TED2016
Chris Milk: The birth of virtual reality as an art form
Kris Milk (Chris Milk): Rođenje virtuelne stvarnosti kao umetničkog oblika
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Kris Milk koristi inovativnu tehnologiju da napravi lične, interaktivne, ljudske priče. U pratnji Džošue Romana na violončelu i Mekenzija Staberta na klaviru, Milk prati trag svog odnosa prema muzici i umetnosti - od prvog trenutka kad se seća da je stavio slušalice do skorašnjeg rada, stavranja revolucionarnog projekta virtuelne stvarnosti. Virtuelna stvarnost je zadnji medij za pripovedanje, kaže, jer zatvara jaz između publike i pripovedača. Kako bi to pokazao, okupio je TED publiku u najvećem svetskom grupnom doživljaju virtuelne stvarnosti. Pridružite im se i uzimte učešće u ovom interaktivnom govoru tako što ćete nabaviti Guglovu kartonsku kutiju i skinuti iskutsvo sa: with.in/TED.
Chris Milk - Immersive storyteller
Working at the frontiers of interactive technology, Chris Milk stretches virtual reality into a new canvas for storytelling. Full bio
Working at the frontiers of interactive technology, Chris Milk stretches virtual reality into a new canvas for storytelling. Full bio
Double-click the English transcript below to play the video.
00:14
When I was a kid,
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Kad sam bio dete,
00:15
I experienced something so powerful,
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iskusio sam nešto toliko moćno
00:17
I spent the rest of my life
searching for it,
searching for it,
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da sam čitav život tragao za tim,
00:20
and in all the wrong places.
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no na skroz pogrešnim mestima.
00:23
What I experienced wasn't virtual reality.
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To iskustvo nije bila virtuelna stvarnost.
00:26
It was music.
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Bila je to muzika.
00:28
And this is where the story begins.
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I tu počinje moja priča.
00:31
That's me,
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Ovo sam ja
00:33
listening to the Beatles' "White Album."
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dok slušam "White Album" od Bitlsa.
00:35
And the look on my face is the feeling
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A izraz na mom licu je osećaj
00:38
that I've been searching for ever since.
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za kojim stalno tragam od tad.
00:41
Music goes straight to the emotional vein,
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Muzika dotiče samu žilu kucavicu,
00:44
into your bloodstream
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vaš krvotok
00:46
and right into your heart.
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i ide pravo u vaše srce.
00:48
It deepens every experience.
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Ona produbljava svako iskustvo.
00:51
Fellas?
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Drugari?
00:53
(Music)
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(Muzika)
00:59
This is the amazing McKenzie Stubbert
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Ovo su divni Mekenzi Stabert
01:01
and Joshua Roman.
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i Džošua Roman.
01:03
Music --
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Muzika -
01:04
(Applause)
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(Aplauz)
01:05
Yeah.
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Da.
01:08
Music makes everything
have more emotional resonance.
have more emotional resonance.
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Zbog muzike sve zvuči emotivnije.
01:13
Let's see how it does for this talk.
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Pogledajmo kako deluje na ovaj govor.
01:15
The right piece of music
at the right time fuses with us
at the right time fuses with us
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Pravi muzički komad
u pravom trenutku se stapa s nama
u pravom trenutku se stapa s nama
01:19
on a cellular level.
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na ćelijskom nivou.
01:21
When I hear that one song
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Kad čujem baš tu pesmu
01:24
from that one summer
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iz baš tog leta
01:26
with that one girl,
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s baš tom devojkom,
01:28
I'm instantly transported
back there again.
back there again.
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momentalno sam prebačen opet tamo.
01:31
Hey, Stacey.
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Zdravo, Stejsi.
01:34
Here's a part of the story, though,
where I got a little greedy.
where I got a little greedy.
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Ovo je deo priče, pak,
gde sam postao malčice pohlepan.
gde sam postao malčice pohlepan.
01:38
I thought if I added more layers
on top of the music,
on top of the music,
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Pomislio sam da kad bih dodao
još slojeva povrh muzike,
još slojeva povrh muzike,
01:42
I could make the feelings
even more powerful.
even more powerful.
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mogao bih da proizvodim
još snažnija osećanja.
još snažnija osećanja.
01:45
So I got into directing music videos.
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Pa sam počeo da režiram muzičke spotove.
01:49
This is what they looked like.
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Ovako su izgledali.
01:54
That's my brother, Jeff.
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To je moj brat Džef.
01:56
Sorry about this, Jeff.
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Džef, izvini zbog ovoga.
01:58
(Laughter)
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(Smeh)
01:59
Here's me, just so we're even.
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Ovo sam ja, prosto da budemo kvit.
02:02
Incredible moves.
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Neverovatni pokreti.
02:04
Should've been a dancer.
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Trebalo je da budem plesač.
