The birth of virtual reality as an art form | Chris Milk

120,716 views ใƒป 2016-07-11

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: JY Kang ๊ฒ€ํ† : Jihyeon J. Kim
00:14
When I was a kid,
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์ œ๊ฐ€ ์–ด๋ ธ์„ ๋•Œ
00:15
I experienced something so powerful,
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๊ฐ•๋ ฌํ•œ ๋ฌด์–ธ๊ฐ€๋ฅผ ๊ฒฝํ—˜ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:17
I spent the rest of my life searching for it,
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๊ทธ ๊ฐ™์€ ๊ฒฝํ—˜์„ ์ฐพ๊ธฐ ์œ„ํ•ด ์ œ ์ธ์ƒ์„ ๋ฐ”์ณค์ง€๋งŒ
00:20
and in all the wrong places.
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์—‰๋šฑํ•œ ๊ณณ์—์„œ ์ฐพ๊ณ  ์žˆ์—ˆ์ฃ .
00:23
What I experienced wasn't virtual reality.
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์ œ๊ฐ€ ๊ฒฝํ—˜ ํ–ˆ๋˜ ๊ฒƒ์€ ๊ฐ€์ƒํ˜„์‹ค์€ ์•„๋‹ˆ์—ˆ์Šต๋‹ˆ๋‹ค.
00:26
It was music.
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๊ทธ๊ฒƒ์€ ์Œ์•…์ด์—ˆ์–ด์š”.
00:28
And this is where the story begins.
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์ด์•ผ๊ธฐ๋Š” ์—ฌ๊ธฐ์„œ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
00:31
That's me,
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์ €์˜ˆ์š”.
00:33
listening to the Beatles' "White Album."
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๋น„ํ‹€์ฆˆ์˜ "ํ™”์ดํŠธ ์•จ๋ฒ”"์„ ๋“ฃ๊ณ  ์žˆ๋„ค์š”.
00:35
And the look on my face is the feeling
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์ œ ์–ผ๊ตดํ‘œ์ •์ด ์–ด๋–ค ๊ฐ์ •์ธ์ง€ ๋งํ•ด์ฃผ์ฃ .
00:38
that I've been searching for ever since.
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์ €๋Š” ์ด ๊ฐ์ •์„ ์ฐพ์•„ ํ—ค๋งธ๋˜ ๊ฒ๋‹ˆ๋‹ค.
00:41
Music goes straight to the emotional vein,
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์Œ์•…์€ ๊ฐ์„ฑ์˜ ํ˜ˆ๊ด€์„ ํ†ตํ•ด
00:44
into your bloodstream
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์—ฌ๋Ÿฌ๋ถ„์˜ ํ˜ˆ๋ฅ˜๋ฅผ ํƒ€๊ณ 
00:46
and right into your heart.
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๊ณง๋ฐ”๋กœ ์‹ฌ์žฅ์œผ๋กœ ๊ฐ‘๋‹ˆ๋‹ค.
00:48
It deepens every experience.
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์Œ์•…์€ ๋ชจ๋“  ๊ฒฝํ—˜์— ๊นŠ์ด๋ฅผ ๋”ํ•ด์ฃผ์ฃ .
00:51
Fellas?
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์—ฐ์ฃผ์ž๋ถ„๋“ค...
00:53
(Music)
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(์Œ์•…)
00:59
This is the amazing McKenzie Stubbert
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์ด ํ›Œ๋ฅญํ•œ ์—ฐ์ฃผ์ž ๋ถ„๋“ค์€ ๋งฅ์ผ„์ง€ ์Šคํ„ฐ๋ฒ„ํŠธ์™€
01:01
and Joshua Roman.
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์กฐ์Šˆ์•„ ๋กœ๋งŒ์ž…๋‹ˆ๋‹ค.
01:03
Music --
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์Œ์•…์€...
01:04
(Applause)
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(๋ฐ•์ˆ˜)
01:05
Yeah.
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๋„ค.
01:08
Music makes everything have more emotional resonance.
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์Œ์•…์€ ๋ชจ๋“  ๊ฒƒ์„ ๋”์šฑ ๊ฐ์„ฑ์ ์œผ๋กœ ๋Š๋ผ๋„๋ก ํ•ด์ค๋‹ˆ๋‹ค.
01:13
Let's see how it does for this talk.
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์˜ค๋Š˜ ์ด ๊ฐ•์—ฐ์—๋„ ๋„์›€์ด ๋˜๊ธธ ๋ฐ”๋ž๋‹ˆ๋‹ค.
01:15
The right piece of music at the right time fuses with us
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์ƒํ™ฉ์— ๋งž๋Š” ์ ์ ˆํ•œ ์Œ์•…์„ ๋“ค์œผ๋ฉด ์šฐ๋ฆฌ๋Š” ๊ทธ์— ๋™ํ™”๋ฉ๋‹ˆ๋‹ค.
01:19
on a cellular level.
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์„ธํฌ ํ•˜๋‚˜ํ•˜๋‚˜๊นŒ์ง€ ๋ง์ด์ฃ .
01:21
When I hear that one song
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์ œ๊ฐ€ ๊ทธ ๋…ธ๋ž˜๋ฅผ
01:24
from that one summer
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ํ•œ ์—ฌ๋ฆ„์—
01:26
with that one girl,
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ํ•œ ์†Œ๋…€์™€ ๋“ค์—ˆ์„ ๋•Œ
01:28
I'm instantly transported back there again.
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์ €๋Š” ๊ณง๋ฐ”๋กœ ๊ทธ๋•Œ๋กœ ๋˜๋Œ์•„๊ฐ‘๋‹ˆ๋‹ค.
01:31
Hey, Stacey.
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์•ˆ๋…•, ์Šคํ…Œ์ด์‹œ.
01:34
Here's a part of the story, though, where I got a little greedy.
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๊ทธ๋Ÿฌ๋‹ค๊ฐ€ ์“ธ๋ฐ์—†๋Š” ์š•์‹ฌ์„ ๋‚ด๊ฒŒ ๋˜์ฃ .
01:38
I thought if I added more layers on top of the music,
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๋งŒ์•ฝ์— ์Œ์•… ์œ„์— ๋ฌด์–ธ๊ฐ€๋ฅผ ๋”ํ•  ์ˆ˜ ์žˆ๋‹ค๋ฉด
01:42
I could make the feelings even more powerful.
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์ข€ ๋” ๊ฐ•๋ ฌํ•œ ๊ฐ์ •์„ ์ด๋Œ์–ด ๋‚ผ ์ˆ˜ ์žˆ์ง€ ์•Š์„๊นŒ ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
01:45
So I got into directing music videos.
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๊ทธ๋ž˜์„œ ์ „ ๋ฎค์ง๋น„๋””์˜ค๋ฅผ ๋งŒ๋“ค๊ธฐ ์‹œ์ž‘ํ–ˆ์ฃ .
01:49
This is what they looked like.
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์ด๊ฒƒ์ด ๊ทธ ๋ฎค์ง๋น„๋””์˜ค์ž…๋‹ˆ๋‹ค.
01:54
That's my brother, Jeff.
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์ œ ๋™์ƒ, ์ œํ”„ ์ž…๋‹ˆ๋‹ค.
01:56
Sorry about this, Jeff.
