《4 Levels of Scribing》

视觉记录的四个层次

本文已获作者Kelvy Bird（美国资深视觉引导师，奥托·夏莫U型理论视觉记忆师）同意转载，原文链接：http://www.kelvybird.com/4-levels-of-scribing/

翻译：Jayce Lee（台湾）

校对：Ripley Lin（台湾）

简体版整理：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.

常常有人问我们视觉记录师是如何工作的。我的回答很简单：“你们讲，我们画”。然而，除此之外还可以有另一种方式来考虑，所以接下来我想尝试表达我粗略的思考。虽然这篇文章稍显简短，但是我希望借此机会将思考延伸发展一下。

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:

参考奥托·夏末“聆听的四个层次”框架（详见文章末尾），我将它运用在视觉记录中，有了以下的演绎：

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.

在某一层次，我们姑且称之为第一层次，我们听到什么就画什么，可谓是字面上的表述。（比如）有人说“鸟”，我们就画鸟。在另一层次，即第二层次，虽然还是画出自己所听到的，但我们会从一个更宽广的视角来看话里的意思。我们用更大的视野观察、倾听、觉察，再将这些话语内容以更有意义的布局方式呈现出来，表达情境。例如：有人形容在展开图中的鸟儿：“一只正在翱翔的鸟，它飞近海岸线并融入群鸟之中”，此时我们就进入了故事叙述的范畴。

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...

紧接着，到了第三层次。我们为之进行图像记录的这家公司，在探究实施新策略时，雇佣新人会有何代价。我们领悟到鸟、鸟群、海岸线的样貌，和这家公司现状之间的连结——这是一个展示字面意义与深层隐喻间关系的好机会，它们彼此也展示出了相类似的能量。也许两者间的连结会被及时地表现出来，也或许过几个小时才能被发现。但两者确实息息相关，我们（视觉记录师）注意到了这部分，接着就可以选择一个更广阔的视野来呈现。（比如）借由加一个鸟巢和鸟蛋勾勒情境，也许可以再加一些文字，来表达正在转变的意义。

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.

这样的能量在第三层次中开始变得具体，尤其是你做这项工作越久，越会领悟到：实际上，有些东西正在生成。。。我们的倾听会更新、更深，甚至开始放下要画的渴望。在第四层次到来时，我的体验是一个视觉记录工作者必须愿意深层次的接纳并与正在发生的能量有亲密的融合。你会发现，时间在慢慢变缓，空气也开始凝聚，在长时间的静默后（参与者说话较少时）说出来的话语来自更深的内在，此时人们不再只为自己而说，而是从更大的整体出发来表达（蜕下小我，没有谁强势，僵化的观点也在烟消云散）。就好像是发生了一种突破性的创新，某些事情正在生成并变得鲜活。身为视觉记录者的我们，见证了这个过程。某种程度上，我们像一位助产士般，透过当下的状态和双手，引导并觉察这些正在发生的集体转变。

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，很关键的是，让自己成为一个管道。只须勾勒出新生命中需要被画出来的部分，只须画出能代表每个当下的纯粹时刻。

(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…..

（针对这个主题还有很多可以写，我也会继续写）是的，我们视觉记录工作者在记录时，也可以参考奥托的模型，以这几种层次来聆听...