, what happens to the role of the owner | ||
| > | or the collector of the corpus. | > | or the collector of the corpus. | ||
| 91 | And then finally, it's important that you can get to these things easily, becaus | 91 | And then finally, it's important that you can get to these things easily, becaus | ||
| > | e often these are documents that, as I said, you need them in the midst of an on | > | e often these are documents that, as I said, you need them in the midst of an on | ||
| > | going activity, and if you can't get a hold of them, you're going to work around | > | going activity, and if you can't get a hold of them, you're going to work around | ||
| > | it in some way. | > | it in some way. | ||
| 92 | You're not going to send off and wait a couple of days to get them back. | 92 | You're not going to send off and wait a couple of days to get them back. | ||
| 93 | Yeah? | 93 | Yeah? | ||
| 94 | Just for a point of clarification, so if we're talking about a facility design, | 94 | Just for a point of clarification, so if we're talking about a facility design, | ||
| > | during the actual design process, the documents will be active, whereas once the | > | during the actual design process, the documents will be active, whereas once the | ||
| > | facility was complete and it goes to management phase, it would be a working co | > | facility was complete and it goes to management phase, it would be a working co | ||
| > | llection? | > | llection? | ||
| 95 | No, no. | 95 | No, no. | ||
| 96 | No, I mean, I'm glad you asked that question because it's very much not tied to | 96 | No, I mean, I'm glad you asked that question because it's very much not tied to | ||
| > | across a project. | > | across a project. | ||
| 97 | Documents move from active to working status in a very dynamic way. | 97 | Documents move from active to working status in a very dynamic way. | ||
| 98 | I'm thinking more of when a document is on your desk and you're working with it, | 98 | I'm thinking more of when a document is on your desk and you're working with it, | ||
| > | it's active, and when you stick it in your filing cabinet, it's in your working | > | it's active, and when you stick it in your filing cabinet, it's in your working | ||
| > | collection. | > | collection. | ||
| 99 | And in the case that we're looking at, as you'll see, things are coming in and o | 99 | And in the case that we're looking at, as you'll see, things are coming in and o | ||
| > | ut of the collection all the time. | > | ut of the collection all the time. | ||
| 100 | So it's more dynamic than that. | 100 | So it's more dynamic than that. | ||
| 101 | Okay, alright so where are we? | 101 | Okay, alright so where are we? | ||
| 102 | We're actually spending most of our time in Oakland at Caltrans District 4 headq | 102 | We're actually spending most of our time in Oakland at Caltrans District 4 headq | ||
| > | uarters, which is the district that's responsible for the entire Bay area, basic | > | uarters, which is the district that's responsible for the entire Bay area, basic | ||
| > | ally all the roads and the toll bridges in the Bay area. | > | ally all the roads and the toll bridges in the Bay area. | ||
| 103 | And within the District 4 headquarters, we're working with a particular project | 103 | And within the District 4 headquarters, we're working with a particular project | ||
| > | team. | > | team. | ||
| 104 | And if people are interested, I mean there are a lot of practical things to be s | 104 | And if people are interested, I mean there are a lot of practical things to be s | ||
| > | aid about how we got into Caltrans, how once we got to Caltrans we sort of found | > | aid about how we got into Caltrans, how once we got to Caltrans we sort of found | ||
| > | our way to this particular project. | > | our way to this particular project. | ||
| 105 | Having to do with, again, the practicalities of sort of crafting a manageable an | 105 | Having to do with, again, the practicalities of sort of crafting a manageable an | ||
| > | d relevant project. | > | d relevant project. | ||
| 106 | But we are working with the team of engineers who are involved in doing a replac | 106 | But we are working with the team of engineers who are involved in doing a replac | ||
| > | ement bridge over the Carcuna Straits, which are in the north part of the San Fr | > | ement bridge over the Carcuna Straits, which are in the north part of the San Fr | ||
| > | ancisco Bay. | > | ancisco Bay. | ||
| 107 | and these are, some of you have probably driven across these two bridges, they'r | 107 | and these are, some of you have probably driven across these two bridges, they'r | ||
| > | e a pair of old trestle bridges. | > | e a pair of old trestle bridges. | ||
| 108 | This one on your right was built in 1927 and the other one was built in 1958. | 108 | This one on your right was built in 1927 and the other one was built in 1958. | ||
| 109 | And what's happened is while there's not any new bridge building going on in the | 109 | And what's happened is while there's not any new bridge building going on in the | ||
| > | Bay Area, there are funds for seismic retrofitting. | > | Bay Area, there are funds for seismic retrofitting. | ||
| 110 | And Caltrans has made the argument that they're going to retrofit the 58 bridge, | 110 | And Caltrans has made the argument that they're going to retrofit the 58 bridge, | ||
| > | but the 27 bridge is sufficiently old and out of date that it doesn't make sens | > | but the 27 bridge is sufficiently old and out of date that it doesn't make sens | ||
| > | e to retrofit it. | > | e to retrofit it. | ||
| 111 | So they have proposed replacement as a retrofit strategy, which is a phrase I li | 111 | So they have proposed replacement as a retrofit strategy, which is a phrase I li | ||
| > | ke very much. | > | ke very much. | ||
| 112 | And that means that they can take funds that have been allocated for seismic ret | 112 | And that means that they can take funds that have been allocated for seismic ret | ||
| > | rofitting and use them to build a new bridge, which is what engineers most like | > | rofitting and use them to build a new bridge, which is what engineers most like | ||
| > | to do. | > | to do. | ||
| 113 | So they are actually going to take down the old 27 bridge and put up a new one. | 113 | So they are actually going to take down the old 27 bridge and put up a new one. | ||
| 114 | And that's the project that we've been following for the last couple of years th | 114 | And that's the project that we've been following for the last couple of years th | ||
| > | rough, up until now it's largely been what they call the design phase, the envir | > | rough, up until now it's largely been what they call the design phase, the envir | ||
| > | onmental phase, where they're going out and doing all of the environmental impac | > | onmental phase, where they're going out and doing all of the environmental impac | ||
| > | t assessments and basically getting permission to go ahead with the project. | > | t assessments and basically getting permission to go ahead with the project. | ||
| 115 | And they're just now moving into the design phase. | 115 | And they're just now moving into the design phase. | ||
| 116 | Now within, as fascinating as the bridge is, and we've spent a lot of time doing | 116 | Now within, as fascinating as the bridge is, and we've spent a lot of time doing | ||
| > | things like following them to town meetings in Crockett where they have talked | > | things like following them to town meetings in Crockett where they have talked | ||
| > | to the local citizens about the project. | > | to the local citizens about the project. | ||
| 117 | For us as anthropologists this is an opportunity to do some very wonderful ethno | 117 | For us as anthropologists this is an opportunity to do some very wonderful ethno | ||
| > | graphy of how a bridge gets built and relations between engineers and citizens a | > | graphy of how a bridge gets built and relations between engineers and citizens a | ||
| > | nd that sort of thing. | > | nd that sort of thing. | ||
| 118 | But for us in our capacity as park researchers doing a prototyping project, the | 118 | But for us in our capacity as park researchers doing a prototyping project, the | ||
| > | focus has been on what are called the project files. | > | focus has been on what are called the project files. | ||
| 119 | And project files are collections that are maintained by every engineering team | 119 | And project files are collections that are maintained by every engineering team | ||
| > | at Caltrans. | > | at Caltrans. | ||
| 120 | It's an obligatory collection that you have to create that is basically a cumula | 120 | It's an obligatory collection that you have to create that is basically a cumula | ||
| > | tive collection of relevant documents that are created and acquired over the cou | > | tive collection of relevant documents that are created and acquired over the cou | ||
| > | rse of a project. | > | rse of a project. | ||
| 121 | And as you can see they are currently kept on paper in three ring binders. | 121 | And as you can see they are currently kept on paper in three ring binders. | ||
| 122 | And I'll tell you more about them but just to say that one of the things that, y | 122 | And I'll tell you more about them but just to say that one of the things that, y | ||
| > | ou know, when we were again sort of in terms of how a project like ours gets des | > | ou know, when we were again sort of in terms of how a project like ours gets des | ||
| > | igned, when we were starting to talk with the project team about what they were | > | igned, when we were starting to talk with the project team about what they were | ||
| > | up to and how we might do some interesting kind of collaboration together, toget | > | up to and how we might do some interesting kind of collaboration together, toget | ||
| > | her, we realized that the project files were another instance of what we're call | > | her, we realized that the project files were another instance of what we're call | ||
| > | ing working document collection and that we had worked with it with an interesti | > | ing working document collection and that we had worked with it with an interesti | ||
| > | ngly similar and different collection in our previous project, which was in a la | > | ngly similar and different collection in our previous project, which was in a la | ||
| > | w firm, where we worked with a particular attorney taking, again, a paper collec | > | w firm, where we worked with a particular attorney taking, again, a paper collec | ||
| > | tion of his documents and moving them online, exploring what it would mean to mo | > | tion of his documents and moving them online, exploring what it would mean to mo | ||
| > | ve them online. | > | ve them online. | ||
| 123 | So it was for us a way of building on our previous projects, of bringing togethe | 123 | So it was for us a way of building on our previous projects, of bringing togethe | ||
| > | r the specifics of this particular work site and its practices with a more sort | > | r the specifics of this particular work site and its practices with a more sort | ||
| > | of cumulative general understanding of how these kinds of collections work. | > | of cumulative general understanding of how these kinds of collections work. | ||
| 124 | work. | 124 | work. | ||
| 125 | And the other thing that struck us was, again, as in the law firm collection, th | 125 | And the other thing that struck us was, again, as in the law firm collection, th | ||
| > | e tremendous heterogeneity of the documents that are in the project files. | > | e tremendous heterogeneity of the documents that are in the project files. | ||
| 126 | They include a lot of general business documents, letters and memos and reports | 126 | They include a lot of general business documents, letters and memos and reports | ||
| > | and spreadsheets and tables and that sort of thing. | > | and spreadsheets and tables and that sort of thing. | ||
| 127 | And then also things like newspaper clippings. | 127 | And then also things like newspaper clippings. | ||
| 128 | So they clip you know, articles that come out about Caltrans that are relevant t | 128 | So they clip you know, articles that come out about Caltrans that are relevant t | ||
| > | o the project. | > | o the project. | ||
| 129 | And then a lot of interesting more engineering specific documents, maps, and pla | 129 | And then a lot of interesting more engineering specific documents, maps, and pla | ||
| > | ns of various kinds, all ingeniously folded to fit in an 8.5 by 11 inch binder. | > | ns of various kinds, all ingeniously folded to fit in an 8.5 by 11 inch binder. | ||
| 130 | So we've got documents of, you know, a lot of different kinds of genre and forma | 130 | So we've got documents of, you know, a lot of different kinds of genre and forma | ||
| > | t, and a lot of different sizes and that sort of thing. | > | t, and a lot of different sizes and that sort of thing. | ||
| 131 | So the question is, you know, how are you actually going to deal with this when | 131 | So the question is, you know, how are you actually going to deal with this when | ||
| > | you're thinking of moving this collection from one medium to another? | > | you're thinking of moving this collection from one medium to another? | ||
| 132 | The other thing that fascinated us was that in spite of the tremendous heterogen | 132 | The other thing that fascinated us was that in spite of the tremendous heterogen | ||
| > | eity of these documents, they were all to be filed according to the Caltrans Uni | > | eity of these documents, they were all to be filed according to the Caltrans Uni | ||
| > | form Filing System, which as a piece of classification is a really, really inter | > | form Filing System, which as a piece of classification is a really, really inter | ||
| > | esting artifact in its own right. | > | esting artifact in its own right. | ||
| 133 | The Caltrans Uniform Filing System is a basically hierarchically nested set of c | 133 | The Caltrans Uniform Filing System is a basically hierarchically nested set of c | ||
| > | ategories that are in principle to be used throughout Caltrans. | > | ategories that are in principle to be used throughout Caltrans. | ||
| 134 | It's really interesting when you start to look at the Uniform Filing System how | 134 | It's really interesting when you start to look at the Uniform Filing System how | ||
| > | incredibly dynamic it becomes. | > | incredibly dynamic it becomes. | ||
| 135 | It changes both, it's changed from the sort of central headquarters and then it' | 135 | It changes both, it's changed from the sort of central headquarters and then it' | ||
| > | s changed, it's, you know, with permission customized locally. | > | s changed, it's, you know, with permission customized locally. | ||
| 136 | And so I'll talk more about that when I tell you about the prototype, but the un | 136 | And so I'll talk more about that when I tell you about the prototype, but the un | ||
| > | iform filing system turns out to be in fact a constantly sort of shifting and tr | > | iform filing system turns out to be in fact a constantly sort of shifting and tr | ||
| > | ansformed set of categorization scheme. | > | ansformed set of categorization scheme. | ||
| 137 | Another interesting thing about it from the point of view of classification is t | 137 | Another interesting thing about it from the point of view of classification is t | ||
| > | hat it's got all these different interests in it. | > | hat it's got all these different interests in it. | ||
| 138 | Partly it's organized by the kind of phases of a project, so it's orienting to p | 138 | Partly it's organized by the kind of phases of a project, so it's orienting to p | ||
| > | roducing a kind of archival historical record at the end of the project. | > | roducing a kind of archival historical record at the end of the project. | ||
| 139 | It's also oriented to the types of documents, so whether it's correspondence or | 139 | It's also oriented to the types of documents, so whether it's correspondence or | ||
| > | reports of various kinds, it's oriented to topical issues. | > | reports of various kinds, it's oriented to topical issues. | ||
| 140 | and all of these different cross-cutting interests are sort of homogenized and f | 140 | and all of these different cross-cutting interests are sort of homogenized and f | ||
| > | lattened in in this apparently straightforward hierarchical system but of course | > | lattened in in this apparently straightforward hierarchical system but of course | ||
| > | when you actually go to file documents you run into into that and I'll show you | > | when you actually go to file documents you run into into that and I'll show you | ||
| > | more about that there are there is a perceived problem around around getting do | > | more about that there are there is a perceived problem around around getting do | ||
| > | cuments into the project files. | > | cuments into the project files. | ||
| 141 | It is a perpetual trouble for people. | 141 | It is a perpetual trouble for people. | ||
| 142 | For all sorts of reasons, certainly in part, I think part of the reason that we' | 142 | For all sorts of reasons, certainly in part, I think part of the reason that we' | ||
| > | re all so behind in our filing is that it's not a straightforward task. | > | re all so behind in our filing is that it's not a straightforward task. | ||
| 143 | For any given document, there are so many possible ways of filing it. | 143 | For any given document, there are so many possible ways of filing it. | ||
| 144 | And so it's a hard problem, and as a consequence, things pile up. | 144 | And so it's a hard problem, and as a consequence, things pile up. | ||
| 145 | And this is the two-file cardboard box sitting on the desk of the senior enginee | 145 | And this is the two-file cardboard box sitting on the desk of the senior enginee | ||
| > | r. | > | r. | ||
| 146 | So we became interested in understanding more about what actually is hard about | 146 | So we became interested in understanding more about what actually is hard about | ||
| > | filing documents. | > | filing documents. | ||
| 147 | Here's another activity which is typically seen as a completely mindless activit | 147 | Here's another activity which is typically seen as a completely mindless activit | ||
| > | y, but which somehow when any of us actually goes to try to do it, opens out int | > | y, but which somehow when any of us actually goes to try to do it, opens out int | ||
| > | o something more problematic and what's going on there. | > | o something more problematic and what's going on there. | ||
| 148 | So what we did was we spent some time with the senior, The other thing I should | 148 | So what we did was we spent some time with the senior, The other thing I should | ||
| > | say is that at Caltrans, as with many organizations, budgets have been cut. | > | say is that at Caltrans, as with many organizations, budgets have been cut. | ||
| 149 | There's very little administrative support. | 149 | There's very little administrative support. | ||
| 150 | The engineers themselves are responsible for doing the filing of their documents | 150 | The engineers themselves are responsible for doing the filing of their documents | ||
| > | . | > | . | ||
| 151 | So we spent some time with the senior project engineer, sitting with him while h | 151 | So we spent some time with the senior project engineer, sitting with him while h | ||
| > | e worked on trying to file some of these documents that were on his desk that he | > | e worked on trying to file some of these documents that were on his desk that he | ||
| > | wanted to get into the project files. | > | wanted to get into the project files. | ||
| 152 | And this is my colleague Randy watching sympathetically as Dave sort of talks hi | 152 | And this is my colleague Randy watching sympathetically as Dave sort of talks hi | ||
| > | s way through some filing. | > | s way through some filing. | ||
| 153 | And at this point I want to show you a videotape if we're queued up. | 153 | And at this point I want to show you a videotape if we're queued up. | ||
| 154 | I'm going to show you a few little bits of recorded Dave filing. | 154 | I'm going to show you a few little bits of recorded Dave filing. | ||
| 155 | And in the first one, let me just orient you a little bit to what you're going t | 155 | And in the first one, let me just orient you a little bit to what you're going t | ||
| > | o see. | > | o see. | ||
| 156 | Well, I'll show it to you and then just point out what I think are some of the i | 156 | Well, I'll show it to you and then just point out what I think are some of the i | ||
| > | nteresting issues. | > | nteresting issues. | ||
| 157 | And here's a transcript in case you have any trouble hearing. | 157 | And here's a transcript in case you have any trouble hearing. | ||
| 158 | Can I show the overhead and the tape at the same time or should we? | 158 | Can I show the overhead and the tape at the same time or should we? | ||
