When I was a kid, I experienced something so powerful, I spent the rest of my life searching for it, and in all the wrong places. What I experienced wasn't virtual reality. It was music. And this is where the story begins.
Kad sam bio dete, iskusio sam nešto toliko moćno da sam čitav život tragao za tim, no na skroz pogrešnim mestima. To iskustvo nije bila virtuelna stvarnost. Bila je to muzika. I tu počinje moja priča.
That's me, listening to the Beatles' "White Album." And the look on my face is the feeling that I've been searching for ever since. Music goes straight to the emotional vein, into your bloodstream and right into your heart. It deepens every experience. Fellas?
Ovo sam ja dok slušam "White Album" od Bitlsa. A izraz na mom licu je osećaj za kojim stalno tragam od tad. Muzika dotiče samu žilu kucavicu, vaš krvotok i ide pravo u vaše srce. Ona produbljava svako iskustvo. Drugari?
(Music)
(Muzika)
This is the amazing McKenzie Stubbert and Joshua Roman. Music --
Ovo su divni Mekenzi Stabert i Džošua Roman. Muzika -
(Applause)
(Aplauz)
Yeah.
Da.
Music makes everything have more emotional resonance. Let's see how it does for this talk. The right piece of music at the right time fuses with us on a cellular level. When I hear that one song from that one summer with that one girl, I'm instantly transported back there again. Hey, Stacey.
Zbog muzike sve zvuči emotivnije. Pogledajmo kako deluje na ovaj govor. Pravi muzički komad u pravom trenutku se stapa s nama na ćelijskom nivou. Kad čujem baš tu pesmu iz baš tog leta s baš tom devojkom, momentalno sam prebačen opet tamo. Zdravo, Stejsi.
Here's a part of the story, though, where I got a little greedy. I thought if I added more layers on top of the music, I could make the feelings even more powerful. So I got into directing music videos. This is what they looked like. That's my brother, Jeff. Sorry about this, Jeff.
Ovo je deo priče, pak, gde sam postao malčice pohlepan. Pomislio sam da kad bih dodao još slojeva povrh muzike, mogao bih da proizvodim još snažnija osećanja. Pa sam počeo da režiram muzičke spotove. Ovako su izgledali. To je moj brat Džef. Džef, izvini zbog ovoga.
(Laughter)
(Smeh)
Here's me, just so we're even. Incredible moves. Should've been a dancer.
Ovo sam ja, prosto da budemo kvit. Neverovatni pokreti. Trebalo je da budem plesač.
(Laughter)
(Smeh)
These experiments grew, and in time, started to look more like this. In both, I'm searching for the same thing, though, to capture that lightning in a bottle. Except, I'm not. Adding moving pictures over the music added narrative dimension, yes, but never quite equated the power that just raw music had for me on its own. This is not a great thing to realize when you've devoted your life and professional career to becoming a music video director. I kept asking myself, did I take the wrong path? So I started thinking: if I could involve you, the audience, more, I might be able to make you feel something more as well.
Ovi eksperimenti su rasli, i vremenom su više ličili na ovo. Kod oba tragam za istim, pak, da uhvatim tu svetlost u boci. Samo što to ne radim. Dodavanje pokretnih slika preko muzike je dodalo pripovednu dimenziju, da, ali nikad se nije baš izjednačilo s moći koju je samo ogoljena muzika imala za mene. Ovo nije dobro da shvatite, ako ste posvetili svoj život i profesionalnu karijeru da postanete reditelj muzičkih spotova. Stalno sam se pitao da li sam krenuo pogrešnim putem? Pa sam počeo da razmišljam: ako bih uspeo da više angažujem vas, publiku, možda bih uspeo da i vas navedem da osetite nešto više.
