You know, sometimes when I'm laying in bed at night 你知道有時候在晚上當我躺在床上
trying to get to sleep, 讓自己試著睡著時
all I can think about is this goal of trying to paint a Vermeer. 我整個人都在想著要去畫一幅維梅爾
You know, really, I'm gonna try to paint a Vermeer. 你知道，真的，我要試著去畫一幅維梅爾 5 00:01:44,538 > 00:01:50,575 And, at the face-- of it, that seems almost impossible. 然而表面上那幾乎是不可能的事
And I don't know if I could do it. 而我不知道假如我可以做到。
You know, it'll be pretty remarkable if I can, 你知道，如果我可以做到那將非常的不簡單，
because I'm not a painter. 因為我不是一位畫家。
The Vermeer he's talking about is Johannes Vermeer, 他所說的 Vermeer 就是 Johannes Vermeer,
the Dutch artist from the 1600s. 1600年時的荷蘭藝術家。
Some consider him the greatest painter of all time. 許多人認為他是最偉大的畫家。
When you look at a Vermeer, it seems like more than paint on canvas. 當你凝視一幅維梅爾，它似乎不只是畫布上的畫，
lt seems to glow like the image on a movie screen. 它似乎像電影螢幕的影像在發光。
That magical quality has mystified the world for 350 years. 那神奇的質量已經迷惑這個世界350年。
How did Vermeer do it? 維梅爾是做了些什麼?
Dutch artists typically learnt by apprenticeship 荷蘭藝術家通常以學徒制學習
and they kept written records to prove their training. 而他們會保持書面紀錄以證明他們的訓練。
But no such documents have ever been found about Vermeer. 但不曾發現任何有關維梅爾的這種文件。
And strangely, when you x-ray these intricate images, 然而奇怪地是當你用X光照這些錯綜複雜的圖像
you don't find the usual artist's sketches underneath. 在底層你卻未發現一般藝術家的草稿。
lt's as if Vermeer were some unfathomable genius 它像是維梅爾是某深不可測的天才
who could just walk up to a canvas and magically paint with light. 他能夠只走近一張畫布然後像變魔術般用光線作畫
lt's possible that Vermeer was using technology 那是有可能維梅爾曾使用科技
to make these beautiful paintings. 來做這些美麗的畫作。
lf he did that, and, of course, there's no documentation that he did this, 假如真如此，同時，當然他做這也沒有任何文件，
it's possible he could paint some pretty remarkable pictures without a lot of training. 那有可能他能畫一些相當卓越的圖片而沒有很多的訓練。
It's possible that he was more of an experimenter, 那有可能他更是一位實驗者
more of a tinkerer, more of a geek. 更是一位修補匠，更是一位怪胎。
And, in that way, l feel a kinship with him, because I'm a computer graphics guy, 而,就是這樣，我感到與他有一種關係，因為我是電腦繪圖傢伙。
and we use technology to make a realistic, beautiful image, 我們使用科技來完成一個真實美麗的影像，
and it's possible that's exactly what Vermeer was doing. 而那有可能正是維梅爾過去所做的。
Tim Jenison is not a painter, he's an inventor. Tim Jenison不是一位畫家，他是一位發明家。
He's always had a talent for figuring out how things work. 他常有一種天分去想出東西是怎麼做出來的。
When Tim was growing up in Iowa, he got a broken player piano, 當Tim小時在愛荷華州，他得到了一個壞掉的鋼琴，
repaired it, and taught himself to play swing music 修復它，且教自己如何演奏搖擺音樂
by slowing down the piano rolls so he could follow Fats Waller's fingers. 以放慢鋼琴速度如此它就能照著 菲特華勒斯的指法。
Tim played keyboards in a rock band for a couple of years Tim在一搖滾樂團演奏鍵盤許多年
and taught himself to fix anything electronic that broke. 也教會自己去修理任何壞掉的電器。
The amazing wizard! 令人驚奇的精靈!
He got married, had a family, 後來他結婚，有家庭，
and built a business repairing pinball machines and video games. 且建立一修理彈珠台機器與電玩的事業。
Then, around 1990, he invented a way to turn personal computers 然後，約在1990年，他發明一種方法轉換個人電腦
into TVstudios for live broadcasting. 成為電視影音即時撥放
He called it the Video Toaster, and it won him an Emmy. 他稱它為影音烤麵包機，它為他贏得一艾美獎。
That led him to other amazing achievements like LightWave, 那也帶領他其他的驚人成就像光波浪，
a program for rendering 3D images, 一種撥放3D影像程式，
which won an Emmy for his company, NewTek, in 2003. 那個為他的公司NewTek在2003年贏得一艾美獎。
Tim's now based in San Antonio, Texas, Tim's 現在在德州的聖安東尼奧
and his company produces the TriCaster, 他的公司生產TriCaster
used in broadcast, web, and live performance. 用於廣播，網站，及現場表演。
All this has given Tim the money and free time to make things like this, 所有這些給Tim金錢及自由的時間去做其他事像這個，
Frankie, his lip-syncing duck. Frankie,他的唇同步鴨。
A plane made entirely of stuff from a home improvement store. 一架完全由居家修繕店購得零件而做成的飛機。
It's an electric moth. 它是一個電子飛蛾。
His electric moth. 他的電子飛蛾。
As you raise the light, it comes up off the floor, 當你舉起燈光，它就飛離地面，
and it stays at exactly the same distance under the light. 在燈光下它會待在完全相同的距離。
And this. 還有這個。
Here's the pipe organ Tim put together from four different churches. 這管風琴Tim由四間教堂湊起來的。
Once I got started, you have to have more pipes, 一但我開始做，你必須有更多風管，
because it's never quite enough, so I've got three pipe organs here, 因為它永遠不足，所以這裡我已經拿了三個管風琴，
plus an electronic organ that I'm using for the keyboard. 加上一電子風琴，那是我用來當鍵盤。
Tim and I have been friends for a really long time. Tim與我真的是很久的朋友。
If there was an artist, he would draw it, what you see... 假如有一畫家在那，他就會畫它，你看到....
We've cried together at space shuttle launches. 我們曾在太空船發射時一起哭。
We flew his Learjet down to Cabo San Lucas 我們飛他的里爾噴射機到卡波聖拉卡斯
to see the total eclipse of the sun. 去看全日蝕。
So, the devil's in there. 所以，魔鬼在那裡。
This is Penn, the last day he was able to see 這是Pen，他能看到的最後一天
before he lost God's most precious gift looking at the eclipse. 在他失去了上帝最珍貴的禮物之前看日食。
Tim's been weightless in an astronaut-training plane Tim曾有在太空人訓練飛機上的無重力經驗
and he arranged for me to try it, too. 而他也為我安排去試乘。
I vomited into my own hair. 我嘔吐到我自己的頭髮上。
Tim was not and is not a painter. Tim過去與現在都不是一位畫家。
So I didn't know he had this whole little sub-obsession 所以我不知道他有這種完全小半痴迷
with Vermeer. 於維梅爾。
Tim's Vermeer project started 11 years back, in 2002, Tim的維梅爾計畫開始於11年前，2002，
when his daughter gave him a copy of David Hockney's book, Secret Knowledge. 當他的女兒給他一本David Hockney所寫的"Secret Knowledge".
Hockney wrote that when pictures started to look less like this, Hockney寫到圖片開始看比較不像這這，
and more like this, 而比較像這這，
that was because artists had found new tools to help them. 那是因為藝術家們已經找到新的工具來幫助他們。
ln 17th-century Holland, high quality lenses and mirrors were in use everywhere. 世紀荷蘭，高品質得鏡片與反射鏡已經到處在使用.
Telescopes were all the rage 望遠鏡也興盛，
and science hobbyists were experimenting with ways to project live images. 而科學愛好者都在實驗一種方法來投射影像。
Hockney challenged conventional wisdom by suggesting Hockney隱射挑戰傳統智慧
that when artists of Vermeer's day began to paint more accurately, 即維梅爾當時的藝術家開始更精確的作畫，
they were no longer using just their eyes and their imaginations. 他們不再只是用他們的眼睛與他們的想像力。
They were secretly getting help from optical machines, like the camera obscura. 他們秘密地使用光學設備來幫忙，像相機暗箱。
Camera obscura is Latin for "dark room". "Camera obscura"拉丁語"暗房"
Build a box, any size. 建構一箱子，任何尺寸.
