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The Year In Pictures 2018

来源:纽约时报    2018-12-28 04:57

        NEWS PHOTOGRAPHY is often meant to be consumed instantly, on paper, on our screens, in endless scrolling feeds. It tells us what the world looks like right at the moment. But it can lose much of its power that way — the power to seize us, to shake us awake, to interrupt the everyday. There is always a new image. Scenes of the present become instantly the past.        新闻摄影通常意味着它们可以在纸上、屏幕上、或无尽滚动的订阅源中被马上消费。它告诉我们此刻的世界是什么样子。但它也会因此失去很多力量——那种抓住我们、把我们摇醒、打断我们日常生活的力量。总会有新的画面出现。现在的场景瞬间就变成了过去。
        Put together at the end of a year, though, their essence is restored. The images here compel us to look closely, look twice, look slowly. And in doing so, we can ask ourselves: How do we react to what we see — not only in the moment we look at it, but in our daily lives? How does that reaction prepare us for the way we will face the future?        不过,在一年结尾之时把它们放在一起,它们的本质就会得到修复。这里的图像迫使我们仔细观看,再看一次,慢慢观看。在这样做的时候,我们可以扪心自问:我们应该如何对我们所看到的一切做出反应——不仅是在我们看到它的那一刻,还在我们的日常生活之中?这种反应如何让我们为面向未来做好准备?
        The word “empathy” has been tossed around a lot lately, which probably signals its actual absence in so many spheres of human interaction. It is said of a particular book that it is written with “great empathy,” or that a certain film is good because it “teaches empathy.” Perhaps our standards should be higher. Empathy is the minimum, but we need to step into the world with more than that. What about art teaching us indignation? What about rage?        点击查看图集:
        At first glance, these photographs are a retrospective of the year we are about to leave behind. If many of them seem, on closer inspection, like a recurring nightmare, it’s because yes, they are. Most of the crises, conflicts and natural disasters they capture aren’t new, having dragged on from previous years, or are otherwise a resurfacing of symptoms of social ailments that have gone unattended for too long. If we look even more closely, we realize these are in fact photographs about the future.        图片中的2018年(上)
        There is the disturbingly sad gaze of a baby girl being embraced by her mother, a victim of the opioid crisis. How can a baby’s eyes look this sad? It’s as if she were staring into a future that most of us dare not imagine. Every 15 minutes in the United States, a baby is born with neonatal abstinence syndrome. Imagine their future.        图片中的2018年(下)
        There are eight young palms raised high during a student protest, shortly after the Parkland school shooting. On each palm is a word, and together these words compose the shattering, almost stuttered sentence: again / don’t / shoot/ don’t /shoot / never. How do we articulate that future?        “同理心”这个词最近经常被人提起,这可能表明它在人类互动的许多领域中实际上是缺失的。人们说,某本书在写作时带有“极大的同理心”,或者某部电影之所以好,是因为它“教会了同理心”。“也许我们的标准应该更高一些。”同理心是最小的要求,但我们需要带着更多的东西走进这个世界。让艺术教会我们义愤,如何?愤怒呢?
        We see the cardboard cutouts of Mark Zuckerberg wearing a T-shirt that reads “Fix Fakebook,” as part of an effort to denounce the role the company may have played in spreading disinformation and affecting electoral results around the world — most recently, the election of a far-right leader in Brazil. Let’s tell that future: We’re watching you, too.        乍看上去,这些照片是对我们即将告别的一年的回顾。如果仔细观察,其中许多看起来就像一场反复出现的噩梦,那是因为,是的,它们确实是。它们所捕捉到的大多数危机、冲突和自然灾害都不是新出现的,都是从前些年遗留下来的,或者是长期无人过问的社会疾病症状再次出现。如果我们进一步仔细审视,就会发现这些照片其实是关于未来的。
        It is impossible not to look at the searing image of Amal Hussain, 7, photographed at a hospital in northern Yemen, and think of the future she will not have. She died of malnutrition in November. What is the future for other children trapped by that war?        一个女婴正被阿片类药物危机中受害的母亲拥抱,她的眼神令人不安而悲伤。一个婴儿的眼睛怎么会看起来这么悲伤?她似乎在展望一个我们大多数人都不敢想象的未来。在美国,每隔15分钟就有一名存在戒断症状的孩子出生。想想他们的未来吧。
        What many of these pictures have in common is not only the tragedies they depict, but also the fact that underlies those tragedies, which is that while some die or are killed, while some fall prey to addiction, while their countries fall into the hands of authoritarians, others may profit. Pharmaceutical companies profit, arms companies profit, Facebook profits. We see here the dispossession that enables the few — all those suits and ties — to silence the many.        在帕克兰学校枪击案发生后不久,在一次学生抗议活动中,8只年轻的手掌高高举起。每只手掌上都写着一个词,这些词合在一起,构成了一个破碎的、几乎是结结巴巴的句子:再一次/不要/开枪/不要/开枪/永不。我们该如何描述这样的未来?
        But then there is the woman from Central America, holding her little boy’s hand. She’s wearing a T-shirt that reads “Femme Power.” She has just been released from a detention center at the border, during the summer of family separations. The image begs us not only to think about how asylum seekers are treated in this country, but also to consider how undocumented immigrants can be locked into a narrative that diminishes their agency, one that reduces their fierceness and dignity to victimhood. Look at this woman’s eyes, see how she stares at the world in front of her. Look at yourself, looking. Then look at her gaze again. And remember it, because she is the future.
        我们看到一些纸板像,上面是马克·扎克伯格(Mark Zuckerberg)穿着印有“修好Fakebook”字样的T恤,这是为了谴责该公司在散布虚假信息和影响全球选举结果方面可能扮演的角色——最近一次是巴西极右翼领导人的当选。让我们告诉那个未来:我们也在看着你。
                看着七岁的阿迈勒·侯赛因(Amal Hussain)在也门北部一家医院那些令人心碎的照片,我们不可能不想到那个她不再拥有的未来。11月,她死于营养不良。其他受困于战争的孩子们的未来会怎样?
                ——瓦莱里娅·路易塞利(Valeria Luiselli) 

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