Virtuel realitet startede for mig et usædvanligt sted. Det var i 1970´erne. Jeg blev interesseret i området da jeg var meget ung: syv år gammel. Og værktøjet jeg brugte til at få adgang til virtuel realitet var Evel Knievel stunt-cyklen. Dette er en reklame for den cykel: (Video) Voice-over: Hvilket hop! Evel cykler med stuntcyklen. Gyro effekten sender ham over 30 meter i højeste fart.
Virtual reality started for me in sort of an unusual place. It was the 1970s. I got into the field very young: I was seven years old. And the tool that I used to access virtual reality was the Evel Knievel stunt cycle. This is a commercial for that particular item: (Video) Voice-over: What a jump! Evel's riding the amazing stunt cycle. That gyro-power sends him over 100 feet at top speed.
Chris Milk: Så dette var min glæde dengang. Jeg tog allevegne med den motorcykel. Og jeg var der med Evel Knievel; vi hoppede over Snake River Canyon sammen. Jeg ville have raketten. Jeg fik aldrig raketten, jeg fik kun motorcyklen. Jeg følte mig så tilsluttet denne verden. Jeg ville ikke være historiefortæller som voksen, jeg ville være stuntman. Jeg var der. Evel Knievel var min ven. Jeg havde så megen empati for ham.
Chris Milk: So this was my joy back then. I rode this motorcycle everywhere. And I was there with Evel Knievel; we jumped the Snake River Canyon together. I wanted the rocket. I never got the rocket, I only got the motorcycle. I felt so connected to this world. I didn't want to be a storyteller when I grew up, I wanted to be stuntman. I was there. Evel Knievel was my friend. I had so much empathy for him.
Men det lykkedes ikke. (Latter) Jeg tog på kunstskole. Jeg begyndte at lave musikvideoer. Og dette er en af de første musikvideoer som jeg lavede: (Musik: "Rør himlen" af Kanye West) CM: I lægger måske mærke til nogle ligheder her. (Latter) Og jeg fik raketten. (Latter)
But it didn't work out. (Laughter) I went to art school. I started making music videos. And this is one of the early music videos that I made: (Music: "Touch the Sky" by Kanye West) CM: You may notice some slight similarities here. (Laughter) And I got that rocket. (Laughter)
Så nu laver jeg film, eller, begynder at lave film, og jeg begynder at bruge værktøjet som er tilgængeligt for mig som instruktør for at fortælle de mest overbevisende historier jeg kan til et publikum. Og film er et utroligt medie der får os til at føle empati for folk der er meget anderledes end os og for verdener der er helt ulig vores egen.
So, now I'm a filmmaker, or, the beginning of a filmmaker, and I started using the tools that are available to me as a filmmaker to try to tell the most compelling stories that I can to an audience. And film is this incredible medium that allows us to feel empathy for people that are very different than us and worlds completely foreign from our own.
Desværre, Evel Knievel følte ikke samme empati for os som vi havde for ham, og han sagsøgte os for denne video -- (Latter) -- kort derefter. På den anden side, den mand jeg beundrede som dreng, manden jeg stræbte efter at blive som voksen, lykkedes det endelig at få en autograf fra. (Bifald)
Unfortunately, Evel Knievel did not feel the same empathy for us that we felt for him, and he sued us for this video -- (Laughter) -- shortly thereafter. On the upside, the man that I worshipped as a child, the man that I wanted to become as an adult, I was finally able to get his autograph. (Applause)
Lad os tale om film nu. Film er et fantastisk medie, men egentlig er den det samme som før. Det er en gruppe rektangler der spilles i en sekvens. Og vi har lavet utrolige ting med de rektangler. Men jeg startede at tænke over, er der en måde jeg kan bruge moderne og nyudviklede teknologier at fortælle historier på forskellige måder og fortælle forskellige historier som jeg måske ikke kunne ved brug af traditionelle filmværktøjer som er blevet brugt i 100 år? Så jeg begyndte at eksperimentere, og forsøgte at lave den ultimative empati-maskine. Og her er et af de første eksperimenter: (Musik)
Let's talk about film now. Film, it's an incredible medium, but essentially, it's the same now as it was then. It's a group of rectangles that are played in a sequence. And we've done incredible things with those rectangles. But I started thinking about, is there a way that I can use modern and developing technologies to tell stories in different ways and tell different kinds of stories that maybe I couldn't tell using the traditional tools of filmmaking that we've been using for 100 years? So I started experimenting, and what I was trying to do was to build the ultimate empathy machine. And here's one of the early experiments: (Music)
Dette er kaldet "Junglen midt i byen." Det var et samarbejde med Arcade Fire. Du blev bedt at indsætte adressen hvor du voksede op i starten af filmen. Det er en webside. Og ud af dét kommer der små bokse med forskellige browser vinduer. Og du ser en teenager der løber ned ad gaden, og så ser du Google Street View og billeder fra Google Maps og du indser at gaden han løber ned ad er din gade. Og når han standser foran et hus, standser han foran dit hus. Og det var stort, og jeg så folk få en endnu dybere følelsesmæssig reaktion over dette end de ting jeg havde lavet i rektanglerne. Og jeg tager egentlig et stykke af din historie og putter det ind i historierammen.