02:05
(Laughter)
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(Smeh)
02:06
These experiments grew,
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Ovi eksperimenti su rasli,
02:08
and in time, started
to look more like this.
to look more like this.
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i vremenom su više ličili na ovo.
02:13
In both, I'm searching
for the same thing, though,
for the same thing, though,
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Kod oba tragam za istim, pak,
02:16
to capture that lightning in a bottle.
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da uhvatim tu svetlost u boci.
02:20
Except, I'm not.
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Samo što to ne radim.
02:21
Adding moving pictures over the music
added narrative dimension, yes,
added narrative dimension, yes,
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Dodavanje pokretnih slika preko muzike
je dodalo pripovednu dimenziju, da,
je dodalo pripovednu dimenziju, da,
02:26
but never quite equated the power
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ali nikad se nije baš izjednačilo s moći
02:28
that just raw music had for me on its own.
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koju je samo ogoljena muzika
imala za mene.
imala za mene.
02:32
This is not a great thing to realize
when you've devoted your life
when you've devoted your life
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Ovo nije dobro da shvatite,
ako ste posvetili svoj život
ako ste posvetili svoj život
i profesionalnu karijeru
da postanete reditelj muzičkih spotova.
da postanete reditelj muzičkih spotova.
02:35
and professional career
to becoming a music video director.
to becoming a music video director.
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02:38
I kept asking myself,
did I take the wrong path?
did I take the wrong path?
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Stalno sam se pitao
da li sam krenuo pogrešnim putem?
da li sam krenuo pogrešnim putem?
02:42
So I started thinking: if I could
involve you, the audience, more,
involve you, the audience, more,
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Pa sam počeo da razmišljam: ako bih uspeo
da više angažujem vas, publiku,
da više angažujem vas, publiku,
02:46
I might be able to make you
feel something more as well.
feel something more as well.
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možda bih uspeo da i vas navedem
da osetite nešto više.
da osetite nešto više.
02:49
So Aaron Koblin and I began
auditioning new technologies
auditioning new technologies
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Pa smo Aron Koblin i ja
počeli da isprobavamo novu tehnologiju
počeli da isprobavamo novu tehnologiju
02:53
that could put more of you
inside of the work,
inside of the work,
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koja bi vas više uvela unutar naših dela,
02:56
like your childhood home
in "The Wilderness Downtown,"
in "The Wilderness Downtown,"
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poput doma iz detinjstva u:
"The Wilderness Downtown",
"The Wilderness Downtown",
03:00
your hand-drawn portraits,
in "The Johnny Cash Project,"
in "The Johnny Cash Project,"
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vaši ručno rađeni portreti
u: "The Johnny Cash Project",
u: "The Johnny Cash Project",
03:05
and your interactive dreams
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i vaši interaktivni snovi
03:07
in "3 Dreams of Black."
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u: "3 Dreams of Black".
03:11
We were pushing beyond the screen,
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Probijali smo se mimo ekrana,
03:13
trying to connect more deeply
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pokušavajući da se povežemo dublje
03:15
to people's hearts and imaginations.
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s ljudskim srcima i maštom.
03:18
But it wasn't quite enough.
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Ali nije bilo baš dovoljno.
03:21
It still didn't have the raw
experiential power of pure music for me.
experiential power of pure music for me.
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I dalje za mene nije imalo ogoljenu
iskustvenu moć čiste muzike.
iskustvenu moć čiste muzike.
03:27
So I started chasing a new technology
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Pa sam počeo da tragam
za novom tehnologijom
za novom tehnologijom
03:29
that I only had read about
in science fiction.
in science fiction.
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o kojoj sam jedino čitao
u naučnoj fantastici.
u naučnoj fantastici.
03:32
And after years of searching,
I found a prototype.
I found a prototype.
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I nakon godina traganja,
otkrio sam prototip.
otkrio sam prototip.
03:35
It was a project from Nonny de la Peña
in Mark Bolas's lab in USC.
in Mark Bolas's lab in USC.
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Bio je to projekat Noni de la Penja
u laboratoriji Marka Bolasa na USC-u.
u laboratoriji Marka Bolasa na USC-u.
03:41
And when I tried it, I knew I'd found it.
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I kad sam je isprobao,
znao sam da to je to.
znao sam da to je to.
03:45
I could taste the lightning.
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Mogao sam da okusim blesak.
03:47
It was called virtual reality.
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Nazivalo se virtuelnom realnošću.
03:50
This was it five years ago
when I ran into it.
when I ran into it.
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Pre pet godina sam naleteo na to.
03:53
This is what it looks like now.
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Ovako to sada izgleda.
