TED2016
Chris Milk: The birth of virtual reality as an art form
克里斯．邁克: 一種新的藝術呈現方式，虛擬實境的誕生
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克里斯．邁克（Chris Milk）運用創新的科技，製作了個人、互動、人性的故事。隨著約書亞羅曼（Joshua Roman）的大提琴與麥肯錫史塔伯特（McKenzie Stubbert）的鋼琴伴奏，邁克追憶起他與音樂、藝術的關係——從他小時候戴上耳機聽音樂感動的那一刻到他目前創作出一部部令人動容的虛擬實境專案。他說，虛擬實境會是最後一個描述故事的媒介，因為它拉近了觀眾與故事主講人的距離。為了讓大家明白，他帶領 TED 觀眾，一起經歷全世界最多人同時體驗的虛擬實境秀。你也可以加入他們，拿起你的Google 硬紙板，並從 with.in/TED 下載影片，一起體驗吧！
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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我小時候
00:15
I experienced something so powerful,
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經歷了一件很棒的事
00:17
I spent the rest of my life
searching for it,
searching for it,
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我在接下來的人生中
一直在尋找它
一直在尋找它
00:20
and in all the wrong places.
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卻總在錯誤的地方尋找
00:23
What I experienced wasn't virtual reality.
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我經歷的不是虛擬實境
00:26
It was music.
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而是音樂
00:28
And this is where the story begins.
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故事是這樣開始的
00:31
That's me,
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這是我
00:33
listening to the Beatles' "White Album."
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正在聽披頭四的 白色專輯
00:35
And the look on my face is the feeling
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而我臉上的表情
00:38
that I've been searching for ever since.
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就是我一直以來在尋找的感動
00:41
Music goes straight to the emotional vein,
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音樂觸動了我們情感的靜脈
00:44
into your bloodstream
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流進到你的血液裡
00:46
and right into your heart.
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直達你的內心
00:48
It deepens every experience.
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每次的感動都會深烙在你心中
00:51
Fellas?
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哥兒們？
00:53
(Music)
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（音樂）
這兩位是我們最厲害的
麥肯錫史塔伯特
麥肯錫史塔伯特
00:59
This is the amazing McKenzie Stubbert
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01:01
and Joshua Roman.
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和約書亞羅曼
01:03
Music --
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（音樂）
01:04
(Applause)
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（掌聲）
01:05
Yeah.
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是的
01:08
Music makes everything
have more emotional resonance.
have more emotional resonance.
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音樂讓每樣東西有了
更多情感上的共鳴
更多情感上的共鳴
01:13
Let's see how it does for this talk.
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讓我們來看看音樂
在這次演講中如何呈現
在這次演講中如何呈現
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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當我們在對的時間裡
聽到一段對的音樂
聽到一段對的音樂
音樂彷彿會融入到我們的細胞中
01:19
on a cellular level.
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01:21
When I hear that one song
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當我聽著那首歌
01:24
from that one summer
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在那個夏天
01:26
with that one girl,
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與那個女孩
01:28
I'm instantly transported
back there again.
back there again.
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我彷彿又回到了過去
01:31
Hey, Stacey.
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嗨 史黛西
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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接下來是故事的一部分
雖然 我有點貪心
雖然 我有點貪心
01:38
I thought if I added more layers
on top of the music,
on top of the music,
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我在想 如果我可以讓
音樂有更多的層次
音樂有更多的層次
01:42
I could make the feelings
even more powerful.
even more powerful.
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我可以讓那份感動更加的強烈
01:45
So I got into directing music videos.
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所以我開始投入音樂影片的製作
01:49
This is what they looked like.
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這是當時它們長的樣子
01:54
That's my brother, Jeff.
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那是我哥 傑夫
01:56
Sorry about this, Jeff.
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不好意思 傑夫
01:58
(Laughter)
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（笑聲）
01:59
Here's me, just so we're even.
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這是我 所以我們扯平了
02:02
Incredible moves.
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跳的真好
我應該去當一位舞蹈家
02:04
Should've been a dancer.
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02:05
(Laughter)
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（笑聲）
02:06
These experiments grew,
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這些實驗 與時漸進
02:08
and in time, started
to look more like this.
to look more like this.
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最後 成為這樣
02:13
In both, I'm searching
for the same thing, though,
for the same thing, though,
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雖然 我仍在尋找那份感動
02:16
to capture that lightning in a bottle.