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๋ฏธ์•ˆ, ์ œํ”„.
01:58
(Laughter)
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(์›ƒ์Œ)
01:59
Here's me, just so we're even.
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์—ฌ๊ธฐ ์ €๋„ ์žˆ๋„ค์š”. ์ด์ œ ๊ณตํ‰ํ•˜์ฃ ?
02:02
Incredible moves.
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๋†€๋ผ์šด ์›€์ง์ž„์ด๋„ค์š”.
02:04
Should've been a dancer.
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๋Œ„์„œ๊ฐ€ ๋˜์—ˆ์–ด์•ผ ํ–ˆ๋Š”๋ฐ...
02:05
(Laughter)
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(์›ƒ์Œ)
02:06
These experiments grew,
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์ด๋Ÿฌํ•œ ์‹œ๋„๋“ค์ด ์Œ“์—ฌ์„œ
02:08
and in time, started to look more like this.
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์ด์œฝ๊ณ , ์ด๋Ÿฐ ๊ฑธ ๋งŒ๋“ค๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
02:13
In both, I'm searching for the same thing, though,
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๋‘ ๊ฒฝ์šฐ ๋ชจ๋‘, ๊ฐ™์€ ๊ฒƒ์„ ์ถ”๊ตฌํ•œ ๊ฒฐ๊ณผ์ž…๋‹ˆ๋‹ค.
02:16
to capture that lightning in a bottle.
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๊ทธ ๊ฐ๋™์„ ๋‹ด์•„๋‚ด๊ณ  ์‹ถ์—ˆ์ง€๋งŒ
02:20
Except, I'm not.
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์ €๋Š” ํ•  ์ˆ˜ ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
02:21
Adding moving pictures over the music added narrative dimension, yes,
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์Œ์•…์— ์˜์ƒ์„ ๋”ํ•จ์œผ๋กœ์จ ์ด์•ผ๊ธฐ๋ฅผ ์ „๋‹ฌํ•  ์ˆ˜๋Š” ์žˆ๊ฒ ์ง€๋งŒ
02:26
but never quite equated the power
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์ƒ์ƒํ•œ ์Œ์•…์ด ๊ฐ–๋Š” ๊ฐ•๋ ฌํ•จ์„
02:28
that just raw music had for me on its own.
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๊ทธ๋Œ€๋กœ ์ „๋‹ฌํ•˜์ง€๋Š” ๋ชปํ–ˆ์ฃ .
02:32
This is not a great thing to realize when you've devoted your life
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์ž์‹ ์˜ ์ผ์ƒ๊ณผ ๊ฒฝ๋ ฅ์„ ๋ฐ”์ณ ๋ฎค์ง๋น„๋””์˜ค ์ œ์ž‘์ž๊ฐ€ ๋˜๊ณ ์ž ํ–ˆ๋˜
02:35
and professional career to becoming a music video director.
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์‚ฌ๋žŒ์œผ๋กœ์„œ๋Š” ๋ฐ›์•„๋“ค์ผ ์ˆ˜ ์—†๋Š” ์‚ฌ์‹ค์ด์—ˆ์Šต๋‹ˆ๋‹ค.
02:38
I kept asking myself, did I take the wrong path?
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์ „ ์Šค์Šค๋กœ์—๊ฒŒ ๊ณ„์† ๋ฌผ์—ˆ์Šต๋‹ˆ๋‹ค. ๋‚ด๊ฐ€ ์ž˜๋ชป๋œ ๊ธธ์„ ๊ฐ€๊ณ  ์žˆ๋Š” ๊ฑด๊ฐ€?
02:42
So I started thinking: if I could involve you, the audience, more,
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๊ทธ๋Ÿฌ๋‹ค ์ด๋Ÿฐ ์ƒ๊ฐ์ด ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค. ๋งŒ์•ฝ ์ฒญ์ค‘์„ ์ด ์•ˆ์— ๋Œ์–ด๋“ค์ธ๋‹ค๋ฉด
02:46
I might be able to make you feel something more as well.
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๊ฐ์ •์„ ๋” ์ž˜ ์ „๋‹ฌํ•  ์ˆ˜ ์žˆ๊ฒŒ ๋˜๋ฆฌ๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์ฃ .
02:49
So Aaron Koblin and I began auditioning new technologies
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๊ทธ๋ž˜์„œ ์• ๋Ÿฐ ์ฝ”๋ธ”๋ฆฐ๊ณผ ์ €๋Š” ์—ฌ๋Ÿฌ๋ถ„์„ ์ž‘ํ’ˆ ์†์— ์ฐธ์—ฌ์‹œํ‚ฌ ์ˆ˜ ์žˆ๋Š”
02:53
that could put more of you inside of the work,
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์ƒˆ๋กœ์šด ๊ธฐ์ˆ ์„ ์‹œํ—˜ํ•ด๋ณด๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
02:56
like your childhood home in "The Wilderness Downtown,"
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'The Wilderness Downtown'์—์„œ๋Š” ์œ ๋…„์‹œ์ ˆ์˜ ์ง‘์„ ๋‹ด์•˜๊ณ 
03:00
your hand-drawn portraits, in "The Johnny Cash Project,"
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'The Johnny Cash Project'์—์„œ๋Š” ์†์œผ๋กœ ๊ทธ๋ฆฐ ์žํ™”์ƒ์„ ๋„ฃ์—ˆ์ฃ .
03:05
and your interactive dreams
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๊ทธ๋ฆฌ๊ณ , '3 Dreams of Black'์—๋Š”
03:07
in "3 Dreams of Black."
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์—ฌ๋Ÿฌ๋ถ„์˜ ๊ฟˆ์„ ๋‹ด์•˜์ฃ .
03:11
We were pushing beyond the screen,
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์šฐ๋ฆฌ๋Š” ์žฅ๋ฉด์„ ๋›ฐ์–ด๋„˜์–ด
03:13
trying to connect more deeply
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์‚ฌ๋žŒ๋“ค์˜ ๋งˆ์Œ๊ณผ ์ƒ์ƒ๋ ฅ ๊นŠ์ˆ™์ด
03:15
to people's hearts and imaginations.
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์—ฐ๊ฒฐ๋˜๋„๋ก ํ•˜๊ณ ์ž ํ–ˆ์Šต๋‹ˆ๋‹ค.
03:18
But it wasn't quite enough.
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ํ•˜์ง€๋งŒ ์ด๋งˆ์ €๋„ ์ถฉ๋ถ„์น˜ ์•Š์•˜์ฃ .
03:21
It still didn't have the raw experiential power of pure music for me.
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์ˆœ์ˆ˜ํ•œ ์Œ์•…์œผ๋กœ๋ถ€ํ„ฐ ๋ฐ›์•˜๋˜ ์ƒ์ƒํ•œ ๊ฐ๋™์€ ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
03:27
So I started chasing a new technology
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๊ทธ๋ž˜์„œ ์ €๋Š” ๊ณต์ƒ๊ณผํ•™ ์†Œ์„ค์—๋‚˜ ๋‚˜์˜ฌ ๋ฒ•ํ•œ
03:29
that I only had read about in science fiction.
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์ƒˆ๋กœ์šด ๊ธฐ์ˆ ์„ ๋‹ค์‹œ ์ฐพ์•„ ๋‚˜์„ฐ์Šต๋‹ˆ๋‹ค.