| 159 | I feel I'm talking to some unknown assistant here. | 159 | I feel I'm talking to some unknown assistant here. | ||
| 160 | Over there, right? | 160 | Over there, right? | ||
| 161 | I can't. | 161 | I can't. | ||
| 162 | Okay. | 162 | Okay. | ||
| 163 | So we'll just look at the tape and then I'll put the transcript up. | 163 | So we'll just look at the tape and then I'll put the transcript up. | ||
| 164 | store these things you know like for instance this one right here it's our lette | 164 | store these things you know like for instance this one right here it's our lette | ||
| > | r to the FHWA regarding consultation for the Endangered Species Act so there's a | > | r to the FHWA regarding consultation for the Endangered Species Act so there's a | ||
| > | permit involved environmental is involved the federal FHWA is involved external | > | permit involved environmental is involved the federal FHWA is involved external | ||
| > | agencies so there's all these categories that can conceivably go under and I ha | > | agencies so there's all these categories that can conceivably go under and I ha | ||
| > | ve to pick one. | > | ve to pick one. | ||
| 165 | Then I have to go back and maybe search for because maybe I wasn't thinking the | 165 | Then I have to go back and maybe search for because maybe I wasn't thinking the | ||
| > | same on the next time when I'm looking back. | > | same on the next time when I'm looking back. | ||
| 166 | So that's why it'd be really cool if you know if you can enter these things one | 166 | So that's why it'd be really cool if you know if you can enter these things one | ||
| > | like you had you said you could you could have a date or a title or Subject or k | > | like you had you said you could you could have a date or a title or Subject or k | ||
| > | eyword or whatever. | > | eyword or whatever. | ||
| 167 | That's why I think it'd be really handy because I'm sitting here and I'm going w | 167 | That's why I think it'd be really handy because I'm sitting here and I'm going w | ||
| > | ell Correspondence to federal agencies. | > | ell Correspondence to federal agencies. | ||
| 168 | Yeah, that's the one I think it is But it could easily be thrown underneath perm | 168 | Yeah, that's the one I think it is But it could easily be thrown underneath perm | ||
| > | it. | > | it. | ||
| 169 | And certainly my assessment may be different than the guy in the next aisle over | 169 | And certainly my assessment may be different than the guy in the next aisle over | ||
| > | . | > | . | ||
| 170 | Not when he's trying to fire a lady, when they're trying to find him. | 170 | Not when he's trying to fire a lady, when they're trying to find him. | ||
| 171 | Okay, so. | 171 | Okay, so. | ||
| 172 | I don't see what I thought I was looking. | 172 | I don't see what I thought I was looking. | ||
| 173 | I'm going to show you one more. | 173 | I'm going to show you one more. | ||
| 174 | Okay, so, you know, this is all really familiar and mundane stuff. | 174 | Okay, so, you know, this is all really familiar and mundane stuff. | ||
| 175 | But, you know, it's stuff that we all know, but we've never figured out exactly | 175 | But, you know, it's stuff that we all know, but we've never figured out exactly | ||
| > | what to do about it. | > | what to do about it. | ||
| 176 | You know, we've got the problem. | 176 | You know, we've got the problem. | ||
| 177 | you've got multiple alternative categories, any one of which could make sense de | 177 | you've got multiple alternative categories, any one of which could make sense de | ||
| > | pending on how you reason about it. | > | pending on how you reason about it. | ||
| 178 | Then you've got the problem of how do you align the way you're going to reason a | 178 | Then you've got the problem of how do you align the way you're going to reason a | ||
| > | bout the document when you're filing it and the way you're going to be reasoning | > | bout the document when you're filing it and the way you're going to be reasoning | ||
| > | about it when you go to look for it. | > | about it when you go to look for it. | ||
| 179 | And Dave's uneasy feeling that if he comes up with one sort of logic right now f | 179 | And Dave's uneasy feeling that if he comes up with one sort of logic right now f | ||
| > | or how to file it, he's trying to anticipate when he goes to look for this thing | > | or how to file it, he's trying to anticipate when he goes to look for this thing | ||
| > | , how is he likely to be thinking about it. | > | , how is he likely to be thinking about it. | ||
| 180 | And then finally he worries at the end about the obvious problem of whether the | 180 | And then finally he worries at the end about the obvious problem of whether the | ||
| > | way he thinks about it is going to be the same as the way, you know, the guy or | > | way he thinks about it is going to be the same as the way, you know, the guy or | ||
| > | lady, as he says in the next cubicle, overthinks about it. | > | lady, as he says in the next cubicle, overthinks about it. | ||
| 181 | So these are all, you know, familiar kinds of problems around cataloging and fil | 181 | So these are all, you know, familiar kinds of problems around cataloging and fil | ||
| > | ing of documents. | > | ing of documents. | ||
| 182 | Let me show you one more little clip now from the same session with Dave. | 182 | Let me show you one more little clip now from the same session with Dave. | ||
| 183 | I guess I would stick it under floodplain evaluations. | 183 | I guess I would stick it under floodplain evaluations. | ||
| 184 | Where was the other spot? | 184 | Where was the other spot? | ||
| 185 | Drainage is usually done during the design phase, and we're not there yet. | 185 | Drainage is usually done during the design phase, and we're not there yet. | ||
| 186 | So that's why I always pick... | 186 | So that's why I always pick... | ||
| 187 | This is 4D2, 5D2. | 187 | This is 4D2, 5D2. | ||
| 188 | But see, 231 is draft environmental document, which is pretty vague. | 188 | But see, 231 is draft environmental document, which is pretty vague. | ||
| 189 | So I'll never find it. | 189 | So I'll never find it. | ||
| 190 | I would probably be more inclined to stick it under drainage even though that's | 190 | I would probably be more inclined to stick it under drainage even though that's | ||
| > | not where it belongs. | > | not where it belongs. | ||
| 191 | I don't know what else. | 191 | I don't know what else. | ||
| 192 | That's what I'm going to do. | 192 | That's what I'm going to do. | ||
| 193 | I'm probably not doing it right, but that's what I would do. | 193 | I'm probably not doing it right, but that's what I would do. | ||
| 194 | This is why your system would be nice. | 194 | This is why your system would be nice. | ||
| 195 | So again, another sort of related set of problems here. | 195 | So again, another sort of related set of problems here. | ||
| 196 | In the beginning here, he's looking through the uniform filing system itself. | 196 | In the beginning here, he's looking through the uniform filing system itself. | ||
| 197 | itself is like an eight-page document. | 197 | itself is like an eight-page document. | ||
| 198 | He's sitting there searching through the uniform filing system for the category | 198 | He's sitting there searching through the uniform filing system for the category | ||
| > | that he's looking for that he thinks he wants to assign this document to. | > | that he's looking for that he thinks he wants to assign this document to. | ||
| 199 | Again, he's worrying here about this misalignment between the kind of normative | 199 | Again, he's worrying here about this misalignment between the kind of normative | ||
| > | chronological order of the classification scheme and the topical content of the | > | chronological order of the classification scheme and the topical content of the | ||
| > | document that he's got, which is about drainage, which has come up in terms of a | > | document that he's got, which is about drainage, which has come up in terms of a | ||
| > | n evaluation of a floodplain in the environmental stage, but the drainage catego | > | n evaluation of a floodplain in the environmental stage, but the drainage catego | ||
| > | ry is farther down in the design. | > | ry is farther down in the design. | ||
| 200 | So how does he adjudicate that? | 200 | So how does he adjudicate that? | ||
| 201 | And again, he's thinking here about how am I going to file it such that when I g | 201 | And again, he's thinking here about how am I going to file it such that when I g | ||
| > | o to look for it, there's some hope that I'll actually find it. | > | o to look for it, there's some hope that I'll actually find it. | ||
| 202 | Now let me show you a couple of clips around search. | 202 | Now let me show you a couple of clips around search. | ||
| 203 | The clip I'm going to show you was a serendipitous recording that we were actual | 203 | The clip I'm going to show you was a serendipitous recording that we were actual | ||
| > | ly up there installing a board on Dave's PC that would allow it to talk to our s | > | ly up there installing a board on Dave's PC that would allow it to talk to our s | ||
| > | canner as we were putting together a prototype. | > | canner as we were putting together a prototype. | ||
| 204 | And because we're interested in all of the grungy practical details around actua | 204 | And because we're interested in all of the grungy practical details around actua | ||
| > | lly implementing a prototype, we were recording this, right? | > | lly implementing a prototype, we were recording this, right? | ||
| 205 | So we're there in Dave's office and when the clip first starts, you're going to | 205 | So we're there in Dave's office and when the clip first starts, you're going to | ||
| > | see my colleague Randy and one of their IS people under Dave's desk messing with | > | see my colleague Randy and one of their IS people under Dave's desk messing with | ||
| > | his PC. | > | his PC. | ||
| 206 | And so we're there recording and Dave comes in and he picks up the two file box | 206 | And so we're there recording and Dave comes in and he picks up the two file box | ||
| > | off his desk and sits down and starts going through it. | > | off his desk and sits down and starts going through it. | ||
| 207 | So I eventually pan back to actually see what it is that he's up to. | 207 | So I eventually pan back to actually see what it is that he's up to. | ||
| 208 | And you're going to see three little segments with breaks between them. | 208 | And you're going to see three little segments with breaks between them. | ||
| 209 | In the first, you'll hear a query from my colleague, Jeanette, to Dave about wha | 209 | In the first, you'll hear a query from my colleague, Jeanette, to Dave about wha | ||
| > | t he's searching for. | > | t he's searching for. | ||
| 210 | And he explains that he's looking for the documentation of an agreement between | 210 | And he explains that he's looking for the documentation of an agreement between | ||
| > | a local agency and a local city and Caltrans around an aspect of their process. | > | a local agency and a local city and Caltrans around an aspect of their process. | ||
| 211 | And then in the second, you'll see him find a document and sort of inspect it an | 211 | And then in the second, you'll see him find a document and sort of inspect it an | ||
| > | d decide, apparently, that it's what he wants and set it aside. | > | d decide, apparently, that it's what he wants and set it aside. | ||
| 212 | And then in the final one, we have a little exchange where he explains to us the | 212 | And then in the final one, we have a little exchange where he explains to us the | ||
| > | uncertainties about what he's been looking for. | > | uncertainties about what he's been looking for. | ||
| 213 | And there's this whole search. | 213 | And there's this whole search. | ||
| 214 | I mean, he went through, you'll see when he finds the document, he's about two-t | 214 | I mean, he went through, you'll see when he finds the document, he's about two-t | ||
| > | hirds of the way through the box. | > | hirds of the way through the box. | ||
| 215 | So the whole thing probably went on for 15 minutes, I would say. | 215 | So the whole thing probably went on for 15 minutes, I would say. | ||
| 216 | So here are these three little clips. | 216 | So here are these three little clips. | ||
| 217 | Some old resolutions that East Virginia Regional Park and the city passed in sup | 217 | Some old resolutions that East Virginia Regional Park and the city passed in sup | ||
| > | port of our mitigation project. | > | port of our mitigation project. | ||
| 218 | Yeah, sure do. | 218 | Yeah, sure do. | ||
| 219 | Exactly. | 219 | Exactly. | ||
| 220 | Exactly. | 220 | Exactly. | ||
| 221 | I don't know if the oven exists. | 221 | I don't know if the oven exists. | ||
| 222 | Yeah, most of the time. | 222 | Yeah, most of the time. | ||
| 223 | I don't think I actually got one of these things from the city. | 223 | I don't think I actually got one of these things from the city. | ||
| 224 | So, at the beginning, as I said, he explains to us that he's looking for some ol | 224 | So, at the beginning, as I said, he explains to us that he's looking for some ol | ||
| > | d resolutions, as he says, from the East Bay Regional Parks and the City. | > | d resolutions, as he says, from the East Bay Regional Parks and the City. | ||
| 225 | So potentially, at the beginning, he's looking for two documents, one from each | 225 | So potentially, at the beginning, he's looking for two documents, one from each | ||
| > | of these agencies. | > | of these agencies. | ||
| 226 | And then when he talks to us about what he found, he explains, he says he's stil | 226 | And then when he talks to us about what he found, he explains, he says he's stil | ||
| > | l going through, you saw him in the middle clip sort of pull out one document, s | > | l going through, you saw him in the middle clip sort of pull out one document, s | ||
| > | et it to the side, and then keep going. | > | et it to the side, and then keep going. | ||
| 227 | And then he announces happily to us that he actually found something and explain | 227 | And then he announces happily to us that he actually found something and explain | ||
| > | s that now he's starting to wonder whether there is actually ever was a second d | > | s that now he's starting to wonder whether there is actually ever was a second d | ||
| > | ocument. | > | ocument. | ||
| 228 | So the question here is what do you know ahead of time about what you're looking | 228 | So the question here is what do you know ahead of time about what you're looking | ||
| > | for when you're doing this kind of search? | > | for when you're doing this kind of search? | ||
| 229 | And here's a case where Dave goes through the whole box on the possibility that | 229 | And here's a case where Dave goes through the whole box on the possibility that | ||
| > | a document that may or may not exist was put in there by one of his colleagues. | > | a document that may or may not exist was put in there by one of his colleagues. | ||
| 230 | And that's the kind of working with the material medium that's involved in the s | 230 | And that's the kind of working with the material medium that's involved in the s | ||
| > | ort of problematic state of the project files at the moment. | > | ort of problematic state of the project files at the moment. | ||
| 231 | So what we have been doing together with Dave and the rest of the engineering te | 231 | So what we have been doing together with Dave and the rest of the engineering te | ||
| > | am is an exploration in what would it mean to put their collection online. | > | am is an exploration in what would it mean to put their collection online. | ||
| 232 | And the prototype that we've built, we hear being used very loosely to refer to | 232 | And the prototype that we've built, we hear being used very loosely to refer to | ||
| > | my colleague Randy Trigg, is called, it's built on top of a platform called the | > | my colleague Randy Trigg, is called, it's built on top of a platform called the | ||
| > | integrator because the idea of the integrator has been to try to build a platfor | > | integrator because the idea of the integrator has been to try to build a platfor | ||
| > | m on which we can pull together as much stuff as possible into a useful configur | > | m on which we can pull together as much stuff as possible into a useful configur | ||
| > | ation. | > | ation. | ||
| 233 | We have our sort of basic approach in putting this prototype together is we want | 233 | We have our sort of basic approach in putting this prototype together is we want | ||
| > | to require minimal overhead for filing. | > | to require minimal overhead for filing. | ||
| 234 | You should be able to get documents into this collection with as little effort a | 234 | You should be able to get documents into this collection with as little effort a | ||
| > | s possible. | > | s possible. | ||
| 235 | And you'll see concretely what that means. | 235 | And you'll see concretely what that means. | ||
| 236 | And then we want to provide, once you've gotten your document in there, and part | 236 | And then we want to provide, once you've gotten your document in there, and part | ||
| > | icularly if you've put your document in with very, very minimal coding of any ki | > | icularly if you've put your document in with very, very minimal coding of any ki | ||
| > | nd, we want to give you multiple opportunities to add more metadata to the docum | > | nd, we want to give you multiple opportunities to add more metadata to the docum | ||
| > | ent. | > | ent. | ||
| 237 | So we want you to be able to take a document that's in the, when you come across | 237 | So we want you to be able to take a document that's in the, when you come across | ||
| > | a document that's in the collection, be able to add more metadata to it if you' | > | a document that's in the collection, be able to add more metadata to it if you' | ||
| > | re inspired to do that. | > | re inspired to do that. | ||
| 238 | And very importantly, as you'll see, the collection of metadata that's applicabl | 238 | And very importantly, as you'll see, the collection of metadata that's applicabl | ||
| > | e has got to be modifiable. | > | e has got to be modifiable. | ||
| 239 | You've got to be able to both go in and change the coding of a particular docume | 239 | You've got to be able to both go in and change the coding of a particular docume | ||
| > | nt and then work with the overall set of metadata. | > | nt and then work with the overall set of metadata. | ||
| 240 | data. | 240 | data. | ||
| 241 | And then when it goes to look to come sign to look for documents we want there t | 241 | And then when it goes to look to come sign to look for documents we want there t | ||
| > | o be multiple ways that you can go about looking for them. | > | o be multiple ways that you can go about looking for them. | ||
| 242 | Trying to perpetuate some of the advantages of the paper world where where you c | 242 | Trying to perpetuate some of the advantages of the paper world where where you c | ||
| > | an use a pretty wide repertoire of strategies for looking. | > | an use a pretty wide repertoire of strategies for looking. | ||
| 243 | The basic scenario has been that you know first of all you get your document sca | 243 | The basic scenario has been that you know first of all you get your document sca | ||
| > | nned into into a file and and then into a repository. | > | nned into into a file and and then into a repository. | ||
| 244 | And then, of course, the rationale is that once you've got your documents online | 244 | And then, of course, the rationale is that once you've got your documents online | ||
| > | , you can do things like do multiple categorization of a given document. | > | , you can do things like do multiple categorization of a given document. | ||
| 245 | You don't have to worry about resolving those problems that Dave was struggling | 245 | You don't have to worry about resolving those problems that Dave was struggling | ||
| > | with. | > | with. | ||
| n | 246 | You can look at the whole collection in different ways, which is something impos | n | 246 | You can look at the whole collection in different ways, which is something that' |
| > | sible for them to do at this point. | > | s impossible for them to do at this point. | ||
| 247 | So you can look at the whole collection ordered by the document dates or the top | 247 | So you can look at the whole collection ordered by the document dates or the top | ||
| > | ics. | > | ics. | ||
| 248 | And I'll show you more about that. | 248 | And I'll show you more about that. | ||
| 249 | you can still view and browse over the page images. | 249 | you can still view and browse over the page images. | ||
| 250 | That's a place where we want to preserve what you've got now and maybe even enha | 250 | That's a place where we want to preserve what you've got now and maybe even enha | ||