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渴望能把那份感動的曙光
裝到瓶子裡
裝到瓶子裡
02:20
Except, I'm not.
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但 我還是辦不到
02:21
Adding moving pictures over the music
added narrative dimension, yes,
added narrative dimension, yes,
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在音樂上增加一些動畫
雖然可以增加它的故事性
雖然可以增加它的故事性
02:26
but never quite equated the power
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卻永遠不能等同
02:28
that just raw music had for me on its own.
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純音樂本身所帶來的力量
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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意識到這種感受
並不是件很棒的事情
並不是件很棒的事情
尤其當你已經全心地把你的生活和職業生涯投入其中
成為一名 MV 總監時
成為一名 MV 總監時
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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我不斷地問自己
我是不是搞錯方向了？
我是不是搞錯方向了？
02:42
So I started thinking: if I could
involve you, the audience, more,
involve you, the audience, more,
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所以我開始想 如果我可以讓
身為觀眾的你們更加地融入到音樂中
身為觀眾的你們更加地融入到音樂中
02:46
I might be able to make you
feel something more as well.
feel something more as well.
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也許就可以讓你們感受到更多
02:49
So Aaron Koblin and I began
auditioning new technologies
auditioning new technologies
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所以 艾朗柯柏霖和我開始
嘗試新的技術
嘗試新的技術
02:53
that could put more of you
inside of the work,
inside of the work,
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讓聽眾可以更加地
投入到作品中
投入到作品中
02:56
like your childhood home
in "The Wilderness Downtown,"
in "The Wilderness Downtown,"
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就像各位童年時期
在 荒野城鎮 故事裡的家
在 荒野城鎮 故事裡的家
03:00
your hand-drawn portraits,
in "The Johnny Cash Project,"
in "The Johnny Cash Project,"
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就像你在 強尼現金專案 中
的手繪畫像
的手繪畫像
03:05
and your interactive dreams
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就像你在 三個黑色夢想 中
03:07
in "3 Dreams of Black."
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所互動出來的夢想
03:11
We were pushing beyond the screen,
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我們嘗試著突破螢幕
03:13
trying to connect more deeply
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嘗試地更加深人們的
03:15
to people's hearts and imaginations.
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內心與想象的連結
03:18
But it wasn't quite enough.
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但還是不夠
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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它還是沒有那種純音樂
帶給我的原始體驗的震撼
帶給我的原始體驗的震撼
03:27
So I started chasing a new technology
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所以我開始尋找一種新的技術
03:29
that I only had read about
in science fiction.
in science fiction.
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一種我在科幻小說中
曾經讀到過的科技
曾經讀到過的科技
03:32
And after years of searching,
I found a prototype.
I found a prototype.
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在多年的探尋之後
我找到了一個雛形
我找到了一個雛形
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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它是南加州大學馬克波蘿斯實驗室
羅尼德拉佩納的一個專案
羅尼德拉佩納的一個專案
03:41
And when I tried it, I knew I'd found it.
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當我嘗試到它的時候
我知道我找到了
我知道我找到了
03:45
I could taste the lightning.
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我像是被電到一樣
03:47
It was called virtual reality.
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它叫做虛擬實境
03:50
This was it five years ago
when I ran into it.
when I ran into it.
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這是我五年前遇見它時的樣子
03:53
This is what it looks like now.
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它現在是這個樣子
03:56
I quickly started building things
in this new medium,
in this new medium,
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我迅速地開始在這個
新媒介裡建構事物
新媒介裡建構事物
04:00
and through that process
we realized something:
we realized something:
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在過程中 我們意識到了一些東西
04:03
that VR is going to play
an incredibly important role
an incredibly important role
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虛擬實境將會在媒介的歷史中
04:07
in the history of mediums.
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扮演著不可思議的角色
04:09
In fact, it's going to be the last one.
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事實上 它將會是最後一種媒介
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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我會這樣說的原因是因為
這是第一個
這是第一個
04:17
from our internalization
of an author's expression
of an author's expression
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可以讓我們從作者第一手身歷其境的表述
直接跳到我們主觀性經歷的媒介
直接跳到我們主觀性經歷的媒介
04:20
of an experience,
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04:22
to our experiencing it firsthand.
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04:25
You look confused.
I'll explain. Don't worry.