Could be the size of a shoebox, 可以鞋盒的尺寸，
but let's make this one big enough to stand inside. 但讓我們把這做大到足以站在裡面。
lt's a dark room. 他就是一個暗房。
Drill a little hole in one side of the box and you see something surprising. 在箱子的一側鑽一小孔而你就看到一些驚奇的東西。
The image of whatever is outside the box, in the light, 箱子外不任何影像在光線中，
is projected on the wall opposite the hole, only it's upside down and backwards. 被投射在小孔另一側的牆上，只是上下左右顛倒。
You can make the image brighter and clearer by putting a lens in the hole, 你可放一鏡片在孔上讓影像變得更亮更清晰，
and you can change the size of the image on the wall 同時你可改變強上影像的大小尺寸
by changing the curvature and position of the lens. 由改變鏡片的曲率與位置
Here's David Hockney on a TVspecial. 這是David Hockney在一TV特集。
He's inside a camera obscura, 他在相機暗箱中，
tracing the image of a live model projected through a lens. 追蹤一實體經由一鏡片投射的影像。
Hockney was mostly focused on Hockney主要聚焦於
how a painter could have traced images through a lens. 一位畫家如何經由鏡片追蹤影像。
To me, what was most striking about the Vermeers, as a video guy, 對我，做為一位影像傢伙，甚麼是最引人注目有關維梅爾，
I'm looking at this image, and I see a video signal. 我住是這影像同時我看到一視訊。
l see something that looks like it came out of a video camera. 我看到一些東西向是它由攝影機中出來。
So I thought about how a painter could actually copy that. 所以我思索一位畫家如何確切地複製這東西。
Now, most people that have played with a camera obscura 現今，大部分人都曾使用相機暗箱，
got the idea that they could take that projected image and somehow paint on it. 獲得想法即它可拿到那個投射的影像，且如何畫它。
Well, I've tried that and a lot of people have tried it, it's impossible. 好了，我曾經嘗試，很多人也曾試過，那是不可能的。
What happens is it actually fights you, it works against you, 結果呢是它實際上與你對抗，結果相反，
it's worse than nothing at all. 這比什麼都糟糕。
Painting on a projection just doesn't work. 在投影上做畫並不可行。
Here's a blue that matches very closely the blue in the projection. 這是一個藍色幾乎很接近投影上的藍色。
Imagine this is wet paint. 想像這是濕畫
When you put it into the projection, it looks way too dark. 當你將它放到投影它看來太深
On the other hand, here's a perfect match. 另一方面，現在完全吻合，
The colour that matches the projected colour just right. 色彩與投射的色彩正相吻合。
The only colour that'll ever do that is white. 只有一種顏色我永遠會做就是白色
Tim went around the world studying Vermeer. Tim走遍世界各地研究維梅爾。
They called it "painting with light. " Vermeer "painted with light. " 他們稱它”用光繪畫”維梅爾”繪光影”.
You can't paint with light, you have to paint with paint. 你無法以光來繪畫，你必須以顏料繪畫。
And so what they're really talking about is this verisimilitude that Vermeer has, 而他們真正說的是關於維梅爾所有的逼真
that it just pops. 它只是彈出
You see it from across the room and it looks like a slide, 你穿過房間看它而它看起來像一張投影片,
it looks like a colour slide of Kodachrome. 他看來像一張柯達彩色正片(Kodachrome)
Seeing the Vermeers in person was a revelation. 親眼見維梅爾的畫作是一種啟示。
It reinforced to me that I was on the right track. 它讓我增強我在正確的軌道。。
That what I was seeing was an accurate representation of the colour in that room. 那些我所見到的是在那房間中準確的色彩表現。
I just had a hunch that there must be a way to actually get the colours accurate, 我有一種直覺就是一定有一種方式確實地取得準確的顏色，
with mechanical means. 以機械工具。
Some way you could do that in the 17th century. 在17世紀某些你可用的方法。
I remember just having this vague idea of comparing two colours with a mirror, 我記得剛有這模糊的想法用一鏡子來比較兩兩個顏色,
and it didn't go any farther than that for a long time. 但是隊長時間它無法更進一步.
Sitting in the bathtub, 坐在澡盆中，
you know, that's I guess where you have your eureka moments, 你知道,那是我猜想你有你的尤里卡時刻之處，
but, I don't know, there's something about bath water... 但，我不知道，有些關於洗澡水.....
It's just very, very relaxing. 那只是非常非常放鬆。
And I was just picturing that mirror hanging there in space, 我只是描繪反射懸在空中的影像，
and I pictured what I would see, and there it was. 而我所描繪的是我看到的，它就是那樣。
And so I grabbed a piece of paper, being careful not to get it wet, 所以我抓了張紙，小心地不弄濕，
made a sketch, and that was where I realised 做了草稿，而就在那時我意識到
Vermeer could have used a mirror to paint those paintings. 維梅爾可曾用一鏡子來繪那些畫。
To test this l propped up a high school photograph of my father-in-law on the table. 為了試驗此點將我岳父高中的大頭照豎在桌上。
I put a piece of Masonite down here to paint on. 我放了一張美森耐(Masonite)紙在下方在上面做畫。
I set a small mirror at a 45-degree angle. 我架了一小片反射鏡以45度角度。
And for the first time in my life, I did just what Vermeer may have done. 這是我生命中第一次做此維梅爾可能曾經做過的事。
l picked up some oil paints and a brush. 我時起一些油畫顏料與筆刷。
In Vermeer's camera this would be a projection, 在維梅爾的相機中，這可能是一投影,
a lens is projecting this image. 一個鏡片將此影像投影出來。
But to show the actual mirror painting process, 但為了展示真實反射繪畫程序，
we're using a photograph here. 我們這裡用的事一張照片。
You can see that there's a reflection, and then there's my canvas down here. 你可以看到那有一反射而同時下面有我的畫布。
And right at the edge of the mirror, I can see both things at once. 在鏡子邊緣右側我可以同時看見兩者。
I'm just going to apply paint 我開始要上色了
and either darken or lighten the paint until it's the same exact colour. 不管顏色較暗或較亮直到它是完全相同顏色。
And at that point, when it's exactly the same colour, 當在顏色完全相同的時間點，
the edge of the mirror will disappear. 反射鏡的邊緣就會消失。
All right, and I'm an idiot at this, 好了，對做這事我事一個白癡，
I have done this process exactly twice in my life before. 過去在我生命中只做過兩次這個程序
What I'm doing is I'm moving my head up and down 我做了什麼就是上下移動我的頭
so that I can see first the original and then my canvas. 這樣我就可以先看到原物而後再看到我的畫布
I'm looking at both things at the same time. 我正同時注視兩件東西。
Right on the forehead, you can see that they match, 在前額上你可以看到他們吻合了，
because you can't really see the edge of the mirror. 因為你看不到反射鏡的邊緣
That's, that's your clue that you've matched the paint exactly. 那就是，那就是你的線索讓你畫的完全吻合。
It's not subjective, it's objective. 它不是主觀，它是客觀。
I'm a piece of human photographic film at that point. 在那時我是一張人肉底片
What you're doing here is you're essentially blending? 你在這所做的就是基本上的融合。
Yep, I am either darkening or lightening the paint that's already on the surface. 是啊，我將已經在表面上的漆弄暗些或亮些。
You aren't tracing any lines, 'cause there are no lines. 你並未追蹤任何線條，因為根本就沒有線條。
Yeah, that's a characteristic of the Vermeers that makes them unusual, 呀，那就是維梅爾畫的特點，這使得它們不尋常，
is that there weren't lines, 那裏沒有線條，
and there weren't any lines drawn underneath the paint either. 在漆的下方也沒有任何一線條。
It looks like there's these blocks that are emerging into a picture. 它看來像似有許多色塊合併成圖畫.
It doesn't look like... 它不像似 ...
The order you're doing stuff in is not a... 你在做這些東西的順序不是一....
It's not being done mentally. 它精神上沒有被完成。
No, it's... 不，它是...
And that's what's so nutty about it. 這就是為什麼對他這麼著迷。。
You know, if I was better at this, it may be more systematic, 你知道，假如我要是對這較厲害些，那就會更系統化些，
I may evolve into doing it more systematically, but... 我可能演變成更有系統地做這事，但....
No matter what I've tried, 不管我怎麼試，
if I just spend enough time comparing the mirror to the canvas 如果我我要是有夠多的時間去比較反射鏡與畫布
and stirring the paint around, it ends up looking like a photograph. 將顏料攪拌塗上，它最後會看來像一張照片。
And this was the result of Tim's experiment, 這就是Tim的實驗結果，
it took him five hours. 這花了他五個鐘頭。
Not bad for a first oil painting. 對第一次畫油畫來說這還不錯。
The father-in-law picture was proof enough in my mind that Vermeer probably did this. 岳父的相片足以證明在我心中為梅爾可能也這樣做過。
However, my father-in-law doesn't look like a 17th-century Dutch woman, 然而，我岳父看起來並不向荷蘭女人，
so l don't think it would be very convincing evidence for a lot of people. 故我並不認為對很多人而言這是很令人信服的證據。
So, I thought the best way would be to really do a Vermeer. 所以，我想最好的方法就是真的做一張維梅爾畫。
I had the suspicion that it was exactly the same thing. 我懷疑，這正是同樣的事情。
If l could do the father-in-law, I could paint a Vermeer. 如果我可以畫岳父，我就可以畫張維梅爾。
It seemed to me the most powerful demonstration of the idea. 在我看來，這是最有力的方式來示範這種想法。
The reason I chose The Music Lesson is probably because, of all the paintings, 我選擇'音樂課'原因是可能因為,在所有的畫作中，
I think The Music Lesson is a great little laboratory, 我認為'音樂課'是一個偉大的小實驗室，
because it's so complete and so self-contained. 因為它是如此完整且自成一體。
You know where the windows are, you know how big the windows are, 你知道窗子在哪，你知道窗子的大小，
you can reconstruct the harpsichord independent of the painting, 你可以重建的大鍵琴獨立於畫作，
the Spanish chair, the viola da gamba, the rug, all these things could be procured, 西班牙坐椅，古大提琴毯子，所有的這些東西都可蒐羅，
and their appearance is gonna be what it is, independent of Vermeer's painting. 就如他們該有的外觀，無關於維梅爾的畫作。
It's a little scientific experiment waiting to happen. 它是一個小小的科學實驗等待要發生。
Before Tim went to all that trouble, 就在Tim要遭遇所有的麻煩之前，
we thought he should run his idea by a working artist. 我們想它應該讓一位畫家來執行他的想法。
So we called up our friend, 所以我們叫我們的友人，
Los Angeles-based painter and entertainer, Martin Mull, 在洛杉磯的畫家及藝人，Martin Mull，
and asked him to meet Tim at a studio in Las Vegas and see his gizmo. 而請他與Tim在洛杉磯畫室見面及看他的小發明。
Oh, my God. 噢，我的天呀。
Holy cow. 哇塞！
Took me about half an hour to learn how to operate a paintbrush. 花了我大約半小時去學習如何使用筆刷。
Good for you, it took me 40 years. 好樣的，我花了40年。
Well, and the beauty of this technique is that you can make mistakes 好了，這種技巧漂亮的地方就是你可以犯錯
and see what you did wrong instantly and try to fix it. 且立刻看到哪裡做錯了，而去做修正。
This is astounding. 這是驚人的。
So this is a camera obscura, 所以這是一個暗箱,
typical of the type that could be found in the 1600's. 標準型就是1600年代的。
This type of camera obscura is called a "box camera obscura". 這種型暗箱被稱作’暗箱盒'
It generally had a round glass like this. 一般它有一圓的玻璃片像這樣。
It has the ability to refocus by moving the lens in and out. 向內與向外移動這鏡片就可改變聚焦。
The general consensus of people that beIieve Vermeer used optics 人們的普遍共識相信維梅爾使用光學
was that he may have looked at that image and been inspired by it. 就是他可能已經看著影像而一直受它的啟發
Yeah. 耶.
