《4 Levels of Scribing》

視覺記錄的四個層次

本文已獲作者Kelvy Bird（美國資深視覺引導(dǎo)師，奧托·夏莫U型理論視覺記憶師）同意轉(zhuǎn)載，原文鏈接：http://www.kelvybird.com/4-levels-of-scribing/

翻譯：Jayce Lee（臺灣）

校對：Ripley Lin（臺灣）

簡體版整理：Mandy

People often ask scribes how we do what we do. There isthe short answer: “We draw while people talk…” And then there is another way ofthinking about it, which i am just starting to unpack. This post will be brief(ish) – but want to get the wheels going and land the notion.

常常有人問我們視覺記錄師是如何工作的。我的回答很簡單：“你們講，我們畫”。然而，除此之外還可以有另一種方式來考慮，所以接下來我想嘗試表達我粗略的思考。雖然這篇文章稍顯簡短，但是我希望借此機會將思考延伸發(fā)展一下。

Considering Otto Scharmer‘s 4 Levels of Listening framework (see at end of post)i’ve come up with the following translation, applied to scribing:

參考奧托·夏末“聆聽的四個層次”框架（詳見文章末尾），我將它運用在視覺記錄中，有了以下的演繹：

At one level, let’s call it L1 (Level 1), we draw what wehear, and it’s literal. Someone says “bird” and we draw a bird. At anotherlevel, L2, we see what is being spoken from a broader vantage point, and stilldraw what we hear, but our lens might be expanded to make sense of what isbeing spoken within a context, which we can map. Someonedescribes bird in an expanded picture “while the bird is flying,it reaches the coast and joins a flock,” and we enter the domainof storytelling.

在某一層次，我們姑且稱之為第一層次，我們聽到什么就畫什么，可謂是字面上的表述。（比如）有人說“鳥”，我們就畫鳥。在另一層次，即第二層次，雖然還是畫出自己所聽到的，但我們會從一個更寬廣的視角來看話里的意思。我們用更大的視野觀察、傾聽、覺察，再將這些話語內(nèi)容以更有意義的布局方式呈現(xiàn)出來，表達情境。例如：有人形容在展開圖中的鳥兒：“一只正在翱翔的鳥，它飛近海岸線并融入群鳥之中”，此時我們就進入了故事敘述的范疇。

Then, in L3, we realize there is aconnection between the way the bird, the flock, and the coastlineform and the way the company – for whom we are scribing – isexploring what it takes to tend to new hires while unrolling newstrategy (from an earlier part of the conversation.) Here is a chance todemonstrate a line between the parts of two shared bits of content: onemetaphor, one literal, yet of a similar energy. Maybe these bits came outtogether – maybe they came out hours apart. But they RELATE, and we noticethat, and we can choose to show a still larger view. We make meaning byadding a nest and an egg and maybe annotating what is starting to evolve...

緊接著，到了第三層次。我們?yōu)橹M行圖像記錄的這家公司，在探究實施新策略時，雇傭新人會有何代價。我們領(lǐng)悟到鳥、鳥群、海岸線的樣貌，和這家公司現(xiàn)狀之間的連結(jié)——這是一個展示字面意義與深層隱喻間關(guān)系的好機會，它們彼此也展示出了相類似的能量。也許兩者間的連結(jié)會被及時地表現(xiàn)出來，也或許過幾個小時才能被發(fā)現(xiàn)。但兩者確實息息相關(guān)，我們（視覺記錄師）注意到了這部分，接著就可以選擇一個更廣闊的視野來呈現(xiàn)。（比如）借由加一個鳥巢和鳥蛋勾勒情境，也許可以再加一些文字，來表達正在轉(zhuǎn)變的意義。

And then there is something else that kicks in the moreyou do this work…. it really is a deeper kind of listening coupled with aletting go of the need to even draw. In L4 windows, my experience is thata scribe must embrace an intimate coupling with the ENERGY of what’s going on,an energy that has started to becomes tangible in L3, where time slows,the air quiets, and words come from hearts in between long pauses, with a toneof the whole swelling over the posturing of a few. (Ego has shed. No one voicedominates. Agendas have evaporated.) It’s a kind of creative rupture takingplace, where something is being born, something is coming ALIVE, and we, asscribes, witness it; in a way we are midwives facilitating, throughour being and our hands, an emergence of some collective shift and KNOWING.

這樣的能量在第三層次中開始變得具體，尤其是你做這項工作越久，越會領(lǐng)悟到：實際上，有些東西正在生成。。。我們的傾聽會更新、更深，甚至開始放下要畫的渴望。在第四層次到來時，我的體驗是一個視覺記錄工作者必須愿意深層次的接納并與正在發(fā)生的能量有親密的融合。你會發(fā)現(xiàn)，時間在慢慢變緩，空氣也開始凝聚，在長時間的靜默后（參與者說話較少時）說出來的話語來自更深的內(nèi)在，此時人們不再只為自己而說，而是從更大的整體出發(fā)來表達（蛻下小我，沒有誰強勢，僵化的觀點也在煙消云散）。就好像是發(fā)生了一種突破性的創(chuàng)新，某些事情正在生成并變得鮮活。身為視覺記錄者的我們，見證了這個過程。某種程度上，我們像一位助產(chǎn)士般，透過當(dāng)下的狀態(tài)和雙手，引導(dǎo)并覺察這些正在發(fā)生的集體轉(zhuǎn)變。

Here, what is essential, is to be a channel. Onlydraw what must be drawn in the new life. Only draw what represents the absolutepresent moment.

因此，很關(guān)鍵的是，讓自己成為一個管道。只須勾勒出新生命中需要被畫出來的部分，只須畫出能代表每個當(dāng)下的純粹時刻。

(There is SO MUCH moreto write on this, and i will.) As reference, Otto’s model – and yes, we scribe whilelistening, also in these levels…..

（針對這個主題還有很多可以寫，我也會繼續(xù)寫）是的，我們視覺記錄工作者在記錄時，也可以參考奧托的模型，以這幾種層次來聆聽...