03:32
And after years of searching, I found a prototype.
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๋ช‡ ๋…„์„ ์ฐพ์•„๋‹ค๋‹ˆ๋‹ค๊ฐ€ ๊ฒฐ๊ตญ ์‹œ์ œํ’ˆ์„ ๋ฐœ๊ฒฌํ–ˆ์Šต๋‹ˆ๋‹ค.
03:35
It was a project from Nonny de la Peรฑa in Mark Bolas's lab in USC.
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USC ๋งˆํฌ ๋ณผ๋ผ์Šค ์—ฐ๊ตฌ์‹ค์˜ ๋‚˜๋‹ˆ ๋ธ๋ผ ํŽ˜๋ƒ์˜ ์—ฐ๊ตฌํ”„๋กœ์ ํŠธ์˜€์Šต๋‹ˆ๋‹ค.
03:41
And when I tried it, I knew I'd found it.
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๊ทธ๊ฑธ ํ…Œ์ŠคํŠธํ•ด๋ณด๊ณ , ๋“œ๋””์–ด ์ฐพ์•˜์Œ์„ ์•Œ์•˜์ฃ .
03:45
I could taste the lightning.
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๊ทธ ๊ฐ๋™์„ ๋ง›๋ณผ ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
03:47
It was called virtual reality.
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๊ทธ๊ฑด ๋ฐ”๋กœ ๊ฐ€์ƒํ˜„์‹ค ๊ธฐ์ˆ ์ด์—ˆ์–ด์š”.
03:50
This was it five years ago when I ran into it.
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5๋…„์ „, ์ฒ˜์Œ ์ ‘ํ–ˆ์„ ๋•Œ๋Š” ์ด๋Ÿฐ ๋ชจ์Šต์ด์—ˆ์Šต๋‹ˆ๋‹ค.
03:53
This is what it looks like now.
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์ง€๊ธˆ์€ ์ด๋ ‡๊ฒŒ ๋ฐ”๋€Œ์—ˆ์ฃ .
03:56
I quickly started building things in this new medium,
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์ €๋Š” ์ด ์ƒˆ๋กœ์šด ๋งค์ฒด๋ฅผ ์ด์šฉํ•ด์„œ ์ž‘ํ’ˆ์„ ๋งŒ๋“ค๊ธฐ ์‹œ์ž‘ํ–ˆ๊ณ 
04:00
and through that process we realized something:
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๊ทธ ๊ณผ์ •์—์„œ ๊นจ๋‹ฌ์€ ๊ฒƒ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
04:03
that VR is going to play an incredibly important role
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๊ฐ€์ƒํ˜„์‹ค์ด ์˜์ƒ๋งค์ฒด์˜ ์—ญ์‚ฌ์—์„œ
๊ต‰์žฅํžˆ ์ค‘์š”ํ•œ ์—ญํ• ์„ ํ•˜๊ฒŒ ๋  ๊ฑฐ๋ผ๋Š” ์‚ฌ์‹ค์ด์ฃ .
04:07
in the history of mediums.
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04:09
In fact, it's going to be the last one.
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์‚ฌ์‹ค, ์ด๊ฒŒ ์˜์ƒ๋งค์ฒด์˜ ์ข…์ฐฉ์ง€๊ฐ€ ๋  ๊ฒ๋‹ˆ๋‹ค.
04:13
I mean this because it's the first medium that actually makes the jump
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์™œ๋ƒํ•˜๋ฉด ์ด ๋งค์ฒด๋Š” ๊ฒฝํ—˜์„ ์ „๋‹ฌํ•˜๊ณ ์ž ํ•˜๋Š”
04:17
from our internalization of an author's expression
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์ž‘๊ฐ€์  ํ‘œํ˜„์˜ ๋‚ด๋ฉด์š”์†Œ๋ฅผ ์ง์ ‘ ์ฒดํ—˜ํ•  ์ˆ˜ ์žˆ๋„๋ก ๋„์™€์ฃผ๋Š”
04:20
of an experience,
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04:22
to our experiencing it firsthand.
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์ตœ์ดˆ์˜ ๋งค์ฒด์ด๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
04:25
You look confused. I'll explain. Don't worry.
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๋‹ค๋“ค ๋จธ๋ฆฌ๊ฐ€ ๋ณต์žกํ•ด ๋ณด์ด๋Š”๋ฐ์š”. ์„ค๋ช…ํ•ด ๋“œ๋ฆด๊ฒŒ์š”. ๊ฑฑ์ •๋งˆ์„ธ์š”.
04:27
(Laughter)
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(์›ƒ์Œ)
04:29
If we go back to the origins of mediums,
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์˜์ƒ๋งค์ฒด์˜ ๊ธฐ์›์œผ๋กœ ๋Œ์•„๊ฐ€๋ณด๋ฉด
04:33
by all best guesses,
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์—ฌ๋Ÿฌ๊ฐ€์ง€๊ฐ€ ์žˆ๊ฒ ์ง€๋งŒ
04:34
it starts around a fire, with a good story.
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๋ชจ๋‹ฅ๋ถˆ์— ๋‘˜๋Ÿฌ ์•‰์•„ ์ด์•ผ๊ธฐ๋ฅผ ๋“ฃ๋Š” ๋ชจ์Šต์ผ ๊ฒ๋‹ˆ๋‹ค.
04:37
Our clan leader is telling us
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๋ถ€์กฑ์žฅ์ด ์ด์•ผ๊ธฐ๋ฅผ ๋“ค๋ ค์ฃผ์ฃ .
04:39
about how he hunted the woolly mammoth on the tundra that day.
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๊ทธ๋‚  ํˆฐ๋“œ๋ผ์—์„œ ํ„ธ๋ณต์ˆญ์ด ๋ง˜๋ชจ์Šค๋ฅผ ์‚ฌ๋ƒฅํ•œ ๊ฒฝํ—˜๋‹ด์„์š”.
04:44
We hear his words
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์šฐ๋ฆฌ๋Š” ๊ทธ์˜ ์ด์•ผ๊ธฐ๋ฅผ ๋“ค์œผ๋ฉฐ
04:46
and translate them into our own internal truths.
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์ž์‹ ์˜ ์ฒดํ—˜์ฒ˜๋Ÿผ ์‚ฌ์‹ค๋กœ ๋ฐ›์•„๋“ค์ด์ฃ .
04:50
The same thing happens
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์ด์™€ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ
04:52
when we look at the cave painting version of the story,
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๊ทธ ์ด์•ผ๊ธฐ๋ฅผ ๊ทธ๋ฆฐ ๋™๊ตด๋ฒฝํ™”๋ฅผ ๋ณผ ๋•Œ๋‚˜
04:56
the book about the mammoth hunt,
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๋ง˜๋ชจ์Šค ์‚ฌ๋ƒฅ์— ๋Œ€ํ•œ ์ฑ…
04:58
the play,
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์—ฐ๊ทน
05:00
the radio broadcast,
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๋ผ๋””์˜ค ๋ฐฉ์†ก
05:01
the television show
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ํ…”๋ ˆ๋น„์ ผ ํ”„๋กœ๊ทธ๋žจ
05:03
or the movie.
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์˜ํ™”๋ฅผ ๋ณผ ๋•Œ๋„ ๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค.