And that's the end of the story. 而這就是故事的結尾。
So now that we know there's a way to copy the colours exactly, 所以現在我們知道有一種方式來拷貝一致的色彩，
I'm proposing an alternate history of Vermeer. 我提出維梅爾畫作的另一種歷史。
Okay. Ok.
His father's an art dealer, he knows something about art, 他的父親是一個藝術品經銷商，他知道一些關於藝術，
he wants to make a painting. 他要去畫一幅畫。
He looks at this image... 他注視這影像
Okay. Ok.
There's my daughter, Natalie. 我的女兒Natalie在那。
What if Vermeer took the camera, turned it sideways, and now it's vertical, 假設維梅爾用了這相機，把它橫放，而現在它是垂直的，
-like my father-in-law picture. -Okay. -像我岳父的相片 -OK.
He takes his canvas, 他拿了他的畫布，
and, the secret ingredient, 與，這個祕方，
the mirror. 反射鏡。
He positions the mirror here. 他將反射鏡放在這個位置。
Which corrects the inversion? 它會較正反轉?
-Yeah, it brings it back... -And everything... 是啊，它將它轉回.... -且是每樣東西...
And there it is! Clear as can be. 就這樣！盡量清晰。
So if he's in his living room, he puts up some curtains, 所以他在他的起居室，他搭起一些窗簾，
controls the light, 控制光線，
and now picks up his brush and starts to paint. 然後拿起他的筆刷開始作畫。
My guess is that the Girl with the Red Hat is that first painting. 我的猜測'戴紅帽的女子'是第一張畫作。
-Wow. -It's painted over the top of another painting. -噢。 -它是被畫在另一畫作上面。
We can x-ray it and see that there's something else underneath, 我們用Ｘ光照它可以看到下面有其他東西，
so maybe this was just a throwaway experiment. 所以也許這只是一次性的實驗。
So I understand, Tim, that when you go back to Texas, 於是我明白了，Tim，當你回到德州，
you're going to construct a replica of the exact room where Vermeer painted? 你要構建一個副本就像維梅爾畫的完全一樣的房間？
Yeah. 沒錯。
And you're going to do a painting in his stead, 而且你要去做一幅畫如他的代替，
am I right? 我說的對嗎?
Yep. 是的。
Many of Vermeer's paintings appear to have been painted in the same room, 許多維梅爾的畫作出現都繪在同一個房間，
likely the north-facing room 可能是朝北的房間
on the second floor of the house Vermeer lived in. 在維梅爾所住房子的二樓.
That's the room Tim plans to construct. 那就是Tim計畫要建構的房間
I really hope to see firsthand what Vermeer was up against, 我真的很希望能親眼看到維梅爾所見的，
if he was using this technique. 如果他使用這種技術.
And try to get some idea 並試圖得到一些想法
of how long it would take, 它需要多長時間，
just to get the conditions right... 就只是得到正確的狀況...
Just mundane things like how much usable lighting do you get in a day. 就像一些庸俗的東西像是一天有多少可用的光照.
So you're not going to use any artificial light. 所以你不打算使用任何人工光源。
That's right. 對的。
And I'm only going to use materials that Vermeer would have had. 而我只打算使用維梅爾所擁有的材料
Okay.
So, I'm going to force myseIf into the constraint 所以，我打算強迫約束自己
of having to grind the pigments and, you know, make the paint, 必須要研磨顏料，你知道，作畫，
and use only pigments that he had access to or that he used in his paintings. 使用他只能取得的顏料或者他畫中所用的顏料。
For his experiment, Tim wanted to recreate, as closely as possible, 對於他的實驗，Tim要盡可能接近地重建，
the conditions that Vermeer was working with. 維梅爾所工作的狀況。
Back then you couldn't just run down to the paint store 當時你不能只是跑去顏料店
and pick up a tube of paint, 拿起一管顏料，
so Tim had to learn how to grind and mix the pigments, 所以Tim不得不學習如何研磨和混合顏料，
which I'm now talking about something I know nothing about, 那些我現在所說的一些東西我一點都不知道，
but of grinding the pigments and adding in the oil 除了研磨顏料和加入油中
and however you make paint. 而後做一幅畫出來。
If it were left to me to make paint, there would be no paint. 如果它留給我做顏料，就會沒有顏料。
I also learnt how to make lenses. 我還學會了如做鏡頭
I couldn't use a modern lens, they're too good. 我不能用現代的鏡頭，他們是太美好了。
So I had to build one. 因此，我不得不做一個。
So I had to make the form on a lathe, I had to melt the glass, 因此，我必須在車床上做模， 我必須熔化玻璃，
I had to polish it with various grades of abrasives, 我必須用不同等級的磨料來將它拋光
just the way they made lenses in the 17th century. 就如同在17世紀他們做鏡頭的方式.
To be sure he was getting everything right, 為了確認它所做的每件事都是正確的，
Tim took some time off of work to fly to Holland. Tim有時工作之餘飛到荷蘭。
He visited Delft, the city where Vermeer had lived, 他走訪了台夫特， 那個維梅爾曾居住過的城市，
and studied the light and the architecture. 並研究了光線與建築物。
So this is it, this is where Vermeer painted those magical light pictures. 所以這是它，此處就是維梅爾畫那些神奇的光線的圖畫的地方。
He learnt to read Dutch, he consulted with experts, 他學會了閱讀荷蘭語，他與專家諮詢，
measured furniture in museums, and immersed himself in Vermeer's world. 博物館中的家俱，並將自己沉浸在維梅爾的世界。
All right, so move it in. Okay, good. 現在，移動它。Ok，好。
I would like to get one exactly like this. Do you think you could make one? 我希望得到一個完全一樣的。你認為你可以做一個？
That's possible, yes. 這是可能的，是的。
When he got back to San Antonio, Tim rented a warehouse that faced North, 當他回到聖安東尼奧，Tim租了間朝北的倉庫，
just like Vermeer's studio, 就像維梅爾的畫室，
and invited Professor Philip Steadman over from London 並邀請Philip Steadman教授由倫敦過來
to look over his experiment. 看它的實驗。
While some believe that Vermeer painted from his imagination, 雖然一些人認為，維梅爾從他的想像做畫，
Steadman found evidence that Vermeer used optics. Steadman發現維梅爾使用光學的證據。
Steadman is the author of Vermeer's Camera. Steadman是'Vermeer's Camera'一書的作者。
ln this book, Steadman analyses six of Vermeer's paintings 在這本書中，Steadman分析六幅6維梅爾的畫作
以確定維梅爾的工作室的佈局。
Then he uses geometry to figure out 然後，他用幾何搞清楚
where the lens in a camera obscura would have to go 暗箱中鏡頭的位置在那
to match each painting's viewpoint. 以匹配每幅畫的觀點。
Now he calculates the size of the projection on Vermeer's back wall, 現在他計算出在維梅爾的後牆投影的大小,
and compares that to the size of the corresponding painting. 並比較出相應畫作的大小。
For all six, the sizes match exactly. 所有六幅，尺寸完全吻合。
lt doesn't seem like that would happen by chance. 它似乎並不像這是偶然發生的。
Pretty convincing evidence that Vermeer used a lens. 那是維梅爾使用鏡片非常有說服力的證據
Well, tell me about what you're doing. 好吧，告訴我你在做什麼。
Steadman's discovery fit perfectly with Tim's mirror, Steadman的發現與Tim的反射鏡子完美地吻合，
so now Tim set up a test that would use both. 所以現在Tim架設了一個測試，將同時使用兩者。
And this, we will make an attempt at painting this. 而這一點，我們將畫這樣做一個嘗試。
-Okay. -Using the mirror. -Okay -使用反射鏡
So, now let's go inside the booth. 所以，現在讓我們去亭子內。
Yeah.