| > | nce it in some ways. | > | nce it in some ways. | ||
| 251 | Obviously now you can do a full text search over the optically character recogni | 251 | Obviously now you can do a full text search over the optically character recogni | ||
| > | zed text and we want you to be able to do combined searches so you throw in you | > | zed text and we want you to be able to do combined searches so you throw in you | ||
| > | know something that you know about a property that might have been assigned to t | > | know something that you know about a property that might have been assigned to t | ||
| > | his document with a text stream string and also being able to search use the ima | > | his document with a text stream string and also being able to search use the ima | ||
| > | ges as a resource and then obviously once you're online there's the possibility | > | ges as a resource and then obviously once you're online there's the possibility | ||
| > | of having distributed access to the collection so to sit at your desk and and ov | > | of having distributed access to the collection so to sit at your desk and and ov | ||
| > | er the world wide web actually look at it and get a hold of things and then you | > | er the world wide web actually look at it and get a hold of things and then you | ||
| > | still have to be able to print your documents that's essential you know the idea | > | still have to be able to print your documents that's essential you know the idea | ||
| > | there's simple idea we have is okay once Once you got documents online, then yo | > | there's simple idea we have is okay once Once you got documents online, then yo | ||
| > | u could have access to the project files from multiple locations, from multiple | > | u could have access to the project files from multiple locations, from multiple | ||
| > | locations both within Caltrans headquarters and also now they've got their field | > | locations both within Caltrans headquarters and also now they've got their field | ||
| > | office set up out by the bridge. | > | office set up out by the bridge. | ||
| 252 | So one of the things we're interested in seeing is how do documents travel acros | 252 | So one of the things we're interested in seeing is how do documents travel acros | ||
| > | s these sites. | > | s these sites. | ||
| n | 253 | The way they travel now primarily is that Dave gets a phone call, he finds, he o | n | 253 | The way they travel now primarily is that Dave gets a phone call, he or somebody |
| > | r somebody somebody who works for him finds the document, they stick it into a r | > | who who works for him finds the document, they stick it into a relevant form of | ||
| > | elevant form of mail and it gets sent off or it gets faxed. | > | mail and it gets sent off or it gets faxed. | ||
| 254 | So this would obviously open up some new possibilities there. | 254 | So this would obviously open up some new possibilities there. | ||
| n | 255 | And distributed access would work both to give multiple people access to the sam | n | 255 | And distributed access would work both to give multiple people access to the sam |
| > | e collection, which is the situation I was just describing. | > | e collection as which is the situation I was just describing and also a single p | ||
| > | erson, one of the managers that we've been talking to, she has I think a hundred | ||||
| > | projects that she's in principle responsible for. | ||||
| 256 | And also a single person, one of the managers that we've been talking to, she ha | ||||
| > | s, I think, 100 projects that she's in principle responsible for. | ||||
| 257 | So she has an interest in being able to get views onto multiple project files. | 256 | So she has an interest in being able to get views onto multiple project files. | ||
| 258 | And there are really interesting, obviously, protection and access issues that c | 257 | And there are really interesting, obviously, protection and access issues that c | ||
| > | ome up there that I'll come back to. | > | ome up there that I'll come back to. | ||
| 259 | So what we've done is we've set up, this is the prototype. | 258 | So what we've done is we've set up, this is the prototype. | ||
| n | 260 | It's made up of plastic hardware, software, and paper. | n | 259 | It's made up of plastic hardware software and paper. |
| 261 | So we basically have a really, I will say, really nice Xerox scanner. | 260 | So we basically have a really, I will say, really nice Xerox scanner. | ||
| n | n | 261 | Nice because it has a great document feeder so you can throw in multiple documen | ||
| > | ts at a time. | ||||
| 262 | Nice because it has a great document feeder that you can throw in multiple docum | 262 | hooked up to a PC and the PC is running a piece of software called Pages, which | ||
| > | ents at a time, hooked up to a PC, and the PC is running a piece of software cal | > | again is a really nice application for supporting the work of scanning documents | ||
| > | led Pages, which again is a really nice application for supporting the work of s | > | . | ||
| > | canning documents. | ||||
| 263 | And so the documents are basically scanned using the scanner in Pages onto the P | 263 | And so the documents are basically scanned using the scanner in Pages onto the P | ||
| > | C that's sitting there. | > | C that's sitting there. | ||
| 264 | And then with a web -based form, they're coded and then they're uploaded onto th | 264 | And then with a web -based form, they're coded and then they're uploaded onto th | ||
| > | e web. | > | e web. | ||
| 265 | And at the moment, they're actually uploaded onto the web and sent to PARC, wher | 265 | And at the moment, they're actually uploaded onto the web and sent to PARC, wher | ||
| > | e we pull them in across the PARC firewall and do various kinds of processing ov | > | e we pull them in across the PARC firewall and do various kinds of processing ov | ||
| > | er them, and then put them back out, indexed, both the documents and the metadat | > | er them, and then put them back out, indexed, both the documents and the metadat | ||
| > | a indexed outside the firewall, so that people at Caltrans with password protect | > | a indexed outside the firewall, so that people at Caltrans with password protect | ||
| > | ion can view the documents. | > | ion can view the documents. | ||
| 266 | The thing that we're up to now is trying to move the whole thing into Caltrans r | 266 | The thing that we're up to now is trying to move the whole thing into Caltrans r | ||
| > | unning on their intranet. | > | unning on their intranet. | ||
| 267 | And that involves a bit of substituting some code that's been running at PARC wi | 267 | And that involves a bit of substituting some code that's been running at PARC wi | ||
| > | th commercially available, extended commercially available software using pages | > | th commercially available, extended commercially available software using pages | ||
| > | as the sort of basic platform for it. | > | as the sort of basic platform for it. | ||
| 268 | They now have an intern who's dedicated 25 hours a week to scanning and maintain | 268 | They now have an intern who's dedicated 25 hours a week to scanning and maintain | ||
| > | ing the project files. | > | ing the project files. | ||
| 269 | We have at last count about 1,250 documents in there, which just to give you a s | 269 | We have at last count about 1,250 documents in there, which just to give you a s | ||
| > | ense, I mean if you say documents, it turns out documents average about five pag | > | ense, I mean if you say documents, it turns out documents average about five pag | ||
| > | es. | > | es. | ||
| n | 270 | That of course doesn't mean it all. | n | 270 | That of course doesn't mean at all, I mean they range from lots of one pagers to |
| > | long documents, but it's about 1,250 roughly times five is the number of actual | ||||
| > | pages that we have. | ||||
| 271 | I mean they range from lots of one pagers to long documents. | ||||
| 272 | But it's about 1,250 roughly times five is the number of actual pages that we ha | ||||
| > | ve. | ||||
| 273 | And for those of you who are interested in it takes about a gigabyte of storage | 271 | And for those of you who are interested in it takes about a gigabyte of storage | ||
| > | at this point with another megabyte for the metadata. | > | at this point with another megabyte for the metadata. | ||
| 274 | Okay, some things that we've learned about scanning because along with the inter | 272 | Okay, some things that we've learned about scanning because along with the inter | ||
| > | n that they've hired, we ourselves have done an enormous amount of scanning and | > | n that they've hired, we ourselves have done an enormous amount of scanning and | ||
| > | learned a great deal from it. | > | learned a great deal from it. | ||
| 275 | You know, again this sort of goes back to what I was saying about filing. | 273 | You know, again this sort of goes back to what I was saying about filing. | ||
| 276 | There are all these things that are almost too mundane to mention, but when you' | 274 | There are all these things that are almost too mundane to mention, but when you' | ||
| > | re actually sitting there scanning documents, they become quite salient. | > | re actually sitting there scanning documents, they become quite salient. | ||
| 277 | Things like you have a stack and it's not always completely clear what should co | 275 | Things like you have a stack and it's not always completely clear what should co | ||
| > | nstitute a single document. | > | nstitute a single document. | ||
| 278 | Should this thing be scanned as a single document or as multiple documents? | 276 | Should this thing be scanned as a single document or as multiple documents? | ||
| 279 | A little bit of judgment has to be exercised there. | 277 | A little bit of judgment has to be exercised there. | ||
| n | 280 | You know, you've got to give the document a name to store it on the hard drive o | n | 278 | You know, you've got to give the document a name to store it on the hard drive o |
| > | n your PC. | > | n your PC, and so you've got to sort of come up with something, and it turns out | ||
| > | that we display the names, and so it's actually useful if they say a little bit | ||||
| > | about the document. | ||||
| 281 | And so you've got to sort of come up with something. | ||||
| 282 | And it turns out that we display the names, and so it's actually useful if they | ||||
| > | say a little bit about the document. | ||||
| 283 | And then you've got to deal with the kind of heterogeneity that these documents | 279 | And then you've got to deal with the kind of heterogeneity that these documents | ||
| > | have. | > | have. | ||
| 284 | For example, there are a lot of documents that have some pages, portrait, and so | 280 | For example, there are a lot of documents that have some pages, portrait, and so | ||
| > | me landscape. | > | me landscape. | ||
| 285 | And, you know, there are issues there. | 281 | And, you know, there are issues there. | ||
| n | 286 | You throw them all in the scanner. | n | 282 | You throw them all on the scanner. |
| 287 | one of the really nice things that Pages does is you can view all of the thumbna | 283 | one of the really nice things that Pages does is you can view all of the thumbna | ||
| > | ils of all the documents that you've scanned and very easily rotate. | > | ils of all the documents that you've scanned and very easily rotate. | ||
| 288 | So we go in and we rotate the documents so that when the thumbnails are displaye | 284 | So we go in and we rotate the documents so that when the thumbnails are displaye | ||
| > | d, everything will be nicely oriented in the right way, which is great for viewi | > | d, everything will be nicely oriented in the right way, which is great for viewi | ||
| > | ng the documents, but then of course when you're going to go to print them, you | > | ng the documents, but then of course when you're going to go to print them, you | ||
| > | need to both reorient them and rescale them again. | > | need to both reorient them and rescale them again. | ||
| 289 | So there are translations between scanning and viewing and printing around page | 285 | So there are translations between scanning and viewing and printing around page | ||
| > | orientation that have become an issue. | > | orientation that have become an issue. | ||
| 290 | And there are variously sized pages. | 286 | And there are variously sized pages. | ||
| 291 | Pages again supports really nicely, you know, you do the 8.5 by 11s and then you | 287 | Pages again supports really nicely, you know, you do the 8.5 by 11s and then you | ||
| > | add the, you do the others on the platen and you add them. | > | add the, you do the others on the platen and you add them. | ||
| n | 292 | So a lot of this, and again, it's essential to be able to easily go in and resca | n | 288 | So a lot of this, and again, it's essential to be able to easily go in and re-sc |
| > | n a document, replace a particular page and also to see what you've done after y | > | an a document, replace a particular page and also to see what you've done after | ||
| > | ou scan them and to be able to go in there and reorder pages reorient things all | > | you scan them and to be able to go in there and reorder pages reorient things al | ||
| > | of that actually pages does really well which is why we're we're relying on it | > | l of that actually pages does really well which is why we're we're relying on it | ||
| > | to a great deal now of course you get to the documents in the project files thro | > | to a great deal now of course you get to the documents in the project files thr | ||
| > | ugh a home page and we have this project files home page it may be a little hard | > | ough a home page and we have this project files home page it may be a little har | ||
| > | for you to read it so you know you can select search the project files that whi | > | d for you to read it so you know you can select search the project files that wh | ||
| > | ch takes you to the search interface which I'll show you add a new document take | > | ich takes you to the search interface which I'll show you add a new document tak | ||
| > | s you to the coding form that I'll show you and then of their various ways in wh | > | es you to the coding form that I'll show you and then a very various ways in whi | ||
| > | ich you can review the whole collection by dates by the arranged according to th | > | ch you can review the whole collection by dates by the arranged according to the | ||
| > | e uniform filing system and then various kinds of administrative operations that | > | uniform filing system and then various kinds of administrative operations that | ||
| > | it turns out to be really useful to have like a change log that shows what the | > | it turns out to be really useful to have like a change log that shows what the s | ||
| > | status of documents that have been scanned but not yet indexed is and things lik | > | tatus of documents that have been scanned but not yet indexed is and things like | ||
| > | e that. | > | that. | ||
| 293 | We have a web-based form so that after you've used Pages to scan your document, | 289 | We have a web-based form so that after you've used Pages to scan your document, | ||
| > | you go in and you bring it up and then you can code it in a variety of ways. | > | you go in and you bring it up and then you can code it in a variety of ways. | ||
| 294 | The interesting thing about this form is the number of times it's changed since | 290 | The interesting thing about this form is the number of times it's changed since | ||
| > | we've been working with them. | > | we've been working with them. | ||
| 295 | Once they really got into using this form, they began to see ways in which actua | 291 | Once they really got into using this form, they began to see ways in which actua | ||
| > | lly the initial things which they said made sense. | > | lly the initial things which they said made sense. | ||
| 296 | Like we started out with a bunch of keywords, which then got differentiated into | 292 | Like we started out with a bunch of keywords, which then got differentiated into | ||
| > | things like source and recipient, as we have here. | > | things like source and recipient, as we have here. | ||
| 297 | And the issue there is that it's become clear to us how essential it is that thi | 293 | And the issue there is that it's become clear to us how essential it is that thi | ||
| > | s kind of a form be tailorable and modifiable. | > | s kind of a form be tailorable and modifiable. | ||
| 298 | And that presents, we've probably done a half a dozen iterations on the design o | 294 | And that presents, we've probably done a half a dozen iterations on the design o | ||
| > | f this form in the last six months to a year that we've been working with them. | > | f this form in the last six months to a year that we've been working with them. | ||
| 299 | This poses a real challenge for us in attempting to move this thing into their e | 295 | This poses a real challenge for us in attempting to move this thing into their e | ||
| > | nvironment and extricate ourselves because at the moment these changes are done | > | nvironment and extricate ourselves because at the moment these changes are done | ||
| > | through very close collaboration between the engineers and Randy where they tell | > | through very close collaboration between the engineers and Randy where they tell | ||
| > | him the changes that they want and he implements them. | > | him the changes that they want and he implements them. | ||
| 300 | How do we deal with that? | 296 | How do we deal with that? | ||
| 301 | That's obviously going to be essential. | 297 | That's obviously going to be essential. | ||
| 302 | Once you've coded your document, you go down. | 298 | Once you've coded your document, you go down. | ||
| 303 | This is the second page which printed out doesn't fit onto a single sheet. | 299 | This is the second page which printed out doesn't fit onto a single sheet. | ||
| 304 | You go down to the bottom and you say submit document and document info. | 300 | You go down to the bottom and you say submit document and document info. | ||
| 305 | And then it goes through this, at the moment, this sort of trip over to park and | 301 | And then it goes through this, at the moment, this sort of trip over to park and | ||
| > | back again. | > | back again. | ||
| 306 | But eventually that will just basically put it onto a web server in their enviro | 302 | But eventually that will just basically put it onto a web server in their enviro | ||
| > | nment. | > | nment. | ||
| 307 | Again, some observations about coding documents, which we've also done a lot of | 303 | Again, some observations about coding documents, which we've also done a lot of | ||
| > | and talked to them about a lot. | > | and talked to them about a lot. | ||
| 308 | It turns out that there's a requirement for a lot of flexibility around the ques | 304 | It turns out that there's a requirement for a lot of flexibility around the ques | ||
| > | tion of who codes documents and who scans them. | > | tion of who codes documents and who scans them. | ||
| 309 | And one of the things that they wanted and that we provided is a paper version o | 305 | And one of the things that they wanted and that we provided is a paper version o | ||
| > | f the online coding form. | > | f the online coding form. | ||
| 310 | Which means that engineers who are sitting at their desks with a pile of documen | 306 | Which means that engineers who are sitting at their desks with a pile of documen | ||
| > | ts can just take this paper form, code it, paper clip it to the front of the doc | > | ts can just take this paper form, code it, paper clip it to the front of the doc | ||
| > | ument, put it in that inbox, and then the intern can scan it. | > | ument, put it in that inbox, and then the intern can scan it. | ||
| 311 | The intern also does coding himself online. | 307 | The intern also does coding himself online. | ||
| 312 | Engineers could do online coding from their desks if they were into that. | 308 | Engineers could do online coding from their desks if they were into that. | ||
| 313 | But basically, it's the more alternatives there are for how to do this, the bett | 309 | But basically, it's the more alternatives there are for how to do this, the bett | ||
| > | er. | > | er. | ||
| 314 | Again, a lot of flexibility in the amount of coding. | 310 | Again, a lot of flexibility in the amount of coding. | ||
| 315 | Either you can do very, very minimal coding, basically give it a uniform file sy | 311 | Either you can do very, very minimal coding, basically give it a uniform file sy | ||
| > | stem category, or you can do increasingly elaborate, and you can do that either | > | stem category, or you can do increasingly elaborate, and you can do that either | ||
| > | at the time that you scan it or later. | > | at the time that you scan it or later. | ||