05:05
All of these mediums require what we call "suspension of disbelief,"
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์ด ๋ชจ๋“  ๋งค์ฒด๋Š” "ํ—ˆ๊ตฌ ์„ธ๊ณ„์— ๋น ์ ธ๋“ค๊ธฐ" (์˜์‹ฌ ์ •์ง€)๋ผ๋Š” ๊ฒƒ์ด ํ•„์š”ํ•ฉ๋‹ˆ๋‹ค.
05:09
because there's a translation gap between the reality of the story
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์™œ๋ƒํ•˜๋ฉด, ์ด์•ผ๊ธฐ ์†์˜ ์‹ค์ œ ์ƒํ™ฉ๊ณผ
05:13
and our consciousness interpreting the story
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๊ทธ๊ฑธ ์‹ค์ œ ์ƒํ™ฉ์œผ๋กœ ํ•ด์„ํ•˜๋Š” ์šฐ๋ฆฌ ์ธ์‹์—๋Š”
05:16
into our reality.
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๊ฐ„๊ทน์ด ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
05:19
I'm using the word "consciousness" as a feeling of reality that we get
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'์ธ์‹'์ด๋ž€ ์‚ฌ์‹ค์  ๋Š๋‚Œ์ž…๋‹ˆ๋‹ค.
์ฃผ๋ณ€ ์„ธ๊ณ„๋กœ๋ถ€ํ„ฐ ์šฐ๋ฆฌ ๊ฐ๊ฐ์œผ๋กœ ์ง์ ‘ ๊ฒฝํ—˜ํ•˜๋Š” ๊ฒƒ์ด์ฃ .
05:23
from our senses experiencing the world around us.
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05:28
Virtual reality bridges that gap.
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๊ฐ€์ƒํ˜„์‹ค์€ ๊ทธ ๊ฐ„๊ทน์„ ์ด์–ด์ค๋‹ˆ๋‹ค.
05:31
Now, you are on the tundra hunting with the clan leader.
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์ด์ œ ์—ฌ๋Ÿฌ๋ถ„์€ ์กฑ์žฅ๊ณผ ํ•จ๊ป˜ ํˆฐ๋“œ๋ผ์—์„œ ์‚ฌ๋ƒฅ์„ ํ•ฉ๋‹ˆ๋‹ค.
05:36
Or you are the clan leader.
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์•„๋‹ˆ๋ฉด ์—ฌ๋Ÿฌ๋ถ„์ด ์กฑ์žฅ์ผ ์ˆ˜๋„ ์žˆ์ฃ .
05:38
Or maybe you're even the woolly mammoth.
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์•„๋‹ˆ๋ฉด ์—ฌ๋Ÿฌ๋ถ„์ด ํ„ธ๋ณต์ˆญ์ด ๋ง˜๋ชจ์Šค์ผ ์ˆ˜๋„ ์žˆ๊ณ ์š”.
05:41
(Laughter)
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(์›ƒ์Œ)
05:46
So here's what special about VR.
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๊ฐ€์ƒํ˜„์‹ค์˜ ํŠน๋ณ„ํ•œ ์ ์€ ์ด๊ฑฐ์˜ˆ์š”.
05:48
In all other mediums,
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๋‹ค๋ฅธ ๋ชจ๋“  ๋งค์ฒด์˜ ๊ฒฝ์šฐ์—๋Š”
05:50
your consciousness interprets the medium.
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์—ฌ๋Ÿฌ๋ถ„์˜ ์ธ์‹์„ ํ†ตํ•ด ๋งค์ฒด๋ฅผ ํ•ด์„ํ•ฉ๋‹ˆ๋‹ค.
05:53
In VR, your consciousness is the medium.
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๊ฐ€์ƒํ˜„์‹ค์€ ์—ฌ๋Ÿฌ๋ถ„์˜ ์ธ์‹์ด ๊ณง ๋งค์ฒด๊ฐ€ ๋˜์ฃ .
05:58
So the potential for VR is enormous.
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๊ฐ€์ƒํ˜„์‹ค์˜ ๊ฐ€๋Šฅ์„ฑ์€ ๋ฌด๊ถ๋ฌด์ง„ํ•ฉ๋‹ˆ๋‹ค.
06:00
But where are we now?
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๊ทธ๋Ÿฐ๋ฐ ์ง€๊ธˆ์€ ์–ด๋–ค ์ˆ˜์ค€์ผ๊นŒ์š”?
06:02
What is the current state of the art?
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์˜ˆ์ˆ ์˜ ์ง€๊ธˆ ์ƒํ™ฉ์€ ์–ด๋–ป์Šต๋‹ˆ๊นŒ?
06:06
Well,
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๊ธ€์Ž„์š”..
06:08
we are here.
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์ง€๊ธˆ์€ ์ด๋ ‡์Šต๋‹ˆ๋‹ค.
06:10
We are the equivalent of year one of cinema.
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์ง€๊ธˆ์€ ์ดˆ์ฐฝ๊ธฐ ์˜ํ™”๋‚˜ ๋งˆ์ฐฌ๊ฐ€์ง€์ฃ .
06:13
This is the Lumiรจre Brothers film
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์ด๊ฒƒ์€ ๋ฅด๋ฏธ์—๋ฅด ํ˜•์ œ๊ฐ€ ์ฐ์€ ๊ฑด๋ฐ์š”.
06:15
that allegedly sent a theater full of people running for their lives
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์ด๊ฑธ ๋ณด๊ณ  ์—ด์ฐจ๊ฐ€ ๋‹ฌ๋ ค์˜จ๋‹ค๊ณ  ์ƒ๊ฐํ•˜๊ณ  ๊ด€๊ฐ๋“ค์ด ํ•„์‚ฌ์ ์œผ๋กœ ๋„๋ง์ณค๋‹ค๊ณ  ํ•ด์š”.
06:18
as they thought a train was coming toward them.
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06:22
Similar to this early stage of this medium,
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์ด ๋งค์ฒด์˜ ์ดˆ๊ธฐ ๋‹จ๊ณ„์™€ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ
06:25
in VR, we also have to move past the spectacle
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๊ฐ€์ƒํ˜„์‹ค๋„ ๋ณผ๊ฑฐ๋ฆฌ๋ฅผ ๋›ฐ์–ด๋„˜์–ด
06:29
and into the storytelling.
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์ด์•ผ๊ธฐ๋ฅผ ์ „ํ•˜๋Š” ๋„๊ตฌ๊ฐ€ ๋ฉ๋‹ˆ๋‹ค.
06:30
It took this medium decades
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์˜ํ™”๋Š” ์žฅํŽธ์˜ํ™”์˜ ํ˜•ํƒœ๋กœ
06:32
to figure out its preferred language of storytelling,
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์ด์•ผ๊ธฐ๋ฅผ ์ „ํ•˜๋Š” ์–ธ์–ด๋กœ ์‚ฌ๋ž‘๋ฐ›๊ธฐ๊นŒ์ง€
06:35
in the form of a feature film.
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์ˆ˜์‹ญ ๋…„์ด ๊ฑธ๋ ธ์ง€๋งŒ
06:37
In VR today, we're more learning grammar
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์˜ค๋Š˜๋‚  ๊ฐ€์ƒํ˜„์‹ค์˜ ๊ฒฝ์šฐ์—๋Š” ์“ฐ๋Š” ์–ธ์–ด๋ผ๊ธฐ๋ณด๋‹ค
06:40
than writing language.