He and Steadman would try to paint a jug 他和Steadman會嘗試畫一壺
using his comparator mirror inside a camera obscura, 在一個暗箱裡面用他的比較反射鏡, ，
as Tim thought Vermeer had done. 如同Tim想維梅爾曾這麼做。
They take turns painting. 他們輪流畫。
It doesn't matter who does the brushstrokes, 誰做的筆劃並不要緊，
the process is objective, 這個過程是客觀的，
and any painter who uses it, gets the same result. 而任何畫家誰在使用它，得到同樣的結果。
David Hockney's book came out just after mine. David Hockney的書在我的之後出現。
What do you remember about the reaction? 你還記得有關反應？
There was quite a controversy around both books, wasn't there? 有相當多的爭論圍繞這兩本書，是不是？
Enormous, yes, yes. 巨大的，是的，沒錯。
There was a lot of upset, a really deep anguish amongst the art historians. 給一個真正的深痛苦之中的藝術史學家很多的困擾，
The painters were relaxed. 畫家們都輕鬆了。
They said, you know, "This is a technology, fine, okay." 他們說，你知道，"這是一種技術，精細，還行。"
But there was something, a really deep hurt amongst some of the art historians 但有些東西真的深深地傷到一些藝術史學家
which was to do with intrusion of amateurs and crass rationalists 那是關於業餘愛好者和愚鈍的理性主義者的侵擾
into the preserves of art history. 藝術史的醬缸。
It was to do with a misunderstanding of the nature of art 這是有關藝術本質的一個誤解
and cheating and genius, 與欺騙，與天才，
and the idea that an optical method is some sort of cheat, 與光學方法是某種作弊的想法，
because these are very accurate, measured perspectives. 因為這些都是非常準確的，測量的透視。
So, there are two ways you can do them. You can produce them optically, 因此，有你可以做他們兩種方式。 你可以光學生產它們，
or you can set them up geometrically. 或者你也可以幾何設置它們。
If you set them up geometrically, you're using the standard methods, 如果你用幾何設置它們，你使用的是標準方法，
it's a machine, it's an algorithm, you apply the rules. 它是一台機器，它是一個演算法，您應用法則。
Why is that not cheating? 這是為什麼不是欺騙？
-Exactly. -Strange, isn't it? -就是這樣 -很奇怪，不是嗎？
So, the only legitimate way to make a painting is to just walk up to the canvas, 所以，唯一的合法的方式去做一幅畫就是剛走近畫布，
and alla prima paint it. 並一次把它畫完.
But the reason it isn't cheating is that it's hard. 但它不是作弊的原因是因為它很難做到。
-Yes. -It's geometry, it's mathematics. -是的。 -它的幾何學，它是數學。
-Well, this certainly is not easy. -This is not easy, no. -那麼，這肯定是不容易的。 -這不容易的,的確。
-If Vermeer did this, it wasn't a time saver. -No, indeed. -如果維梅爾這樣做，它不會節省時間。 -不會，的確。
I can't comprehend that someone could paint that from their imagination. 我無法理解，有人從他們的想像力就可以畫畫了，。
No. Of course not. 不.當然不是.
A human being is pretty remarkable sometimes. 人類有時是相當卓越的。
To get objects at their true sizes, 對取得物件的真實尺寸，
and to get all the kind of luminous effects... 並獲得所有種類的發光效果...
Painters can do miraculous things, it's difficult to say, "This is impossible," 畫家可以做的神奇的東西， 很難說，"這是不可能的"
but some things are more impossible than others. 但有些東西比其它的是更不可能的.
I was gonna go right off the edge there. 我正要把的那邊緣去掉。
So. 所以
-Great. Well, congratulations. -And you. -真棒。那麼，恭喜你。 -你也是。
Fantastic. 奇妙
I want to think that this simple, elegant device 我想認為，這個簡單，優雅的設備
is something that Vermeer could have used. 是維梅爾用過的東西。
There's no doubt it's practical, and it's simple. 毫無疑問，它是實用的，和它是簡單的。
You know, it's a plain mirror. 你知道，這是一個普通的鏡子。
This is a 17th-century technology, they knew all about mirrors, 這是一個17世紀的技術， 他們知道所有關於鏡子，
and you can imagine him perhaps thinking of something like what Tim has thought of, 你可以想像他或許想到些什麼Tim已經想到的
but we know nothing from a documentary point of view 但從文件的觀點我們什麼都不知道
of how Vermeer worked, there are no descriptions by him, 維梅爾是如何做的，沒有他的說明，
by other people, there are no drawings... 也沒有其他人的，沒有圖...
We know very little about his life. 關於他的生活我們知道的很少
So the only real source of information to answer a question like that 因此回答像這樣的問題的唯一的真正來源信息
would be the paintings themselves. 就是畫作本身了。
Using Tim's device, it isn't easy, 使用Tim的設備，它是不容易的，
but somehow it does turn you into a machine. 但總之它把你轉換成一個機器
You become a machine. Was Vermeer a machine? 你成了一台機器。 維梅爾是一台機器？
Maybe Vermeer was strong-minded enough to think, "I'll become a machine". 也許維梅爾是意志堅強的足夠 想，"我會成為一台機器"。
That little picture of the jug 酒壺的那個小圖片
took Tim and Steadman eight and a half hours to paint, 花了Tim和Steadman八個半小時作畫,
and Tim's method worked. 且Tim的方法有效。
But they were painting in black and white, and using powerful electric light 但他們被以黑色和白色作畫， 並採用功能強大的電光源
that wouldn't have been around in Vermeer's day. 這在維梅爾的時代是不曾有的。
Would Tim's mirror work well enough to paint The Music Lesson, Tim的反射鏡子是否能足夠好的畫出那幅"音樂課"，
in full colour, in natural light? 在完全彩色，在完全自然光源？
To find that out Tim would need Vermeer's room, and everything in it. 要找出那些Tim需要 維梅爾的房間，和裡面的所有東西。
But museums don't loan stuff from the 1600s to video engineers with a wacky hobby. 但博物館不會租借1600年代的東西給一位有古怪的愛好 影像工程師。
It would be nice if I could have hired somebody to build all this 這將是很好，如果我可以顧人打造這一切
but it was kind of an interactive process, 但它是一種互動的過程中
you know, I had to first model the room in LightWave 3D, 你知道，我必須先用先LightWave 3D軟體建構模型
working from the painting to get the dimensions and the shapes right. 從畫作去得到正確尺寸和形狀。
Even though it was a lot of work, it was just easier for me to do it, 即使它是大量的工作， 我很更容易做到這一點，
because as I went I could make sure 因為當我能確認
that the furniture looked like the furniture in the Vermeers. 該家具看起來像家具在維梅爾畫中的。
But Tim is not a dressmaker. 但是Tim是不是一個裁縫。
Or a framer. 或作框師傅器。
Or a carpenter. Upholsterer. 或者一個木匠。室內裝潢師。
Glazier. 玻璃工。
Builder of virginals, which is a type of harpsichord. 大鍵琴的製造者。
Metalsmith. 金工
Furniture maker. 家具工
Plasterer. 泥水匠。
Tile layer. 磁磚匠。
Or a lens maker. 或是鏡片製造者.
But he's not an artist either. 但他也不是一個藝術家。
He used what he was, a technologist, 他利用他的過去，他是一個技術專家，
to help him become all those things he wasn't, 來幫助他完成所有這些事情過去不曾做的事，
so that he could build his room. 這樣他就可以建構他的房間。
This is fun. 這有趣。
I mean, this is the real thing. 我的意思是，這是真實的東西。
Is it safe for there to be that much smoke? 那將是硝煙瀰漫，安全嗎？
I don't know, I've never done this before! 我不知道，我以前從沒有做過這！
Could it heat up and catch fire? 能夠加溫和著火？
-Well, I guess. I don't know. -Whatever! - 嗯，我猜。我不知道。 - 不管！
It's kind of cool. Okay, here we go. 真棒。好了，我們開始吧。
Okay, I got a problem with the virginals leg. Ok, 我遇到麻煩了，大鍵琴的腳。
It's supposed to be 36 and a half inches long, 它應該是36英寸半長，
but my lathe only goes 但我的車床只長到
about 34 inches. 大約34英寸.