So Aaron Koblin and I began auditioning new technologies that could put more of you inside of the work, like your childhood home in "The Wilderness Downtown," your hand-drawn portraits, in "The Johnny Cash Project," and your interactive dreams in "3 Dreams of Black." We were pushing beyond the screen, trying to connect more deeply to people's hearts and imaginations. But it wasn't quite enough. It still didn't have the raw experiential power of pure music for me.
Pa smo Aron Koblin i ja počeli da isprobavamo novu tehnologiju koja bi vas više uvela unutar naših dela, poput doma iz detinjstva u: "The Wilderness Downtown", vaši ručno rađeni portreti u: "The Johnny Cash Project", i vaši interaktivni snovi u: "3 Dreams of Black". Probijali smo se mimo ekrana, pokušavajući da se povežemo dublje s ljudskim srcima i maštom. Ali nije bilo baš dovoljno. I dalje za mene nije imalo ogoljenu iskustvenu moć čiste muzike.
So I started chasing a new technology that I only had read about in science fiction. And after years of searching, I found a prototype. It was a project from Nonny de la Peña in Mark Bolas's lab in USC. And when I tried it, I knew I'd found it. I could taste the lightning. It was called virtual reality. This was it five years ago when I ran into it. This is what it looks like now.
Pa sam počeo da tragam za novom tehnologijom o kojoj sam jedino čitao u naučnoj fantastici. I nakon godina traganja, otkrio sam prototip. Bio je to projekat Noni de la Penja u laboratoriji Marka Bolasa na USC-u. I kad sam je isprobao, znao sam da to je to. Mogao sam da okusim blesak. Nazivalo se virtuelnom realnošću. Pre pet godina sam naleteo na to. Ovako to sada izgleda.
I quickly started building things in this new medium, and through that process we realized something: that VR is going to play an incredibly important role in the history of mediums. In fact, it's going to be the last one. I mean this because it's the first medium that actually makes the jump from our internalization of an author's expression of an experience, to our experiencing it firsthand. You look confused. I'll explain. Don't worry.
Brzo sam počeo da stvaram stvari u ovom novom mediju, a kroz taj proces smo nešto shvatili: virtuelna stvarnost će da igra neverovatno važnu ulogu u istoriji medija. Zapravo, biće zadnji medij. Smatram da je tako jer je prvi medij koji zapravo pravi skok iz naše internalizacije autorskog izraza nekog iskustva do njegovog doživljaja iz prve ruke. Izgledate zbunjeno. Objasniću. Ne brinite.
(Laughter)
(Smeh)
If we go back to the origins of mediums, by all best guesses, it starts around a fire, with a good story. Our clan leader is telling us about how he hunted the woolly mammoth on the tundra that day. We hear his words and translate them into our own internal truths. The same thing happens when we look at the cave painting version of the story, the book about the mammoth hunt, the play, the radio broadcast, the television show or the movie. All of these mediums require what we call "suspension of disbelief," because there's a translation gap between the reality of the story and our consciousness interpreting the story into our reality. I'm using the word "consciousness" as a feeling of reality that we get from our senses experiencing the world around us.
Kad bismo se vratili na izvorište medija, najbolja pretpostavka je da su začeti oko vatre, dobrom pričom. Naš vođa klana nam je govorio o tome kako je tog dana lovio runastog mamuta po tundri. Slušamo njegove reči i prevodimo ih u naše lične unutrašnje istine. Isto se dešava kad posmatramo verzije priče na slikama iz pećina, knjigu o lovu na mamute, predstavu, radijski prenos, televizijsku emisiju ili film. Svi ovi mediji zahtevaju nešto što zovemo "ukidanjem neverice", jer postoji jaz u tumačenju između stvarnosti priče i toga kako naša svest prevodi priču na našu stvarnost. Koristim reč "svest" kao osećanje stvarnosti koje dobijamo od naših čula koja doživljavaju svet oko nas.
Virtual reality bridges that gap. Now, you are on the tundra hunting with the clan leader. Or you are the clan leader. Or maybe you're even the woolly mammoth.