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๋ฌธ๋ฒ•์œผ๋กœ์„œ ๋ฐฐ์›Œ๊ฐ€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
06:42
We've made 15 films in the last year at our VR company, Vrse,
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์ €ํฌ ๊ฐ€์ƒํ˜„์‹ค ํšŒ์‚ฌ์ธ VRSE๋Š” ์ž‘๋…„์— 15๊ฐœ์˜ ์˜ํ™”๋ฅผ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
06:46
and we've learned a few things.
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๊ทธ๋Ÿฌ๋ฉด์„œ ๋ช‡๊ฐ€์ง€ ๋ฐฐ์šด ๊ฒƒ์ด ์žˆ์ฃ .
06:48
We found that we have a unique, direct path into your senses,
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์ด๊ฒƒ์ด ์šฐ๋ฆฌ ๊ฐ๊ฐ์— ์œ ์ผํ•˜๊ฒŒ ์ง์ ‘ ์ ‘๊ทผํ•˜๋Š” ๊ธธ์ž„์„ ์•Œ์•˜์Šต๋‹ˆ๋‹ค.
06:52
your emotions, even your body.
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์šฐ๋ฆฌ์˜ ๊ฐ์ •๊ณผ ์‹ฌ์ง€์–ด ์šฐ๋ฆฌ ์‹ ์ฒด๊นŒ์ง€๋„ ๋ง์ด์ฃ .
06:55
So let me show you some things.
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์—ฌ๋Ÿฌ๋ถ„๊ป˜ ํ•œ๊ฐ€์ง€ ๋ณด์—ฌ๋“œ๋ฆฌ์ฃ .
06:57
For the purpose of this demo,
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์‹œ์—ฐ์„ ๋ชฉ์ ์œผ๋กœ
06:59
we're going to take every direction that you could possibly look,
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์—ฌ๋Ÿฌ๋ถ„ ์‹œ์„ ์ด ๋‹ฟ๋Š” ๋ชจ๋“  ๋ฐฉํ–ฅ์œผ๋กœ
07:02
and stretch it into this giant rectangle.
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์ปค๋‹ค๋ž€ ์‚ฌ๊ฐ ํ™”๋ฉด์„ ํŽผ์น˜๊ฒ ์Šต๋‹ˆ๋‹ค.
07:05
OK, here we go.
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์ด์ œ ์‹œ์ž‘ํ•˜์ฃ .
07:09
So, first: camera movement is tricky in VR.
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๋จผ์ €, ๊ฐ€์ƒํ˜„์‹ค์˜ ์นด๋ฉ”๋ผ๋Š” ์›€์ง์ž„์ด ๊นŒ๋‹ค๋กญ์Šต๋‹ˆ๋‹ค.
07:13
Done wrong, it can actually make you sick.
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์ž˜๋ชปํ•˜๋ฉด, ๋ฉ”์Šค๊บผ์›€์„ ๋Š๋ผ๊ฒŒ ๋˜์ฃ .
07:16
We found if you move the camera at a constant speed in a straight line,
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์นด๋ฉ”๋ผ๋ฅผ ์ผ์ •ํ•œ ์†๋„๋กœ ์ง์„ ์ƒ์—์„œ ์›€์ง์ด๋ฉด
07:21
you can actually get away with it, though.
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๊ทธ๋Ÿฐ ํ˜„์ƒ์„ ํ”ผํ•  ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฑธ ์•Œ์•˜์Šต๋‹ˆ๋‹ค.
07:23
The first day in film school,
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์˜ํ™”ํ•™๊ต์—์„œ ์ฒ˜์Œ ๋ฐฐ์šธ ๋•Œ๋Š”
07:25
they told me you have to learn every single rule
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๋ชจ๋“  ๊ธฐ๋ฒ• ํ•˜๋‚˜ํ•˜๋‚˜๋ฅผ ์ตํ˜€์•ผ๋งŒ
07:28
before you can break one.
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๊ทธ ํ‹€์„ ๊นฐ ์ˆ˜ ์žˆ๋‹ค๊ณ  ๋ฐฐ์› ์Šต๋‹ˆ๋‹ค.
07:29
We have not learned every single rule.
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์šฐ๋ฆฌ๋Š” ๊ฐ€์ƒํ˜„์‹ค์˜ ๋ชจ๋“  ๊ธฐ๋ฒ•์„ ์ตํžˆ์ง€๋Š” ๋ชปํ–ˆ์–ด์š”.
07:32
We've barely learned any at all,
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์ตํžŒ ๊ฒƒ์€ ๊ฑฐ์˜ ์—†์—ˆ์ง€๋งŒ
07:33
but we're already trying to break them
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๊ทธ ํ‹€์„ ๊นจ๋ณด๊ธฐ๋กœ ํ•˜๊ณ 
07:35
to see what kind of creative things we can accomplish.
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์šฐ๋ฆฌ๊ฐ€ ์–ด๋–ค ๊ฑธ ๋งŒ๋“ค์–ด ๋‚ผ ์ˆ˜ ์žˆ๋Š”์ง€ ๋ณด๊ธฐ๋กœ ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:37
In this shot here, where we're moving up off the ground, I added acceleration.
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์ด ์žฅ๋ฉด์€ ์นด๋ฉ”๋ผ๋ฅผ ์ง€๋ฉด์—์„œ ๋„์šฐ๊ณ  ์ด๋™ ์†๋„๋ฅผ ๋†’์—ฌ ๋ณธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
07:41
I did that because I wanted to give you a physical sensation
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์ด๋Ÿฐ ์‹œ๋„๋ฅผ ํ•œ ์ด์œ ๋Š” ๋•… ์œ„๋ฅผ ๋– ์„œ ์›€์ง์ด๋Š” ๋“ฏํ•œ
07:44
of moving up off the ground.
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๋ฌผ๋ฆฌ์  ๊ฐ๊ฐ์„ ์ฃผ๊ณ  ์‹ถ์–ด์„œ์˜€์–ด์š”.
07:45
In VR, I can give that to you.
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๊ฐ€์ƒํ˜„์‹ค์—์„œ๋Š” ์ด๋Ÿฐ ๊ฒƒ๋„ ๊ฐ€๋Šฅํ•ฉ๋‹ˆ๋‹ค.
07:49
(Music)
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(์Œ์•…)
07:55
Not surprisingly, music matters a lot in this medium as well.
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๋‹น์—ฐํ•˜๊ฒŒ๋„ ์ด๋Ÿฐ ๋งค์ฒด์—์„œ๋„ ์Œ์•…์€ ๋Œ€๋‹จํžˆ ์ค‘์š”ํ•˜์ฃ .
07:59
It guides us how to feel.
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๋Š๋‚Œ์„ ์œ ๋„ํ•ด ์ฃผ๊ฑฐ๋“ ์š”.
