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I grew up in Kuwait in the early '90s, where I was raised by screens.
我于90年代初在科威特长大，我在那里是被屏幕抚养长大的。
The main windows to reality for me were television and the internet.
对我来说，通向现实的主要窗口是电视和互联网。
Not because of their accuracy, but because there were storytelling machines.
不是因为他们的准确性，而是因为有讲故事的机器。
These machines told stories that contradict one another, but all somehow seem true.
这些机器讲述的故事相互矛盾，但似乎都是真实的。
The Arab region knew Kuwait to be one of the leading voices in media, specifically for comedy shows and theater.
阿拉伯地区知道科威特是媒体的主要声音之一，特别是在喜剧表演和戏剧方面。
The rest of the world knew Kuwait to be a small country that was located between Saudi Arabia, Iraq and Iran during the Gulf War.
海湾战争期间别的国家都知道科威特是一个位于沙特阿拉伯、伊拉克和伊朗之间的小国。
Both stories are true.
这两个故事都是真的。
These screens that I drive my sense of reality from told me different and sometimes contradicting stories about who I am and where I come from.
这些屏幕告诉我关于“我是谁”、“我来自哪里”的不同的有时甚至相互矛盾的故事，驱动着我的真实感。
And that was the only way I understood anything around me: By placing it into different sets of stories.
这是我理解周围事物的唯一方式：把它放在不同的故事当中。
When social media came around, it changed the way screens worked for me.
当社交媒体出现后，它改变了屏幕对我的工作方式。
It wasn't only a window for observations anymore, but an interactive one, one I could use to identify everything around me in even more varied in multiple ways, and to know myself better and actually participate in the storytelling process.
这不再只是一个观察的窗口，而是一个互动的窗口，一个我可以用更多的方式来识别我周围的一切、更好地了解我自己并真正参与到讲故事的过程中的窗口。
It started with these drawings, mostly crosshatched on photographs that I took with my iPhone.
一切都始于这些画，它们大多是我用iPhone拍的照片的阴影线。
With time, I started to animate them onto videos that told stories from different perspectives in a mocumentary series titled "Bird Watch."
后来慢慢地，我开始将它们做成动画，从不同的角度讲述故事，制作成了一个名为“鸟看”的系列纪录片。
It consists of scripted interviews by imagined minority voices discussing a general issue or one of common interests.
它是由想象出来的一小部分人讨论大众问题或共同利益的声音所组成的脚本访谈。
The title of the series is meant to ponder the idea, What if birds were watching back? What would they think of our obsession with speed and oil? Would they think we were dumb for standing under the rain?
这一系列的标题意在思考这样一个问题：如果有鸟儿在后面看着呢？他们会怎么看待我们对速度和石油的痴迷？他们会觉得站在雨里的我们是傻瓜吗？
The second episode, for example, is an interview with a little girl that tries to explain her definition of health, where she says she wants to be like her father, be strong, smoke and tell children not to.
例如，第二集是对一个小女孩的采访，她试图解释自己对健康的定义，她说她想要像她的父亲一样强壮、吸烟，但又告诉孩子们不要吸烟。
And also like her grandmother, cook good food, be loved by everyone and have diabetes.
还要像她的祖母一样，做好吃的食物，受大家的喜爱，并患有糖尿病。
She also introduces us to the stomach animal.
她还向我们介绍了胃动物。
It's the head of an animal that's connected to our stomachs and its objective is to continue eating even after we're full.
它是一种动物的头部，连接着我们的胃，它的目的是在我们吃饱后继续进食。
You see, Kuwait has one of the highest rates of childhood obesity.
你知道，科威特是儿童肥胖率最高的国家之一。
Presenting it in an amusing story while pointing out that children are themselves a minor voice is a great way to really put the statistic into perspective.
用一个有趣的故事来展示这一点，同时指出孩子本身就能发出微小的声音，这是一个很好的真正理解数据的方法。
Another episode is an interview with a horse breeder who talks about the rules of making sure your well-bred horse is taken care of.
另一集是对马饲养员的采访，他谈到了确保良种马得到照顾的规则。
She, the horse, must not be seen by others, must only mate with the same breed, must not be ridden by other men and must be veiled.
她，那匹马，不能被别人看见，只能与同一品种的马交配，不能被其他人骑乘，而且必须戴着面纱。
Making a story about a parameter of repression towards women funny, especially when it has animation or live action, is a great way to walk clear through walls of censorship, intolerance and political correctness.
将一个关于压抑女性的故事用有趣的方式表现出来，再配上动画或真人表演，这是一种很好的方式，可以让你穿过审查制度、偏狭和政治正确的高墙。
I tried to implement the ideas behind these two episodes before or during my first art solo in 2014, but I still had to put it into a story to both be understood and accepted.
在2014年我的第一次艺术独唱之前或期间，我试图将这两集背后的想法付诸实施，但我仍须将它放入一个故事当中以便被理解和接受。
By speaking in someone else's voice, I was experimenting with detachment from ideas I grew up thinking where axioms.
通过别人的声音说话，我试着从自己成长过程中思考的公理中脱离出来。
We're in a strange place where our problem is the abundance of information, where the majority of people have a platform to be heard, but representation is still an issue.
我们处在一个奇怪的地方，我们的问题是信息的丰富，在这里大多数人都有一个来表达自己意见的平台，但代表权仍然是个问题。
Representing a certain group, giving them justice.
代表某个群体，给他们正义。
All of these stories can naturally contradict, even if they differ slightly.
所有这些故事虽然略有不同，但却很自然地相互矛盾着。
We as humans are not merely the shape of body that we occupy or the specific description of behavior.
作为人类，我们不仅仅是身体的形状或者行为的具体描述。
We're a multiplicity of stories, stories that often come in repetitive patterns that can be rewritten and reread.
我们是故事的多样性，那些经常以重复的模式出现、可以被重写和重读的故事。
Having been raised by screens that told me different stories about who I am and where I come from confused me in the best way possible.
那些屏幕告诉我关于“我是谁”、“我来自哪里”的不同的故事，我从小被这些屏幕抚养长大，这让我感到极其困惑。
I saw that history is not as static as we thought, that stories can be told, retold, read and reread.
我发现历史并不像我们想象的那样一成不变，故事可以被讲述、复述、阅读、再阅读。
A change of context, change of perspective in hindsight can assign different values to everything and everyone around us.
换个环境，换个视角，可以赋予我们周围的每件事和每个人不同的价值。
The way I see it, that's where artists are most important.
在我看来，这就是艺术家最重要的地方。
To present metadocumentations of our history, to give villains their origin story.
展示我们历史的元文献，讲述恶棍们的起源故事。
Nothing and no one can be said to be good or bad in isolation of the story around it.
没有任何事物或任何人能够脱离其周围的故事而被说成是好是坏。
It's much like learning a new word. You have to use it in a sentence for it to make sense.
这就像学习一个新的单词，你必须把它用在一个句子里，才能让它有意义。
And then to challenge its meaning, you begin to use it in an infinite amount of stories. Thank you.
然后为了挑战它的意义，你开始在无数的故事中使用它。谢谢！
