The Astonishing Future of Immersive Live Entertainment | Willie Williams | TED

38,563 views ・ 2024-08-14

TED


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I would love to show you something brand new
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that just happened in Las Vegas.
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(“Even Better Than the Real Thing” by U2 plays)
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(Music ends)
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(Cheers and applause)
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Thank you.
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Thank you.
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The Irish rock band U2, of course, inaugurating the Sphere in Las Vegas:
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a brand new facility
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which is somewhere between an IMAX theater and a planetarium,
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large enough to contain the Statue of Liberty.
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After decades of big rock shows being staged mostly in sports facilities
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for 40 shows,
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18,000 people a night were immersed in sound and vision
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in a whole new way.
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And did anybody go, by the way?
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I know some people did.
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Oh, yeah, OK.
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Did anybody not go?
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(Laughter)
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Great, well, then you'll know what I'm talking about.
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So I design and direct live shows.
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The foundations of my work were in concert touring,
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and I got to work with some really cool people,
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including George Michael, R.E.M., David Bowie and many more.
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And for 40 years I've been creative director for U2's live performances,
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going from small clubs to football stadiums
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and having done well over 1,000 shows with them
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in 250 cities in 40 countries.
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Yeah, it's been a journey.
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I head up U2's long-standing creative team,
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and every time we go to make a new show,
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we're trying to reinvent the form in some way,
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starting with a blank slate
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and chucking out everything that's gone before.
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Except for one thing,
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which is always the goal of creating emotional connection
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between the audience and the performers.
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So in the very early '80s,
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U2 was building on the roots of punk,
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which came from this very pure and minimal place
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where making any effort at all with your stage visuals
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was considered extremely gauche and very uncool.
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But as the scale of U2 shows increased,
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we coined the phrase “maximum minimalism,”
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and that got us into a place
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where we could kind of hang on to some of this imagined authenticity
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whilst catering to the needs of playing arenas and football stadiums.
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And it really worked.
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I mean, the raw energy of those shows was incredible,
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but from a design point of view,
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there's really only so far you can take that idea before you hit a wall.
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So we were looking for new possibilities in visual storytelling
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and through the '90s,
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completely fell in love with all the new emerging visual technologies
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and so embraced those, threw away the handbook
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and decided to see what we could do with them.
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And on a pair of U2 tours, "Zoo TV" and "Popmart,"
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we pretty much introduced the style of multiscreen, big-video presentation
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that’s still around today in concert touring.
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And that included, for “Popmart,”
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the building of the world's very first stadium-scale LED video screen,
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which was hand-built from components for the tour.
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They're not unambitious, these people.
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Since then, we've made shows large and small,
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some leading into audio-visual ideas,
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others taking a more architectural stance
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and along the way collaborating with a veritable who's who
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of the contemporary art world.
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But always with the goal of trying to challenge and reinvent
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the notion of what a rock concert can be.
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After 40 years of reinvention,
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I suppose maybe there was another wall looming.
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So when we heard about this new building that was going up in Las Vegas,
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we went to check it out.
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And the Sphere is designed essentially for showing movies
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at humongous scale,
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at extremely high resolution.
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But I found myself looking at the space
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and wondering if there was some other way
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that we might be able to inhabit this wrap-around immersive space.
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And the thing that occurred to me, the thing that really struck me,
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was the absence of corners.
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We navigate space via corners,
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and you know how big the room is that you're in
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because you can see the corners, and that helps you feel grounded.
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Whereas at the Sphere, not only are there no corners,
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but I wondered if we were to introduce virtual corners of our own,
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would we be able to manipulate the audience's sense of perspective
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and apparently alter the space radically?
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So I made a whole load of test material
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and was absolutely overjoyed at how well it worked.
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The degree to which your brain wants to buy into the illusion is extraordinary.
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And I found that I could take the Sphere
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and turn it into an infinitely tall cylinder,
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and then maybe into a cube,
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and then bring the roof down on top of everybody.
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And everything you're seeing,
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all of this is just video on a curved surface.
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But what it informed me
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was that I needed to stop thinking about this as being a screen
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and start thinking of it as being a place,
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a three-dimensional audio-visual space,
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and that the kind of environments that would work here
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might be the kind of thing you'd make for VR,
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rather than for cinema.
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Now to make the illusion work, it’s vital never to break the spell.
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So this sense of place has to be established
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before the viewer even gets there.
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And when the U2 audience arrived at the Sphere,
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they walked into this gigantic optical illusion.
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The scale of it really was shocking.
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And they walked into this thing
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which looked like an oversized version of the Pantheon in Rome,
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but made out of giant concrete slabs and open to the night sky.
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And I used to love eavesdropping on audience conversations
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with people just trying to figure out what they were looking at,
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you know, what was real and what wasn't.
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But it had a genuine materiality that was really hard to resist.
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So over time, I added some features to make it even harder to resist.
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My favorite being this pigeon,
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which used to live up in the roof space
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and periodically fly around
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before eventually escaping through the oculus.
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And I put in a helium balloon, like a kid's helium balloon,
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that got stuck in the roof, like it happens at a shopping mall.
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And there was a work light that would come on and flicker.
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And then right at show time,
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we'd fly the band's helicopter over the roof
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with a suitable soundtrack.