03:56
I quickly started building things
in this new medium,
in this new medium,
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Brzo sam počeo da stvaram stvari
u ovom novom mediju,
u ovom novom mediju,
04:00
and through that process
we realized something:
we realized something:
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a kroz taj proces smo nešto shvatili:
04:03
that VR is going to play
an incredibly important role
an incredibly important role
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virtuelna stvarnost će da igra
neverovatno važnu ulogu
neverovatno važnu ulogu
04:07
in the history of mediums.
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u istoriji medija.
04:09
In fact, it's going to be the last one.
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Zapravo, biće zadnji medij.
04:13
I mean this because it's the first medium
that actually makes the jump
that actually makes the jump
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Smatram da je tako jer je prvi medij
koji zapravo pravi skok
koji zapravo pravi skok
04:17
from our internalization
of an author's expression
of an author's expression
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iz naše internalizacije autorskog izraza
04:20
of an experience,
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nekog iskustva
04:22
to our experiencing it firsthand.
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do njegovog doživljaja iz prve ruke.
04:25
You look confused.
I'll explain. Don't worry.
I'll explain. Don't worry.
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Izgledate zbunjeno. Objasniću. Ne brinite.
04:27
(Laughter)
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(Smeh)
04:29
If we go back to the origins of mediums,
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Kad bismo se vratili na izvorište medija,
04:33
by all best guesses,
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najbolja pretpostavka
04:34
it starts around a fire,
with a good story.
with a good story.
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je da su začeti oko vatre, dobrom pričom.
04:37
Our clan leader is telling us
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Naš vođa klana nam je govorio
04:39
about how he hunted the woolly mammoth
on the tundra that day.
on the tundra that day.
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o tome kako je tog dana lovio
runastog mamuta po tundri.
runastog mamuta po tundri.
04:44
We hear his words
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Slušamo njegove reči
04:46
and translate them
into our own internal truths.
into our own internal truths.
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i prevodimo ih
u naše lične unutrašnje istine.
u naše lične unutrašnje istine.
04:50
The same thing happens
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Isto se dešava
04:52
when we look at the cave painting
version of the story,
version of the story,
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kad posmatramo verzije priče
na slikama iz pećina,
na slikama iz pećina,
04:56
the book about the mammoth hunt,
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knjigu o lovu na mamute,
04:58
the play,
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predstavu,
05:00
the radio broadcast,
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radijski prenos,
05:01
the television show
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televizijsku emisiju
05:03
or the movie.
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ili film.
05:05
All of these mediums require
what we call "suspension of disbelief,"
what we call "suspension of disbelief,"
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Svi ovi mediji zahtevaju
nešto što zovemo "ukidanjem neverice",
nešto što zovemo "ukidanjem neverice",
05:09
because there's a translation gap
between the reality of the story
between the reality of the story
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jer postoji jaz u tumačenju
između stvarnosti priče
između stvarnosti priče
05:13
and our consciousness
interpreting the story
interpreting the story
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i toga kako naša svest prevodi priču
05:16
into our reality.
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na našu stvarnost.
05:19
I'm using the word "consciousness"
as a feeling of reality that we get
as a feeling of reality that we get
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Koristim reč "svest"
kao osećanje stvarnosti koje dobijamo
kao osećanje stvarnosti koje dobijamo
05:23
from our senses experiencing
the world around us.
the world around us.
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od naših čula
koja doživljavaju svet oko nas.
koja doživljavaju svet oko nas.
05:28
Virtual reality bridges that gap.
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Virtuelna stvarnost premošćuje taj jaz.
05:31
Now, you are on the tundra
hunting with the clan leader.
hunting with the clan leader.
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Sad ste vi u tundri, lovite s vođom klana.
05:36
Or you are the clan leader.
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Ili ste vođa klana.
05:38
Or maybe you're even the woolly mammoth.
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Ili ste čak runasti mamut.
05:41
(Laughter)
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(Smeh)
05:46
So here's what special about VR.
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Evo šta je posebno kod VS-a.
05:48
In all other mediums,
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Kod svih drugih medija,
05:50
your consciousness interprets the medium.
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vaša svest tumači medij.
05:53
In VR, your consciousness is the medium.
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Kod VS-a, vaša svest jeste medij.
05:58
So the potential for VR is enormous.
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Te je potencijal VS-a ogroman.
06:00
But where are we now?
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Ali gde smo sad?
06:02
What is the current state of the art?
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Kakvo je trenutno stanje stvari?
06:06
Well,
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Pa,
06:08
we are here.
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ovde smo.
06:10
We are the equivalent
of year one of cinema.
of year one of cinema.
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Ekvivalent nam je prva godina filma.
06:13
This is the Lumière Brothers film
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Ovo je film braće Limijer,
06:15
that allegedly sent a theater full
of people running for their lives
of people running for their lives
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koji je navodno poslao pun bioskop
ljudi da beže da sačuvaju glavu,
ljudi da beže da sačuvaju glavu,
06:18
as they thought a train
was coming toward them.
was coming toward them.