I'll explain. Don't worry.
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你看起來很迷惑
我待會解釋 別擔心
我待會解釋 別擔心
04:27
(Laughter)
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（笑聲）
04:29
If we go back to the origins of mediums,
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如果我們回想傳播媒介的起源
04:33
by all best guesses,
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大家可能猜的到
04:34
it starts around a fire,
with a good story.
with a good story.
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那就像我們圍繞在營火邊
聽故事一樣
聽故事一樣
04:37
Our clan leader is telling us
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我們部落的首領正在
向我們描述那一天
向我們描述那一天
04:39
about how he hunted the woolly mammoth
on the tundra that day.
on the tundra that day.
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他是如何在寒漠上
捕獵到毛茸茸的猛瑪象的故事
捕獵到毛茸茸的猛瑪象的故事
04:44
We hear his words
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我們聽著他的英勇事蹟
04:46
and translate them
into our own internal truths.
into our own internal truths.
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然後把他的話轉譯成
我們所理解的事實
我們所理解的事實
04:50
The same thing happens
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同樣的體驗也會發生在
04:52
when we look at the cave painting
version of the story,
version of the story,
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我們看著刻畫在洞穴裡的故事一樣
04:56
the book about the mammoth hunt,
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有關捕獵猛瑪象的書籍
04:58
the play,
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戲劇
05:00
the radio broadcast,
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廣播
05:01
the television show
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電視劇
05:03
or the movie.
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或電影
05:05
All of these mediums require
what we call "suspension of disbelief,"
what we call "suspension of disbelief,"
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這些媒介都需要我們
暫時放下懷疑
暫時放下懷疑
05:09
because there's a translation gap
between the reality of the story
between the reality of the story
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因為 故事 裡的真實性
05:13
and our consciousness
interpreting the story
interpreting the story
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與我們 意識 裡
所理解到的真實性
所理解到的真實性
05:16
into our reality.
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有著相當的落差
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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我是用 意識 這個詞
來表示我們從周圍世界
對實境體驗到的感受
對實境體驗到的感受
05:23
from our senses experiencing
the world around us.
the world around us.
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05:28
Virtual reality bridges that gap.
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虛擬實境填補了那個落差
05:31
Now, you are on the tundra
hunting with the clan leader.
hunting with the clan leader.
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現在 你就在寒漠上與部落首領打獵
05:36
Or you are the clan leader.
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或者 你就是部落首領
05:38
Or maybe you're even the woolly mammoth.
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甚至 你可能就是那隻
毛絨絨的猛瑪象
毛絨絨的猛瑪象
05:41
(Laughter)
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（笑聲）
05:46
So here's what special about VR.
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所以這就是虛擬實境特別的地方
05:48
In all other mediums,
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在其它媒介中
05:50
your consciousness interprets the medium.
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你的意識會轉譯這些媒介
05:53
In VR, your consciousness is the medium.
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在虛擬實境 你的意識就是媒介
05:58
So the potential for VR is enormous.
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所以虛擬實境的潛力是很大的
06:00
But where are we now?
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但 我們到甚麼程度了？
06:02
What is the current state of the art?
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這項藝術的當前狀況是怎樣呢？
06:06
Well,
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好的
06:08
we are here.
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我們到這兒了
06:10
We are the equivalent
of year one of cinema.
of year one of cinema.
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我們相當於在電影剛誕生的第一年
06:13
This is the Lumière Brothers film
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這是盧米埃爾兄弟的電影
06:15
that allegedly sent a theater full
of people running for their lives
of people running for their lives
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據說這部電影讓一整間
電影院的人都逃命去了
電影院的人都逃命去了
06:18
as they thought a train
was coming toward them.
was coming toward them.
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因為他們以為火車
朝著他們開了過來
朝著他們開了過來
06:22
Similar to this early stage
of this medium,
of this medium,
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和電影早期的發展階段相似
06:25
in VR, we also have to move
past the spectacle
past the spectacle
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在虛擬實境中
我們也必須越過場景
我們也必須越過場景
06:29
and into the storytelling.
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進入到故事的情境中
06:30
It took this medium decades
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它花費了電影幾十年的時間
06:32
to figure out its preferred
language of storytelling,
language of storytelling,
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才搞懂原來說故事最好的語言媒介
06:35
in the form of a feature film.