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Now in a reality check, the band doesn’t actually travel by helicopter,
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and none of this is real anyway.
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But the point is,
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you are in this environment for over an hour
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and you never stop believing in it.
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And that's before the show even started.
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So during the show, we immerse the audience in new worlds,
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overwhelm their senses, push the horizon back to infinity,
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shape-shift the room,
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and then eventually make the building disappear altogether
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and reveal Las Vegas outside.
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So this is the moment that we find ourselves in,
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an entire audience's sensory perception being choreographed by the artist
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on a scale that overwhelms the physical being.
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And U2's music,
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the emotive power of that music performed in this environment,
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that was what was so new, that produced something really unprecedented.
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Well to say it was well received would be something of an understatement.
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The critics raved, the internet broke.
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A whole new era of live entertainment was declared
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to the point where the reviews themselves were being reviewed.
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(Laughter)
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Some irony, I think, but I'll take it.
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I mean, jeez, you don't get that very often.
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But what was more remarkable
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was that it was just a couple of years after,
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you know, we all wondered if we'd ever be able
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to gather thousands of people together ever again.
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And the pandemic was, it was a really bleak time
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for everybody involved in live entertainment.
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And I know you guys at TED had a tough time with it, too.
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But the brightest minds of the industry,
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by way of compensation, started to come up with alternatives.
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And we saw some really interesting ideas.
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We saw the construction of XR studios for live broadcast
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and concerts for VR headsets
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and virtual audiences like this,
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participating in real-time, online.
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And really interesting ideas.
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They got a ton of attention, loads and loads of investment.
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Until lockdown ended,
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at which point nobody ever mentioned them again.
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(Laughter)
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So I've got to tell you, for those of us that do this for a living,
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it was profoundly humbling to realize
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that we can reproduce every part of the live experience
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apart from the bit the audience actually wants the most.
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Look it turns out, humans are drawn to proximity.
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We want to come together in a specific place in real time
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to share an experience,
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kind of like we're doing this week.
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And it's been my task to understand how audiences work.
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And there's certainly something to learn from our response
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as we look out at the ocean or up at the night sky,
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where our minds are using a combination of vision and imagination
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to create an emotional response that can inspire us
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or sometimes completely overwhelm us.
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But the interesting thing is,
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we so need this response that it still works,
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even if our rational minds know that what we're looking at isn't real.
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Hence the power of great works of art.
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Now the Renaissance painters hit upon the use of perspective
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to create apparently three-dimensional worlds
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on what the viewer knew had to be a flat plane.
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And our brain insists it's real,
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even though we know it's just marks on canvas.
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But better yet,
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the use of perspective allows the viewer
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to forget the technique completely
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and surrender to the content of the image
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in a more profound and emotional way.
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But we're still separated from the image here.
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We're still outsiders looking in,
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whereas at the Sphere we all together,
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performers and audience, traveled through the picture frame,
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through the proscenium and ended up as part of the environment.
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And it really was quite something.
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It was like VR without a headset.
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Although with a couple of important differences.
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In his novel "Rainbow's End,"
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the writer Vernor Vinge envisaged a world
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that doesn't seem too far away now,
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where everybody, through the use of wearable AR technology,
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could create their own bespoke artificial environments.
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Now, with this U2 show, the environments were artificial,
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but they were also shared,
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all of us experiencing it together in real life.
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And much as I do believe that gaming and certain other online activities
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can produce a real sense of connection,
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it was the physical proximity here that produced something so profound
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and so affecting.
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And U2's music, just the music,
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the original immersive experience performed in this environment,
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music can bring us together,
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and it allows us to forget ourselves as we become part of something larger,
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looking up at something so glorious and so magnificent.
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But we've seen this before, right?
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We recognize this from somewhere.
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The cathedral builders,
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they knew a thing or two about show business.
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They were very good at it,
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and they were not afraid of working at scale,
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being the original practitioners of what we call in the business:
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"Go big or go home."
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(Laughter)
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And look, the amount of time, the amount of resources
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poured into the building of these places over centuries
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tells us that we've been feeling for this experience
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for as long as we've been human.
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Awe and wonder placed under the control of the artist.
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And today, we have the most powerful tools we've ever had to do this.
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So what's our motivation here?
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You know, what's our goal in doing this?
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Well for me, in my work,
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I only have one goal, which is to bring people together,
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to share some joy and to share some magic
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and to make genuine emotional connection
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for the audience,
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with the performers and with each other and with this music,
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which means something unique and personal to everyone who attends.
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And in that moment open up the possibility
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of creating empathy between strangers
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who might not agree on anything else.
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It's a small thing, but it's a start.
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And that's what my particular brand of magic exists for.
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Well, that and giving people a really, really good time.
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(Laughter)
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(“Vertigo” by U2 plays)
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(Music ends)
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Thank you, have a great week.
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(Applause and cheers)
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