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misleći da voz ide ka njima.
06:22
Similar to this early stage
of this medium,
of this medium,
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Slično ranoj fazi ovog medija,
06:25
in VR, we also have to move
past the spectacle
past the spectacle
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kod VS-a takođe moramo
da prevaziđemo spektakl
da prevaziđemo spektakl
06:29
and into the storytelling.
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i stignemo do pripovedanja.
Ovom mediju su bile potrebne decenije
06:30
It took this medium decades
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06:32
to figure out its preferred
language of storytelling,
language of storytelling,
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da otkrije željeni jezik pripovedanja,
06:35
in the form of a feature film.
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u obliku dugometražnog filma.
06:37
In VR today, we're more learning grammar
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Kod VS-a trenutno više učimo gramatiku
06:40
than writing language.
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nego što pišemo jezik.
06:42
We've made 15 films in the last year
at our VR company, Vrse,
at our VR company, Vrse,
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Napravili smo 15 filmova prošle godine
u našoj firmi VS-a, Vrsi,
u našoj firmi VS-a, Vrsi,
06:46
and we've learned a few things.
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i naučili smo nekoliko stvari.
06:48
We found that we have a unique,
direct path into your senses,
direct path into your senses,
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Otkrili smo da imamo jedinstven,
direktan pristup vašim čulima,
direktan pristup vašim čulima,
06:52
your emotions, even your body.
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vašim emocijama, čak i vašem telu.
06:55
So let me show you some things.
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Dozvolite mi da vam nešto pokažem.
06:57
For the purpose of this demo,
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U svrhu ove demonstracije,
06:59
we're going to take every direction
that you could possibly look,
that you could possibly look,
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uzećemo u obzir svaki pravac
u kojem možete da gledate,
u kojem možete da gledate,
07:02
and stretch it into this giant rectangle.
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i razvući ćemo ga
u ovaj džinovski pravougaonik.
u ovaj džinovski pravougaonik.
07:05
OK, here we go.
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U redu, krećemo.
07:09
So, first: camera movement
is tricky in VR.
is tricky in VR.
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Dakle, kao prvo: pokreti kamere
su komplikovani u VS-u.
su komplikovani u VS-u.
07:13
Done wrong, it can actually make you sick.
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Kad se loše odrade,
zapravo može da vam pozli.
zapravo može da vam pozli.
07:16
We found if you move the camera
at a constant speed in a straight line,
at a constant speed in a straight line,
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Otkrili smo da ako pokrećete kameru
ustaljenom brzinom pravolinijski,
ustaljenom brzinom pravolinijski,
07:21
you can actually get away with it, though.
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zapravo možete da to izbegnete, pak.
07:23
The first day in film school,
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Prvog dana u školi filma,
07:25
they told me you have to learn
every single rule
every single rule
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rekli su mi da morate da naučite
baš svako pravilo
baš svako pravilo
07:28
before you can break one.
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pre nego prekršite jedno.
07:29
We have not learned every single rule.
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Nismo naučili baš svako pravilo.
07:32
We've barely learned any at all,
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Jedva da smo naučili ijedno,
ali već pokušavamo da ih prekršimo
07:33
but we're already trying to break them
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da bismo otkrili šta sve
na polju kreativnosti možemo postići.
na polju kreativnosti možemo postići.
07:35
to see what kind of creative things
we can accomplish.
we can accomplish.
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07:37
In this shot here, where we're moving up
off the ground, I added acceleration.
off the ground, I added acceleration.
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Na ovom snimku ovde, gde se odvajamo
od zemlje, dodao sam ubrzanje.
od zemlje, dodao sam ubrzanje.
07:41
I did that because I wanted
to give you a physical sensation
to give you a physical sensation
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Učinio sam to jer sam želeo
da vam pružim fizički utisak
da vam pružim fizički utisak
07:44
of moving up off the ground.
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podizanja sa zemlje.
07:45
In VR, I can give that to you.
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U VS-u to mogu da vam pružim.
07:49
(Music)
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(Muzika)
07:55
Not surprisingly, music matters a lot
in this medium as well.
in this medium as well.
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Ne iznenađuje to da je muzika
veoma važna i u ovom mediju.
veoma važna i u ovom mediju.
07:59
It guides us how to feel.
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Vodič je za naša osećanja.
08:02
In this project we made
with the New York Times, Zach Richter
with the New York Times, Zach Richter
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Ovaj projekat smo napravili
sa Zakom Rikterom iz "Njujork Tajmsa"
sa Zakom Rikterom iz "Njujork Tajmsa"
08:05
and our friend, JR,
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i našim prijateljem, Džej-Arom,
08:07
we take you up in a helicopter,
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povedemo vas u helikopter,
08:09
and even though you're flying
2,000 feet above Manhattan,
2,000 feet above Manhattan,
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i iako letite 610 metara iznad Menhetna,
08:13
you don't feel afraid.