| n | 316 | So we've been trying to give them a lot of different ways of organizing the time | n | 312 | So we've been trying to give them a lot of different ways of organizing the time |
| > | and the place and how much or little of this work gets done. | > | and the place and how much or little of this work gets done and that seems esse | ||
| > | ntial for making the thing really, really useful, usable and useful. | ||||
| 317 | And that seems essential for making the thing really, really useful, usable and | ||||
| > | useful. | ||||
| 318 | Again, now that things, once things have actually been entered into the online r | 313 | Again, now that things, once things have actually been entered into the online r | ||
| > | epository, there are a whole lot of new ways to be able to see the collection. | > | epository, there are a whole lot of new ways to be able to see the collection. | ||
| 319 | You can still look at all of the, look at the collection according to the unifor | 314 | You can still look at all of the, look at the collection according to the unifor | ||
| > | m filing system, but now, oh sorry, I meant to put this one up for you, but now | > | m filing system, but now, oh sorry, I meant to put this one up for you, but now | ||
| > | of course you have active links. | > | of course you have active links. | ||
| 320 | So you can actually go in and you can see how many documents there are in a give | 315 | So you can actually go in and you can see how many documents there are in a give | ||
| > | n category. | > | n category. | ||
| 321 | You can click on the link and you can see all of those documents. | 316 | You can click on the link and you can see all of those documents. | ||
| 322 | So it's preserving the old way of organizing the collection, but with some new w | 317 | So it's preserving the old way of organizing the collection, but with some new w | ||
| > | ays of being able to see it and get at it. | > | ays of being able to see it and get at it. | ||
| 323 | One thing that's turned out to be really useful for them is that you can organiz | 318 | One thing that's turned out to be really useful for them is that you can organiz | ||
| > | e, you can see the whole collection ordered by dates from the most recent docume | > | e, you can see the whole collection ordered by dates from the most recent docume | ||
| > | nts. | > | nts. | ||
| 324 | It turns out that in thinking about a document when people, when they're going t | 319 | It turns out that in thinking about a document when people, when they're going t | ||
| > | o look for it, people very often know, well you know this is a letter that was s | > | o look for it, people very often know, well you know this is a letter that was s | ||
| > | ent to us back in March of last year. | > | ent to us back in March of last year. | ||
| n | 325 | So it's really helpful to be able to go in and look at all the documents from fr | n | 320 | So it's really helpful to be able to go in and look at all the documents from Ma |
| > | om March of last year. | > | rch of last year. | ||
| 326 | You can actually view thumbnail images of all of the document. | 321 | You can actually view thumbnail images of all of the, some of the document, one | ||
| > | of the options is to code documents by the type of document they are. | ||||
| 327 | One of the options is to code documents by the type of document they are. | 322 | So is it a letter, is it a report, is it a memo, and you can again just see see | ||
| > | what you've got in the collection in that way. | ||||
| 328 | So is it a letter? | 323 | In addition to various ways of viewing it, obviously you can you can search and | ||
| > | And this is the kind of, it's a hybrid search interface, as I said, because it a | ||||
| > | llows you to combine a full-text search with properties plus getting back a view | ||||
| > | of your hits as thumbnails, which you can then scan in something like the way t | ||||
| > | hat you would scan a paper collection. | ||||
| 329 | Is it a report? | 324 | And you can also display the returns, the results of a search in different ways. | ||
| 330 | Is it a memo? | 325 | You can display them as thumbnails. | ||
| 331 | And you can, again, just see what you've got in the collection in that way. | 326 | you can also display them in this kind of tabular form if it's more helpful to s | ||
| > | ee everything that comes back by date. | ||||
| 332 | In addition to various ways of viewing it, obviously you can search. | 327 | So again, the point here is that there are many different combination ways in wh | ||
| > | ich things can be configured. | ||||
| 333 | And this is the kind of, it's a hybrid search interface, as I said because it al | ||||
| > | lows you to combine you know a full text search with properties plus getting bac | ||||
| > | k a view of your hits as thumbnails which you can then scan in something like th | ||||
| > | e way that you would scan a paper collection and you can also display that the r | ||||
| > | eturns the results of a search in different ways you can display them as thumbna | ||||
| > | ils you can also display them in this kind of tabular form if it's more helpful | ||||
| > | to see everything that comes back by dates So again, the point here is that ther | ||||
| > | e are many different ways in which things can be configured. | ||||
| 334 | And it turns out that how you want it configured is very much tied to what you k | 328 | And it turns out that how you want it configured is very much tied to what you k | ||
| > | now when you go to do the search. | > | now when you go to do the search. | ||
| n | 335 | Shapes how you want to actually view the collection. | n | 329 | It shapes how you want to actually view the collection. |
| 336 | Once you find a document that you're looking for, you can view it in multiple th | 330 | Once you find a document that you're looking for, you can view it in multiple th | ||
| > | umbnail sizes. | > | umbnail sizes. | ||
| 337 | So here's a single document with all of its pages laid out. | 331 | So here's a single document with all of its pages laid out. | ||
| 338 | You can see this issue of portrait and landscape in a single document. | 332 | You can see this issue of portrait and landscape in a single document. | ||
| n | 339 | And then, of course, you can go in and view any of the pages. | n | 333 | And then of course you can go in and view any of the pages. |
| 340 | And you can see from this how important the images are because a lot of the docu | 334 | And you can see from this how important the images are because a lot of the docu | ||
| > | ments in this collection, once you do OCR, you get back practically nothing. | > | ments in this collection, once you do OCR, you get back practically nothing. | ||
| n | 341 | And even the documents that you get a lot back from OCR have, in addition, vario | n | 335 | And even the documents that you get a lot back from OCR have in addition various |
| > | us kinds of marginalia annotations that that you lose so we're very much believe | > | kinds of marginalia annotations that you lose. | ||
| > | rs in the idea that you need both you need to preserve images as well as providi | ||||
| > | ng people with text search and then Randy has actually created in an attempt to | ||||
| > | address this problem of user modification of the of the coding scheme Randy's ac | ||||
| > | tually provided a an interface for them that allows them to do the the relativel | ||||
| > | y straightforward things like take all the documents that were called this and n | ||||
| > | ow call them that or add this new category. | ||||
| 342 | The tricky part of course that we're dealing with now is as they do more elabora | 336 | So we're very much believers in the idea that you need to preserve images as wel | ||
| > | te reconfigurations of their coding scheme that have ramifications back through | > | l as providing people with text search. | ||
| > | the already coded documents, Randy has to write more and more elaborate scripts | ||||
| > | that will go back and recode the collection and the really difficult question th | ||||
| > | at we face is when we leave how can we make sure that this thing doesn't die in | ||||
| > | the next at the next point where they decide they want to to make a big change a | ||||
| > | nd aren't able to do it that's and that's that brings us into the whole question | ||||
| > | of what kind of continuing organizational and and human support there's going t | ||||
| > | o be okay to summarize the the two aspects aspects of what this project has mean | ||||
| > | t in terms of designing. | ||||
| 343 | There's the project of configuring a working prototype which we've done by, you | 337 | And then Randy has actually created, in an attempt to address this problem of us | ||
| > | know, we got a first approximation running in our lab, we moved it over to their | > | er modification of the coding scheme, Randy's actually provided an interface for | ||
| > | organization keeping some of the processing work at park and now we're trying t | > | them that allows them to do the relatively straightforward things like take all | ||
| > | o actually move the whole thing onto their intranet. | > | the documents that were called this and now call them that, or add this new cat | ||
| > | egory. | ||||
| 338 | The tricky part, of course, that we're dealing with now is they do more elaborat | ||||
| > | e reconfigurations of their coding scheme that have ramifications back through t | ||||
| > | he already coded documents, Randy has to write more and more elaborate scripts t | ||||
| > | hat will go back and and recode the collection. | ||||
| 339 | And the really difficult question that we face is when we leave, how can we make | ||||
| > | sure that this thing doesn't die in the next, at the next point where they deci | ||||
| > | de they want to to make a big change and aren't able to do it. | ||||
| 340 | That's and that's that brings us into the whole question of what kind of continu | ||||
| > | ing organizational and human support there's going to be. | ||||
| 341 | Okay, to summarize, the two aspects of what this project has meant in terms of d | ||||
| > | esigning, there's the project of configuring a working prototype, which we've do | ||||
| > | ne by, you know, we got a first approximation running in our lab. | ||||
| 342 | We moved it over to their organization, keeping some of the processing work at P | ||||
| > | ARC, and now we're trying to actually move the whole thing onto their intranet. | ||||
| 344 | And then a lot of what we've been doing has been configuring a working practice | 343 | And then a lot of what we've been doing has been configuring a working practice | ||
| > | in relation to that prototype. | > | in relation to that prototype, working out flexible divisions of labor. | ||
| 345 | Working out flexible divisions of labor. | ||||
| 346 | As I said, this idea of paper coding forms came out of that. | 344 | As I said, this idea of paper coding forms came out of that. | ||
| n | n | 345 | that. | ||
| 347 | Being sure that you can review and manipulate your page images. | 346 | Being sure that you can review and manipulate your page images. | ||
| n | 348 | Scanning really requires, you can't do it blind. | n | 347 | It's just you can't, scanning really requires, you can't do it blind. |
| 349 | You want to see what you've done and you want to be able to go in there and fix | 348 | You want to see what you've done and you want to be able to go in there and fix | ||
| > | things. | > | things. | ||
| 350 | And support for this kind of iterative document coding. | 349 | And support for this kind of iterative document coding. | ||
| 351 | So you code a document maybe a bit when you scan it and then you add things or y | 350 | So you code a document maybe a bit when you scan it and then you add things or y | ||
| > | ou change things later on. | > | ou change things later on. | ||
| 352 | Maybe even when you go to search for it and you bring it up and you see how it w | 351 | Maybe even when you go to search for it and you bring it up and you see how it w | ||
| > | as coded and you say, oh, I don't really like that. | > | as coded and you say, oh, I don't really like that. | ||
| 353 | I want to revise it. | 352 | I want to revise it. | ||
| 354 | And then on a larger scale, support for this kind of extensible and modifiable m | 353 | And then on a larger scale, support for this kind of extensible and modifiable m | ||
| > | etadata that seems so important. | > | etadata that seems so important. | ||
| 355 | Some of the issues for them, if this effort is successful, is that if we were ac | 354 | Some of the issues for them, if this effort is successful, is that if we were ac | ||
| > | tually to get to the point where this collection was online and available in a d | > | tually to get to the point where this collection was online and available in a d | ||
| > | istributed way, the project team is no longer the interface to the collection in | > | istributed way, the project team is no longer the interface to the collection in | ||
| > | the way that they have been before, which has afforded tremendous value in vari | > | the way that they have been before, which has afforded tremendous value in vari | ||
| > | ous ways. | > | ous ways. | ||
| n | 356 | These documents are in principle available to anyone, but of course it's a big d | n | 355 | I mean these documents are in principle available to anyone, but of course it's |
| > | ifference if all of the requests go through you, or if people in unknown places | > | a big difference if you, if all of the requests go through you or if people in u | ||
| > | are doing unknown things with the collection. | > | nknown places are doing unknown things with the collection. | ||
| 357 | So access controls that now are largely taken care of through the practicalities | 356 | So access controls that now are largely taken care of through the practicalities | ||
| > | of the medium, because these things exist in one place, nobody else knows how t | > | of the medium because these things exist in one place nobody else knows how to | ||
| > | o find anything in them, now have to be addressed much more explicitly. | > | find anything in them now have to be addressed much more explicitly and very imp | ||
| > | ortant and very salient for us at the moment is where of course at this point we | ||||
| > | 're keeping all of these documents on on paper in the old way. | ||||
| 358 | And very important and very salient for us at the moment is where, of course, at | ||||
| > | this point we're keeping all of these documents on paper in the old way. | ||||
| 359 | Eventually, I would imagine, there would be some mix. | 357 | Eventually, I would imagine there would be some mix. | ||
| 360 | A lot of them would no longer be kept in the binders once they were online. | 358 | A lot of them would no longer be kept in the binders once they were online. | ||
| 361 | Others of them would be kept in the binders because you'd want the original for | 359 | Others of them would be kept in the binders because you'd want the original for | ||
| > | various reasons. | > | various reasons. | ||
| n | 362 | And so there are very complicated questions about how you're going to maintain t | n | 360 | And so there are very complicated questions about how you're going to maintain t |
| > | he coherence of the media, of the paper and the digital renderings of the docume | > | he coherence of the media of the paper and the digital renderings of the documen | ||
| > | nts. | > | ts. | ||
| 363 | And then finally, this larger question of maintaining the coherence of your codi | 361 | And then finally, this larger question of maintaining the coherence of your codi | ||
| > | ng categories, both with respect to the paper and the digital documents, and how | > | ng categories, both with respect to the paper and the digital documents, and how | ||
| > | you do that both over time. | > | you do that both over time. | ||
| n | 364 | we've already seen, as I said, tremendously dynamic changes there within the pro | n | 362 | We've already seen, as I said, tremendously dynamic changes there within the pro |
| > | ject team that we're working with over the year or so that we've had the prototy | > | ject team that we're working with over the year or so that we've had the prototy | ||
| > | pe running. | > | pe running. | ||
| 365 | And then once you have multiple project teams working with a collection, it beco | 363 | And then once you have multiple project teams working with a collection, it beco | ||
| > | mes an even more challenging kind of coordination problem. | > | mes an even more challenging kind of coordination problem. | ||
| n | 366 | I'll end with a slogan. | n | ||
| 367 | slogan, which is really a slogan that refers to this whole approach to doing thi | 364 | I'll end with a slogan, which is really a slogan that refers to this whole appro | ||
| > | s kind of work oriented design approach. | > | ach to doing this kind of work oriented design approach. | ||
| 368 | I was often asked, well the impression I got from many of my colleagues at PARC | 365 | I was often asked, well the impression I got from many of my colleagues at PARCC | ||
| > | in the early days when I was arguing for this kind of work was, if we go out and | > | in the early days when I was arguing for this kind of work was, is if we go out | ||
| > | look at the way people are currently working, it will have this deeply conserva | > | and look at the way people are currently working, it will have this deeply cons | ||
| > | tive effect on us. | > | ervative effect on us. | ||
| 369 | will end up just replicating what they're doing now. | 366 | We'll end up just replicating what they're doing now. | ||
| 370 | And it's better if we just sort of freely imagine the possibilities. | 367 | And it's better if we just sort of freely imagine the possibilities. | ||
| n | 371 | And my response to that is, well, if you in a very sort of flat-footed way went | n | 368 | And my response to that is, well, if you, in a very sort of flat -footed way, we |
| > | about trying to replicate exactly, well, first of all, I think the premise that | > | nt about trying to replicate exactly, well first of all I think the premise that | ||
| > | there is, that until we as designers come along, the world is a stagnant place. | > | there is that until we as designers come along the world is a stagnant place. | ||
| 372 | That people are basically sitting there doing the same thing over and over again | 369 | That people are basically sitting there doing the same thing over and over again | ||
| > | and it's only when brilliant and innovative designers come on the scene that th | > | and it's only when brilliant and innovative designers come on the scene that th | ||
| > | ey say, oh, you know, we could be doing it differently. | > | ey say oh you know we could be doing it differently. | ||
| 373 | That's not my experience. | 370 | That's not my experience. | ||
| n | 374 | Every workplace I've ever been in, there are people in the workplace who, not ev | n | 371 | Every workplace I've ever been in there are people in the the workplace who, not |
| > | eryone, but there are always people who are pretty continually sort of reflectin | > | everyone, but there are always people who are pretty continually sort of reflec | ||
| > | g in, you know, greater and lesser ways about what they're doing and trying to f | > | ting in, you know, greater and lesser ways about what they're doing and trying t | ||
| > | igure out how to do it differently. | > | o figure out how to do it differently. | ||
| 375 | and our experience is that it's much more that it's hard to keep up with the dyn | 372 | And our experience is that it's much more that it's hard to keep up with the dyn | ||
| > | amism of the organization of work practices than it is to get people to make any | > | amism of the organization of work practices than it is to get people to, you kno | ||
| > | kinds of changes in what they're doing. | > | w, sort of get, make any kinds of changes in what they're doing. | ||
| 376 | So first of all, things aren't stagnant until we come along. | 373 | So first of all, things aren't stagnant until we come along. | ||
| 377 | And secondly, if we did come along and try to take an analysis of people's worki | 374 | And secondly, if we did come along and try to take an analysis of people's worki | ||
| > | ng practices as the basis for design, in the absence of any sort of imaginative | > | ng practices as the basis for design, in the absence of any sort of imaginative | ||
| > | activity, we might have a problem. | > | activity, we might have a problem. | ||
| 378 | We need to also engage in thinking about how things could be different. | 375 | We need to also engage in thinking about how things could be different. | ||
| n | 379 | But the idea here is that, I mean, the crude way of putting this is it's better | n | 376 | But the idea here is that, I mean the crude way of putting this is it's better t |
| > | to design from knowledge than from ignorance, right? | > | o design from knowledge than from ignorance, right? | ||