I mean, I could make the leg in two pieces. 我的意思是，我可以用兩塊來做這腳。
But I think what I'm gonna do is I'm going to cut the lathe in two. 但我覺得我該怎麼辦是我要去切車床一分為二。
Generally, you don't take a fine precision machine tool and saw it in half, 一般情況下，你不會用一精密機床而把他鋸成兩半，
but power tools are made to be jury-rigged. 但是電動工具是用來應急的
Yeah, it's a big guitar. 是的，這是一個很大的吉他。
Viola da gamba is called a "viola da gamba" because "gamba" means leg, 古大提琴被唸做”viola da gamba”，因為"gamba”意識是腳，
and you play it between your legs. 與你在裡的兩角之間彈奏它。
I like it. 我喜歡它
I don't know much about woodworking. 關於木工我知道不多。
So I'm doing this, not out of love for woodworking, 所以我這樣做，不是出於愛做木工，
but out of necessity 而是出於必要
because you just can't buy these stupid chairs anywhere, 因為你不能在任何地方買到這些愚蠢的椅子，
and I need one. 而我需要一張。
David Hockney is one of Britain's greatest artists. David Hockney是英國英國最偉大的藝術家之一
He's famous for paintings like this. 他以像這樣的畫作聞名
Since his optical theory got Tim started on this journey, 由於他的光學理論使得Tim開始在這個旅途上，
he seemed the ideal person for Tim to talk to. 他似乎是Tim可以交談的理想對象。
Hockney invited us to visit, so we all went to England. Hockney邀請我們去參觀， 所以大家都去了英國。
What I knew about David Hockney was that he was a famous artist. 我所認知David Hockney是一位著名的藝術家。
But, reading his book, I could see that he wasn't a typical artist, 但是，讀他的書，我可以看到他不是一個典型的藝術家，
that he was somewhat a scientist. 他是有幾分是科學家
PhiIip Steadman and David Hockney, to my mind, Philip Steadman與David Hockney,在我看來
to the mind of a sceptic, 以一個懷疑論者的頭腦
prove that Vermeer used some sort of device. 證明維梅爾使用某種設備。
But Secret Knowledge, and all the Philip Steadman work, 但Secret Knowledge一書,與所有Philip Steadman的著作，
are this wonderful, exciting, tingly whodunit, that never tells you who did it. 是這種美妙的，令人興奮的，刺痛感偵探小說， 永遠不會告訴你是誰做的。
Hockney showed that artists were using lenses. Hockney顯示藝術家採用的鏡頭。
Steadman argued that Vermeer was using a lens. Steadman認為維梅爾用的鏡頭。
I believed that Vermeer must have been using more than just a lens. 我相信，維梅爾一定曾經使用不止一個鏡頭。
The reason to go see Hockney was to bounce this idea off him 之所以要去看Hockney是為了讓這個想法從他身上反彈
and see if he thought it was plausible. ，看他是否以為是有道理的。
How did you figure this out? What are you, a... 你是怎麼算出來？ 你是什麼，一個...
Well, I started thinking about it after I read your book, and... 好吧，我開始思考它是在我看了你的書之後，...
Are you an optical... I mean... 你是一個光......我的意思是...
I design television equipment. 我設計的電視設備
-That's my job. -I see. - 這是我的工作。 - 我明白了。
So I know a bit about colour and imagery. 所以，我對色彩與影像有些了解。
And I suspected looking at these old pictures from the Golden Age, 我在看這些從黃金時代的老圖畫有些懷疑，
Caravaggio, Vermeer, van Eyck, 卡拉瓦喬，維梅爾，凡艾克，
that there must have been a way to copy the tones. 那一定有一種方法來複製這色調。
Because that's what's quite remarkable, actually. Yes, it is. 因為這是相當了不起的，實際上。是的，它是。
I need to stand on that side of the table for a second. 我需要站在桌子那一邊一會兒，
So it's a mirror on a stick. 所以這是一個在棒子上的反射鏡
All right. 好的.
This is what I saw when I was painting, if you look straight down. 當我作畫的時候這是我所看到的， 如果你直直看下去。
And of course I started with a blank... 當然，我以一個空白開始...
I see, yes. Yeah, yeah. 我明白了，是的。是啊，是啊。
And you can move your head up and down and you can see different parts of the image. 而你可以移動你的頭向上和向下然後你可以看到圖像的不同部分。
And that's how you work your way from one part to the other. 這就是你已你的方式工作 從一個部分到另一部分。
Now right at the edge of the mirror, where you see both images, 現在就在反射鏡的邊緣上， 在那裡你看到兩個影像,
you can do a direct comparison of the tone. 你可以做色調的直接比較。
Yeah, yeah, yeah, yeah. 是啊，是啊，是啊，是啊。
And your eye can instantly see, because they're together, 你的眼睛可以即時看到，因為他們是在一起，
can see any contrast, and the edge of the mirror basically disappears. 可以看到任何對比度，同時反射鏡的邊緣基本上消失。
When you have the right colour and only when you have the right colour. 當你有正確的顏色 只有當你有正確的顏色。
Yeah, yeah, yeah, I see. This is very ingenious. 是啊，是啊，是啊，我明白了。 這是非常巧妙的。
So you notice that there is no parallax when you move your head, 那麼，你注意到沒有視差 當你移動你的頭，
there is no shifting. 不存在偏移。
-That's it, no. -The two images stay locked together. - 就是這樣，沒有。 - 兩幅圖像保持鎖定在一起。
-Why is that? -Want to look through it? - 這是為什麼？ - 想看穿了嗎？
-How is that? -I know, it's very clever. - 這是怎麼回事？ -我知道，這是非常聰明的。
I must say, the idea that the Italians, when you think about the Italians, 我必須說，這種想法意大利人， 當你想到意大利，
they love pictures, the idea that they didn't use this 他們喜歡的圖畫， 這想法，他們並沒有使用這個
because this would have been cheating, I find childish, absoIutely childish. 因為這會被欺騙， 我覺得幼稚，絕對幼稚。
There's also this modern idea that art and technology must never meet. 還有這個現代化的想法， 藝術與技術必須永不相遇。
You know, you go to school for technology or you go to school for art 你知道，你去學校學技術或者你去學校學藝術
but never for both. 但從來沒有兩者
But in the Golden Age, they were one and the same person. 但在黃金時代，它們是一個且是同一個人。
Yeah. 是啊
The interesting thing is that if this was around then, 有趣的是，如果這樣的話然後，
we are seeing photographs. 我們看到照片
If they were using this and exactly copying that colour. 如果他們使用這 而精確複製了顏色。
Yeah, well, I mean... 是啊，我的意思是...
-It's a photo. -Yeah. - 這是一個照片。 - 是啊。
After seeing this, I mean, it's not a complicated piece of equipment, 看到這個之後，我的意思是， 這不是一個複雜的一件裝備，
but how likely do you think it is that they may have done this? 但怎麼可能，你也認為它是 他們可能這樣做呢？
-I think it's very likely. -Really. 我認為這是很有可能的。 - 真的。
Very likely. Yeah, yeah, absolutely likely. 非常有可能。是啊，是啊，絕對有可能。
I mean, I'm pretty positive optics... 我的意思是，我敢肯定的光學...
I mean, there's no explanation for the paintings without optics. 我的意思是，沒有解釋對於沒有光學的畫作。
But, you know, historical evidence, 但是，你知道，歷史證據，
it'd be great to find a lost letter from Johannes Vermeer... 這將會是偉大的發現約翰內斯維梅爾丟失的信件
Wait a minute. 且慢。
I put a joke letter in Secret Knowledge. 我放了一個玩笑信在Secret Knowledge書中.
You did? 是嗎？
A joke letter. 一個玩笑信
This is what historians were looking for. From Hugo van der Goes to van Eyck. 這是歷史學家所期待的 從雨果范德高斯到凡艾克
"Could you go to the Brugge Mirror Supply Company "你可以去Brugge鏡片供應公司嗎？"
"and get one of those makeup mirrors for my wife, you know what I mean?" 並幫我老婆拿她的化妝鏡，你知道我是什麼意思?"
Well, I said, "You'll never find a letter like that." 嗯，我說， "你永遠也找不到這樣的信。'
-Yeah. -They never wrote down... - 是啊。 - 他們從來不寫下來...
Van Eyck would not write down the formulas for the paint 凡艾克不會寫下畫作的公式
for the simple reason that somebody might read them. 原因很簡單，有人可能會讀它們。
And there were other people 就是有其他人
that wouldn't write 'em down. 也不會將它們寫下來。
People were sworn to secrecy, oaths that they took very seriously. 人們發誓保密，誓言他們很認真。
You won't, you never... It's naive to think you'll find something. 你不會，你永遠不... 天真的以為你會找到的東西。
Paintings are documents, aren't they? Aren't they telling you a lot? 畫作就是文件，不是嗎？ 它們不是告訴你很多東西嗎？
Paintings are documents. 畫作就是文件
They contain the story of their own creation. 它們包含自己創作的故事。
Every brushstroke, every layer of colour, every shadow 每一個筆觸，每一層色彩，每一個陰影
represents another piece of information. 代表另一條信息。
To the trained eye, a painting can be read as accurately as any written text. 對訓練有素的眼睛，一幅畫可以讀出如書面文字一樣能準確。
And you don't need a trained eye 而你並不需要一個訓練有素的眼睛
to see that Vermeer's look different from his contemporaries. 去看出維梅爾與他當代的畫作的不同
They look like video images. 它們看起來像視訊影像。
He painted the way a camera sees. 他以像機鏡頭看到的方式作畫。
Ever since photography was invented, 自從攝影術發明，
people have been noticing optical things about Vermeer. 人們已經注意到光線的東西有關維梅爾。
On the Girl with the Red Hat, 在"戴紅帽女子"畫中，
there's this lion's head in the foreground that's fuzzy. 前景中這個獅子頭是有些模糊。
Your eye naturally refocuses on whatever you're looking at, 你的眼睛自然地重新聚焦在任何你正在尋找的，
so something in the foreground 所以某些東西在前景
is not going to appear to your eye as out of focus. 是不會出現你的眼睛因為失焦。
But it could be out of focus if the image was projected with a lens. 但是，這可能是失焦如果圖像被用鏡片投影。
The so-called pointilles, 這是所謂的pointilles，
these little circles of paint, look similar to what you get in a bad lens. 這些顏料的小圓點， 看起來類似一個不好的鏡頭得到的。
You look at the back of her jacket and there's a faint blue line. 你看她的外套的背面並有一個淡淡的藍線。
And that looks a lot like chromatic aberration which is what happens in a crude lens. 而這看起來很像色差所有這都是在粗鏡片上所發生。
The edges of objects can develop this rainbow fringe around them. 物體的邊緣會發展出其周圍的彩虹暈。
This falloff of light from the window to the opposite corner 由窗口到對面的角撒落的光線
is something that an artist really cannot see the way a camera sees it. 這是藝術家無法看到的只有像機才能看見。
It's impossible to see it. 它不可能看它.