So this is called "The Wilderness Downtown." It was a collaboration with Arcade Fire. It asked you to put in the address where you grew up at the beginning of it. It's a website. And out of it starts growing these little boxes with different browser windows. And you see this teenager running down a street, and then you see Google Street View and Google Maps imagery and you realize the street he's running down is yours. And when he stops in front of a house, he stops in front of your house. And this was great, and I saw people having an even deeper emotional reaction to this than the things that I had made in rectangles. And I'm essentially taking a piece of your history and putting it inside the framing of the story.
Men så tænkte jeg, okay, det er en del af dig, men hvordan får jeg hele dit jeg ind i historierammen? For at få det at lykkes begyndte jeg at lave kunst-installationer. Og denne er kaldet "Fristedets forræderi." Det er en treenighed. Jeg vil vise jer det tredje panel. (Musik) Så nu har jeg jer inden i rammen, og jeg så folk have endnu mere dybe følelsesmæssige reaktioner til dette værk end det foregående.
But then I started thinking, okay, well that's a part of you, but how do I put all of you inside of the frame? So to do that, I started making art installations. And this is one called "The Treachery of Sanctuary." It's a triptych. I'm going to show you the third panel. (Music) So now I've got you inside of the frame, and I saw people having even more visceral emotional reactions to this work than the previous one.
Så tænkte jeg på rammer, og hvad de repræsenterer. Og en ramme er kun et vindue. Jeg mener, at alle medier vi ser på -- fjernsyn, biograffilm -- de er vinduer ind i andre verdener. Og jeg tænkte, ok fint. Jeg har jer i en ramme. Men jeg vil ikke have jer i rammen, jeg vil ikke have jer i vinduet, men gennem vinduet, på den anden side, i verdenen, iboende verdenen.
But then I started thinking about frames, and what do they represent? And a frame is just a window. I mean, all the media that we watch -- television, cinema -- they're these windows into these other worlds. And I thought, well, great. I got you in a frame. But I don't want you in the frame, I don't want you in the window, I want you through the window, I want you on the other side, in the world, inhabiting the world.
Dette leder mig tilbage til virtuel realitet. Lad os tale om virtuel realitet. Desværre, at tale om virtuel realitet er som at danse om arkitektur. Og her en der faktisk danser om arkitektur i virtuel realitet. (Latter) Det er svært at forklare. Hvorfor er det svært at forklare? Det er svært fordi mediet er eksperimenterende. Du føler din vej i det. Det er en maskine, men inden i føles det som det rigtige liv, det føles som sandhed. Du føler nutiden i verdenen du er inden i og du føler nutiden med folkene der er inden i den sammen med dig.
So that leads me back to virtual reality. Let's talk about virtual reality. Unfortunately, talking about virtual reality is like dancing about architecture. And this is actually someone dancing about architecture in virtual reality. (Laughter) So, it's difficult to explain. Why is it difficult to explain? It's difficult because it's a very experiential medium. You feel your way inside of it. It's a machine, but inside of it, it feels like real life, it feels like truth. And you feel present in the world that you're inside and you feel present with the people that you're inside of it with.
Jeg vil vise jer en demo af en virtuel realitet film: en fuld skærm version af al information vi optager når vi optager virtuel realitet. Vi optager i alle retninger. Dette er et kamerasystem vi har bygget som har 3D kameraer der kigger i alle retninger og dobbeltmikrofoner der optager i alle retninger. Vi tager dette og bygger en sfærisk verden som du kan besøge. Hvad jeg vil vise jer er ikke et kig ind i denne verden, men hele verdenen strakt ud i en rektangel. Denne film er kaldet "Skyer over Sidra," og den blev lavet i samarbejde med vort virtuel realitet firma kaldet VRSE og De Forenede Nationer, og en samarbejdspartner ved navn Gabo Arora. Vi tog til en syrisk flygtningelejr i Jordan i december og optog historien om en 12-årig pige dér ved navn Sidra. Hun og hendes familie flygtede fra Syrien gennem ørkenen til Jordan og hun har boet der i lejren det sidste halvandet år.