| 380 | But I think that the goal that we're after is to try to get enough of a mutual u | 377 | But I think that the goal that we're after is to try to get enough of a mutual u | ||
| > | nderstanding, and this comes very much out of the tradition of Scandinavian syst | > | nderstanding, and this comes very much out of the tradition of Scandinavian syst | ||
| > | ems design that we've been deeply influenced by, the idea that people doing a pa | > | ems design that we've been deeply influenced by. | ||
| > | rticular kind of work using relevant technologies need to have enough of an unde | ||||
| > | rstanding of what the technological possibilities are that they can engage in th | ||||
| > | inking intelligently about what the possibilities could be. | ||||
| 378 | The idea that people doing a particular kind of work using relevant technologies | ||||
| > | need to have enough of an understanding of what the technological possibilities | ||||
| > | are that they can engage in thinking intelligently about what the possibilities | ||||
| > | could be. | ||||
| 381 | And that's what our running prototype in this worksite is doing. | 379 | And that's what our running prototype in this worksite is doing. | ||
| 382 | It's giving people in the worksite the ability to imagine what the technology, t | 380 | It's giving people in the worksite the ability to imagine what the technology, t | ||
| > | o have enough of an understanding of what the technology does to be able to imag | > | o have enough of an understanding of what the technology does to be able to imag | ||
| > | ine what it could do. | > | ine what it could do. | ||
| 383 | And similarly for us, we need not to become civil engineers. | 381 | And similarly for us, we need not to become civil engineers. | ||
| n | 384 | That would require many lifetimes to do that in all of the sites where we might | n | 382 | That would be, you know, that would require many lifetimes to do that in all of |
| > | want to design. | > | the sites where we might want to design. | ||
| 385 | But we need to develop enough of an appreciation for what their issues are that | 383 | But we need to develop enough of an appreciation for what their issues are that | ||
| > | we, in turn, can think intelligently about their work. | > | we in turn can think intelligently about their work. | ||
| 386 | And doing the kind of projects that we're doing on site in the way that we're do | 384 | And doing the kind of projects that we're doing on site in the way that we're do | ||
| > | ing them enables that sort of collaboration so that you get what I think is a ve | > | ing them enables that sort of collaboration so that you get what I think is a ve | ||
| > | ry powerful combination of grounded understanding of existing practice plus imag | > | ry powerful combination of grounded understanding of existing practice plus imag | ||
| > | ination of how things might be different. | > | ination of how things might be different. | ||
| 387 | So I'll stop there and take questions. | 385 | So I'll stop there and take questions. | ||
| n | 388 | Yeah. | n | 386 | Yeah? |
| 389 | What are your thoughts at the moment on purging and on archiving machine-readabl | 387 | What are your thoughts at the moment on purging and on archiving machinery in th | ||
| > | e forms? | > | e form of this? | ||
| 390 | Well, if we get to stay around long enough we'll see because in terms of archivi | 388 | Well, if we get to stay around long enough we'll see because in terms of archivi | ||
| > | ng it's a very explicit part of this project files process that a subset of the | > | ng it's a very explicit part of this project files process that a subset of the | ||
| > | documents in the project files go into a history file. | > | documents in the project files go into a history file. | ||
| n | n | 389 | In paper? | ||
| 391 | In paper. | 390 | In paper. | ||
| 392 | Now at the moment everything is in paper. | 391 | Now at the moment everything is in paper. | ||
| n | 393 | So, but that means that if we have an online collection, eventually a subset of | n | 392 | But that means that if we have an online collection, eventually a subset of that |
| > | that online collection will need to be archived. | > | online collection will need to be archived and another, presumably some other d | ||
| > | ocuments that are useful in the course of the project will no longer be needed. | ||||
| 394 | And another, presumably some other documents that are useful in the course of th | ||||
| > | e project will no longer be needed. | ||||
| 395 | I read an article in the New York News very recently about the fact that even DV | 393 | I have an article in the media that I've read very recently about the fact that | ||
| > | Ds are now known to deteriorate much more rapidly than anyone expected they woul | > | even DVDs are now known to deteriorate much more rapidly than anyone expected th | ||
| > | d. | > | ey would. | ||
| 396 | Much faster than film, for example. | 394 | Much faster than film, for example. | ||
| 397 | And now this is a more general question to someone from PARC. | 395 | And now this is a more general question to someone from PARC. | ||
| 398 | What are you going to use to archive records? | 396 | What are you going to use to archive records? | ||
| n | 399 | Yeah, I am not an archivist, but I think that, I know that's a really serious an | n | 397 | Yeah, I am not an archivist, but I think that, I know that's a really serious an |
| > | d pressing question because archivists know a lot about paper as a medium. | > | d pressing question, because archivists know a lot about paper as a medium. | ||
| 400 | And there's been a huge amount of work done to develop kinds of paper that are e | 398 | And there's been a huge amount of work done to develop kinds of paper that are e | ||
| > | xtremely durable, much more than we know or have done in relation to digital med | > | xtremely durable, much more than we know or have done in relation to digital med | ||
| > | ia. | > | ia. | ||
| 401 | So I don't have the answer, but I think it's a very important question. | 399 | So I don't have the answer, but I think it's a very important question. | ||
| n | 402 | Yeah? | n | 400 | Yeah. |
| 403 | Have you looked at the change in practice after introduction of your prototype? | 401 | Have you looked at the change in practice after introduction of your prototype? | ||
| 404 | You have a fascinating natural experiment. | 402 | You have a fascinating natural experiment. | ||
| n | 405 | Any result from it? | n | 403 | Any result coming in? |
| 406 | Oh, yeah. | 404 | Oh, yeah. | ||
| 407 | I mean, well, let's see. | 405 | I mean, well, let's see. | ||
| 408 | Obviously, before we were there, the practice was to take these documents and pu | 406 | Obviously, before we were there, the practice was to take these documents and pu | ||
| > | t them into the binders. | > | t them into the binders. | ||
| n | 409 | and we've interjected an entire new sort of piece of work that we hope is going | n | 407 | And we've interjected an entire new sort of piece of work that we hope is going |
| > | to be valuable enough that it's worth doing. | > | to be valuable enough. | ||
| 408 | that it's worth doing. | ||||
| 410 | At the moment, of course, they're doing both things so that after things are put | 409 | At the moment, of course, they're doing both things so that after things are put | ||
| > | into the online collection, they get put into the binders. | > | into the online collection they get put into the binders. | ||
| 411 | I think it's... | ||||
| 412 | We've actually wondered what would be happening if we weren't there because the | 410 | I think it's, we've actually wondered what would be happening if we weren't ther | ||
| > | state of the documents that needed to go into the project files was reaching kin | > | e because the state of the documents that needed to go into the project files wa | ||
| > | d of a crisis point at the time when we actually got our prototype up and runnin | > | s reaching kind of a crisis point at the time when we actually got our prototype | ||
| > | g. | > | up and running. | ||
| 413 | I mean there were just stacks of documents everywhere. | 411 | I mean, there were just stacks of documents everywhere. | ||
| 414 | It was out of control in part because the whole project is on an accelerated tim | 412 | It was out of control in part because the whole project is on an accelerated tim | ||
| > | e frame and there's nobody to do that work. | > | eframe and there's nobody to do that work. | ||
| 415 | And so partly I think our being there, this this is a bit of a Hawthorne effect, | 413 | So partly I think our being there, this is a bit of a Hawthorne effect, but it's | ||
| > | but it's had now, I think, some really enduring consequences, was to raise the | > | had now I think some really enduring consequences, was to raise the project fil | ||
| > | project files, both to raise their visibility within the team, and also we obvio | > | es to both to raise their visibility within the team and also you know we obviou | ||
| > | usly put a lot of labor into getting the online collection together. | > | sly put we've put a lot of labor into getting getting the online collection toge | ||
| > | ther I think what what usually happens around the project files is that they are | ||||
| > | they're managed on it on an as-needed basis so for a large part of the project | ||||
| > | people go along doing sort of crisis is document search. | ||||
| 416 | I think what usually happens around the project files is that they're managed on | ||||
| > | an as-needed basis. | ||||
| 417 | So for a large part of the project people go along doing sort of crisis document | ||||
| > | search. | ||||
| 418 | They need to find something, they spend huge amounts of time searching through p | 414 | They need to find something, they spend huge amounts of time searching through p | ||
| > | iles of documents. | > | iles of documents. | ||
| 419 | And then at the point where they're actually responsible for turning the collect | 415 | And then at the point where they're actually responsible for turning the collect | ||
| > | ion over to someone else, they do a huge amount of work to pull the collection t | > | ion over to someone else, they do a huge amount of work to pull the collection t | ||
| > | ogether. | > | ogether. | ||
| 420 | So the collection becomes more like a record than a useful resource in the actua | 416 | So the collection becomes more like a record than a useful resource in the actua | ||
| > | l work as it's going on. | > | l work as it's going on. | ||
| n | 421 | So I'm hoping that one of the effects of our intervention is to make the project | n | 417 | So I'm hoping that one of the effects of our intervention is to make the project |
| > | files into much more of a sort of active resource and obviously cut down a grea | > | files into much more of a sort of active resource and obviously cut down a grea | ||
| > | t deal on the amount of time they spend searching through cardboard boxes and al | > | t deal on the amount of time they spend searching through cardboard boxes and al | ||
| > | l the other stats that are around. | > | l the other stacks of things that are around. | ||
| 418 | Yeah. | ||||
| 422 | Two questions. | 419 | Two questions. | ||
| 423 | A lot of times people take old documents and modify them, either clipping notes | 420 | A lot of times people take old documents and modify them, either clipping notes | ||
| > | to them or making changes to them. | > | to them or making changes to them. | ||
| 424 | How do you handle that in the system? | 421 | How do you handle that in the system? | ||
| 425 | Are there multiple copies of the document, links or what? | 422 | Are there multiple copies of the document, links or what? | ||
| 426 | There are multiple copies, multiple versions of documents, and in a way that's f | 423 | There are multiple copies, multiple versions of documents, and in a way that's f | ||
| > | ine. | > | ine. | ||
| n | n | 424 | We don't worry. | ||
| 427 | You know, we're one of, we don't worry, we've tried to keep an eye out for exact | 425 | We've tried to keep an eye out for exact duplicates and not put exact duplicates | ||
| > | duplicates and not put exact duplicates in. | > | in. | ||
| 428 | But we've got many variations on documents with different annotations and I thin | 426 | But we've got many variations on documents with different annotations. | ||
| > | k one of the benefits of this kind of a system is that you can do that, you know | ||||
| > | , at a relatively low cost. | ||||
| 427 | And I think one of the benefits of this kind of a system is that you can do that | ||||
| > | at a relatively low cost. | ||||
| 429 | And then when you do your search, you're going to get back all of the different | 428 | And then when you do your search, you're going to get back all of the different | ||
| > | versions and you can look for the one that you want. | > | versions, and you can look for the one that you want. | ||
| 430 | It's really up to them to decide which documents go into the collection. | 429 | It's really up to them to decide which documents go into the collection. | ||
| n | 431 | So I would say, you know, if something gets pulled out and modified, it's going | n | 430 | So I would say if something gets pulled out and modified, it's going to be their |
| > | to be their call whether it should then be rescanned in a new version. | > | call whether it should then be rescanned in a new version. | ||
| 432 | But we want to make the scanning easy enough that if you wanted to do that, it w | 431 | But we want to make the scanning easy enough that if you wanted to do that, it w | ||
| > | ouldn't be a big deal. | > | ouldn't be a big deal. | ||
| n | 433 | The second question is, with the changing of the classification, How much of tha | n | 432 | The second question is with the changing of the classification, how much of that |
| > | t is them learning the system and thinking about it for the first time versus th | > | is them learning the system and thinking about it for the first time versus the | ||
| > | ey're moving on to different phases of the work? | > | y're moving on to different phases of the work? | ||
| 434 | I think partly it's their thinking more about it. | 433 | I think partly it's their thinking more about it. | ||
| n | 435 | Partly their orientation to the classification scheme is tied to the particular | n | 434 | partly their orientation to the classification scheme is tied to the particular |
| > | thing that they're working on at the moment. | > | thing that they're working on at the moment. | ||
| 436 | For example, we just had a major revision to the filing system by one of the eng | 435 | For example, we just had a major revision to the filing system by one of the eng | ||
| > | ineers who was given responsibility for doing some work around all of the task o | > | ineers who was given responsibility for doing some work around all of the task o | ||
| > | rders to consultants. | > | rders to consultants. | ||
| 437 | So he was focused on the task orders to consultants. | 436 | So he was focused on the task orders to consultants. | ||
| n | 438 | He looked at the previous classification scheme, and he didn't like the ways in | n | 437 | He looked at the previous classification scheme and he didn't like the ways in w |
| > | which, you know, he was actually going to look for those things, and they were i | > | hich, you know, he was actually going to look for those things and they were int | ||
| > | nterspersed in ways that he didn't like, and he wanted to create a new category | > | erspersed in ways that he didn't like and he wanted to create a new category for | ||
| > | for them. | > | them. | ||
| 439 | So it's very much occasioned by you turn to do a particular task and you then fi | 438 | So it's very much occasioned by you turn to do a particular task and you then fi | ||
| > | nd things that matter to you. | > | nd things, you know, that matter to you. | ||
| 440 | And I think that kind of interweaving of the design of the classification scheme | 439 | And I think that kind of interweaving of the design of the classification scheme | ||
| > | and the ongoing work is critical. | > | and the the ongoing work is critical. | ||
| 441 | You've got to be able to sort of work back and forth between the two. | 440 | You've got to be able to sort of work back and forth between the two. | ||
| 442 | It doesn't happen all at once at the beginning. | 441 | It doesn't happen all at once at the beginning. | ||
| 443 | And it doesn't even happen at sort of predictable times. | 442 | And it doesn't even happen at sort of predictable times. | ||
| 444 | It happens as the spirit moves you and you actually care, then you focus on it. | 443 | It happens as the spirit moves you and you actually care, then you focus on it. | ||
| 445 | Yeah? | 444 | Yeah? | ||
| n | 446 | I noticed in my experience, if I have some kind of archives, I put them on my de | n | 445 | Yeah. |
| > | sk so that I can remember that I need to look at these things. | ||||
| 446 | I noticed in my experience, if I have some kind of archives, I put them on my de | ||||
| > | sk. | ||||
| 447 | so that I can remember that I need to look at these things. | ||||
| 447 | I'm wondering if you guys have thought about that in terms of those documents ar | 448 | I'm wondering if you guys have thought about that in terms of those documents ar | ||
| > | e actually a trigger to remember things. | > | e actually a trigger to remember things. | ||
| n | 448 | If they're in some kind of electronic form, it may not be as good of a trigger. | n | 449 | If they're in some kind of electronic form, it may not be as good a trigger. |
| 449 | Right, absolutely. | 450 | Right, absolutely. | ||
| 450 | I think the difference between having things sort of enclosed in a workstation a | 451 | I think the difference between having things sort of enclosed in a workstation a | ||
| > | nd spread around is very important. | > | nd spread around is very important. | ||
| 451 | In a way, that's about how things move between this sort of active and working s | 452 | In a way, that's about how things move between this sort of active and working s | ||
| > | tatus. | > | tatus. | ||
| 452 | But I think there are interesting possibilities, again, for new kinds of integra | 453 | But I think there are interesting possibilities, again, for new kinds of integra | ||
| > | tion there. | > | tion there. | ||
| n | 453 | I mean one of the things that people at PARCC have been working on for a long ti | n | 454 | I mean, one of the things that people at PARCC have been working on for a long t |
| > | me are these glyphs, basically barcode type images that you could put onto docum | > | ime are these glyphs, basically barcode-type images that you could put onto docu | ||
| > | ents that are instructions for a machine readable. | > | ments that are instructions for, you know, are machine -readable. | ||
| 454 | So one of the ideas is that you could have, it's been called document tokens, or | 455 | So one of the ideas is that you could have, it's been called document tokens, or | ||
| > | let's say you have, I mean I've always thought it would be nice to have paper f | > | let's say you have, I mean, I've always thought it would be nice to have paper | ||
| > | ile cabinets, minutes, but instead of the whole papers I'd have first pages. | > | file cabinets, but instead of the whole papers, I'd have first pages. | ||
| 455 | And then you could take out that page and stick it into a scanner and get the wh | 456 | So, and then you could take out that page and stick it into a scanner and get th | ||
| > | ole document back out again. | > | e whole document back out again. | ||
| 456 | So variations on how we could both have those sort of mnemonic cues, but maybe n | 457 | So variations on how we could both have those sort of mnemonic cues, but maybe n | ||
| > | ot have in every case the whole document sitting around, for example. | > | ot have in every case the whole document sitting around, for example. | ||
| n | 457 | But that kind of playing with the relationship between the paper and the digital | n | 458 | So, but that kind of playing with the relationship between the paper and the dig |
| > | I think is really interesting, much more interesting direction than thinking ab | > | ital, I think, is really interesting. | ||
| > | out the paperless office. | ||||
| 459 | Much more interesting direction than thinking about, you know, the paperless off | ||||
| > | ice. | ||||
| 460 | I think it would be interesting to see that. | ||||
| 458 | I think it would be interesting to see that people, a lot of people have persona | 461 | So, a lot of people have personal post-it notes where although the documents are | ||
| > | l post -it notes where although the documents are shared between everyone, there | > | shared between everyone, when there's some kind of system locally on their comp | ||
| > | 's some kind of system locally on their computer where they can add post-it note | > | uter where they can add post-it notes to the files that represent their own file | ||