Virtuelna stvarnost premošćuje taj jaz. Sad ste vi u tundri, lovite s vođom klana. Ili ste vođa klana. Ili ste čak runasti mamut.
(Laughter)
(Smeh)
So here's what special about VR. In all other mediums, your consciousness interprets the medium. In VR, your consciousness is the medium. So the potential for VR is enormous. But where are we now? What is the current state of the art? Well, we are here. We are the equivalent of year one of cinema. This is the Lumière Brothers film that allegedly sent a theater full of people running for their lives as they thought a train was coming toward them. Similar to this early stage of this medium, in VR, we also have to move past the spectacle and into the storytelling. It took this medium decades to figure out its preferred language of storytelling, in the form of a feature film. In VR today, we're more learning grammar than writing language.
Evo šta je posebno kod VS-a. Kod svih drugih medija, vaša svest tumači medij. Kod VS-a, vaša svest jeste medij. Te je potencijal VS-a ogroman. Ali gde smo sad? Kakvo je trenutno stanje stvari? Pa, ovde smo. Ekvivalent nam je prva godina filma. Ovo je film braće Limijer, koji je navodno poslao pun bioskop ljudi da beže da sačuvaju glavu, misleći da voz ide ka njima. Slično ranoj fazi ovog medija, kod VS-a takođe moramo da prevaziđemo spektakl i stignemo do pripovedanja. Ovom mediju su bile potrebne decenije da otkrije željeni jezik pripovedanja, u obliku dugometražnog filma. Kod VS-a trenutno više učimo gramatiku nego što pišemo jezik.
We've made 15 films in the last year at our VR company, Vrse, and we've learned a few things. We found that we have a unique, direct path into your senses, your emotions, even your body.
Napravili smo 15 filmova prošle godine u našoj firmi VS-a, Vrsi, i naučili smo nekoliko stvari. Otkrili smo da imamo jedinstven, direktan pristup vašim čulima, vašim emocijama, čak i vašem telu.
So let me show you some things. For the purpose of this demo, we're going to take every direction that you could possibly look, and stretch it into this giant rectangle. OK, here we go.
Dozvolite mi da vam nešto pokažem. U svrhu ove demonstracije, uzećemo u obzir svaki pravac u kojem možete da gledate, i razvući ćemo ga u ovaj džinovski pravougaonik. U redu, krećemo.
So, first: camera movement is tricky in VR. Done wrong, it can actually make you sick. We found if you move the camera at a constant speed in a straight line, you can actually get away with it, though. The first day in film school, they told me you have to learn every single rule before you can break one. We have not learned every single rule. We've barely learned any at all, but we're already trying to break them to see what kind of creative things we can accomplish. In this shot here, where we're moving up off the ground, I added acceleration. I did that because I wanted to give you a physical sensation of moving up off the ground. In VR, I can give that to you.
Dakle, kao prvo: pokreti kamere su komplikovani u VS-u. Kad se loše odrade, zapravo može da vam pozli. Otkrili smo da ako pokrećete kameru ustaljenom brzinom pravolinijski, zapravo možete da to izbegnete, pak. Prvog dana u školi filma, rekli su mi da morate da naučite baš svako pravilo pre nego prekršite jedno. Nismo naučili baš svako pravilo. Jedva da smo naučili ijedno, ali već pokušavamo da ih prekršimo da bismo otkrili šta sve na polju kreativnosti možemo postići. Na ovom snimku ovde, gde se odvajamo od zemlje, dodao sam ubrzanje. Učinio sam to jer sam želeo da vam pružim fizički utisak podizanja sa zemlje. U VS-u to mogu da vam pružim.
(Music)
(Muzika)
Not surprisingly, music matters a lot in this medium as well. It guides us how to feel. In this project we made with the New York Times, Zach Richter and our friend, JR, we take you up in a helicopter, and even though you're flying 2,000 feet above Manhattan, you don't feel afraid. You feel triumphant for JR's character. The music guides you there.
