虚拟证词和创伤过去的数字化未来

Amit Pinchevski
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引用次数: 0

摘要

在所有大屠杀证词项目的基础上,都有一个共同的承诺:记录和保存灾难幸存者用他们自己的声音讲述的故事。当涉及到幸存者的证词时,信使和信息一样重要。第一个认同这一观点的是美国心理学家大卫·博德(David Boder),他在1946年开始采访西欧难民营的幸存者。配备了当时最先进的技术——装甲50型有线录音机——博德继续制作了大屠杀的第一个音频证词。电线记录器是由Boder在伊利诺伊理工学院的同事Marvin Camras在20世纪40年代为美国军方开发的,是一种便携式且非常耐用的设备,它利用细钢丝卷成线轴来产生电磁记录(见下图4.1)。正如Boder后来评论的那样,这个装置“提供了一种独特而准确的记录流离失所者经历的手段”。通过有线录音机,流离失所的人可以用自己的语言和声音讲述他在集中营生活的故事。”通过研究电线记录的叙述,他设计了一个“创伤指数”,通过这个指数,“每个叙述都可以根据对受害者产生创伤影响的经历的类别和数量进行评估。”波德1949年的专著《我没有采访死者》邀请读者在一些记录叙事的文本中寻找隐含的创伤迹象。前提似乎是,只要这种创伤性影响存在,它就应该在文本中被发现。然而,使博德的项目独具匠心的技术,同时也是其相对默默无闻的原因。电线录音很快就让位于磁带录音,因此,博德的电线线轴被淘汰了,它们所承载的证词几乎被遗忘了。这种短命的媒介阻止了对记录材料的访问。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Virtual Testimony and the Digital Future of Traumatic Past
At the base of all Holocaust testimony projects lies a common commitment: to record and preserve the stories of those who survived the catastrophe as told in their own voices. When it comes to survivors’ testimonies, the messenger is as important as the message. The first to subscribe to this reasoning was the American psychologist David Boder, who in 1946 set out to interview survivors in refugee camps across Western Europe. Equipped with what was then the state- of- the- art technology—an Armour Model 50 wire recorder—Boder went on to produce what was the first audio testimony of the Holocaust. The wire recorder, developed in the 1940s by Marvin Camras, Boder’s colleague at the Illinois Institute of Technology, for the U.S. military, was a portable and remarkably durable device that utilized thin steel wires rolled into spools to produce an electromagnetic recording (see Fig. 4.1 below). As Boder later commented, the device “offered a unique and exact means of recording the experiences of displaced persons. Through the wire recorder the displaced person could relate in his own language and in his own voice the story of his concentration camp life.” Studying wire- recorded narratives led him to devise a “traumatic index” by means of which “each narrative may be assessed as to the category and number of experiences bound to have a traumatizing effect upon the victim.” Boder’s 1949 monograph, I Did Not Interview the Dead, invites readers to find indications of trauma implicit in selected transcripts of recorded narratives. The premise seems to be that, to the extent that such traumatic impact exists, it should be discoverable textually. Yet the same technology that made Boder’s project ingenious was also the reason for its relative obscurity. Wire recording was soon to give way to tape recording, consequently condemning Boder’s wire spools to obsolescence and the testimonies they held to near oblivion. The short- lived medium precluded access to the recorded material.
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