But Vermeer painted it the way a camera sees it. 但是維梅爾把相機看到的畫出來。
Is it possible that some people can see absolute brightness, 是否有可能有些人可以看到的絕對亮度，
and most people, can't? 而大多數人無法？
You know, the way a musician might have perfect pitch? 要知道，就像一個音樂家可能具備完美的音準？
You know, that's a question for a doctor. 你知道，那是一個醫生的問題。
I'm Colin Blakemore. I'm a professor at Oxford. 我是Colin Blakemore.我是牛津教授.
Or a scientist that specialises in human vision. 或是一名科學家，針對人類視覺的專家。
And I've spent most of my career studying vision and the functions of the brain. 我已經花了我大部分的職業生涯研究視力和大腦的功能。
Is Vermeer maybe some sort of a savant 也許維梅爾是某種科學家?
that's different from the rest of the human race? 是與其他人種有差別？
What if someone said, 也許有人會說，
"Maybe there's a savant who is so smart, that he could figure that out." "也許有一科學家就是這麼聰明，他可以算出來。"
Well, he's not smart. I mean, he'd have to have a very strange retina. 嗯，他不聰明。我的意思是， 他必須具備的，有一個很奇怪的視網膜。
Our retinas are made the way they're made. 我們的視網膜是以它們做的方式做的
The retina is an outgrowth of the brain. 視網膜是大腦的產物
It's a very complicated structure in terms of its nervous organisation. 在神經組織方面它是一個非常複雜的結構
The signals go through a complicated network, 信號通過一個複雜的網絡，
several layers of different types of nerve cells, 許多層不同型式的神經細胞,
before they finally get back to the last cells in the chain 他們最後回細胞鏈最後細胞之前，
whose fibres make up the optic nerve. 其纖維構成視神經
The optic nerve has limited bandwidth, so the signals have to be compressed. 視神經帶寬有限，所以信號，必須進行壓縮。
One thing we lose in that compression 在壓縮中有一件事我們失去
is the ability to record absolute brightness the way a light metre can. 就是記錄是絕對的亮度的能力，這是測光表可做的。
When we see two values side by side, it's easy to compare them. 當我們看到兩個值並排，可以很容易地比較他們
But when we split them, that ability goes away. 目的當我們把他們分開， 那種能力就消失了。
There just isn't any mechanism in the human nervous system 在人類的神經系統沒有任何機制
to turn the eye into a light metre. 把眼睛變成測光表。
And this is a very clever trick for reducing information, 這是一個非常聰明的把戲來減少信息,
but it's a disaster if you really want to know about the appearance of the scene 但是這是一個災難，如果你真的想知道關於景物的外觀
because you just can't do it with your brain. 因為你不能用你的大腦做
Look at the light on the back wall of The Music Lesson. 注視"音樂課"畫作後面牆上的光線。
Every subtlety of brightness is recorded with absolute photographic precision. 亮度的每一細微都被以絕對的攝影精度記錄.
The unaided human eye is not equipped to do that. 沒有輔助的人類的肉眼是不具備去做這的。
But if Vermeer used something like Tim's device, 但是，如果維梅爾使用的東西像Tim的設備，
the painting becomes possible. 作畫就變的有可能.
The Queen of England owns Vermeer's Music Lesson 英國女王擁有維梅爾的"音樂課"畫作
and she has it there in Buckingham Palace. 她把此畫放在白金漢宮。
We thought since we were in England, we'd stop by the palace and check it out. 我們想，既然我們是在英格蘭， 我們應該順訪皇宮殿並查看一下。
But the Queen said no. So we shot a whole tirade against the Queen. 但是女王說不 所以我們對女王述以長篇大論
But then... 但是然後...
Well, I just came out of that building. 嗯，我剛從那建築物走出來。
That's where the painting is, Buckingham Palace. 那就是該畫所在的白金漢宮
The day before Tim returned home, the Queen changed her Royal mind. 蒂姆回家的前一天， 女王改變了她的皇家主意。
She granted Tim a private audience with The Music Lesson. 她授予Tim的非公開的觀賞"音樂課"
He had 30 minutes to study the painting. 他有30分鐘研究該畫。
The deal was, he could only record the experience in his head, 該協議是，他只能記錄這經驗在他的腦袋，
no photography allowed. 不准照像。
And it was a great 30 minutes. 它是一個偉大的30分鐘。
The painting is amazing. 這畫是真令驚人驚奇。
It's very different than I thought it would be. 它比我想的非常不同
The reproductions don't do it any justice at all. 複製品完全沒有適當處理
The colours are more muted. 顏色是更柔弱。
It's slightly darker, it's got a kind of an overall bluish cast. 它是稍暗，它有一種整體的藍色調。
But the astounding thing is the amount of detail. 但令人震驚的事情細部的數量。
I put on my magnifying binoculars 我戴上的雙筒放大鏡
and looked at the virginals, and every stroke 並凝視大鍵琴與
of that decoration is there. 那裡裝飾的筆觸每一筆觸
The Persian carpet, you can see the individual knots. 波斯地毯，你可以看到每一個結。
The amount of devotion, or dedication, or obsession 許多精神或肉體的奉獻或許多沉迷
to get that amount of detail 以得到許多細部
that just makes a general impression on the viewer, 這只給觀者是一般的印象
but must have taken months of hard work. 但是可能要花費數月的苦工。
I don't know if I can even come close. 我不知道如果我能夠更靠近一些
When Tim got back to San Antonio, he was in trouble. 當Tim回到聖安東尼奧，他遇到了麻煩。
When he looked directly at the virginals, 當他直視著大鍵琴,
he could see the intricate pattern of interlocking seahorses that Vermeer painted. 他能看到維梅爾所繪相扣海馬複雜的圖案。
When he looked at the projection in his camera obscura, 當他看著在他的暗箱的投影
all those delicate little lines were too fuzzy and dim to paint. 所有那些精緻的小線都太模糊與太暗淡而無法作畫。
It was a deal-killer. 它成了處理上的殺手.
I had visions of a failed experiment. 我有過一次失敗實驗的景象
Tim knew there was something he was missing. Tim知道有些東西他失誤了。
He experimented with increasingly complex arrangements of lenses and mirrors. 他嘗試了增加透鏡和反射鏡的複雜安排。
But nothing worked. 但都不成功。
Then Tim had an inspiration. 然後Tim有一個靈感
He held a mirror against the wall where the image was being projected. 他放了一個反射鏡在投影所在的牆上。
Now he could see a small circle of the room sharp and clear 現在他可以看見房間的小圓點清晰與明亮
and hundreds of times brighter. 百倍地更亮
By tilting the mirror around, he could see any part of the room he needed to paint. 將反射鏡貼在不同的位置，他可看到他要畫的房間的任何一部分.
Then he realised if he just replaced the flat mirror with a concave mirror, 然後，他意識到如果他只要更換反射鏡為與凹面鏡，
like a shaving mirror, 像一剃鬍鬚鏡
he could make the bright circle much larger. 他可以使明亮的圓點變得大得多
So I realised that if I could have an image that bright, 所以，我才意識到如果我能有一個明亮的影像，
I didn't have to have this darkroom, 我不需要有這樣的暗房
I could paint in daylight, which is a huge, huge breakthrough. 我可以在白天作畫， 這是一個巨大的，巨大的突破。
Tim started in the dark room. Tim開始在黑暗的房間。
But the room is gone. 但房間沒有了
The back wall is a concave mirror. 後牆是一凹面鏡
All that's left of the traditional camera obscura is the lens. 所有傳統相機暗箱的東西只剩下的鏡頭
Tim had invented a new optical instrument or, perhaps, rediscovered a lost one. Tim發明了一種新的光學儀器 或者，也許，重新找回丟失的。
In it, he could see well enough to attempt Vermeer's level of detail. 在那裡面，他能看到夠好地試到維梅爾水準的細部。
He had his room. He had his machine. 他有自己的房間。他有他的機器。
He was now ready to paint. 他現在準備作畫了
Oh, boy. 噢，小伙子。
Boy, you know, I'm not trying to make this look like a Vermeer, 小伙子，你知道，我並不想使這個看起來像一個維梅爾
but it really looks like a Vermeer. 但它確實看起來像一個維梅爾
I was cleaning up, and getting ready to put my palette away, 我清理乾淨並收起我的調色板，
call it a day's work, and I looked up at the monitor. 收工了, 我抬頭看著監視器.
I thought, "Man, that camera got pointed in the wrong direction, it's pointed at the room. 我想，"伙計，這攝像頭指向錯誤的方向，它指向房間。
"How did that happen?" "這是怎麼回事？"
And that's the thought that went through my head for just a couple milliseconds 就是這種想法由我腦袋跑過就那麼幾毫秒
before I realised, "No, I'm looking at the painting." 在我意識到之前， "不，我正注視著畫作"
And it was just kind of like a... 而那就像是一種...
