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.
Virtualna stvarnost je za mene počela na poprilično neobičnom mestu. Bilo je to tokom 1970-ih. Ušao sam u tu sferu vrlo mlad: imao sam samo sedam godina. Sredstvo koje sam koristio da uđem u virtuelnu stvarnost bio je motocikl kaskadera Ivela Knivela. Ovo je reklama za taj konkretni motor: (Video) Narator: Kakav skok! Ivel vozi fantastičan kaskaderski motor. Žiro sila ga lansira preko 30 metara u najvećoj brzini.
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.
Kris Milk: Tako sam uživao u to vreme. Vozio sam taj motor svuda, i bio sam tamo sa Ivel Knivelom; zajedno smo preskočili kanjon reke Snejk. Želeo sam raketu. Nikada nisam dobio raketu, dobio sam samo motocikl. Osećao sam se tako povezan sa ovim svetom. Nisam hteo da budem pripovedač kada odrastem, hteo sam da budem kaskader. Bio sam tamo. Ivel Knivel je bio moj prijatelj. Osećao sam toliko empatije prema njemu.
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)
Međutim, nije nam uspelo. (Smeh) Otišao sam u umetničku školu. Počeo sam da pravim muzičke spotove. Ovo je jedan od prvih spotova koje sam napravio: (Muzika: „Dodirni nebo“ - Kanje Vest) Kris Milk: Možda primećujete manje sličnosti ovde. (Smeh) I dobio sam tu raketu. (Smeh)
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.
Dakle, sada stvaram filmove, ili barem počinjem time da se bavim, pa sam počeo da koristim sredstva koje su mi dostupna kao filmskom stvaraocu kako bih pokušao da publici predočim najubedljivije priče. Film je neverovatan medij koji omogućava da doživimo empatiju prema ljudima drugačijim od nas i svetovima potpuno drugačijim od naših.
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)
Nažalost, Ivel Knivel nije gajio ista osećanja prema nama kao i mi prema njemu, pa nas je tužio zbog ovog spota - (Smeh) - nedugo potom. Sa pozitivne strane, čovek kojeg sam idealizovao kao dete, čovek kakav sam želeo da postanem kada odrastem, konačno mi je dao autogram. (Smeh) (Aplauz)
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)
Hajde sada da pričamo o filmu. Film, to je neverovatan medij, ali, u suštini, on je isti sada kao što je bio nekada. To je grupa pravougaonika koje vidimo u jednom nizu. I učinili smo fantastične stvari sa tim pravougaonicima. Međutim, počeo sam da razmišljam o tome postoji li način na koji mogu iskoristiti moderne tehnologije i one u nastajanju da bih ispričao priče na drugačije načine i da bih ispričao drugačije priče koje možda ne bih mogao da ispričam pomoću tradicionalnih metoda pravljenja filmova koje koristimo već 100 godina? Tako sam počeo da eksperimentišem, i pokušao sam da napravim vrhunsku mašinu za empatiju. I ovo je jedan od tih eksperimenata: (Muzika)
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.
Dakle, ovo se zove „Divljina u centru grada“. U pitanju je saradnja sa bendom Arkejd Fajr. Na početku bi vas pitali da unesete adresu na kojoj ste odrasli. To je veb-sajt. Iz njega bi počeli da iskaču kvadratići sa prozorima raznih pretraživača. Prvo vidite ovog tinejdžera koji trči niz ulicu, i onda vam se pojavi slika Gugl mape i pregleda ulica i shvatate da je ulica niz koju on trči zapravo vaša. A kada stane pred kuću, zapravo stane pred vašu kuću. To je bilo sjajno, video sam ljude koji su na ovo reagovali emotivnije nego na one stvari koje sam pravio sa pravougaonicima. U suštini, ja uzimam deo vaše istorije i stavljam ga u okvir ove priče.
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.
Međutim, onda sam počeo da mislim, okej, to je deo vas, ali kako da sve vas stavim u isti okvir? Da bih uspeo u tome, počeo sam da pravim umetničke instalacije. Ova se zove „Izdaja svetilišta“. U pitanju je triptih i pokazaću vam treći panel. (Muzika) Dakle, sada sam vas stavio u okvir i primetio još jače reakcije kod ljudi na ovaj nego na prethodni rad. Onda sam počeo da razmišljam o okvirima i tome šta oni predstavljaju.
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.
Okvir je zapravo samo prozor. Mislim, svi mediji koje pratimo - televizija, filmovi - oni su poput prozora u druge svetove. I zato sam pomislio, pa, sjajno, stavio sam vas u okvir, ali, ne želim vas uokvirene, ne želim vas u prozoru. Želim da prođete kroz prozor, želim da odete na drugu stranu, u svet, da se nastanite u svetu.