Ne iznenađuje to da je muzika veoma važna i u ovom mediju. Vodič je za naša osećanja. Ovaj projekat smo napravili sa Zakom Rikterom iz "Njujork Tajmsa" i našim prijateljem, Džej-Arom, povedemo vas u helikopter, i iako letite 610 metara iznad Menhetna, ne plašite se. Osećate se slavodobitno zbog Džej-Arovog lika. Muzika vas dovodi to toga.
(Music)
(Muzika)
Contrary to popular belief, there is composition in virtual reality, but it's completely different than in film, where you have a rectangular frame. Composition is now where your consciousness exists and how the world moves around you. In this film, "Waves of Grace," which was a collaboration between Vrse, the United Nations, Gabo Arora, and Imraan Ismail, we also see the changing role of the close-up in virtual reality. A close-up in VR means you're actually close up to someone. It brings that character inside of your personal space, a space that we'd usually reserve for the people that we love. And you feel an emotional closeness to the character because of what you feel to be a physical closeness.
Nasuprot opštem mišljenju, virtuelna stvarnost ima strukturu, ali je potpuno različita od one na filmu, gde imate pravougaoni kadar. Struktura je sada mesto gde počiva svesnost i način na koji se svet pomera oko vas. U ovom filmu, "Waves of Grace", koji je saradnja između Vrse, Ujedinjenih nacija, Gaba Aurore, i Imrana Ismaila, vidimo i kako se menja uloga krupnog kadra u virtuelnoj stvarnosti. Krupni kadar u VS-u znači da ste zapravo blizu nekoga. Ona dovodi tog lika unutar vašeg privatnog prostora, prostora koji obično čuvamo za ljude koje volimo. I osećate emotivnu bliskost s likom zbog osećaja koji pruža fizička blizina.
Directing VR is not like directing for the rectangle. It's more of a choreography of the viewer's attention. One tool we can use to guide your attention is called "spatialized sound." I can put a sound anywhere in front of you, to left or right, even behind you, and when you turn your head, the sound will rotate accordingly. So I can use that to direct your attention to where I want you to see. Next time you hear someone singing over your shoulder, it might be Bono.
Režiranje u VS-u nije poput režiranja u pravougaoniku. Pre se radi o koreografisanju gledaočeve pažnje. Jedno od mogućih oruđa za usmeravanje vaše pažnje se naziva "prostornim zvukom". Mogu da unesem zvuk bilo gde - ispred vas, levo ili desno, čak i iza vas, a kad okrenete glavu, zvuk će da se rotira u skladu s tim. Te mogu da koristim to da usmeravam vašu pažnju tamo gde želim da gledate. Sledeći put kad čujete nekoga da peva iza vašeg ramena, mogao bi to da bude Bono.
(Laughter)
(Smeh)
VR makes us feel like we are part of something. For most of human history, we lived in small family units. We started in caves, then moved to clans and tribes, then villages and towns, and now we're all global citizens. But I believe that we are still hardwired to care the most about the things that are local to us. And VR makes anywhere and anyone feel local. That's why it works as an empathy machine. Our film "Clouds Over Sidra" takes you to a Syrian refugee camp, and instead of watching a story about people over there, it's now a story about us here.
Zbog VS-a se osećamo delom nečega. Većim delom ljudske istorije smo živeli u malim porodičnim krugovima. Krenuli smo iz pećina, potom smo prešli u klanove i plemena, zatim u sela i gradove, a sad smo svi građani sveta. Ali verujem da smo i dalje predodređeni da najviše marimo o stvarima koje su za nas domaće. A zbog VS-a se bilo gde i bilo ko doživljavaju domaćim. Zato ona deluje kao mašina za empatiju. Naš film: "Oblaci iznad Sidre" vas vodi u sirijski izbeglički kamp i umesto da gledate priču o ljudima tamo, sada je to priča o nama ovde.