You know, this project is a lot like watching paint dry. 你知道，這個專案 有些乏味無聊沒意思。
I can paint the costumes by putting them on mannequins. 我將服飾讓假人穿上再來畫.
But to paint faces and hands, I need to use people. 但畫的臉和手，我需要用真人。
I do everything I can to help them hold still. 我盡我所能來讓他們保持不動。g3
It sort of works. 多少有些工作
My daughter Claire is home for a month from college. 我的女兒Claire由大學回家待一個月.
And it's time to paint the girl, 而正是時候來畫女孩，
so I put two and two together, and used Claire. 所以我根據現實情況而聯想推斷， 並用Claire。
Her two sisters, are also in town, Luren and Natalie. 她的兩個姊姊，也都在城裡， Luren與Natalie
So they worked on fitting the costume and doing her hair 因此，他們的工作就是修改服飾 和做她的頭髮
so that it looks like the girl in the picture. 這樣它看起來像圖畫中的女孩。
When they got all that on, she was a dead ringer for the little Dutch girl. 當他們穿戴上所有的東西， 她是一個酷似小荷蘭女孩。
With that completed, we put her in the head clamp, 為了完整， 我們把她放在頭夾中，
and positioned her just right. 並調整她到的恰好的位置.
Few students have ever been happier to go back to school. 很少學生曾經開心的回到學校。
I may repaint that. 我可能會重繪那
Excuse me a second. The wind's trying to blow my shade down. 對不起等一下。 風的企圖吹掉我的窗簾。
I thought you were having a ghost visitation. 我還以為有一個鬼來探視你。
Fucker! 混蛋!
Piece of shit. 你這個混蛋.
We're gonna have to go to plan B here. 這裡我們將得採B計劃。
The frame that has my window, and my shades and stuff, it came loose 我的窗子的框架，及我的陰影，和一些東西，鬆脫了
and it fell over and I think everything's okay. 它摔倒了，我覺得一切都還好。
All right. 好了。
I tend to build things until they're just barely good enough. 我傾向建構這些的東西直到他們只是勉強夠用。
And sometimes that envelope gets exceeded. 有時候會超支。
So if anything falls askew, your painting's in no danger, is that correct? 所以如果任何東西掉落歪斜 你的畫沒有危險的，這樣對嗎？
No, I wouldn't say that. 不，我不會這樣說。
-Okay. -But, you know, I can always start over. - 好吧。 - 但是，你知道，我總是可以重新開始。
Another interesting thing happened. 另一個有趣的事情發生了
What I noticed while I was looking at this, 當我在看這個時我注意到,
I can see the straight lines of the seahorse there, 我可以看到海馬那裡的直線
and I can see the straight lines that I've ruled already on the canvas, 我可以看到的直線 我已經在畫布上已用尺畫上，
the framework of the virginals. 大鍵琴的框架.
All those are perfectly straight lines because I laid 'em out with a straight edge 那些都是完美的直線因為我用一直邊畫上
before I painted them. 在我開始畫它們之前.
Well, when I am trying to align this very close now, within a tiny fraction, 好了，當我開始要使將這對齊很接近時, 在一小部分
I can see that this straight line isn't quite straight 我可以看到，這條直線是不是很直
in the reflection. 在反射鏡中。
It's ever so slightly curved. 這是非常輕微彎曲
Probably not enough to throw me off now that I'm aware of it, 可能不足以把我擺脫 現在，我意識到這一點，
but if I had just literally painted that seahorse pattern, 但如果我只是照著畫 那海馬圖案，
it would have ended up curved like this. 畫到最後會有像這樣的彎曲。
And, so, I don't know why, but I went over and I picked up the Vermeer print. 和，所以，我不知道為什麼，但我走過去 我拿起維梅爾複印畫。
And I go, "Well, obviously Vermeer had no trouble 就這樣,嗯，很明顯維梅爾沒有任何麻煩
"painting those lines straight." "畫那些直線."
And then, I held the painting sideways like this 然後，我把畫拿橫著像這樣
and I'm looking down these straight lines. 我往看下這些直線
And there's something really crazy about this. 而有關這裡面有些東西真的瘋了
The top and the bottom of the virginals are absolutely straight. 大鍵琴的頂部和底部是絕對筆直。
Because when I look at it down here at an angle, 因為當我注視它往這兒 在一個角度，
I can see that it's a straight line. 我可以看到，它是一條直線。
The seahorse motif is curved. 海馬圖案是彎曲的
It goes like this. 它是這樣的
You can't really tell until you look at it 你真的不能分辨出來，直到你注視他
right down those lines, but... 在那些現的正下方，但...
There is a curvature in there. 那有一弧度
And there's really no logical explanation for that 而對此真的沒有合乎邏輯的解釋
unless he was using something like this. 除非他用了一些都像這樣的東西
Tim calls that bend in the seahorse pattern the "seahorse smile." Tim稱這些海馬圖案的彎曲為"海馬微笑"
It's a flaw in Vermeer's painting. 這是在維梅爾的畫的一大敗筆
A mistake that nobody noticed for 350 years, and then Tim almost made the same mistake. 一個錯誤，350年來沒有人注意到， 然後Tim幾乎犯了同樣的錯誤。
Tim is not looking for something that will duplicate Vermeer's mistake. Tim並不是在尋找某些將複製維梅爾的錯誤的東西。
You know, he doesn't know Vermeer's mistake is there. 你知道， 他不知道維梅爾的錯誤是存在的。
That's either a remarkable coincidence 這或許是一個驚人的巧合
or Vermeer was using Tim's machine, or something very much like Tim's machine 或者維梅爾也使用Tim的機械, 或者某種與Tim的機械非常相似的
to do his painting. 去做他的畫。
As Hockney said, paintings are documents, 如Hockney所說，畫作就是文件，
and here's a little bit of evidence. 而這兒就有一點證據。
Today I painted the seahorse motif. 今天我畫海馬圖案。
It was a lot of work. I couldn't really sit here for more than 15, 20 minutes at a time. 這是一個大量的工作。我無法真的坐在這裡 一次時間超過15，20分鐘。
Your back just gets extremely tense. 你的背部只是變得非常緊繃
I tried to sit in the most relaxed position I could find, which is like this. 我試圖坐在最放鬆的姿勢 我能找到的，這就是像這個樣子。
It's just really nerve-wracking, meticulous, demanding work. 這真的很傷腦筋，細緻，苛刻的工作。
I'm not looking forward to doing the rest of the instrument, 我不期待去做剩下的樂器，
but at least I know it's doable. 但至少我知道它是可行的.
What I painted today is maybe, I expect 今天我畫的是也許，我期待
will turn out to be the hardest part of the painting, physically, to do. 將變成是畫中實際上最難做的部分
Man. 天啊。
Well, yeah this is going to be short because it's about 40 degrees in here. 嗯，是的，這是將是短因為這裡氣溫大約40度。
So Karl and I came in here this morning, and looked at each other, like, 所以，Karl和我來到這裡今天上午， 看看對方，像，
"No." You know, it's really cold in here. "不"你知道，這裡真的很冷。
So I go, "Wait, I've got this heater in the garage that I never assembled. 所以，我走了，“等等，我的車庫中有個尚未組裝的暖器機
"I got it for Christmas a few years ago, it's one of those patio heaters." "前幾年聖誕節我買的， 它是那種戶外暖器機。"
So, Karl said, "Hey, I'll put it together, let's go get it." 於是，Karl說， "嘿，我們去把它拿過來，把它安裝起來。"
So we went and got it, and put it together, it's over there. 於是我們就去把它拿了過來，並把它裝起來， 它在那邊。
And fired it up and it worked great. It's nice and toasty, you know? 並點燃它和它很好用。 它的溫暖和舒適，你知道嗎
Karl was sittin' over there with his computer, Karl跟他的電腦坐在那邊,
and I said, "Hey, look up on there to see if it's safe to use these indoors." 我說，"嘿，看那裡看它是否是安全的在室內使用。"
And Karl looks up and says, 而Karl看了說，
"Yeah, you know it says here it's absolutely not safe to use indoors." "是啊，你知道它這裡說室內使用是絕對不安全的。"
And I said, "Okay. Well, let's just run it 我說，"好吧，好吧，我們讓它運轉
"and we'll be careful, okay? "我們會小心的，好嗎？"
"So if we notice any symptoms of carbon monoxide poisoning, you know, "因此，如果我們發現任何一氧化碳中毒的症狀，你知道，
"we'll shut it off." "我們就關掉它"
So I start painting, and I actually painted an elephant on The Music Lesson. 於是我開始畫了，我居然畫一隻大象在"音樂課"上。
I don't know why I put it there, but it seemed like a good idea at the time. 我不知道為什麼我把它放在那裡， 但在那時候它似乎是一個好主意。
Karl actually, he put his head down, 卡爾其實，他把他的頭向下，
and he said, "I need a nap." 他說，"我需要小睡一下。"
I said, "What did you say?" He said, "I need a nap." 我說,"你說什麼？" 他說，"我需要小睡一下。"
I said, "Okay, let's leave right now." 我說,"好吧，我們馬上離開。"
"Let's shut this thing off and go get lunch." "讓我們關掉這個東西，先去午餐。"
And on the way to lunch, driving to lunch, 而在途中吃午飯，開車去午餐，
everything sort of cleared up again, you know, we were in a fog. 那種一切都再清理了一遍，你知道，我們是在霧中