08:02
In this project we made with the New York Times, Zach Richter
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์ด ํ”„๋กœ์ ํŠธ๋Š” ๋‰ด์š•ํƒ€์ž„์ฆˆ, ์žํฌ ๋ฆฌํžˆํ„ฐ
08:05
and our friend, JR,
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์ €ํฌ ์นœ๊ตฌ JR๊ณผ ํ•จ๊ป˜ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
08:07
we take you up in a helicopter,
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์ด์ œ ์–ด๋ ค๋ถ„์€ ํ—ฌ๊ธฐ๋ฅผ ํƒ€๊ณ 
08:09
and even though you're flying 2,000 feet above Manhattan,
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๋งจํ•˜ํƒ„์˜ 2000ํ”ผํŠธ ์ƒ๊ณต์„ ๋‚  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
08:13
you don't feel afraid.
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๋‘๋ ค์›€์€ ๋Š๊ปด์ง€์ง€ ์•Š์ฃ .
08:14
You feel triumphant for JR's character.
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JR์˜ ์˜๊ธฐ์–‘์–‘ํ•œ ๊ธฐ์งˆ์„ ๋Š๋‚„ ์ˆ˜ ์žˆ์„ ๊ฑฐ์˜ˆ์š”.
08:19
The music guides you there.
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์Œ์•…์ด ๊ทธ๋Ÿฐ ๋Š๋‚Œ์„ ์ „ํ•ด์ค๋‹ˆ๋‹ค.
08:20
(Music)
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(์Œ์•…)
08:29
Contrary to popular belief,
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์ผ๋ฐ˜์ ์œผ๋กœ ์•Œ๊ณ  ์žˆ๋Š” ๊ฒƒ๊ณผ๋Š” ๋‹ฌ๋ฆฌ
08:30
there is composition in virtual reality,
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๊ฐ€์ƒํ˜„์‹ค์—๋„ ๊ตฌ์„ฑ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
08:33
but it's completely different than in film,
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์‚ฌ๊ฐํ˜•์˜ ํ‹€์„ ํ†ตํ•ด ๋ณด์ด๋Š” ์˜ํ™”์™€๋Š” ์ „ํ˜€ ๋‹ค๋ฅด์ฃ .
08:35
where you have a rectangular frame.
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08:37
Composition is now where your consciousness exists
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๊ทธ ๊ตฌ์„ฑ์€ ์—ฌ๋Ÿฌ๋ถ„์˜ ์ธ์‹์ด ์–ด๋””์— ๋จธ๋ฌด๋Š”๊ฐ€ ํ•˜๋Š” ๊ฒƒ๊ณผ
08:40
and how the world moves around you.
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์ฃผ๋ณ€ ์„ธ์ƒ์ด ์–ด๋–ป๊ฒŒ ์›€์ง์ด๋Š๋ƒ ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:42
In this film, "Waves of Grace," which was a collaboration between Vrse,
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์ด ์˜์ƒ, "Waves of Grace"์˜ ์ œ์ž‘์—๋Š” VRSE
08:46
the United Nations, Gabo Arora, and Imraan Ismail,
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UN, ๊ฐ€๋ณด ์•„๋กœ๋ผ, ๊ทธ๋ฆฌ๊ณ  ์ด๋ฏ€๋ž€ ์ด์Šค๋งˆ์ผ์ด ์ฐธ์—ฌํ–ˆ์Šต๋‹ˆ๋‹ค.
08:49
we also see the changing role of the close-up in virtual reality.
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๊ฐ€์ƒํ˜„์‹ค์—์„œ๋Š” ๊ทผ์ ‘์ดฌ์˜์˜ ์—ญํ• ๋„ ๋‹ฌ๋ผ์ง‘๋‹ˆ๋‹ค.
08:53
A close-up in VR means you're actually close up to someone.
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๊ฐ€์ƒํ˜„์‹ค์—์„œ์˜ ๊ทผ์ ‘์ดฌ์˜์€ ์ƒ๋Œ€์—๊ฒŒ ์‹ค์ œ๋กœ ๋‹ค๊ฐ€๊ฐ€๋Š” ๊ฑธ ์˜๋ฏธํ•˜์ฃ .
08:57
It brings that character inside of your personal space,
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์‚ฌ๋ž‘ํ•˜๋Š” ์‚ฌ๋žŒ์„ ์œ„ํ•ด ๋งˆ๋ จํ•œ
09:00
a space that we'd usually reserve for the people that we love.
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์ž์‹ ์˜ ๊ฐœ์ธ ๊ณต๊ฐ„ ์•ˆ์œผ๋กœ ๋Œ€์ƒ์„ ๋Œ์–ด์˜ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
09:04
And you feel an emotional closeness to the character
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๋ฌผ๋ฆฌ์ ์œผ๋กœ ๊ฐ€๊นŒ์›Œ์ง€๋Š” ๋Š๋‚Œ์„ ๋ฐ›์œผ๋ฉฐ
09:07
because of what you feel to be a physical closeness.
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๋Œ€์ƒ๊ณผ ๊ฐ์ •์  ์นœ๋ฐ€๊ฐ์„ ๋Š๋ผ๊ฒŒ ๋˜์ฃ .
09:16
Directing VR is not like directing for the rectangle.
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๊ฐ€์ƒํ˜„์‹ค์„ ๋งŒ๋“œ๋Š” ๊ฒƒ์€ ๋‹จ์ˆœํžˆ ์‚ฌ๊ฐ์˜ ํ™”๋ฉด์„ ๋งŒ๋“œ๋Š” ๊ฒŒ ์•„๋‹™๋‹ˆ๋‹ค.
09:21
It's more of a choreography of the viewer's attention.
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๋ณด๋Š” ์ด์˜ ๊ด€์‹ฌ์„ ๋„๋Š” ์•ˆ๋ฌด๋ฅผ ์งœ๋Š” ๊ฒƒ๊ณผ ๊ฐ™์ฃ .
09:24
One tool we can use to guide your attention
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์—ฌ๋Ÿฌ๋ถ„์˜ ์ด๋ชฉ์„ ๋Œ๊ธฐ ์œ„ํ•œ ๋„๊ตฌ๋กœ์„œ
09:27
is called "spatialized sound."
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'๊ณต๊ฐ„ ์Œํ–ฅ' ์ด๋ผ๋Š” ๊ฑธ ์ด์šฉํ•ฉ๋‹ˆ๋‹ค.
09:28
I can put a sound anywhere in front of you, to left or right,
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์–ด๋””๋“  ์†Œ๋ฆฌ๋ฅผ ๋ฐฐ์น˜ํ•  ์ˆ˜ ์žˆ์ฃ . ์—ฌ๋Ÿฌ๋ถ„ ์•ž, ์™ผ์ชฝ, ์˜ค๋ฅธ์ชฝ
09:31
even behind you,
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์‹ฌ์ง€์–ด ๋’ค์—๋„์š”.
์—ฌ๋Ÿฌ๋ถ„์ด ๋จธ๋ฆฌ๋ฅผ ๋Œ๋ฆฌ๋ฉด ์†Œ๋ฆฌ๋„ ๋”ฐ๋ผ์„œ ํšŒ์ „ํ•ฉ๋‹ˆ๋‹ค.
09:33
and when you turn your head, the sound will rotate accordingly.
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09:36
So I can use that to direct your attention to where I want you to see.
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์—ฌ๋Ÿฌ๋ถ„์˜ ์‹œ์„ ์„ ๋Œ๊ณ  ์‹ถ์€ ๊ณณ์œผ๋กœ ๊ด€์‹ฌ์„ ์œ ๋„ํ•  ๋•Œ ์ด๊ฑธ ์ด์šฉํ•ฉ๋‹ˆ๋‹ค.