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.
To me vraća nazad do virtuelne stvarnosti. Hajde da pričamo o virtuelnoj stvarnosti. Nažalost, pričati o virtuelnoj stvarnosti je isto što i plesati oko arhitekture. A ovo je zapravo neko ko pleše oko arhitekture u virtuelnoj stvarnosti. (Smeh) Dakle, teško je to objasniti. Zašto je to teško objasniti? Teško je jer je to iskustveni medij. Kada ste u njemu, vi nešto zaista osećate. To jeste mašina, ali u njoj imate osećaj kao da je pravi život, kao da je istina. Osećate se prisutno u svetu u kome ste i osećate da ste prisutni sa ljudima koji su tu sa vama.
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.
Pokazaću vam sada prikaz virtuelne stvarnosti: preko celog ekrana videćete sve informacije koje obuhvatimo kada snimamo virtuelnu stvarnost. Zato snimamo u svim pravcima. Ovo je sistem kamera koji smo izgradili i u njemu 3D kamere gledaju u svim pravcima, i mikrofoni za oba uha usmereni su u svim pravcima. U suštini, sa tim, mi napravimo područje sveta koji vi naseljavate. Tako da ću vam pokazati ne samo pogled u svet, nego praktično ceo svet razvučen u pravougaonik. Ovaj film se zove „Oblaci nad Sidrom“, a rezultat je saradnje između naše kompanije virtuelne stvarnosti, VRSE, i Ujedinjenih nacija, uz saradnika zvanog Gabo Arora. U decembru smo otišli u Jordan u kamp izbeglica iz Sirije i snimili priču o 12-godišnjoj devojčici Sidri. Ona je sa porodicom pobegla iz Sirije kroz pustinju sve do Jordana i poslednjih godinu i po živi u tom kampu.
(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.
(Video) Sidra: Moje ime je Sidra. Imam 12 godina. Idem u peti razred. Dolazim iz Sirije, iz grada Inkil u regiji Dara. Živim ovde, u kampu Zatari u Jordanu, poslednjih godinu i po dana. Imam veliku porodicu: tri brata, od kojih je jedan beba. On puno plače. Pitala sam tatu jesam li i ja plakala kad sam bila beba i rekao je da nisam. Mislim da sam bila jača beba od mog brata.
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.
Kris Milk: Sa slušalicama, to ne vidite ovako. Vi gledate okolo po ovom svetu. Primetićete da vidite u svih 360 stepeni, u svim pravcima. A kada sedite tamo, u njenoj sobi, dok je posmatrate, ne gledate to kroz ekran televizora, ne gledate to kroz prozor, vi sedite tamo sa njom. Kada pogledate dole, sedite na istoj zemlji na kojoj i ona sedi, i zato osećate njenu ljudskost na dublji način. Saosećate sa njom na dubljem nivou.
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.
Mislim da možemo da promenimo umove pomoću ove mašine. Već smo krenuli da menjamo nekoliko. Odneli smo ovaj film u januaru na Svetski ekonomski forum u Davosu. Pokazali smo ga grupi ljudi čije odluke utiču na živote miliona ljudi. A to su ljudi koji inače ne bi sedeli u šatoru sa izbeglicama u kampu u Jordanu, ali u januaru, jednog popodneva u Švajcarskoj, odjednom su se svi našli tamo. (Aplauz) I to je ostavilo utisak na njih.
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.
Zato ćemo napraviti još ovakvih filmova. Trenutno radimo sa Ujedinjenim nacijama kako bismo snimili čitavu seriju ovakvih filmova. Upravo smo završili snimanje priče u Liberiji i sada idemo da snimimo priču u Indiji. A ove filmove pokazujemo u Ujedinjenim nacijama, ljudima koji tamo rade i onima koji su u poseti, i pokazujemo ih ljudima koji zapravo mogu da promene živote ljudi iz tih filmova.
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.
Mislim da sada tek počinjemo da grebemo po površini prave moći virtuelne stvarnosti. To nije periferija video igre. Ona povezuje ljude jedne sa drugima na tako dubok način da ja ranije nisam video ništa slično u drugim medijima, i može da promeni našu percepciju o drugima. Zbog toga mislim da virtuelna stvarnost ima potencijal da zaista promeni svet.
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.
Dakle, to je mašina, ali kroz ovu mašinu postajemo još saosećajniji, postajemo empatičniji i povezaniji. I na kraju krajeva, postajemo čovečniji.
Thank you.
Hvala.
(Applause)
(Aplauz)