But where do we go from here? The tricky thing is that with all previous mediums, the format is fixed at its birth. Film has been a sequence of rectangles, from Muybridge and his horses to now. The format has never changed. But VR as a format, as a medium, isn't complete yet. It's not using physical celluloid or paper or TV signals. It actually employs what we use to make sense of the world. We're using your senses as the paints on the canvas, but only two right now. Eventually, we can see if we will have all of our human senses employed, and we will have agency to live the story in any path we choose. And we call it virtual reality right now, but what happens when we move past simulated realities? What do we call it then? What if instead of verbally telling you about a dream, I could let you live inside that dream? What if instead of just experiencing visiting some reality on Earth, you could surf gravitational waves on the edge of a black hole, or create galaxies from scratch, or communicate with each other not using words but using our raw thoughts? That's not a virtual reality anymore. And honestly I don't know what that's called. But I hope you see where we're going.
Ali šta dalje s ovim? Zamršeno je zbog toga što kod svih prethodnih medija, format je učvršćen u nastanku. Film je niz pravougaonika od Majbridža i njegovih konja do danas. Format se nikad nije promenio. Ali VS, kao medij, još uvek nije dovršen. Ne radi se o upotrebi fizičkog celuloida ili papira ili TV signala. Ona zapravo angažuje ono čime osmišljavamo svet. Koristimo vaša čula kao boje na platnu, ali trenutno samo dve. Vremenom ćemo videti da li ćemo da angažujemo sva ljudska čula, i imaćemo sposobnost da doživimo priču na način koji odaberemo. Trenutno to nazivamo virtuelnom stvarnošću, ali šta će da se desi kad prekoračimo simuliranu stvarnost? Kako ćemo to nazivati tada? Šta ako ne bih rečima govorio o snu već bih mogao da vas pustim da živite unutar tog sna? Šta ako biste umesto pukog iskustva posećivanja neke stvarnosti na Zemlji, mogli da surfujete gravitacionim talasima na ivici crne rupe ili da stvorite galaksije od nule ili da komunicirate jedni s drugima bez korišćenja reči, već korišćenjem naših neobrađenih misli? To više nije virtuelna stvarnost. I, iskreno, pojma nemam kako se to naziva. Ali se nadam da shvatate kuda se krećemo.
But here I am, intellectualizing a medium I'm saying is experiential. So let's experience it. In your hands, you hopefully hold a piece of cardboard. Let's open the flap. Tap on the power button to unlock the phone. For the people watching at home, we're going to put up a card right now to show you how to download this experience on your phone yourself, and even get a Google cardboard of your own to try it with. We played in cardboard boxes as kids, and as adults, I'm hoping we can all find a little bit of that lightning by sticking our head in one again. You're about to participate in the largest collective VR viewing in history. And in that classic old-timey style of yesteryear, we're all going to watch something at the exact same time, together. Let's hope it works. What's the countdown look like? I can't see.
Ali eto mene kako pametujem o mediju za koji kažem da je eksperimentalan. Stoga, hajde da ga doživimo. Nadam se da u vašim rukama držite parče kartona. Otvorimo poklopac. Pritisnite dugme da otključate telefon. Za ljude koji gledaju kod kuće, upravo sad ćemo da postavimo uputstva da vam pokažemo kako sami da skinete ovo iskustvo na vaš telefon, pa čak i da dobijete sopstvenu Guglovu kutiju da to isprobate. Igrali smo se kao deca u kartonskim kutijama, a kao odrasli, nadam se da svi možemo pronaći trag tog bleska ponovo stavljajući naše glave u jednu od njih. Uskoro ćete da učestvujete u najvećem grupnom posmatranju VS-a u istoriji. I u tom klasičnom zastarelom stilu davnih vremena, svi ćemo da gledamo nešto tačno u isto vreme, zajedno. Nadamo se da će raditi. Kako izgleda odbrojavanje? Ne vidim.