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就是虛擬實境
06:37
In VR today, we're more learning grammar
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目前在虛擬實境領域
我們更多的是在學習文法
我們更多的是在學習文法
06:40
than writing language.
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而不是寫故事
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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我們的虛擬實境公司 Vrse
在去年拍了 15 部電影
在去年拍了 15 部電影
06:46
and we've learned a few things.
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我們從中學到了一些東西
06:48
We found that we have a unique,
direct path into your senses,
direct path into your senses,
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我們發現我們有一種獨特的方式
可以觸動到你的感官
可以觸動到你的感官
06:52
your emotions, even your body.
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你的情緒 甚至身體
06:55
So let me show you some things.
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所以讓我向各位展示一些東西
06:57
For the purpose of this demo,
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這次展示的目的
06:59
we're going to take every direction
that you could possibly look,
that you could possibly look,
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我們準備把各位
可能看到的每個方向
可能看到的每個方向
07:02
and stretch it into this giant rectangle.
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都延伸進這個大螢幕框框內
07:05
OK, here we go.
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好的 我們開始吧！
07:09
So, first: camera movement
is tricky in VR.
is tricky in VR.
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首先 在虛擬實境裡
鏡頭的移動相當困難
鏡頭的移動相當困難
07:13
Done wrong, it can actually make you sick.
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弄得不好 會讓你不舒服
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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我們發現如果你以一種穩定的速度
在一條直線上移動鏡頭
在一條直線上移動鏡頭
07:21
you can actually get away with it, though.
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你就不會覺得不舒服
07:23
The first day in film school,
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在電影學院的第一天
07:25
they told me you have to learn
every single rule
every single rule
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他們告訴我 在你打破規則前
07:28
before you can break one.
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你要先學會每一條規則
07:29
We have not learned every single rule.
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我們還沒有學會每一條規則
07:32
We've barely learned any at all,
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我們幾乎還沒學會什麽
07:33
but we're already trying to break them
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但是我們已經開始嘗試打破規則
07:35
to see what kind of creative things
we can accomplish.
we can accomplish.
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去看看我們可以實現什麽樣
創造性的新事物
創造性的新事物
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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在這一次拍攝裏我們從
地面上升起的時候 我加快了速度
地面上升起的時候 我加快了速度
07:41
I did that because I wanted
to give you a physical sensation
to give you a physical sensation
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我這麽做是因為我想要給各位一種
07:44
of moving up off the ground.
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從地面升起的實體感受
07:45
In VR, I can give that to you.
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在虛擬實境中
我可以給各位這種感受
我可以給各位這種感受
07:49
(Music)
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（音樂）
07:55
Not surprisingly, music matters a lot
in this medium as well.
in this medium as well.
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不意外地 音樂在這當中
扮演了很重要的角色
扮演了很重要的角色
07:59
It guides us how to feel.
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它引導我們如何去感受
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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在這個和紐約時報合作的專案中
08:05
and our friend, JR,
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我和我們的朋友 JR
08:07
we take you up in a helicopter,
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帶各位坐上直升機
08:09
and even though you're flying
2,000 feet above Manhattan,
2,000 feet above Manhattan,
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即使你翱翔在曼哈頓
上空 2000 英呎的地方
上空 2000 英呎的地方
08:13
you don't feel afraid.
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你也不會感到害怕
08:14
You feel triumphant for JR's character.
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你感受到的是 JR 心中的興奮
08:19
The music guides you there.
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音樂會引導你到那個地方
08:20
(Music)
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（音樂）
08:29
Contrary to popular belief,
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與大家想的不太一樣
08:30
there is composition in virtual reality,
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虛擬實境也會產生創作的感覺
08:33
but it's completely
different than in film,
different than in film,
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但是這個和你螢幕上方框中的影片
08:35
where you have a rectangular frame.
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感覺完全不一樣
08:37
Composition is now
where your consciousness exists
where your consciousness exists
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那創作的感覺 與你現在的意識
08:40
and how the world moves around you.