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ne plašite se.
08:14
You feel triumphant for JR's character.
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Osećate se slavodobitno
zbog Džej-Arovog lika.
zbog Džej-Arovog lika.
08:19
The music guides you there.
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Muzika vas dovodi to toga.
08:20
(Music)
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(Muzika)
08:29
Contrary to popular belief,
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Nasuprot opštem mišljenju,
08:30
there is composition in virtual reality,
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virtuelna stvarnost ima strukturu,
08:33
but it's completely
different than in film,
different than in film,
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ali je potpuno različita od one na filmu,
08:35
where you have a rectangular frame.
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gde imate pravougaoni kadar.
08:37
Composition is now
where your consciousness exists
where your consciousness exists
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Struktura je sada
mesto gde počiva svesnost
mesto gde počiva svesnost
08:40
and how the world moves around you.
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i način na koji se svet pomera oko vas.
08:42
In this film, "Waves of Grace,"
which was a collaboration between Vrse,
which was a collaboration between Vrse,
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U ovom filmu, "Waves of Grace",
koji je saradnja između Vrse,
koji je saradnja između Vrse,
08:46
the United Nations, Gabo Arora,
and Imraan Ismail,
and Imraan Ismail,
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Ujedinjenih nacija, Gaba Aurore,
i Imrana Ismaila,
i Imrana Ismaila,
08:49
we also see the changing role
of the close-up in virtual reality.
of the close-up in virtual reality.
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vidimo i kako se menja uloga
krupnog kadra u virtuelnoj stvarnosti.
krupnog kadra u virtuelnoj stvarnosti.
08:53
A close-up in VR means
you're actually close up to someone.
you're actually close up to someone.
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Krupni kadar u VS-u znači
da ste zapravo blizu nekoga.
da ste zapravo blizu nekoga.
08:57
It brings that character inside
of your personal space,
of your personal space,
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Ona dovodi tog lika
unutar vašeg privatnog prostora,
unutar vašeg privatnog prostora,
09:00
a space that we'd usually reserve
for the people that we love.
for the people that we love.
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prostora koji obično čuvamo
za ljude koje volimo.
za ljude koje volimo.
09:04
And you feel an emotional
closeness to the character
closeness to the character
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I osećate emotivnu bliskost s likom
09:07
because of what you feel
to be a physical closeness.
to be a physical closeness.
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zbog osećaja koji pruža fizička blizina.
09:16
Directing VR is not like
directing for the rectangle.
directing for the rectangle.
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Režiranje u VS-u nije poput
režiranja u pravougaoniku.
režiranja u pravougaoniku.
09:21
It's more of a choreography
of the viewer's attention.
of the viewer's attention.
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Pre se radi o koreografisanju
gledaočeve pažnje.
gledaočeve pažnje.
09:24
One tool we can use
to guide your attention
to guide your attention
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Jedno od mogućih oruđa
za usmeravanje vaše pažnje
za usmeravanje vaše pažnje
09:27
is called "spatialized sound."
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se naziva "prostornim zvukom".
09:28
I can put a sound anywhere
in front of you, to left or right,
in front of you, to left or right,
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Mogu da unesem zvuk bilo gde -
ispred vas, levo ili desno,
ispred vas, levo ili desno,
09:31
even behind you,
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čak i iza vas,
09:33
and when you turn your head,
the sound will rotate accordingly.
the sound will rotate accordingly.
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a kad okrenete glavu,
zvuk će da se rotira u skladu s tim.
zvuk će da se rotira u skladu s tim.
09:36
So I can use that to direct your attention
to where I want you to see.
to where I want you to see.
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Te mogu da koristim to da usmeravam
vašu pažnju tamo gde želim da gledate.
vašu pažnju tamo gde želim da gledate.
09:40
Next time you hear someone
singing over your shoulder,
singing over your shoulder,
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Sledeći put kad čujete nekoga
da peva iza vašeg ramena,
da peva iza vašeg ramena,
09:42
it might be Bono.
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mogao bi to da bude Bono.
09:44
(Laughter)
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(Smeh)
09:50
VR makes us feel
like we are part of something.
like we are part of something.
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Zbog VS-a se osećamo delom nečega.
09:54
For most of human history,
we lived in small family units.
we lived in small family units.
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Većim delom ljudske istorije
smo živeli u malim porodičnim krugovima.
smo živeli u malim porodičnim krugovima.
09:57
We started in caves,
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Krenuli smo iz pećina,
09:59
then moved to clans and tribes,
then villages and towns,
then villages and towns,
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potom smo prešli u klanove i plemena,
zatim u sela i gradove,
zatim u sela i gradove,
10:02
and now we're all global citizens.