Audience: ...15, 14, 13, 12, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1
Publika: ...15, 14, 13, 12, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1
(Birds singing)
(poj ptica)
(Train engine)
(motor voza)
Audience: (Shreiks)
Publika: (vrišti)
(Video) JR: Let me tell you how I shot the cover of the New York Times Magazine, "Walking New York." I just got strapped on outside the helicopter, and I had to be perfectly vertical so I could grab it. And when I was perfectly above -- you know, with the wind, we had to redo it a few times -- then I kept shooting.
(Video) Džej-Ar: Ispričaću vam kako sam fotografisao naslovnicu za časopis "Njujork Tajms": "Walking New York". Prosto su me vezali sa spoljnje strane helikoptera, i ja sam morao da budem potpuno u vertikalnom položaju da bih je uhvatio. I kad sam bio sasvim iznad - znate, uz vetar, morali smo nekoliko puta da ponavljamo - onda sam nastavio da slikam.
(Video) Woman's voice: Dear Lord, protect us from evil, for you are the Lord, the light. You who gave us life took it away. Let your will be done. Please bring peace to the many who have lost loved ones. Help us to live again.
(Video) Glas žene: Gospode dragi, zaštiti nas od zla jer ti si Gospod, svetlost. Ti koji nam daješ život i uzimaš. Neka bude volja tvoja. Molim te donesi mir mnogima koji su izgubili voljene. Pomozi nam da opet živimo.
(Music)
(Muzika)
(Video) (Children's voices)
(Video) (Glasovi dece)
Child's voice: There are more kids in Zaatari than adults right now. Sometimes I think we are the ones in charge.
Glas deteta: Trenutno ima više dece nego odraslih u Zatariju. Ponekad mislim da smo mi ti koji upravljaju.
Chris Milk: How was it?
Kris Milk: Kako je bilo?
(Applause)
(Aplauz)
That was a cheap way of getting you to do a standing ovation. I just made you all stand. I knew you'd applaud at the end.
Bio je ovo jeftin način da vas nateram na stojeće ovacije. Naterao sam vas da stojite. Znao sam da ćete aplaudirati na kraju.
(Applause)
(Aplauz)
I believe that everyone on Earth needs to experience what you just experienced. That way we can collectively start to shape this, not as a tech platform but as a humanity platform. And to that end, in November of last year, the New York Times and Vrse made a VR project called "The Displaced." It launched with one million Google Cardboards sent out to every Sunday subscriber with their newspaper. But a funny thing happened that Sunday morning. A lot of people got them that were not the intended recipients on the mailing label. And we started seeing this all over Instagram. Look familiar?
Verujem da bi svako na zemlji trebalo da doživi ono što ste vi upravo doživeli. Tako bismo grupno mogli da počnemo da oblikujemo ovo, ne kao tehnološku platformu, već kao ljudsku platformu. I u tom cilju, u novembru prošle godine, "Njujork Tajms" i Vrse su napravili VS projekat nazvan: "The Displaced". Započeo je slanjem milion Guglovih kutija svakom pretplatnku nedeljnog primerka uz njihove novine. No desilo se nešto smešno tog nedeljnog jutra. Mnogo ljudi ih je dobilo koji nisu bili namerni primaoci označeni na pošiljci. I počeli smo da viđamo ovo širom Instagrama. Izgleda vam poznato?
Music led me on a path of searching for what seemed like the unattainable for a very long time. Now, millions of kids just had the same formative experience in their childhood that I had in mine. Only I think this one surpasses it. Let's see where this leads them.
Muzika me je odvela na put, put traganja za onim što se činilo nedostižnim dugo vremena. Sad, milioni dece su upravo imali isto formativno iskustvo u svom detinjstvu koje sam ja imao u mom. Samo što smatram da ga ovo iskustvo nadilazi. Videćemo kuda će ih ovo odvesti.
Thank you.
Hvala vam.
(Applause)
(Aplauz)