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和你身邊所處的世界
而會有所不同
而會有所不同
08:42
In this film, "Waves of Grace,"
which was a collaboration between Vrse,
which was a collaboration between Vrse,
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這部影片 恩澤之音 是由 Vrse
08:46
the United Nations, Gabo Arora,
and Imraan Ismail,
and Imraan Ismail,
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United Nations，Gabo Arora
和 Imraan Ismail 合作出品
和 Imraan Ismail 合作出品
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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我們了解到虛擬實境中
近距離拍攝的角色置換技巧
近距離拍攝的角色置換技巧
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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在虛擬實境中的近距離鏡頭
會讓你有很靠近某人的感覺
會讓你有很靠近某人的感覺
08:57
It brings that character inside
of your personal space,
of your personal space,
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它會把故事裡的主角
帶到你身邊的空間
帶到你身邊的空間
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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一個你總是會預留給愛人的空間
09:04
And you feel an emotional
closeness to the character
closeness to the character
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你會近距離地
感受到主角的情緒
感受到主角的情緒
09:07
because of what you feel
to be a physical closeness.
to be a physical closeness.
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因為你會感覺主角就在你身邊
09:16
Directing VR is not like
directing for the rectangle.
directing for the rectangle.
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虛擬實境的運鏡方式和
一般鏡頭的移動方式不同
一般鏡頭的移動方式不同
09:21
It's more of a choreography
of the viewer's attention.
of the viewer's attention.
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它比較像是
觀眾注意力的舞蹈編排
觀眾注意力的舞蹈編排
09:24
One tool we can use
to guide your attention
to guide your attention
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有一個工具可以導引你的注意力
09:27
is called "spatialized sound."
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叫做 空間化音效
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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我可以把聲音放在任何地方
放在你前面 左 右邊
放在你前面 左 右邊
09:31
even behind you,
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甚至是後面
09:33
and when you turn your head,
the sound will rotate accordingly.
the sound will rotate accordingly.
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而且當你轉頭的時候
聲音也會跟著轉
聲音也會跟著轉
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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所以我可以用音樂導引你的注意力
到我想讓你看的地方
到我想讓你看的地方
09:40
Next time you hear someone
singing over your shoulder,
singing over your shoulder,
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下在你可能會感受到
有人在你肩膀後面唱歌
有人在你肩膀後面唱歌
09:42
it might be Bono.
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他可能就是波諾
09:44
(Laughter)
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（笑聲）
09:50
VR makes us feel
like we are part of something.
like we are part of something.
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虛擬實境讓我們感覺
自己就像影片中的一部分
自己就像影片中的一部分
09:54
For most of human history,
we lived in small family units.
we lived in small family units.
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在大部分的人類歷史中
我們都生活在小家庭單位裡
我們都生活在小家庭單位裡
09:57
We started in caves,
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我們從山洞開始
09:59
then moved to clans and tribes,
then villages and towns,
then villages and towns,
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然後搬到家族和部落
然後村莊和城鎮
然後村莊和城鎮
10:02
and now we're all global citizens.
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而現在 我們都是世界公民
10:06
But I believe that we are still
hardwired to care the most
hardwired to care the most
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但我相信 我們最關心的仍然是
10:10
about the things that are local to us.
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那些我們身旁的事情
10:13
And VR makes anywhere
and anyone feel local.
and anyone feel local.
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虛擬實境讓每個地方
和每個人變的靠近
和每個人變的靠近
10:18
That's why it works as an empathy machine.
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這也是為什麼它像是一部
有感情的機器
有感情的機器
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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我們的電影 敘利亞的天空
會帶你到敘利亞的一個難民營
會帶你到敘利亞的一個難民營
10:24
and instead of watching a story
about people over there,
about people over there,
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不是帶各位去看
一個人的故事
一個人的故事
10:28
it's now a story about us here.
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而是帶你去感受
我們內心的世界
我們內心的世界
10:34
But where do we go from here?
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但我們到甚麼程度了
10:36
The tricky thing is that
with all previous mediums,
with all previous mediums,
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棘手的事是 所有之前的媒介
10:38
the format is fixed at its birth.
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它們呈現的形式
在它們製造出來時就固定了
在它們製造出來時就固定了
10:42
Film has been a sequence of rectangles,
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從邁布里奇和他的馬到現在
影片一直都是一系列的矩形
影片一直都是一系列的矩形
10:44
from Muybridge and his horses to now.
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10:47
The format has never changed.
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這種呈現的方式從來沒有改變
10:49
But VR as a format, as a medium,
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但虛擬實境作為
一種格式 一種媒介
一種格式 一種媒介
10:54
isn't complete yet.
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雖然還不夠完整
10:56
It's not using physical celluloid
or paper or TV signals.
or paper or TV signals.