| > | s to the files that represent their own files. | > | s. | ||
| 459 | Right. | 462 | Right. | ||
| n | 460 | Well, if we're imagining this as a web -based thing, people should be able to cr | n | 463 | Well, if we're imagining this as a web-based thing, people should be able to cre |
| > | eate their own sub-collections. | > | ate their own sub-collections. | ||
| 461 | collections, people should be able to have their own sets of bookmarks obviously | 464 | People should be able to have their own sets of bookmarks, obviously, and do sor | ||
| > | and do sort of personalized subsets of the project files. | > | t of personalized subsets of the project files. | ||
| 462 | We've got a lot of post-its in the project files. | 465 | We've got a lot of post-its in the project files. | ||
| 463 | We've been very conscientious about scanning everything, right? | 466 | We've been very conscientious about scanning everything, right? | ||
| n | 464 | So we scan post-its and sometimes if it's a post-it that obscures the document, | n | 467 | So we scan post-its, and sometimes if it's a post-it that obscures the document, |
| > | we'll do it twice so we'll have an image of the document with the post-it and th | > | we'll do it twice. | ||
| > | en the page behind it, right? | ||||
| 468 | So we'll have an image of the document with the Post-it and then the page behind | ||||
| > | it, right? | ||||
| 465 | But those sorts of things, we take those seriously. | 469 | But those sorts of things, you know, we take those seriously. | ||
| 466 | Yeah? | 470 | Yeah? | ||
| 467 | Have you started to gather any evidence on how people, without using both the pa | 471 | Have you started to gather any evidence on how people, without using both the pa | ||
| > | per files and the online version, are they starting, I mean, do you find them tu | > | per files and the online version, are they starting, I mean, do you find them tu | ||
| > | rning to search in one or the other? | > | rning to search in one or the other? | ||
| 468 | Yeah, I think it's too early to say that. | 472 | Yeah, I think it's too early to say that. | ||
| 469 | We've been so focused on building this collection that we're just beginning. | 473 | We've been so focused on building this collection that we're just beginning. | ||
| n | 470 | It's just now getting to the point where it's substantial enough, And it's, I th | n | 474 | It's just now getting to the point where it's substantial enough. |
| > | ink we're passing that threshold where we've got enough documents in the collect | ||||
| > | ion and it's going to be enough easier to find things in the collection than on | ||||
| > | paper that the search will really start. | ||||
| 471 | But that's where we're focused at the moment and I think it's too soon to say. | 475 | And it's, I think we're passing that threshold where we've got enough documents | ||
| > | in the collection and it's going to be enough easier to find things in the colle | ||||
| > | ction than on paper that the search, you know, will really start. | ||||
| 472 | We've gotten reports of, you know, I found a document using your system that I h | 476 | But that's where we're focused at the moment. | ||
| > | adn't been able to find. | ||||
| 473 | But the sense I have is that it's still people probably go first to look for the | 477 | And I think it's too soon to say. | ||
| > | thing on paper and then if they can't find it, they go to the system. | ||||
| 474 | We really have to get the system much more sort of on people's desktops so that, | 478 | we've gotten reports of you know I found a document using your system that I had | ||
| > | you know, we've put a bookmark on Dave's machine and we've made little cheat sh | > | n't been able to find but the sense I have is that it's still people probably go | ||
| > | eets about how easy it is to do search. | > | first to look for the thing on paper and then if they can't find it they go to | ||
| > | the system we really have to get the system at much more sort of on people's des | ||||
| > | ktops so that you know what we would put a bookmark on Dave's machine and and we | ||||
| > | 've made little cheat sheets about how easy it is to do search. | ||||
| 475 | But people aren't quite into it yet. | 479 | But people aren't quite into it yet. | ||
| n | 476 | yet they still view the intern as the kind of, that they'll go to him and he'll | n | 480 | They still view the intern as the kind of, that they'll go to him and he'll do a |
| > | do an online search for them. | > | n online search for them. | ||
| 477 | So we're, I think, very much still in that process. | 481 | So we're, I think, very much still in that process. | ||
| 478 | Right. | 482 | Right. | ||
| 479 | Well, I think that's going to depend on the document. | 483 | Well, I think that's going to depend on the document. | ||
| 480 | In some cases, I think they'll print it out. | 484 | In some cases, I think they'll print it out. | ||
| 481 | In some cases, they'll want to go back and find the original. | 485 | In some cases, they'll want to go back and find the original. | ||
| 482 | Yeah. | 486 | Yeah. | ||
| n | 483 | I saw images of drawings, but I haven't read the CAD files. | n | 487 | I saw images of drawing CAD files. |
| 484 | Right. | ||||
| 485 | They actually handle their CAD files, their actual plans separately from the pro | 488 | Right, they actually handle their CAD files, their actual plans separately from | ||
| > | ject files at this point. | > | the project files at this point. | ||
| 486 | And so we don't have, we have some printouts of plans that, you know, have some | 489 | And so we don't have, we have some printouts of plans that have some historical | ||
| > | historical relationship to the current project. | > | relationship to the current project, but their actual working CAD files are trea | ||
| > | ted totally separately and and are much more at this point online than the rest | ||||
| > | of these documents so not at this point but that's going to be important eventua | ||||
| > | lly to do that yeah you have been mentioning that there is the need a growing ne | ||||
| > | ed to keep care of the coding I mean they're kind of this I There is a kind of t | ||||
| > | hese arrows of all this stuff. | ||||
| 487 | But their actual working CAD files are treated totally separately and are much m | 490 | And when the project gets larger, do you foresee the need to have someone taking | ||
| > | ore, at this point, online. | > | care of these arrows and then possibly undermining the economic benefits of suc | ||
| > | h a system? | ||||
| 488 | than the rest of these documents. | 491 | Or the benefits in terms of, is that the engineers caring for these arrows will | ||
| > | overcome the fact that someone will have to be professionally involved in keepin | ||||
| > | g these arrows? | ||||
| 489 | So not at this point. | ||||
| 490 | But that's going to be important eventually to do that. | ||||
| 491 | Yeah. | ||||
| 492 | You have been mentioning that there is a growing need to keep care of the coding | ||||
| > | . | ||||
| 493 | I mean, there is a kind of of all this stuff. | ||||
| 494 | And when the project gets larger, do you foresee the need to have someone taking | ||||
| > | care care of the Cesarus and then possibly undermining the economic benefits of | ||||
| > | the system or the benefits in terms of, is that the engineers caring for the Ce | ||||
| > | sarus will overcome the fact that someone will have to be professionally involve | ||||
| > | d in keeping the Cesarus? | ||||
| 495 | I do think that in order to get the value from the system, there will need to be | 492 | I do think that in order to get the value from the system, there will need to be | ||
| > | some human resources invested in, particularly in the ongoing modification and | > | some human resources invested in, particularly in the ongoing modification and | ||
| > | maintenance of the collection, the kinds of things where we want to make a subst | > | maintenance of the collection, the kinds of things where we want to make a subst | ||
| > | antial enough change to the classification scheme that something's got to run ov | > | antial enough change to the classification scheme that something's got to run ov | ||
| > | er the collection and bring it up to date. | > | er the collection and bring it up to date. | ||
| n | 496 | And I think that is a new role that's really going to be crucial, which I would | n | 493 | And I think that is a new role that's really going to be crucial, which I would |
| > | see as a relatively small investment that has the potential of actually making t | > | see as a relatively small investment that has the potential of actually making t | ||
| > | he rest of the investment pay off. | > | he rest of the investment, you know, pay off. | ||
| 497 | But those are the kinds of, I think, really hard issues, practical issues around | 494 | But those are the kinds of, I think, really hard issues, practical issues around | ||
| > | getting a system like this really implemented in an organization. | > | getting a system like this really implemented in an organization. | ||
| n | 498 | Do you know if there was someone in the past before the cuts in the budgets that | n | 495 | Do you know if there was someone in the past, before the cuts in the budgets, th |
| > | would do this work? | > | at would do this work, so the technology is bringing back a figure that was ther | ||
| > | e? | ||||
| 499 | So the technology is bringing back a figure that was there. | 496 | Well, in a way, there is a, for example, one of the engineers now keeps a copy o | ||
| > | f the UFS. | ||||
| 500 | Well in a way there is a, for example, one of the engineers now keeps a copy of | 497 | Actually, he uses an Excel spreadsheet, which is interesting. | ||
| > | the UFS, us actually uses an Excel spreadsheet because interesting I'm not quite | ||||
| > | sure why but I think because he likes all the columns and rows and everything a | ||||
| > | nd he actually goes in and edits edits that and so what what that would mean now | ||||
| > | is you get your new uniform filing system and then you'd have to go back and an | ||||
| > | d make sure your binders were you know synchronized with that so there is a kind | ||||
| > | of version of it now but it involves a very different set of skills And we're t | ||||
| > | alking about some programming skills here that take you into whole other departm | ||||
| > | ents. | ||||
| 501 | Then you get into the information systems department and you're into an entirely | 498 | I'm not quite sure why, but I think because he likes all the columns and rows an | ||
| > | new sort of place in the organization. | > | d everything. | ||
| 499 | And he actually goes in and edits that. | ||||
| 500 | And so what that would mean now is you'd get your new uniform filing system, and | ||||
| > | then you'd have to go back and make sure your binders were, you know, synchroni | ||||
| > | zed with that. | ||||
| 501 | So there is a kind of version of it now, but it involves a very different set of | ||||
| > | skills. | ||||
| 502 | And, you know, we're talking about some programming skills here that take you in | ||||
| > | to whole other departments, you know, then you get into the information systems | ||||
| > | department and you're into an entirely new sort of place in the organization. | ||||
| 502 | So it's, yeah. | 503 | So it's, yeah. | ||
| n | 503 | Have you found that formalizing the work processes and work flows, the roles of | n | 504 | Have you found picking up on that, have you found that formalizing the work proc |
| > | the people help you in figuring out what kind of coding system would be helpful? | > | esses and workflows, roles of the people help you in figuring out what kind of c | ||
| > | oding system would be helpful for work? | ||||
| 504 | My immediate answer is no. | 505 | My immediate answer is no. | ||
| 505 | I guess I should think about it a little bit more. | 506 | I guess I should think about it a little bit more. | ||
| 506 | I mean, it's so dynamic. | 507 | I mean, it's so dynamic. | ||
| 507 | They're constantly negotiating their sort of working division of labor within th | 508 | They're constantly negotiating their sort of working division of labor within th | ||
| > | e group. | > | e group. | ||
| n | 508 | And I mean, there are frameworks that come down centrally. | n | 509 | And I mean there are frameworks that come down from that centrally. |
| 509 | There's a large procedure manual for projects at Caltrans, which is really a fra | 510 | There's a large procedure manual for projects at Caltrans, which is really a fra | ||
| > | mework for, you know, here here are the sort of basic components of what you nee | > | mework for here are the sort of basic components of what needs to shape a projec | ||
| > | d to, what needs to shape a project. | > | t. | ||
| 510 | And then, you know, the lead engineers for the individual projects have a huge a | 511 | And then the lead engineers for the individual projects have a huge amount of di | ||
| > | mount of discretion in the way that they organize their particular team, and tha | > | scretion in the way that they organize their particular team, and that's changin | ||
| > | t's changing all the time with the different phases of the project as they see w | > | g all the time with the different phases of the project as they see what's worki | ||
| > | hat's working and what's not working. | > | ng and what's not working. | ||
| 511 | So I think it's such a moving target that, you know, a lot of what I've been tal | 512 | So I think it's such a moving target that you know a lot of what I've been talki | ||
| > | king about is trying to provide a kind of toolkit kit or a suite of resources th | > | ng about is trying to provide a kind of toolkit or a suite of resources that can | ||
| > | at can be picked up and combined and recombined very flexibly. | > | be picked up and combined and recombined very flexibly and that that's essentia | ||
| > | l because their own division of labor and their roles and the the organization o | ||||
| > | f the work is so dynamic. | ||||
| 512 | And that's essential because their own division of labor and their roles in the | ||||
| > | organization of the work is so dynamic. | ||||
| 513 | So in this kind of situation I'm not much of a believer in in, well, some of you | 513 | So I'm not, in this kind of situation, I'm not much of a believer in, well, some | ||
| > | know I'm not much of a believer in workflow, but definitely for this kind of wo | > | of you know I'm not much of a believer in workflow, but definitely for this kin | ||
| > | rksite. | > | d of work site. | ||
| 514 | I guess I was thinking at the document level thinking about flows and uses. | 514 | I guess I was thinking at the document level, thinking about workflows and uses. | ||
| 515 | That would help you. | 515 | That would help you. | ||
| n | 516 | And whether there is then some meta models that would emerge. | n | 516 | And whether there is then some meta -models that would emerge. |
| 517 | Well, I think the problem is that I think what you could come up with would be v | 517 | Well, I think the problem is that I think what you could come up with would be v | ||
| > | ery schematic. | > | ery schematic. | ||
| 518 | It would be useful, but it would be very schematic. | 518 | It would be useful, but it would be very schematic. | ||
| n | 519 | and the actual use would take you off into very sort of circumstantially organiz | n | 519 | And the actual use would take you off into very sort of circumstantially organiz |
| > | ed cases that, I mean, at this point we haven't felt any need. | > | ed cases that I mean, you know, at this point we haven't felt any need. | ||
| 520 | I mean, obviously you could come along and describe the organization of work tha | 520 | I mean, there are obviously, you could come along and describe the organization | ||
| > | t's been set up in a model, but it's not clear to me what value it would have at | > | of work that that's been set up in in a model but it's not clear to me what what | ||
| > | this point. | > | value it would have at this point. | ||
| 521 | I wanted to ask, what are some of the, what you might call the innovation to com | 521 | I wanted to ask what are some of the what you might call the innovation to come | ||
| > | e in the scanner as a product? | > | in the scanner as a product. | ||
| 522 | I was trying to get your impression. | 522 | Just trying to get your impression. | ||
| 523 | It's one of the more labor intensive parts in this process. | 523 | It's one of the more labor intensive parts in this process. | ||
| n | n | 524 | Yeah. | ||
| 525 | Yeah. | ||||
| 524 | Are we expecting some new product from Xerox to replace the scanner as we know i | 526 | Are we expecting some new product from Xerox to replace the scanner? | ||
| > | t today? | ||||
| 525 | Not that I can think of. | 527 | Not that I can think of. | ||
| n | 526 | I mean scanners, I don't, you know, scanners are great. | n | 528 | I mean, scanners, I don't, you know, scanners are great. |
| 527 | I'm a great fan of scanners at this point. | 529 | I'm a great fan of scanners at this point. | ||
| 528 | I think the software that controls the scanner is critical. | 530 | I think the software that controls the scanner is critical. | ||
| n | 529 | And, I mean, I will definitely put in a plug for Pages. | n | 531 | And I mean, I will definitely put in a plug for Pages. |
| 530 | Pages Pro 2.0 is what we've been using. | 532 | Pages Pro 2.0 is what we've been using. | ||
| 531 | It's a wonderful application because it actually lets you see what you're doing. | 533 | It's a wonderful application because it actually lets you see what you're doing. | ||
| n | 532 | And it lets you go in and very, very easily, you get a row of thumbnails. | n | 534 | And it lets you go in and very, very easily you get a row of thumbnails. |
| 533 | You can reorder them. | 535 | You can reorder them. | ||
| 534 | You can rotate things so that you can very, very easily, manually, but very easi | 536 | You can rotate things so that you can very, very easily, manually, but very easi | ||
| > | ly make sure that the online document that you scan actually looks the way that | > | ly make sure that the online document that you scan actually looks the way that | ||
| > | you want it to look. | > | you want it to look. | ||
| n | 535 | Now, you can get, and actually, Pages also has wonderful sort of automatic de-sk | n | 537 | Now you can get, and actually Pages also has wonderful sort of automatic de-skew |
| > | ewing. | > | ing, and you can watch that happen too. | ||
| 536 | And you can watch that happen too. | ||||
| 537 | It's very entertaining. | 538 | It's very entertaining. | ||
| n | 538 | You sit there and you see your little document get scanned and come up, and then | n | 539 | You sit there and you see your little document get scanned and come up, and then |
| > | you see pages align it, fix its alignment, and you go, oh, that's great. | > | you see Pages align it, you know, fix its alignment, and you go, that's great, | ||
| > | you know. | ||||
| 539 | So I think it's a very, very nice piece of software because, as I say, it makes | 540 | So it's, I think it's a very, very nice piece of software because it, you know, | ||
| > | everything that's happening so visible. | > | as I say it makes everything that's happening so visible. | ||
| 540 | You can both see the things that you need to see in order to do the stuff manual | 541 | You can even, you can both see the things that you need to see in order to do th | ||
| > | ly that you need to do, and you can watch it doing what it's doing automatically | > | e stuff manually that you need to do and you can watch it doing what it's doing | ||
| > | . | > | automatically. | ||
| 541 | and you know you need some entertainment while you're doing this so it's helpful | 542 | And, you know, you need some entertainment while you're doing this. | ||
| > | . | ||||
| 543 | So it's helpful. | ||||
| 542 | Any others? | 544 | Any others? | ||
| 543 | I think we've exhausted ourselves. | 545 | I think we've exhausted ourselves. | ||
| n | 544 | so how do they maintain the integrity of the binders so you don't have everybody | n | 546 | Oh, oh. |
| > | looking and saying oh I need that and it doesn't bring to their desk it may or | ||||
| > | may not get back into that binder or it may not get back anywhere it's a problem | ||||
| > | It's a problem. | ||||
| 547 | Everybody wants to go after. | ||||
| 548 | That didn't sound right, did it? | ||||
| 549 | I'm sorry. | ||||
| 550 | How do they maintain the integrity of the binder system so that you don't have e | ||||
| > | verybody looking and saying, oh, I need that, and then just bring it to their de | ||||
| > | sk? | ||||
| 551 | It's a problem. | ||||
| 552 | It may or may not get back into that binder, or it may not get back anywhere. | ||||
| 545 | It's a problem. | 553 | It's a problem. | ||
| 546 | It's a problem. | 554 | It's a problem. | ||