So, I'm going to show you a demo of a virtual reality film: a full-screen version of all the information that we capture when we shoot virtual reality. So we're shooting in every direction. This is a camera system that we built that has 3D cameras that look in every direction and binaural microphones that face in every direction. We take this and we build, basically, a sphere of a world that you inhabit. So what I'm going to show you is not a view into the world, it's basically the whole world stretched into a rectangle. So this film is called "Clouds Over Sidra," and it was made in conjunction with our virtual reality company called VRSE and the United Nations, and a co-collaborator named Gabo Arora. And we went to a Syrian refugee camp in Jordan in December and shot the story of a 12-year-old girl there named Sidra. And she and her family fled Syria through the desert into Jordan and she's been living in this camp for the last year and a half.
(Video) Sidra: Jeg hedder Sidra. Jeg er 12 år. Jeg går i femte klasse. Jeg er fra Syrien, fra provinsen til Daraa i byen Inkhil. Jeg har boet her i Zataari-lejren i Jordan gennem det sidste halvandet år. Jeg har en stor familie: tre brødre, en er en baby. Han græder meget. Jeg spurgte min far om jeg græd da jeg var spæd og han siger det gjorde jeg ikke. Jeg tror jeg var en stærkere baby end min bror.
(Video) Sidra: My name is Sidra. I am 12 years old. I am in the fifth grade. I am from Syria, in the Daraa Province, Inkhil City. I have lived here in the Zaatari camp in Jordan for the last year and a half. I have a big family: three brothers, one is a baby. He cries a lot. I asked my father if I cried when I was a baby and he says I did not. I think I was a stronger baby than my brother.
CM: Når du har headsettet på, ser du det ikke sådan her. Du ser rundt på en verden. Du vil bemærke du ser 360 grader, hele vejen rundt. Og når du sidder der i hendes værelse, og kigger på hende, ser du det ikke gennem en tv-skærm, du ser det ikke gennem et vindue, du sidder der med hende. Når du kigger ned, sidder du på det samme gulv hun sidder på. Og derfor, mærker du hendes menneskelighed dybere. Du empatiserer med hende dybere.
CM: So, when you're inside of the headset. you're not seeing it like this. You're looking around through this world. You'll notice you see full 360 degrees, in all directions. And when you're sitting there in her room, watching her, you're not watching it through a television screen, you're not watching it through a window, you're sitting there with her. When you look down, you're sitting on the same ground that she's sitting on. And because of that, you feel her humanity in a deeper way. You empathize with her in a deeper way.
Og jeg tror at vi kan forandre bevidst- heder med denne maskine. Og vi er allerede startet med at ændre nogle. Vi tog denne film til Verdens Økonomi Forum i Davos sidste januar. Vi viste den til en gruppe mennesker hvis beslutninger påvirker livet hos millioner af mennesker. De er mennesker, der ellers ikke ville sidde i et telt i en flygtningelejr i Jordan. Men i januar, en eftermiddag i Schweiz, befandt de sig allesammen der. (Bifald) Og de blev påvirket af det.
And I think that we can change minds with this machine. And we've already started to try to change a few. So we took this film to the World Economic Forum in Davos in January. And we showed it to a group of people whose decisions affect the lives of millions of people. And these are people who might not otherwise be sitting in a tent in a refugee camp in Jordan. But in January, one afternoon in Switzerland, they suddenly all found themselves there. (Applause) And they were affected by it.
Så vi vil lave flere af dem. Vi arbejder med Forenede Nationer lige nu med at lave en hel serie af disse film. Vi har netop afsluttet en historie i Liberia. Og nu vil vi optage en historie i Indien. Og vi tager disse film, og viser dem i FN for medarbejdere og besøgende. Og vi viser dem for de mennesker der faktisk kan forandre livet for menneskene i filmene.
So we're going to make more of them. We're working with the United Nations right now to shoot a whole series of these films. We just finished shooting a story in Liberia. And now, we're going to shoot a story in India. And we're taking these films, and we're showing them at the United Nations to people that work there and people that are visiting there. And we're showing them to the people that can actually change the lives of the people inside of the films.
Og dér, tror jeg, at vi kun lige er startet med at opdage den virkelige kraft hos virtuel realitet. Det er ikke en gren af videospil. Det forbinder mennesker med andre folk på en dybtgående måde som jeg ikke har set i andre former for medie. Og det kan forandre menneskers opfattelse af hinanden. Og derfor tror jeg at virtuel realitet er i stand til egentlig at forandre verden.
And that's where I think we just start to scratch the surface of the true power of virtual reality. It's not a video game peripheral. It connects humans to other humans in a profound way that I've never seen before in any other form of media. And it can change people's perception of each other. And that's how I think virtual reality has the potential to actually change the world.
Det er en maskine, men gennem denne maskine bliver vi mere medfølende, vi bliver mere empatiske, og vi bliver mere forbundne. Og til syvende og sidst bliver vi mere menneskelige.
So, it's a machine, but through this machine we become more compassionate, we become more empathetic, and we become more connected. And ultimately, we become more human.
Tak skal I have.
Thank you.
(Bifald)
(Applause)