09:40
Next time you hear someone singing over your shoulder,
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๋‹ค์Œ์—๋Š” ๋ˆ„๊ฐ€ ์—ฌ๋Ÿฌ๋ถ„ ์–ด๊นจ ์œ„์—์„œ ๋…ธ๋ž˜ํ•˜๋Š” ๊ฑธ ๋“ค์„ ์ˆ˜๋„ ์žˆ์–ด์š”.
09:42
it might be Bono.
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์•„๋งˆ U2์˜ ๋ณด๋…ธ์ผ์ง€๋„ ๋ชจ๋ฅด์ฃ .
09:44
(Laughter)
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(์›ƒ์Œ)
09:50
VR makes us feel like we are part of something.
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๊ฐ€์ƒํ˜„์‹ค์€ ์šฐ๋ฆฌ๊ฐ€ ๋ฌด์–ธ๊ฐ€์˜ ์ผ๋ถ€๋ผ๋Š” ๋Š๋‚Œ์„ ์ฃผ๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
09:54
For most of human history, we lived in small family units.
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์ธ๋ฅ˜์—ญ์‚ฌ์˜ ๋Œ€๋ถ€๋ถ„์— ๊ฑธ์ณ์„œ ์šฐ๋ฆฌ๋Š” ์ž‘์€ ๊ฐ€์กฑ๋‹จ์œ„๋กœ ์‚ด์•˜์Šต๋‹ˆ๋‹ค.
09:57
We started in caves,
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๋™๊ตด์ƒํ™œ์—์„œ ์‹œ์ž‘ํ•ด์„œ
09:59
then moved to clans and tribes, then villages and towns,
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์”จ์กฑ, ๋ฏผ์กฑ์„ ๊ฑฐ์ณ ๋งˆ์„๊ณผ ๋„์‹œ๋ฅผ ์ด๋ฃจ๊ณ 
10:02
and now we're all global citizens.
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์ด์ œ๋Š” ์„ธ๊ณ„ ์‹œ๋ฏผ์ด ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
10:06
But I believe that we are still hardwired to care the most
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ํ•˜์ง€๋งŒ ์ €๋Š” ์—ฌ์ „ํžˆ ์šฐ๋ฆฌ๋“ค์€ ๋‚˜์™€ ๊ด€๊ณ„๋œ ์ฃผ๋ณ€์˜ ๊ฒƒ์— ์ง‘์ฐฉํ•˜๋„๋ก
10:10
about the things that are local to us.
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ํ”„๋กœ๊ทธ๋ž˜๋ฐ๋˜์–ด ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
10:13
And VR makes anywhere and anyone feel local.
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๊ฐ€์ƒํ˜„์‹ค์€ ์–ด๋””๋“  ๋ˆ„๊ตฌ๋“  ๋‚˜์™€ ๊ด€๊ณ„์žˆ๋‹ค๊ณ  ๋Š๋ผ๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
10:18
That's why it works as an empathy machine.
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๊ณต๊ฐ์„ ๋Š๋ผ๋„๋ก ํ•˜๋Š” ์žฅ์น˜์ด๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
10:20
Our film "Clouds Over Sidra" takes you to a Syrian refugee camp,
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"Clouds Over Sidra"๋ผ๋Š” ์˜์ƒ์€ ์—ฌ๋Ÿฌ๋ถ„์„ ์‹œ๋ฆฌ์•„ ๋‚œ๋ฏผ์บ ํ”„๋กœ ์•ˆ๋‚ดํ•ฉ๋‹ˆ๋‹ค.
10:24
and instead of watching a story about people over there,
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๊ทธ ๊ณณ ์‚ฌ๋žŒ๋“ค์˜ ์ด์•ผ๊ธฐ๋ฅผ ์ง€์ผœ๋ณด๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ
10:28
it's now a story about us here.
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์ด ๊ณณ, ์šฐ๋ฆฌ์˜ ์ด์•ผ๊ธฐ๊ฐ€ ๋ฉ๋‹ˆ๋‹ค.
10:34
But where do we go from here?
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์šฐ๋ฆฌ๊ฐ€ ๊ฐ€์•ผ ํ•  ๋ฐฉํ–ฅ์€ ๋ฌด์—‡์ผ๊นŒ์š”?
10:36
The tricky thing is that with all previous mediums,
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๊นŒ๋‹ค๋กœ์šด ์ ์€, ๊ณผ๊ฑฐ์˜ ๋ชจ๋“  ๋งค์ฒด๋Š”
10:38
the format is fixed at its birth.
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๊ทธ ํƒ„์ƒ๊ณผ ํ•จ๊ป˜ ํ˜•์‹์ด ์ •ํ•ด์กŒ์Šต๋‹ˆ๋‹ค.
10:42
Film has been a sequence of rectangles,
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์˜ํ™”๋Š” ๋จธ์ด๋ธŒ๋ฆฌ์ง€์˜ ๋‹ฌ๋ฆฌ๋Š” ๋ง ์˜์ƒ๋ถ€ํ„ฐ
10:44
from Muybridge and his horses to now.
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์ง€๊ธˆ๊นŒ์ง€ ์‚ฌ๊ฐํ˜•์˜ ๊ตฌ์„ฑ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
10:47
The format has never changed.
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๊ทธ ํ˜•์‹์€ ์ ˆ๋Œ€ ๋ฐ”๋€ ์ ์ด ์—†์ฃ .
10:49
But VR as a format, as a medium,
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ํ•˜์ง€๋งŒ ๊ฐ€์ƒํ˜„์‹ค์€ ํ˜•์‹์œผ๋กœ์„œ๋‚˜ ๋งค์ฒด๋กœ์„œ๋‚˜
10:54
isn't complete yet.
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์•„์ง ์™„์„ฑ๋˜์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
10:56
It's not using physical celluloid or paper or TV signals.
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์ด๊ฒƒ์€ ์…€๋กœํŒ์ง€๋‚˜ ์ข…์ด, TV์‹ ํ˜ธ๋ฅผ ์‚ฌ์šฉํ•˜์ง€ ์•Š์ฃ .
10:59
It actually employs what we use to make sense of the world.
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์šฐ๋ฆฌ๊ฐ€ ์„ธ์ƒ์„ ๋Š๋ผ๋Š” ๋ฐฉ๋ฒ•์„ ๊ทธ๋Œ€๋กœ ์ด์šฉํ•ฉ๋‹ˆ๋‹ค.
11:04
We're using your senses as the paints on the canvas,
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์šฐ๋ฆฌ๋Š” ์—ฌ๋Ÿฌ๋ถ„์˜ ๊ฐ๊ฐ์„ ์บ”๋ฒ„์Šค์˜ ๋ฌผ๊ฐ์ฒ˜๋Ÿผ ์ด์šฉํ•ฉ๋‹ˆ๋‹ค.
11:08
but only two right now.
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์•„์ง์€ ๋‹จ ๋‘๊ฐœ ๊ฐ๊ฐ๋งŒ ์ด์šฉํ•˜์ง€๋งŒ์š”.