| t | t | 555 | It's a problem. | ||
| 556 | It's a problem. | ||||
| 547 | And that's actually a problem, you know, again, which this would help address be | 557 | And that's actually a problem, you know, again, this would help address, because | ||
| > | cause you can print out a copy of the document and it's still there. | > | you can print out a copy of the document and it's still there. | ||
| 548 | All right, thanks a lot. | 558 | there. | ||
| 549 | Yeah. | 559 | All right. | ||
| 560 | Thanks a lot. | ||||
| Legends | ||||||||||
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| reference | transcript | ||||
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| f | 1 | Thank you. | f | 1 | Thank you. |
| 2 | for it because the fact that the more I doubt over this reminds me of my years o | 2 | for it because the fact that the more I doubt over this reminds me of my years o | ||
| > | f law study when the end of the fourth year came along. | > | f law study when the end of the fourth year came along. | ||
| 3 | Subject, but I get by the bar anyway. | 3 | Subject, but I get by the bar anyway. | ||
| 4 | Now I am particularly interested in this subject. | 4 | Now I am particularly interested in this subject. | ||
| 5 | I came connected with a firm called Salvage and Lee, it was a public relations f | 5 | I came connected with a firm called Salvage and Lee, it was a public relations f | ||
| > | irm. | > | irm. | ||
| 6 | Now the reason I say this, because I was in charge, was having my opinions made | 6 | Now the reason I say this, because I was in charge, was having my opinions made | ||
| > | biased or prejudiced or whatnot, because I am connected with this public relatio | > | biased or prejudiced or whatnot, because I am connected with this public relatio | ||
| > | ns firm. | > | ns firm. | ||
| 7 | The only thing, I gave this a whole lot of thinking, and the reason I explained | 7 | The only thing, I gave this a whole lot of thinking, and the reason I explained | ||
| > | it, two years because there have been many questions asked about it throughout t | > | it, two years because there have been many questions asked about it throughout t | ||
| > | he country. | > | he country. | ||
| 8 | I thought of it and I said, well, a soldier who is in the field, such as I'm a m | 8 | I thought of it and I said, well, a soldier who is in the field, such as I'm a m | ||
| > | ajor in the reserve, I'm paid. | > | ajor in the reserve, I'm paid. | ||
| 9 | Am I this less this lawyer because I'm paid? | 9 | Am I this less this lawyer because I'm paid? | ||
| 10 | A man who's an ambassador, is he less loyal to the country because he's paid? | 10 | A man who's an ambassador, is he less loyal to the country because he's paid? | ||
| 11 | On the other hand, a man has certain obligations to his family. | 11 | On the other hand, a man has certain obligations to his family. | ||
| 12 | I have three boys, one of them is going to college. | 12 | I have three boys, one of them is going to college. | ||
| 13 | and I thought I was going to proceed on this whole business, but nothing. | 13 | and I thought I was going to proceed on this whole business, but nothing. | ||
| 14 | My wife quickly discouraged me of that, reminding me that I had three sons and o | 14 | My wife quickly discouraged me of that, reminding me that I had three sons and o | ||
| > | ne of them in college, and I'd better think twice before proceeding on such a cl | > | ne of them in college, and I'd better think twice before proceeding on such a cl | ||
| > | ose of activity. | > | ose of activity. | ||
| 15 | Now that fully explains my situation so that you people can assess for yourselve | 15 | Now that fully explains my situation so that you people can assess for yourselve | ||
| > | s house whatever i have to say if you want to do so now ladies and gentlemen whe | > | s house whatever i have to say if you want to do so now ladies and gentlemen whe | ||
| > | n a man is a certain ethnic group and then he hears bad things about that ethnic | > | n a man is a certain ethnic group and then he hears bad things about that ethnic | ||
| > | group and all his life he's heard nothing but the best of his uh his ancestors | > | group and all his life he's heard nothing but the best of his uh his ancestors | ||
| > | or people from whom he is descendants and in my case i'm uh i'm not even the sen | > | or people from whom he is descendants and in my case i'm uh i'm not even the sen | ||
| > | ator i was born there and i always thought the portuguese had a fine western rep | > | ator i was born there and i always thought the portuguese had a fine western rep | ||
| > | utation but they were people that made certain accountabilities in civilization | > | utation but they were people that made certain accountabilities in civilization | ||
| > | especially in discovery pathology and science and navigation i also know and thi | > | especially in discovery pathology and science and navigation i also know and thi | ||
| > | s I want to tell you something strange to you, that in the history of literature | > | s I want to tell you something strange to you, that in the history of literature | ||
| > | , the great contributions of the culture of today are entirely unknown. | > | , the great contributions of the culture of today are entirely unknown. | ||
| 16 | We have writers who are equal in dignity, intelligence, and humility. | 16 | We have writers who are equal in dignity, intelligence, and humility. | ||
| 17 | I say this because I've studied them, and I think I'm the native to make a compa | 17 | I say this because I've studied them, and I think I'm the native to make a compa | ||
| > | rison. | > | rison. | ||
| 18 | We have also great grammars. | 18 | We have also great grammars. | ||
| 19 | We have probably the second outstanding epic poet of the world in Camões. | 19 | We have probably the second outstanding epic poet of the world in Camões. | ||
| 20 | Don't take it from my own authority. | 20 | Don't take it from my own authority. | ||
| 21 | Take it from Cecil Bowles. | 21 | Take it from Cecil Bowles. | ||
| 22 | Oh, my goodness. | 22 | Oh, my goodness. | ||
| 23 | Come on, second only. | 23 | Come on, second only. | ||
| 24 | Who are you? | 24 | Who are you? | ||
| 25 | So I undertook, with all this interest, to look into several charges that were b | 25 | So I undertook, with all this interest, to look into several charges that were b | ||
| > | eing made. | > | eing made. | ||
| 26 | One of the charges was that a human, and called her a Moslem, was a grave terror | 26 | One of the charges was that a human, and called her a Moslem, was a grave terror | ||
| > | . | > | . | ||
| 27 | A grave terror. | 27 | A grave terror. | ||
| 28 | Now, I may be approaching this wrong, but I'm going to do it so that you can pus | 28 | Now, I may be approaching this wrong, but I'm going to do it so that you can pus | ||
| > | h it in. | > | h it in. | ||
| 29 | A reign of terror, in my own opinion, at least it implies this, minimally implie | 29 | A reign of terror, in my own opinion, at least it implies this, minimally implie | ||
| > | s it. | > | s it. | ||
| 30 | An apprehension of fear. | 30 | An apprehension of fear. | ||
| 31 | An intending danger. | 31 | An intending danger. | ||
| 32 | Now, if it doesn't imply that, if it doesn't have that, then I don't know what a | 32 | Now, if it doesn't imply that, if it doesn't have that, then I don't know what a | ||
| > | reign of terror is. | > | reign of terror is. | ||
| 33 | It may mean other things, but it may mean the exact course of place he lost in 1 | 33 | It may mean other things, but it may mean the exact course of place he lost in 1 | ||
| > | 516. | > | 516. | ||
| 34 | And there are the non-border Angola and the terrorist king Donald Trump and Hitl | 34 | And there are the non-border Angola and the terrorist king Donald Trump and Hitl | ||
| > | er massacred Now if this job is very dangerous, I don't see it. | > | er massacred Now if this job is very dangerous, I don't see it. | ||
| 35 | I don't see it. | 35 | I don't see it. | ||
| 36 | I don't see it. | 36 | I don't see it. | ||
| 37 | Please hold the hand over. | 37 | Please hold the hand over. | ||
| 38 | And I see about the eight. | 38 | And I see about the eight. | ||
| 39 | and, unfortunately, in 200,000 colors. | 39 | and, unfortunately, in 200,000 colors. | ||
| 40 | A perfect makeup, where there was no lack of the green of the eyes and the brown | 40 | A perfect makeup, where there was no lack of the green of the eyes and the brown | ||
| > | of the color of the nose. | > | of the color of the nose. | ||
| 41 | Her husband, Alexei, at the time, wore the sun's halo with a heart-shaped coat. | 41 | Her husband, Alexei, at the time, wore the sun's halo with a heart-shaped coat. | ||
| 42 | They traveled over the Euro, they traveled over the course, they reached the sou | 42 | They traveled over the Euro, they traveled over the course, they reached the sou | ||
| > | thern part of the country. | > | thern part of the country. | ||
| 43 | They could not reach the northern part of the country. | 43 | They could not reach the northern part of the country. | ||
| 44 | Tell me who's this? | 44 | Tell me who's this? | ||
| 45 | The great, small, established Soviet. | 45 | The great, small, established Soviet. | ||
| 46 | The way it has to be. | 46 | The way it has to be. | ||
| 47 | Some of the students don't stop without having a drink. | 47 | Some of the students don't stop without having a drink. | ||
| 48 | I mean, they're the boys. | 48 | I mean, they're the boys. | ||
| 49 | Now, when I arrived in Luanda, I actually did not observe the type of city. | 49 | Now, when I arrived in Luanda, I actually did not observe the type of city. | ||
| 50 | I know that the story of the Maristus came in from the Maristus. | 50 | I know that the story of the Maristus came in from the Maristus. | ||
| 51 | I know that the city was a place of wonder. | 51 | I know that the city was a place of wonder. | ||
| 52 | All the wonderful things that he managed to do. | 52 | All the wonderful things that he managed to do. | ||
| 53 | The beautiful city of the sea. | 53 | The beautiful city of the sea. | ||
| 54 | The scope of architecture is one of the most futuristic. | 54 | The scope of architecture is one of the most futuristic. | ||
| 55 | One of the loveliest places. | 55 | One of the loveliest places. | ||
| 56 | Well, there's another area. | 56 | Well, there's another area. | ||
| 57 | The Giro de Gara. | 57 | The Giro de Gara. | ||
| 58 | Also, the Giro de Gara. | 58 | Also, the Giro de Gara. | ||
| 59 | The Giro de Gara. | 59 | The Giro de Gara. | ||
| 60 | The Giro de Gara. | 60 | The Giro de Gara. | ||
| 61 | The Giro de Gara. | 61 | The Giro de Gara. | ||
| n | 62 | A triumphant ceremony of New Year所 So from now, if you traveled to Galveston in | n | 62 | . |
| > | the 60's very read apart of London, and you're a administrator at something to h | ||||
| > | ear, you don't get or you're a business fellow, or you're some administrator, or | ||||
| > | you're some other official. | ||||
| 63 | People aren't running towards you. | 63 | So, from that, you traveling. | ||
| 64 | I don't think that that represents fear. | 64 | Spring out the usa. | ||
| 65 | . | ||||
| 65 | They ask questions of the citizens here, and if this is universal, that doesn't | 66 | various times i don't think that that represents fear They ask questions to the | ||
| > | mean it's fear. | > | citizens here, and if this is universal, that doesn't mean it's fear. | ||
| 66 | Fear would mean that people run away from you. | 67 | Fear would mean that people run away from it, just get out of the way. | ||
| 67 | Just get out of your way. | ||||
| 68 | That's fear. | 68 | That's fear. | ||
| n | 69 | Now, the next problem that I was very much interested in checking with the touri | n | 69 | Now, the next problem that I was very much interested in checking with two of th |
| > | sts was that it is said that there are rising expectations of NASA. | > | e officials of the National, it is that there are rising expectations of nationa | ||
| > | l community movement. | ||||
| 70 | Now, rising expectations, that is a huge phrase, rising expectations of NASA. | 70 | Now, rising expectations, that is a beautiful phrase, rising expectations. | ||
| 71 | And so, is this really a matter of the same? | 71 | And so, in this video, I have a little statement. | ||
| 72 | And so, is this really a matter of the same? | 72 | And I will repeat it. | ||
| 73 | I ask the question of the people. | 73 | I ask the question, do you understand? | ||
| 74 | The people are different. | 74 | Do you understand? | ||
| 75 | There is a difference. | 75 | And here we go, there's a difference, there's a difference. | ||
| 76 | There is a difference. | 76 | It's the angel of God. | ||
| 77 | And there will be a game. | ||||
| 78 | What are you getting at? | 77 | What are you getting at? | ||
| n | 79 | What is this riot going there? | n | 78 | What is this writing? |
| 80 | He's a one-man band. | 79 | After you've gone and destroyed the seed of Obavagah, you've gone and destroyed | ||
| > | your reward. | ||||
| 81 | Listen. | 80 | And listen, you have not won the first man you've ever seen. | ||
| 82 | Yes. | 81 | Well, what is next? | ||
| 83 | I listen. | 82 | What is what is next? | ||
| 84 | Please. | 83 | But they are all actors who established themselves independent from the metropol | ||
| > | itan portico and the independent nation of Angola and Angolese and that's the th | ||||
| > | ing that they did. | ||||
| 85 | This man, he has said, after the act, this man asked you, I learned English, and | ||||
| > | I am What is this? | ||||
| 86 | My son, is it? | ||||
| 87 | What is this? | ||||
| 88 | Yes, of course. | ||||
| 89 | He is a man. | ||||
| 90 | Yes. | ||||
| 91 | That's what they mean, I didn't see it. | 84 | Well, that's what they mean, I didn't see it. | ||
| 92 | And remember what I told you, I didn't see it. | 85 | And remember what I told you, I didn't see it. | ||
| n | 93 | They have to write it and make it manifest. | n | 86 | They have no right to take everything on the ground. |
| 87 | There will be a nationalism, continued traditional associations, with the portal | ||||
| > | s, could that be a nationalism? | ||||
| 94 | I didn't find, this is nationalism, the morning of the great separatism from the | 88 | But I didn't find, this is national news, the morning is completely separate fro | ||
| > | mother country. | > | m the mother country. | ||
| 95 | I didn't find it there. | 89 | I didn't find it there. | ||
| 96 | I didn't see it. | 90 | I didn't see it. | ||
| n | 97 | I mean, there are some more observers over there. | n | 91 | I mean, the other side, the mother, the observers over there, they did say that. |
| 98 | I think it's a... | ||||
| 99 | ... | ||||
| 100 | ... | ||||
| 101 | ... | ||||
| 102 | ... | ||||
| 103 | Now, the next question I was interested in was this. | 92 | Now, the next question I was interested in was this. | ||
| n | 104 | We saw, for example, the multi -racial design. | n | 93 | We saw, for example, the multiracial design. |
| 105 | Now this is a very interesting thing for the immigrants in the United States. | 94 | Now this is a very interesting thing of the human race in the United States. | ||
| 106 | Multi-racial design. | 95 | All the generations are. | ||
| 107 | Some have decided that that's a fake. | 96 | Some have charged that that's a fake. | ||
| 108 | I say that's not a fake. | 97 | I say that's not a fake. | ||
| n | 109 | If there's anything that the Portuguese have done in the beginning of their hist | n | 98 | If there's anything that the Portuguese have done in the beginning of their hist |
| > | ory, they have mixed with all races, regardless of color, regardless of country. | > | ory, They have mixed with all races, regardless of color, regardless of country. | ||
| 110 | I don't know why it is. | 99 | I don't know why it is. | ||
| 111 | Perhaps it's because of the history of Portugal. | 100 | Perhaps it's because of the history of Portugal. | ||
| n | 112 | The Portuguese have been in line with God's color in marriage and in many of the | n | 101 | The Portuguese have been a pride to discard color in marriage and in many of its |
| > | ir associations. | > | associations. | ||
| 113 | negotiations. | ||||
| 114 | Cape Verde Islands is certainly a proof of that. | 102 | Cape Verde Islands is certainly a proof of that. | ||
| 115 | The Portuguese state of India is certainly another proof of that. | 103 | The Portuguese state of India is certainly another proof of that. | ||
| 116 | And Brazil is certainly another proof of that. | 104 | And Brazil is certainly another proof of that. | ||
| n | 117 | In fact, there should be a proof of that. | n | 105 | The fact is, you should be able to give the people a chance to do that. |
| 118 | I say you investigate the thing because in my experience, being Portuguese and k | 106 | They'll be able to do it. | ||
| > | nowing this whole situation, it is not a thing. | ||||
| 107 | One day when you hear that this is a population-style council in the United Stat | ||||
| > | es, I say to you, investigate the thing, because in my experience, being Portugu | ||||
| > | ese, is annoying, but in those situations it is not a thing. | ||||
| 119 | The multiracial side of the principle is genuine, harmonious for existence of th | 108 | The multiracial society, principally, is genuine, harmonious for existence of th | ||
| > | e races, regardless of the pigment on one's skin. | > | e races, regardless of the pigment in one's skin. | ||
| 120 | Now that's what I saw. | 109 | Now that's what I saw. | ||
| n | 121 | That's what I saw. | n | 110 | That's what I knew. |
| 122 | And that's what I believe. | ||||
| 123 | Now, what is this that's taking place in the world? | 111 | Now, what is this that's taking place in the world today? | ||
| 124 | What is it that Mr. Gavoy says? | 112 | What is it that Mr. Deloitte said? | ||
| 125 | What is it that Mr. and Truman, John, do? | 113 | What is it that Mr. Truma John read the Negro author yourself. | ||
| 126 | Read the Negro author yourself. | ||||
| 127 | Black supremacy. | 114 | Black supremacy. | ||
| 128 | Black supremacy is the moral of the United States. | 115 | Black supremacy is the moral of the United States. | ||
| 129 | And if you're going to have black supremacy in these areas, that is being... | 116 | And if you're going to have black supremacy in these areas, that is being... | ||
| n | 130 | This is the point where I say the other city is a squire. | n | 117 | This is the voice of the white state and the state of the world. |
| 131 | I don't think that's the case. | 118 | I don't think that's the case. | ||
| t | 132 | In fact, I think the only solution to the problem is that Portugal is giving to | t | 119 | In fact, I think the only solution to the problem is that Portugal is given to t |
| > | the world. | > | he world. | ||
| 133 | That's the only story for this thing. | 120 | That's the only story for this thing. | ||
| 134 | This thing is the best premise for the play of the week. | 121 | This thing is the best premise for the play of the week. | ||
| 135 | It's full of delusions of men. | 122 | It's full of delusions of men. | ||
| 136 | Full of premeditated premonitions. | 123 | Full of premeditated premonitions. | ||
| 137 | All the odds and sides. | 124 | All the odds and sides. | ||
| 138 | And the middle of the show is on the... | 125 | And the middle of the show is on the... | ||
| 139 | You do know I... | 126 | You do know I... | ||
| 140 | You do know I... | 127 | You do know I... | ||
| 141 | You do know I... | 128 | You do know I... | ||
| 142 | I suppose every race of man is child. | 129 | I suppose every race of man is child. | ||
| 143 | uh if this principle of black supremacy takes root, and I hope it does, if this | 130 | uh if this principle of black supremacy takes root, and I hope it does, if this | ||
| > | principle of black supremacy takes root in Africa, I want you to think seriously | > | principle of black supremacy takes root in Africa, I want you to think seriously | ||
| > | of the effect, the impact it's going to have on many people in the United State | > | of the effect, the impact it's going to have on many people in the United State | ||
| > | s, especially in the southern states. | > | s, especially in the southern states. | ||
| 144 | Because their thinking runs, if the Negro thinks this way, if he's speaking this | 131 | Because their thinking runs, if the Negro thinks this way, if he's speaking this | ||
| > | way, then what is preventing him from trying to apply the same principle in the | > | way, then what is preventing him from trying to apply the same principle in the | ||
| > | southern states? | > | southern states? | ||
| 145 | I say to you, think twice. | 132 | I say to you, think twice. | ||
| 146 | There's a much better solution to these problems than the idea of supremacy for | 133 | There's a much better solution to these problems than the idea of supremacy for | ||