So anyway, that was a bad idea. 所以無論如何，這是一個壞主意。
It was kind of a weird day. 這是一種怪異的一天
I came in and started painting this lower cushion, 我走了進來，開始繪畫這個下面的坐墊，
and sort of a wave of revulsion swept over me. 一種噁心席捲了我。
I just wanted to do anything in the world but sit here and paint for some reason. 我只想做在世界上做任何的事情 而不為了某種原因坐在這裡作畫。
I don't know, just one of those things. 我不知道，只是其中之一。
But I am pretty much ready for this painting to be finished. 但我幾乎準備就緒完成這幅畫。
If we weren't making a film, would I quit? 如果我們不是拍電影，我會退出嗎？
Yeah, I definitely would. Yeah. I'd find something else to do right now. 是的，我肯定會的。是啊。 我現在就會找點別的事情做。
Well, yesterday when I was painting this chair, I was almost 好吧，昨天 當我畫這把椅子，我差點
repulsed by it. 被它擊退。
I think maybe subconsciously I knew that it was wrong. 我想，也許潛意識裡我知道這是錯的。
And it just didn't look like it belonged in the painting to me, 對我它只是看起來不像它屬於這畫中，
and I couldn't put my finger on the reason why. 而我也不知道為什麼會這樣。
And as I was trying to get to sleep last night, 而昨晚我要睡覺的時候,
I was just sort of laying there and I was visualizing that chair 我那樣只是躺在那兒 我想像那椅子
and I could see it in my mind. 我可以看到它在我的腦海裡
And I go, "You know, that's just the wrong blue. 我繼續， "你知道，這只是錯誤的藍色。
"I should darken the legs. " 我應該將的椅子腿畫暗些。
The top of the chair can't possibly be tilted to the left. 椅子的頂部不可能被向左傾斜。
It's like I'm seeing it and that can't possibly be right. 這就像我看到它那不可能是正確的。
I realised that I had bumped the lens out of position 我意識到，我把鏡頭撞離位置
and that's why the chair's perspective was wrong. 這就是為什麼椅子的角度來看是錯誤的。
It was totally a subconscious thing. 這完全是一種潛意識的東西
Maybe I do have an inner artist that knew that was wrong. 也許我真有一個內在的藝術家而知道那是錯的。
I thought that the rug would be a little more free-form painting. 我想地毯會多一點自由形式的繪畫。
But this rug is close enough to the optical equipment here 但這地毯是太過接近這裡的光學設備
that I can clearly see all those little stitches. 我可以清楚地看到所有那些小縫線
And since I can see that, and since my rule is "paint what you see in the mirror," 而且因為我能看到那些，因為我的規則 是"畫什麼你在反射鏡裡所看到的"
if I want to get that kind of detail, 如果我想要得到的那種細節
I'm gonna have to sort of make like the harpsichord here 我就得要像讓大鍵琴在這裡
and just go for the detail. 而去得到細節
So, another day, more dots. 所以，其他天，更多的點。
Ditto yesterday. 昨天一樣。
Just painting more dots. 只是畫更多的點。
You know, it gets old painting this carpet. 你知道，畫這個地毯要花很多時間。
Oh, my God. 噢，我的上帝。
We're on. 我們是在
Okay, so I've been frantically running around here, 好了，所以我一直 在這裡瘋狂地跑來跑去，
setting up lights. 打燈光
And it shows. 它顯示了
Today is the denouement, of sorts. 今天是某種結局。
The varnish job. 作畫的工作.
For the last several months I've been promising myself 在過去的幾個月我已經承諾自己
that all would be better when the varnish went on. 當繼續作畫這一切會更好.
Because as the paint dries, it gets light, it gets chalky, it desaturates. 因為隨著塗料乾燥， 它變亮，它變白，它變較不飽和。
I've been very anxious to do this. 我一直很渴望做到這一點。
I went along slowly with a small brush and finally I just grabbed a giant brush, 我用小刷子慢慢跟著去 最後我只是抓住了一個巨大的毛筆，
sloshed it in the varnish and just started going to town. 唏哩嘩啦地畫並大作一番
And everywhere I touched was magic. 每一處我所感動都是魔法
It's pretty astounding. 這是相當驚人的。
Well, you know, today... 嗯，你知道，今天...
Today's the day I've been waiting for. 今天我一直在等待的一天。
I'm sorry. 對不起。
I can't believe it's finished. 我不能相信它被完成
We took Tim's painting back to England to show Hockney and Steadman. 我們將Tim畫的拿到英國給Hockney與Steadman看
Well, that's it. 嗯，就是這。
So, you know, it's my first ambitious attempt at oil painting, 所以，你知道，這是我第一次雄心勃勃的嘗試油畫，
and that's kind of part of the experiment, that I'm not a painter, 這就是一種實驗的一部分，我不是一個畫家，
but I was trying to show the power of the concept. 但我試圖展示這個概念的力量。
Yeah. 是
This is terrific, I must say. 真是了不起的，我必須說。
We noticed this when we were doing our lens experiments. 當我們在做我們的鏡頭實驗我們注意到了這。
We noticed that especially on these kind of cloths, 我們注意到這尤其是在這種布，
on the projection you saw every weave 在投影你看到每一個編織
that you couldn't in the real one, and you get that in Vermeer. 那你不能在真實的， 而你在維梅爾畫中卻得到。
Now that's very, very effective. Anybody looking at this... 現在，這是非常，非常有效。 任何人注視這個...
-I think this is better than Vermeer. -Better than Vermeer? -我認為這是比維梅爾更好。 -比維梅爾更好？
You do feel the weave of the carpet. 你感覺到地毯的編織。
Yeah, you really do. 是，你真的如此。
It looks actually woolly, doesn't it? 它看起來確實毛茸茸的，不是嗎？
Amazing, actually. 驚人的，確實。
It had to be something similar, it had to be. 它必須是類似的東西，它必須是。
I mean, there's no doubt that you've proved one thing, Tim, 我的意思是，毫無疑問，你已經證明了一點，Tim
that you can paint a painting of this degree of detail and precision in... 你可以畫一畫這種程度的細節和精度的畫作...
Well, it's not exactly a camera obscura, but it's an optical machine. 嗯，這不完全是一個暗箱，但它是一個光學機器。
And that's really what I set out to prove, is that it could have been done that way. 而這也確實是我著手證明，是它是曾經被那麼做。
Sure. I mean there's no doubt about that. 當然可以。我的意思是沒有疑問的。
There's no way that it proves that Vermeer did. 有沒有辦法 它證明了維梅爾做過。
That's the second question obviously, yes. Did Vermeer work that way? 這是第二個問題很明顯，是的。 維梅爾以這種方法做?
Yeah, but it makes you rather convinced that's what he did. 是的，但它會讓你寧願相信他是這麼做了。
I'm getting a little more convinced all the time. 大多數時間時間我開始有點更加堅信
I would say I'm about 90% there. 我會說我是約90％存在。
But, you know, if there was some historical record... 但是，你知道，如果有一些歷史記錄...
I mean, the idea that a painting isn't a historical record 我的意思是，這個想法該畫是不是一個歷史記錄
is from literary people who seem to just not look at pictures and just read texts. 對文學的人誰似乎只是不看圖片，只是閱讀文字。
This is a document in itseIf. 這本身就是一個文件。
I know people are going on about documents. 我知道人們正在做相關文件。
Paintings and drawings are documents, they tell you a great deal. 繪畫和圖都是文件，他們會告訴你很多
You've made a document that's proving something, it is. 你做了一個文件 這證明了一些東西，它是。
It's fascinating. 這是令人著迷
I mean, you set out to do some research. 我的意思是，你準備做一些研究。
I think you've succeeded and, well, you've shown it's possible to do it. 我想你已經成功了，那麼， 你已經證明這是可能做到這一點。
-As I say, if you've recorded it very well... -Yeah, yeah. - 正如我說的，如果你已經記錄得非常好... - 是啊，是啊。
I think it might disturb quite a lot of people. 我認為它可能擾亂了不少人
-I certainly hope so. -Which is fine, that's fine. Why not? - 我當然希望如此。 - 這很好，這很好。為什麼不呢？
My friend Tim painted a Vermeer. 我的朋友Tim畫了一幅維梅爾的畫。
In a warehouse, in San Antonio. 在一個倉庫，在聖安東尼奧。
He painted a Vermeer. 他畫了一幅維梅爾的畫。
And is Tim an artist, or is Tim an inventor? 而Tim 是一個藝術家，或者Tim是發明家？
I think the problem is not trying to pick one of those two for Tim to be, 我覺得這個問題是不是想 挑出Tim是這兩個之一，
but the problem is that we have that distinction. 但問題是我們有這樣的區分。
What Tim has done is given us an image of Vermeer Tim所做的什麼是給我們的維梅爾影像
as a man who is much more real, and in that way much more amazing. 作為一個男人誰是更真實的，而在那方式更為驚人。
I mean, unfathomable genius doesn't really mean anything. 我的意思是，深不可測的天才並不真正意味著什麼都是。
Now he's a fathomable genius. 現在，他是一個可測的天才。
If there's any great merit in this picture as a work of art, it's Vermeer's. 如果有在這張圖片中的任何大功作為一件藝術品，這是維梅爾的。
It's Vermeer's composition and it's Vermeer's invention. 它是維梅爾的組成和它是維梅爾的發明。
It's just been forgotten for 350 years. 它只是被遺忘了350年。