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a sad smo svi građani sveta.
10:06
But I believe that we are still
hardwired to care the most
hardwired to care the most
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Ali verujem da smo i dalje
predodređeni da najviše marimo
predodređeni da najviše marimo
10:10
about the things that are local to us.
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o stvarima koje su za nas domaće.
10:13
And VR makes anywhere
and anyone feel local.
and anyone feel local.
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A zbog VS-a se bilo gde
i bilo ko doživljavaju domaćim.
i bilo ko doživljavaju domaćim.
10:18
That's why it works as an empathy machine.
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Zato ona deluje kao mašina za empatiju.
10:20
Our film "Clouds Over Sidra"
takes you to a Syrian refugee camp,
takes you to a Syrian refugee camp,
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Naš film: "Oblaci iznad Sidre"
vas vodi u sirijski izbeglički kamp
vas vodi u sirijski izbeglički kamp
10:24
and instead of watching a story
about people over there,
about people over there,
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i umesto da gledate priču o ljudima tamo,
10:28
it's now a story about us here.
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sada je to priča o nama ovde.
10:34
But where do we go from here?
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Ali šta dalje s ovim?
10:36
The tricky thing is that
with all previous mediums,
with all previous mediums,
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Zamršeno je zbog toga
što kod svih prethodnih medija,
što kod svih prethodnih medija,
10:38
the format is fixed at its birth.
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format je učvršćen u nastanku.
10:42
Film has been a sequence of rectangles,
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Film je niz pravougaonika
10:44
from Muybridge and his horses to now.
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od Majbridža i njegovih konja do danas.
10:47
The format has never changed.
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Format se nikad nije promenio.
10:49
But VR as a format, as a medium,
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Ali VS, kao medij,
10:54
isn't complete yet.
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još uvek nije dovršen.
10:56
It's not using physical celluloid
or paper or TV signals.
or paper or TV signals.
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Ne radi se o upotrebi fizičkog celuloida
ili papira ili TV signala.
ili papira ili TV signala.
10:59
It actually employs what we use
to make sense of the world.
to make sense of the world.
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Ona zapravo angažuje
ono čime osmišljavamo svet.
ono čime osmišljavamo svet.
11:04
We're using your senses
as the paints on the canvas,
as the paints on the canvas,
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Koristimo vaša čula kao boje na platnu,
11:08
but only two right now.
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ali trenutno samo dve.
11:11
Eventually, we can see if we will have
all of our human senses employed,
all of our human senses employed,
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Vremenom ćemo videti
da li ćemo da angažujemo sva ljudska čula,
da li ćemo da angažujemo sva ljudska čula,
11:15
and we will have agency to live
the story in any path we choose.
the story in any path we choose.
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i imaćemo sposobnost da doživimo
priču na način koji odaberemo.
priču na način koji odaberemo.
11:20
And we call it virtual reality right now,
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Trenutno to nazivamo
virtuelnom stvarnošću,
virtuelnom stvarnošću,
11:23
but what happens when we move
past simulated realities?
past simulated realities?
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ali šta će da se desi
kad prekoračimo simuliranu stvarnost?
kad prekoračimo simuliranu stvarnost?
11:27
What do we call it then?
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Kako ćemo to nazivati tada?
11:29
What if instead of verbally
telling you about a dream,
telling you about a dream,
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Šta ako ne bih rečima govorio o snu
11:32
I could let you live inside that dream?
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već bih mogao da vas pustim
da živite unutar tog sna?
da živite unutar tog sna?
11:35
What if instead of just experiencing
visiting some reality on Earth,
visiting some reality on Earth,
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Šta ako biste umesto pukog iskustva
posećivanja neke stvarnosti na Zemlji,
posećivanja neke stvarnosti na Zemlji,
11:39
you could surf gravitational waves
on the edge of a black hole,
on the edge of a black hole,
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mogli da surfujete gravitacionim talasima
na ivici crne rupe
na ivici crne rupe
11:43
or create galaxies from scratch,
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ili da stvorite galaksije od nule
11:46
or communicate with each other
not using words
not using words
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ili da komunicirate jedni s drugima
bez korišćenja reči,
bez korišćenja reči,
11:49
but using our raw thoughts?
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već korišćenjem naših neobrađenih misli?
11:53
That's not a virtual reality anymore.
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To više nije virtuelna stvarnost.
11:56
And honestly I don't know
what that's called.
what that's called.
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I, iskreno, pojma nemam kako se to naziva.
11:58
But I hope you see where we're going.
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Ali se nadam da shvatate kuda se krećemo.
12:02
But here I am, intellectualizing
a medium I'm saying is experiential.
a medium I'm saying is experiential.