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但它不是用電影膠片或是紙張
或者電視信號
或者電視信號
10:59
It actually employs what we use
to make sense of the world.
to make sense of the world.
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它實際上是利用
我們的感官去感受這個世界
我們的感官去感受這個世界
11:04
We're using your senses
as the paints on the canvas,
as the paints on the canvas,
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我們是用你的感官
作為帆布上的油漆
作為帆布上的油漆
11:08
but only two right now.
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但是目前只有兩個（視覺及聽覺）
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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最終，我們可以看看是否能
利用上我們人類身上所有的感官當作媒介
利用上我們人類身上所有的感官當作媒介
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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去體驗任何一個我們想經歷的故事
11:20
And we call it virtual reality right now,
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我現在可以稱它做虛擬實境
11:23
but what happens when we move
past simulated realities?
past simulated realities?
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但當我們超越虛擬現實的時候
11:27
What do we call it then?
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我們會叫它甚麼？
11:29
What if instead of verbally
telling you about a dream,
telling you about a dream,
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如果不是靠口說告訴你一個夢想
11:32
I could let you live inside that dream?
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而是讓你住進到這個夢裡呢？
11:35
What if instead of just experiencing
visiting some reality on Earth,
visiting some reality on Earth,
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如果不是讓你只是體驗
參觀一下地球的一些實境
參觀一下地球的一些實境
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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而是帶你到黑洞邊緣
的重力波上衝浪
的重力波上衝浪
11:43
or create galaxies from scratch,
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或者描繪宇宙的緣起
11:46
or communicate with each other
not using words
not using words
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或者不是用文字彼此溝通
11:49
but using our raw thoughts?
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而是用我們最初衷的想法溝通呢？
11:53
That's not a virtual reality anymore.
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這將不僅僅是虛擬實境而已
11:56
And honestly I don't know
what that's called.
what that's called.
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坦白說，我也不知道那叫甚麼
11:58
But I hope you see where we're going.
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但我希望各位可以看看
我們到哪個程度了
我們到哪個程度了
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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但我今天來到這邊 是想讓各位
體驗一下我剛剛提的智能媒介
體驗一下我剛剛提的智能媒介
12:06
So let's experience it.
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所以 我們開始體驗吧！
12:08
In your hands, you hopefully hold
a piece of cardboard.
a piece of cardboard.
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在各位手上 應該都有一片紙板
請各位把它打開
12:13
Let's open the flap.
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12:14
Tap on the power button
to unlock the phone.
to unlock the phone.
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按下開關按鈕 解鎖手機
12:18
For the people watching at home,
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對於家裡觀看的民眾
12:19
we're going to put up a card right now
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我們現在在螢幕上會顯示
12:21
to show you how to download
this experience on your phone yourself,
this experience on your phone yourself,
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告訴你如何從手機上
下載這次的體驗
下載這次的體驗
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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甚至可以買到 Google 的紙板眼鏡
12:29
We played in cardboard boxes as kids,
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我們小時候，在紙箱裡玩
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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現在長大了 我希望我們
都能找回兒時的純真
都能找回兒時的純真
12:36
by sticking our head in one again.
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把我們的頭 再次鑽到紙箱內
12:41
You're about to participate
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各位將參與到
12:43
in the largest collective
VR viewing in history.
VR viewing in history.
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史上最大型的
集體觀賞虛擬實境秀
集體觀賞虛擬實境秀
12:48
And in that classic old-timey
style of yesteryear,
style of yesteryear,
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並且在經典的懷舊風格中
12:51
we're all going to watch something
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我們將同一時刻 一起觀賞
12:54
at the exact same time, together.
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12:57
Let's hope it works.
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希望可以成功
12:58
What's the countdown
look like? I can't see.
look like? I can't see.
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倒數計時器長怎麼樣？我看不到
13:04
Audience: ...15, 14, 13, 12, 11, 10, 9,
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觀眾：...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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（鳥鳴）
13:34
(Train engine)
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（火車引擎聲）
13:45
Audience: (Shreiks)
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觀眾：（尖叫）
14:03
(Video) JR: Let me tell you
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（影片） JR：讓我告訴各位
14:04
how I shot the cover
of the New York Times Magazine,
of the New York Times Magazine,
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我是怎麽拍攝
紐約時報的封面
紐約時報的封面
14:07
"Walking New York."