| > | the white or supremacy for the black. | > | the white or supremacy for the black. | ||
| 147 | Now the other thing that hurt me a great deal, as a question, is that charge wit | 134 | Now the other thing that hurt me a great deal, as a question, is that charge wit | ||
| > | h sadistic activities. | > | h sadistic activities. | ||
| 148 | isolated cases. | 135 | isolated cases. | ||
| 149 | I suppose if you were to take the days of the Fox clan, or the days of even Bost | 136 | I suppose if you were to take the days of the Fox clan, or the days of even Bost | ||
| > | on, some periods I've seen, and some of the experiences that I also have, incide | > | on, some periods I've seen, and some of the experiences that I also have, incide | ||
| > | nt in Japan, if you were to take a series of isolated instances, gather them tog | > | nt in Japan, if you were to take a series of isolated instances, gather them tog | ||
| > | ether, you'd probably come to the conclusion that these people are sadistic. | > | ether, you'd probably come to the conclusion that these people are sadistic. | ||
| 150 | It reminds me one time I had an operation on my left eye, surprising to me, more | 137 | It reminds me one time I had an operation on my left eye, surprising to me, more | ||
| > | of a cataract, an impact that I received. | > | of a cataract, an impact that I received. | ||
| 151 | And I was in the hospital about six or seven days and when I get out I thought e | 138 | And I was in the hospital about six or seven days and when I get out I thought e | ||
| > | verybody had eye trouble. | > | verybody had eye trouble. | ||
| 152 | So be sure that your vision has greater scope than believing isolated cases whic | 139 | So be sure that your vision has greater scope than believing isolated cases whic | ||
| > | h in most instances are presented without proof. | > | h in most instances are presented without proof. | ||
| 153 | And I as one say that a man makes a statement as I know he's a fabricator. | 140 | And I as one say that a man makes a statement as I know he's a fabricator. | ||
| 154 | I'll give him the benefit of the doubt to say it's true. | 141 | I'll give him the benefit of the doubt to say it's true. | ||
| 155 | But I didn't see any sadistic activity myself. | 142 | But I didn't see any sadistic activity myself. | ||
| 156 | A sadistic activity would be the use of the hand -rapper that I have seen in the | 143 | A sadistic activity would be the use of the hand -rapper that I have seen in the | ||
| > | paper, where one gentleman holds it out and the other sends it hand, and they d | > | paper, where one gentleman holds it out and the other sends it hand, and they d | ||
| > | emonstrate how the hand-rapper confuses. | > | emonstrate how the hand-rapper confuses. | ||
| 157 | that they call the ponderatoria. | 144 | that they call the ponderatoria. | ||
| 158 | I didn't see it. | 145 | I didn't see it. | ||
| 159 | I know that when I was a boy I was beaten with a cane by Mr. Emerson, and there' | 146 | I know that when I was a boy I was beaten with a cane by Mr. Emerson, and there' | ||
| > | s the principal then for doing things that I shouldn't do as a boy. | > | s the principal then for doing things that I shouldn't do as a boy. | ||
| 160 | I suppose that would be, that's called a punishment, and that would cause someon | 147 | I suppose that would be, that's called a punishment, and that would cause someon | ||
| > | e to raise the eyebrow. | > | e to raise the eyebrow. | ||
| 161 | But for sadistic activities, ladies and gentlemen, I didn't see any sadistic act | 148 | But for sadistic activities, ladies and gentlemen, I didn't see any sadistic act | ||
| > | ivities. | > | ivities. | ||
| 162 | Now the problem of education. | 149 | Now the problem of education. | ||
| 163 | This seems to be the opportunity of all the systems, with regard to defending it | 150 | This seems to be the opportunity of all the systems, with regard to defending it | ||
| > | self against all these charges. | > | self against all these charges. | ||
| 164 | It has been said that there is a low literacy rate in that. | 151 | It has been said that there is a low literacy rate in that. | ||
| 165 | And I as an individual will say yes. | 152 | And I as an individual will say yes. | ||
| 166 | And others will say yes. | 153 | And others will say yes. | ||
| 167 | And then there are other statements that bring the term national. | 154 | And then there are other statements that bring the term national. | ||
| 168 | And because of the first accusation, accusations of wrecking the others acquired | 155 | And because of the first accusation, accusations of wrecking the others acquired | ||
| > | from truth. | > | from truth. | ||
| 169 | I have heard various statements that the literacy rate, for example, is decreasi | 156 | I have heard various statements that the literacy rate, for example, is decreasi | ||
| > | ng. | > | ng. | ||
| 170 | I, uh, the study missionaries for the French patril industry can tell the differ | 157 | I, uh, the study missionaries for the French patril industry can tell the differ | ||
| > | ence. | > | ence. | ||
| 171 | Something called, meter. | 158 | Something called, meter. | ||
| 172 | They said they listed a number of countries and they gained pipes. | 159 | They said they listed a number of countries and they gained pipes. | ||
| 173 | Pipes. | 160 | Pipes. | ||
| 174 | Now, what is the story of the grapes? | 161 | Now, what is the story of the grapes? | ||
| 175 | I know. | 162 | I know. | ||
| 176 | The reason for this is that if machinery is built, they cook separate grapes. | 163 | The reason for this is that if machinery is built, they cook separate grapes. | ||
| 177 | Some of the estate people who bought the... | 164 | Some of the estate people who bought the... | ||
| 178 | ...impartialized the taste of the wine, the rich areas, the man-made skin areas, | 165 | ...impartialized the taste of the wine, the rich areas, the man-made skin areas, | ||
| > | they mentioned that they used to... | > | they mentioned that they used to... | ||
| 179 | ...breeze that one time. | 166 | ...breeze that one time. | ||
| 180 | This aroma and taste are so important... | 167 | This aroma and taste are so important... | ||
| 181 | But I noticed in an article in the Zedby book that they are tenacious. | 168 | But I noticed in an article in the Zedby book that they are tenacious. | ||
| 182 | My own figure from my observation is between 15 and 12 centimeters. | 169 | My own figure from my observation is between 15 and 12 centimeters. | ||
| 183 | That's the figure I take. | 170 | That's the figure I take. | ||
| 184 | And it's just 15 centimeters. | 171 | And it's just 15 centimeters. | ||
| 185 | rather similar to Champagne, and the very sweet wines of the area around Grand O | 172 | rather similar to Champagne, and the very sweet wines of the area around Grand O | ||
| > | le. | > | le. | ||
| 186 | One of the famous wines which is mentioned in English literature is a dill, name | 173 | One of the famous wines which is mentioned in English literature is a dill, name | ||
| > | ly Mamsie wine. | > | ly Mamsie wine. | ||
| 187 | I would say, for example, about 77% of the dill is a Grand Ole Grand Ole. | 174 | I would say, for example, about 77% of the dill is a Grand Ole Grand Ole. | ||
| 188 | The special characteristic of these are about approximately 70% of Champagne. | 175 | The special characteristic of these are about approximately 70% of Champagne. | ||
| 189 | These tribes each speak a dialect. | 176 | These tribes each speak a dialect. | ||
| 190 | Now, unfortunately, there are many people who use this language in their own lan | 177 | Now, unfortunately, there are many people who use this language in their own lan | ||
| > | guage. | > | guage. | ||
| 191 | These people don't understand that type of a thing. | 178 | These people don't understand that type of a thing. | ||
| 192 | So it has made a contribution in that direction. | 179 | So it has made a contribution in that direction. | ||
| 193 | It hasn't done anything else. | 180 | It hasn't done anything else. | ||
| 194 | Now, what I didn't see there, is that the average age of the administrator that | 181 | Now, what I didn't see there, is that the average age of the administrator that | ||
| > | I found in the area was 42, 43 years. | > | I found in the area was 42, 43 years. | ||
| 195 | There were only two administrators, two governors, and I met two of them over th | 182 | There were only two administrators, two governors, and I met two of them over th | ||
| > | at. | > | at. | ||
| 196 | I could only be in northern was a colonel retired, a fellow by the name of Modes | 183 | I could only be in northern was a colonel retired, a fellow by the name of Modes | ||
| > | ta and that was the moment of grief. | > | ta and that was the moment of grief. | ||
| 197 | The average age of the district governor was about 42. | 184 | The average age of the district governor was about 42. | ||
| 198 | And there were two or three exceptions. | 185 | And there were two or three exceptions. | ||
| 199 | There appeared to be a military that was able to option for him. | 186 | There appeared to be a military that was able to option for him. | ||
| 200 | and I also noticed the enthusiasm for the work of the city of Doris. | 187 | and I also noticed the enthusiasm for the work of the city of Doris. | ||
| 201 | It reminded me very much of the situation in Japan. | 188 | It reminded me very much of the situation in Japan. | ||
| 202 | I was there, the enthusiasm we had for the Civil Affairs and Military Government | 189 | I was there, the enthusiasm we had for the Civil Affairs and Military Government | ||
| > | teams. | > | teams. | ||
| 203 | So you have a great emphasis there to get these things done that have been said | 190 | So you have a great emphasis there to get these things done that have been said | ||
| > | to be lacking in these areas. | > | to be lacking in these areas. | ||
| 204 | Effective law education. | 191 | Effective law education. | ||
| 205 | Ladies and gentlemen, I don't see this as an excuse for lack of education. | 192 | Ladies and gentlemen, I don't see this as an excuse for lack of education. | ||
| 206 | But if you examine the record, if you examine the record of the airwaves, what y | 193 | But if you examine the record, if you examine the record of the airwaves, what y | ||
| > | ou'll find is that they are very, very nice. | > | ou'll find is that they are very, very nice. | ||
| 207 | I think that I've taken enough time to explain to you what I mean by the airwave | 194 | I think that I've taken enough time to explain to you what I mean by the airwave | ||
| > | s. | > | s. | ||
| 208 | I'm going to... | 195 | I'm going to... | ||
| 209 | There are several things I'd like to ask. | 196 | There are several things I'd like to ask. | ||
| 210 | If the enemies of the British push demand the immediate surrender of Angola, I w | 197 | If the enemies of the British push demand the immediate surrender of Angola, I w | ||
| > | ant one. | > | ant one. | ||
| 211 | The fool. | 198 | The fool. | ||
| 212 | Who do you negotiate with? | 199 | Who do you negotiate with? | ||
| 213 | If they say you negotiate with the Nazis, or the rebels, or what you like to cal | 200 | If they say you negotiate with the Nazis, or the rebels, or what you like to cal | ||
| > | l terrorists, then that's just a thing you can say out there. | > | l terrorists, then that's just a thing you can say out there. | ||
| 214 | You negotiate with whom? | 201 | You negotiate with whom? | ||
| 215 | to negotiate with? | 202 | to negotiate with? | ||
| 216 | To whom do you turn the reins of government? | 203 | To whom do you turn the reins of government? | ||
| 217 | Who do you negotiate with? | 204 | Who do you negotiate with? | ||
| 218 | I want to know who are these people who claim that they represent the people of | 205 | I want to know who are these people who claim that they represent the people of | ||
| > | Angola? | > | Angola? | ||
| 219 | Who are they? | 206 | Who are they? | ||
| 220 | Where do they come from? | 207 | Where do they come from? | ||
| 221 | And if you say, own your battles, marry the Niazak, out if you say these two men | 208 | And if you say, own your battles, marry the Niazak, out if you say these two men | ||
| > | represent the people of angola where is the element of self-determination isn't | > | represent the people of angola where is the element of self-determination isn't | ||
| > | self -determination doesn't signify that people have a choice is this to be ach | > | self -determination doesn't signify that people have a choice is this to be ach | ||
| > | ieved the exceptional philosophy that I was not here to pursue. | > | ieved the exceptional philosophy that I was not here to pursue. | ||
| 222 | He did surrender to the mere fact that the country is not repaired is no excuse. | 209 | He did surrender to the mere fact that the country is not repaired is no excuse. | ||
| 223 | Now the missionaries have said negotiate. | 210 | Now the missionaries have said negotiate. | ||
| 224 | I was home. | 211 | I was home. | ||
| 225 | Was home. | 212 | Was home. | ||
| 226 | And I'm very important to the state. | 213 | And I'm very important to the state. | ||
| 227 | And if a man says, I represent the United States, the people have to know that i | 214 | And if a man says, I represent the United States, the people have to know that i | ||
| > | t's like the following of the political campaign, the Supreme Court, the Supreme | > | t's like the following of the political campaign, the Supreme Court, the Supreme | ||
| > | Court doesn't represent its whites. | > | Court doesn't represent its whites. | ||
| 228 | The economy tells us exactly what the situation is. | 215 | The economy tells us exactly what the situation is. | ||
| 229 | But a man says, I represent this. | 216 | But a man says, I represent this. | ||
| 230 | I was in street commerce for hours. | 217 | I was in street commerce for hours. | ||
| 231 | I commented. | 218 | I commented. | ||
| 232 | I asked, do you know Holger Barrow? | 219 | I asked, do you know Holger Barrow? | ||
| 233 | Good. | 220 | Good. | ||
| 234 | The same thing I applied when I said, you know, you know, I didn't know him. | 221 | The same thing I applied when I said, you know, you know, I didn't know him. | ||
| 235 | I was just, I was just, he was named by me. | 222 | I was just, I was just, he was named by me. | ||
| 236 | Good. | 223 | Good. | ||
| 237 | I wonder if the claim is that Holden Perot actually represents somebody. | 224 | I wonder if the claim is that Holden Perot actually represents somebody. | ||
| 238 | Harry Leandrani is the defendant, John Merriman. | 225 | Harry Leandrani is the defendant, John Merriman. | ||
| 239 | Holden Perot has denied any comments. | 226 | Holden Perot has denied any comments. | ||
| 240 | I would stake my right arm on him. | 227 | I would stake my right arm on him. | ||
| 241 | that if Holden Roberto ever takes control of Angola, he will be another Castro, | 228 | that if Holden Roberto ever takes control of Angola, he will be another Castro, | ||
| > | and I'll stake my right arm, and I'll be like that rope who put it right over th | > | and I'll stake my right arm, and I'll be like that rope who put it right over th | ||
| > | e fire and committed it to burn. | > | e fire and committed it to burn. | ||
| 242 | The Holden -Roberto method is not that way. | 229 | The Holden -Roberto method is not that way. | ||
| 243 | They say, well, truth is very high. | 230 | They say, well, truth is very high. | ||
| 244 | Other, other things. | 231 | Other, other things. | ||
| 245 | The Chinese are interested. | 232 | The Chinese are interested. | ||
| 246 | The end is near. | 233 | The end is near. | ||
| 247 | The beginnings are very, very quiet. | 234 | The beginnings are very, very quiet. | ||
| 248 | There are the great, great, great, expression of the ideas of the years. | 235 | There are the great, great, great, expression of the ideas of the years. | ||
| 249 | More racism, more discrimination, more politics, and the ideas of the great, gre | 236 | More racism, more discrimination, more politics, and the ideas of the great, gre | ||
| > | at, great, and the public health statistics. | > | at, great, and the public health statistics. | ||
| 250 | And all of the others, and they were not living with God. | 237 | And all of the others, and they were not living with God. | ||
| 251 | They were living with God as well as they were living with God. | 238 | They were living with God as well as they were living with God. | ||
| 252 | And the fact that the comparisons were bothering us in Herod, the comparisons we | 239 | And the fact that the comparisons were bothering us in Herod, the comparisons we | ||
| > | re to the hymn. | > | re to the hymn. | ||
| 253 | now let's not make the same mistake in this whole business of anger. | 240 | now let's not make the same mistake in this whole business of anger. | ||
| 254 | I am so out of the behind human hearts. | 241 | I am so out of the behind human hearts. | ||
| 255 | I would like to see no man that's in my way that works for me, I can't otherwise | 242 | I would like to see no man that's in my way that works for me, I can't otherwise | ||
| > | than the interest of ours and the opportunity. | > | than the interest of ours and the opportunity. | ||
| 256 | Remember this, the one thing that perhaps Perhaps we should understand that thes | 243 | Remember this, the one thing that perhaps Perhaps we should understand that thes | ||
| > | e tribes in Angola, because of their past history, have not had the economic inc | > | e tribes in Angola, because of their past history, have not had the economic inc | ||
| > | entives that perhaps the mind-minds of the British are so bad. | > | entives that perhaps the mind-minds of the British are so bad. | ||
| 257 | I think the work that's going on here, the people who have been gathered to buil | 244 | I think the work that's going on here, the people who have been gathered to buil | ||
| > | d, you're getting people who are people who don't see the question. | > | d, you're getting people who are people who don't see the question. | ||
| 258 | You're getting an education, and the education making it possible for them to ta | 245 | You're getting an education, and the education making it possible for them to ta | ||
| > | ke advantage of the job. | > | ke advantage of the job. | ||
| 259 | That's wonderful. | 246 | That's wonderful. | ||
| 260 | Everybody is all in favor of that. | 247 | Everybody is all in favor of that. | ||
| 261 | But there's also a disinformation among the men who are charged with student abu | 248 | But there's also a disinformation among the men who are charged with student abu | ||
| > | se, and more than that information. | > | se, and more than that information. | ||
| 262 | I sometimes wonder whether the matter should not be imposed on a compulsory basi | 249 | I sometimes wonder whether the matter should not be imposed on a compulsory basi | ||
| > | s. | > | s. | ||
| 263 | I think there are some laws in this country I know of that are not sending child | 250 | I think there are some laws in this country I know of that are not sending child | ||
| > | ren to school and get out of the parents' house and forced them to go to school. | > | ren to school and get out of the parents' house and forced them to go to school. | ||
| 264 | Well, there hasn't been this impulsory feature of education in Angola. | 251 | Well, there hasn't been this impulsory feature of education in Angola. | ||
| 265 | Then you have problems of society, for example. | 252 | Then you have problems of society, for example. | ||
| 266 | The tribe there has certain customs to live by. | 253 | The tribe there has certain customs to live by. | ||
| 267 | I think it means that that's separate. | 254 | I think it means that that's separate. | ||
| 268 | I'm not from Angola. | 255 | I'm not from Angola. | ||
| 269 | I'm from Angola. | 256 | I'm from Angola. | ||
| 270 | I'm from Angola. | 257 | I'm from Angola. | ||
| 271 | I'm from Angola. | 258 | I'm from Angola. | ||
| 272 | I'm from Angola. | 259 | I'm from Angola. | ||
| 273 | I have seen night schools with hundreds going to thousands if you want to, of al | 260 | I have seen night schools with hundreds going to thousands if you want to, of al | ||
| > | l the students. | > | l the students. | ||
| 274 | of students who were studying and now maybe this is something that should just c | 261 | of students who were studying and now maybe this is something that should just c | ||
| > | ome up. | > | ome up. | ||
| 275 | I don't know. | 262 | I don't know. | ||
| 276 | I saw this business. | 263 | I saw this business. | ||
| 277 | I also have a friend who I met who was planning and just asked a little girl to | 264 | I also have a friend who I met who was planning and just asked a little girl to | ||
| > | assist him to read to see how well she was doing. | > | assist him to read to see how well she was doing. | ||
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