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Ali eto mene kako pametujem o mediju
za koji kažem da je eksperimentalan.
za koji kažem da je eksperimentalan.
12:06
So let's experience it.
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Stoga, hajde da ga doživimo.
12:08
In your hands, you hopefully hold
a piece of cardboard.
a piece of cardboard.
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Nadam se da u vašim rukama
držite parče kartona.
držite parče kartona.
12:13
Let's open the flap.
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Otvorimo poklopac.
12:14
Tap on the power button
to unlock the phone.
to unlock the phone.
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Pritisnite dugme da otključate telefon.
12:18
For the people watching at home,
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Za ljude koji gledaju kod kuće,
12:19
we're going to put up a card right now
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upravo sad ćemo da postavimo uputstva
12:21
to show you how to download
this experience on your phone yourself,
this experience on your phone yourself,
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da vam pokažemo kako sami
da skinete ovo iskustvo na vaš telefon,
da skinete ovo iskustvo na vaš telefon,
12:24
and even get a Google cardboard
of your own to try it with.
of your own to try it with.
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pa čak i da dobijete sopstvenu
Guglovu kutiju da to isprobate.
Guglovu kutiju da to isprobate.
12:29
We played in cardboard boxes as kids,
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Igrali smo se kao deca
u kartonskim kutijama,
u kartonskim kutijama,
12:31
and as adults, I'm hoping we can all find
a little bit of that lightning
a little bit of that lightning
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a kao odrasli, nadam se da svi
možemo pronaći trag tog bleska
možemo pronaći trag tog bleska
12:36
by sticking our head in one again.
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ponovo stavljajući
naše glave u jednu od njih.
naše glave u jednu od njih.
12:41
You're about to participate
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Uskoro ćete da učestvujete
12:43
in the largest collective
VR viewing in history.
VR viewing in history.
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u najvećem grupnom
posmatranju VS-a u istoriji.
posmatranju VS-a u istoriji.
12:48
And in that classic old-timey
style of yesteryear,
style of yesteryear,
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I u tom klasičnom zastarelom
stilu davnih vremena,
stilu davnih vremena,
12:51
we're all going to watch something
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svi ćemo da gledamo nešto
12:54
at the exact same time, together.
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tačno u isto vreme, zajedno.
12:57
Let's hope it works.
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Nadamo se da će raditi.
12:58
What's the countdown
look like? I can't see.
look like? I can't see.
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Kako izgleda odbrojavanje? Ne vidim.
13:04
Audience: ...15, 14, 13, 12, 11, 10, 9,
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Publika: ...15, 14, 13, 12, 11, 10, 9,
13:11
8, 7, 6, 5, 4, 3, 2, 1
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8, 7, 6, 5, 4, 3, 2, 1
13:22
(Birds singing)
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(poj ptica)
13:34
(Train engine)
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(motor voza)
13:45
Audience: (Shreiks)
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Publika: (vrišti)
(Video) Džej-Ar: Ispričaću vam
14:03
(Video) JR: Let me tell you
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kako sam fotografisao naslovnicu
za časopis "Njujork Tajms":
za časopis "Njujork Tajms":
14:04
how I shot the cover
of the New York Times Magazine,
of the New York Times Magazine,
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14:07
"Walking New York."
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"Walking New York".
14:18
I just got strapped on
outside the helicopter,
outside the helicopter,
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Prosto su me vezali
sa spoljnje strane helikoptera,
sa spoljnje strane helikoptera,
14:22
and I had to be perfectly
vertical so I could grab it.
vertical so I could grab it.
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i ja sam morao da budem potpuno
u vertikalnom položaju da bih je uhvatio.
u vertikalnom položaju da bih je uhvatio.
14:26
And when I was perfectly above --
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I kad sam bio sasvim iznad -
14:27
you know, with the wind,
we had to redo it a few times --
we had to redo it a few times --
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znate, uz vetar, morali smo
nekoliko puta da ponavljamo -
nekoliko puta da ponavljamo -
14:30
then I kept shooting.
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onda sam nastavio da slikam.
14:39
(Video) Woman's voice: Dear Lord,
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(Video) Glas žene: Gospode dragi,
14:41
protect us from evil,
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zaštiti nas od zla
14:44
for you are the Lord,
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jer ti si Gospod,
14:47
the light.
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svetlost.
14:53
You who gave us life took it away.
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Ti koji nam daješ život i uzimaš.
14:58
Let your will be done.
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Neka bude volja tvoja.
15:00
Please bring peace to the many
who have lost loved ones.
who have lost loved ones.
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Molim te donesi mir mnogima
koji su izgubili voljene.
koji su izgubili voljene.
15:05
Help us to live again.
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Pomozi nam da opet živimo.
15:10
(Music)
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(Muzika)
15:29
(Video) (Children's voices)
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(Video) (Glasovi dece)
15:31
Child's voice: There are more kids
in Zaatari than adults right now.
in Zaatari than adults right now.