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<<行走的紐約>>
14:18
I just got strapped on
outside the helicopter,
outside the helicopter,
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我當時被綁在直升機的外側
14:22
and I had to be perfectly
vertical so I could grab it.
vertical so I could grab it.
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因為我需要最佳的垂直拍攝角度
14:26
And when I was perfectly above --
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當我準備要拍攝的時候
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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你知道 有時候會有風
我們就需要重拍
我們就需要重拍
14:30
then I kept shooting.
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一直拍
14:39
(Video) Woman's voice: Dear Lord,
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（影片）女人的聲音：親愛的上帝
14:41
protect us from evil,
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請保佑我們遠離災難
14:44
for you are the Lord,
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因為你是我們的上帝
14:47
the light.
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我們的陽光
14:53
You who gave us life took it away.
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你賦予我們生命
卻又把它帶走
卻又把它帶走
14:58
Let your will be done.
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願你的旨意成就
15:00
Please bring peace to the many
who have lost loved ones.
who have lost loved ones.
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請將和平帶給那些失去愛人的人
15:05
Help us to live again.
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協助我們重生
15:10
(Music)
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（音樂）
15:29
(Video) (Children's voices)
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（影片）（小孩聲音）
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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小孩聲音：現在在扎塔里
大人比小孩子多
大人比小孩子多
15:41
Sometimes I think
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有時候我在想
15:43
we are the ones in charge.
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我們就是扛起責任的那個人
15:51
Chris Milk: How was it?
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克里斯．邁克：感受如何？
15:52
(Applause)
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（掌聲）
15:56
That was a cheap way of getting you
to do a standing ovation.
to do a standing ovation.
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這是一個便宜又可以讓各位
站起來喝彩的方法
站起來喝彩的方法
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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剛剛我讓各位都站起來了
而且我知道你們一定會在結束的時候鼓掌
而且我知道你們一定會在結束的時候鼓掌
16:02
(Applause)
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（掌聲）
16:03
I believe that everyone on Earth
needs to experience
needs to experience
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我相信地球上每一個人
都需要去體驗
都需要去體驗
16:07
what you just experienced.
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各位剛剛所體驗到的
16:10
That way we can collectively
start to shape this,
start to shape this,
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這樣我們就可以一起
開始雕塑虛擬實境
開始雕塑虛擬實境
16:13
not as a tech platform
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讓它不再只是個技術平台
16:15
but as a humanity platform.
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而是一個人性的平台
16:17
And to that end, in November of last year,
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在結束前 去年 11 月份
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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紐約時報和 Vrse 公司合作了
一項專案 叫做<>
一項專案 叫做<
16:24
It launched with one million
Google Cardboards
Google Cardboards
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他們發送了一百萬個 Google 硬紙板
16:26
sent out to every Sunday subscriber
with their newspaper.
with their newspaper.
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給每一個周日有訂閱報紙的讀者
16:29
But a funny thing happened
that Sunday morning.
that Sunday morning.
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但那一個禮拜天的早上
發生了一件有趣的事
發生了一件有趣的事
16:32
A lot of people got them
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有很多人拿到它
16:33
that were not the intended recipients
on the mailing label.
on the mailing label.
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他們很多人並不是
郵件地址上的收件人
郵件地址上的收件人
16:38
And we started seeing this
all over Instagram.
all over Instagram.
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然後我們開始在
Instagram 大量的看到這些
Instagram 大量的看到這些
16:45
Look familiar?
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看起來很眼熟吧？
16:48
Music led me on a path
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音樂帶領我走上了這條路
16:50
of searching for what seemed
like the unattainable
like the unattainable
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我花了很長的時間
在尋找那當初找不到的感動
16:53
for a very long time.
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16:55
Now, millions of kids just had
the same formative experience
the same formative experience
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現在，有幾百萬個小朋友
在他們童年的時候
16:59
in their childhood
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17:01
that I had in mine.
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也能同樣體驗到我內心的感動
17:04
Only I think this one
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這是唯一一個我認為
17:06
surpasses it.
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超越過去媒介的科技
17:08
Let's see
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讓我們拭目以待
17:09
where this
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這個將會
帶領他們去向何處
17:11
leads them.
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17:13
Thank you.
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謝謝各位
17:14
(Applause)
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（掌聲）
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