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Glas deteta: Trenutno ima više dece
nego odraslih u Zatariju.
nego odraslih u Zatariju.
15:41
Sometimes I think
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Ponekad mislim
15:43
we are the ones in charge.
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da smo mi ti koji upravljaju.
15:51
Chris Milk: How was it?
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Kris Milk: Kako je bilo?
15:52
(Applause)
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(Aplauz)
15:56
That was a cheap way of getting you
to do a standing ovation.
to do a standing ovation.
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Bio je ovo jeftin način da vas nateram
na stojeće ovacije.
na stojeće ovacije.
Naterao sam vas da stojite.
Znao sam da ćete aplaudirati na kraju.
Znao sam da ćete aplaudirati na kraju.
15:59
I just made you all stand.
I knew you'd applaud at the end.
I knew you'd applaud at the end.
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16:02
(Applause)
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(Aplauz)
16:03
I believe that everyone on Earth
needs to experience
needs to experience
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Verujem da bi svako na zemlji
trebalo da doživi
trebalo da doživi
16:07
what you just experienced.
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ono što ste vi upravo doživeli.
16:10
That way we can collectively
start to shape this,
start to shape this,
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Tako bismo grupno mogli
da počnemo da oblikujemo ovo,
da počnemo da oblikujemo ovo,
16:13
not as a tech platform
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ne kao tehnološku platformu,
16:15
but as a humanity platform.
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već kao ljudsku platformu.
16:17
And to that end, in November of last year,
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I u tom cilju, u novembru prošle godine,
"Njujork Tajms" i Vrse su napravili
VS projekat nazvan: "The Displaced".
VS projekat nazvan: "The Displaced".
16:20
the New York Times and Vrse made
a VR project called "The Displaced."
a VR project called "The Displaced."
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16:24
It launched with one million
Google Cardboards
Google Cardboards
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Započeo je slanjem milion Guglovih kutija
16:26
sent out to every Sunday subscriber
with their newspaper.
with their newspaper.
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svakom pretplatnku nedeljnog primerka
uz njihove novine.
uz njihove novine.
16:29
But a funny thing happened
that Sunday morning.
that Sunday morning.
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No desilo se nešto smešno
tog nedeljnog jutra.
tog nedeljnog jutra.
16:32
A lot of people got them
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Mnogo ljudi ih je dobilo
16:33
that were not the intended recipients
on the mailing label.
on the mailing label.
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koji nisu bili namerni primaoci
označeni na pošiljci.
označeni na pošiljci.
16:38
And we started seeing this
all over Instagram.
all over Instagram.
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I počeli smo da viđamo ovo
širom Instagrama.
širom Instagrama.
16:45
Look familiar?
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Izgleda vam poznato?
16:48
Music led me on a path
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Muzika me je odvela na put,
16:50
of searching for what seemed
like the unattainable
like the unattainable
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put traganja za onim
što se činilo nedostižnim
što se činilo nedostižnim
16:53
for a very long time.
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dugo vremena.
16:55
Now, millions of kids just had
the same formative experience
the same formative experience
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Sad, milioni dece su upravo imali
isto formativno iskustvo
isto formativno iskustvo
16:59
in their childhood
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u svom detinjstvu
17:01
that I had in mine.
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koje sam ja imao u mom.
17:04
Only I think this one
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Samo što smatram da ga ovo iskustvo
17:06
surpasses it.
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nadilazi.
17:08
Let's see
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Videćemo
17:09
where this
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kuda će ih ovo
17:11
leads them.
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odvesti.
17:13
Thank you.
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Hvala vam.
17:14
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Chris Milk - Immersive storytellerWorking at the frontiers of interactive technology, Chris Milk stretches virtual reality into a new canvas for storytelling.
Why you should listen
Chris Milk is a visual artist who has created music videos for Kanye West, Arcade Fire, Beck, U2, Johnny Cash, Gnarls Barkley and many more. He is known for weaving artistic and technological innovations in pursuit of the next great platform for storytelling. Milk's acclaimed interactive projects include Wilderness Downtown (with Arcade Fire), The Johnny Cash Project and The Treachery of Sanctuary. His interactive installation artworks have been showcased at the MoMA, the Tate Modern and museums around the world.
Milk's most recent contribution to the art and tech frontier is as founder and CEO of the virtual reality company Within (formerly Vrse). In collaboration with the New York Times, Zach Richter and JR, Milk created two VR films, Walking New York and The Displaced, which were distributed along with Google Cardboard viewers to 1 million NYT subscribers in 2015. He has also collaborated on VR projects with the United Nations (Clouds Over Sidra and Waves of Grace), Vice, SNL and U2.
Chris Milk | Speaker | TED.com