11:11
Eventually, we can see if we will have all of our human senses employed,
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์–ธ์  ๊ฐ€๋Š” ์šฐ๋ฆฌ ์ธ๊ฐ„์˜ ๋ชจ๋“  ๊ฐ๊ฐ์„ ์ด์šฉํ•  ์ˆ˜ ์žˆ๊ฒŒ ๋˜๋ฉด
11:15
and we will have agency to live the story in any path we choose.
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์šฐ๋ฆฌ๊ฐ€ ์›ํ•˜๋Š” ๋ฐฉํ–ฅ์œผ๋กœ ์ด์•ผ๊ธฐ๋ฅผ ๋งŒ๋“ค์–ด๋‚ด๋Š” ์—…์ฒด๋„ ์ƒ๊ธธ์ง€ ๋ชจ๋ฅด์ฃ .
11:20
And we call it virtual reality right now,
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์ง€๊ธˆ์€ ๊ฐ€์ƒํ˜„์‹ค์ด๋ผ๊ณ  ๋ถ€๋ฅด์ง€๋งŒ
11:23
but what happens when we move past simulated realities?
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๊ฐ€์ƒ์˜ ํ˜„์‹ค์„ ๋„˜์–ด์„œ๋Š” ๋•Œ๊ฐ€ ์˜จ๋‹ค๋ฉด ๊ทธ๋•Œ๋Š” ์–ด๋–ค ์ผ์ด ํŽผ์ณ์งˆ๊นŒ์š”?
11:27
What do we call it then?
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๊ทธ๋•Œ๋Š” ์ด๊ฑธ ๋ญ๋ผ๊ณ  ๋ถ€๋ฅด๊ฒŒ ๋ ๊นŒ์š”?
11:29
What if instead of verbally telling you about a dream,
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๊ฟˆ์˜ ๋‚ด์šฉ์„ ๋ง๋กœ ์„ค๋ช…ํ•˜๋Š” ๋Œ€์‹ ์—
11:32
I could let you live inside that dream?
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์‹ค์ œ๋กœ ๊ฟˆ ์†์œผ๋กœ ๋“ค์–ด๊ฐˆ ์ˆ˜ ์žˆ๊ฒŒ ๋˜์ง€๋Š” ์•Š์„๊นŒ์š”?
11:35
What if instead of just experiencing visiting some reality on Earth,
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์ง€๊ตฌ์ƒ์—์„œ ์ผ์–ด๋‚˜๋Š” ์ผ๋งŒ ๊ฒฝํ—˜ํ•˜๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ
11:39
you could surf gravitational waves on the edge of a black hole,
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๋ธ”๋ž™ํ™€์˜ ๋์ž๋ฝ์—์„œ ์ค‘๋ ฅํŒŒ๋กœ ์„œํ•‘์„ ์ฆ๊ธด๋‹ค๊ฑฐ๋‚˜
11:43
or create galaxies from scratch,
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ํƒœ์ดˆ์˜ ์€ํ•˜๊ณ„๋ฅผ ์ฐฝ์กฐํ•œ๋‹ค๊ฑฐ๋‚˜
11:46
or communicate with each other not using words
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์„œ๋กœ๊ฐ€ ์–ธ์–ด๋กœ ์†Œํ†ตํ•˜์ง€ ์•Š๊ณ 
11:49
but using our raw thoughts?
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์ƒ๊ฐ๋งŒ์œผ๋กœ ์†Œํ†ตํ•œ๋‹ค๋ฉด ์–ด๋–จ๊นŒ์š”?
11:53
That's not a virtual reality anymore.
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๊ทธ๋Ÿฌ๋ฉด ๋”์ด์ƒ ๊ฐ€์ƒ ํ˜„์‹ค์ด ์•„๋‹ˆ๊ฒ ์ฃ .
11:56
And honestly I don't know what that's called.
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๊ทธ๋•Œ๋Š” ๋ญ๋ผ๊ณ  ๋ถ€๋ฅผ์ง€ ์†”์งํžˆ ๋ชจ๋ฅด๊ฒ ์Šต๋‹ˆ๋‹ค.
11:58
But I hope you see where we're going.
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ํ•˜์ง€๋งŒ ์šฐ๋ฆฌ๊ฐ€ ์ถ”๊ตฌํ•˜๋Š” ๋ฐฉํ–ฅ์„ ์ดํ•ดํ•˜์‹œ๊ธฐ ๋ฐ”๋ž๋‹ˆ๋‹ค.
12:02
But here I am, intellectualizing a medium I'm saying is experiential.
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์ €๋Š” ์˜ค๋Š˜ ์ด ์ง€๋Šฅํ˜• ๋งค์ฒด๋ฅผ ์‹คํ—˜ํ•ด๋ณด๋ ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
12:06
So let's experience it.
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๋‹ค๊ฐ™์ด ๊ฒฝํ—˜ํ•ด๋ณด์‹œ์ฃ .
12:08
In your hands, you hopefully hold a piece of cardboard.
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์—ฌ๋Ÿฌ๋ถ„ ๋ชจ๋‘ ๊ณจํŒ์ง€๋กœ ๋œ ๊ฒƒ์„ ๋“ค๊ณ  ๊ณ„์‹คํ…๋ฐ์š”.
12:13
Let's open the flap.
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๋ฎ๊ฐœ๋ฅผ ์—ด์–ด๋ณด์„ธ์š”.
12:14
Tap on the power button to unlock the phone.
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์ „์› ๋ฒ„ํŠผ์„ ๋ˆŒ๋Ÿฌ ์Šค๋งˆํŠธํฐ์„ ์ผœ์‹œ๊ณ ์š”.
12:18
For the people watching at home,
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๋Œ์—์„œ ๋ณด๊ณ  ๊ณ„์‹œ๋Š” ๋ถ„๋“ค์€
12:19
we're going to put up a card right now
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์ €ํฌ๊ฐ€ ์‚ฌ์ดํŠธ์— ์—…๋กœ๋“œํ•ด ๋‘˜ ๊ฑฐ์˜ˆ์š”.
12:21
to show you how to download this experience on your phone yourself,
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์ง์ ‘ ์Šค๋งˆํŠธํฐ์— ๋‹ค์šด๋กœ๋“œํ•ด์„œ ๊ฒฝํ—˜ํ•˜์‹ค ์ˆ˜ ์žˆ๋„๋ก ๋ง์ด์ฃ .
12:24
and even get a Google cardboard of your own to try it with.
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๊ตฌ๊ธ€ ์นด๋“œ๋ณด๋“œ๋ฅผ ๊ตฌํ•ด์„œ ์ง์ ‘ ํ•ด๋ณด์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
12:29
We played in cardboard boxes as kids,
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์–ด๋ฆด ๋•Œ ๊ณจํŒ์ง€ ์ƒ์ž๋ฅผ ๊ฐ–๊ณ  ๋†€์•„ ๋ณด์‹  ์  ์žˆ์„ํ…๋ฐ
12:31
and as adults, I'm hoping we can all find a little bit of that lightning
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์–ด๋ฅธ์ด ๋œ ์ง€๊ธˆ, ์ด๊ฑธ ์“ฐ์‹œ๊ณ  ๊ทธ๋•Œ์˜ ๊ฐ๋™์„ ์กฐ๊ธˆ์ด๋‚˜๋งˆ
12:36
by sticking our head in one again.
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๋˜์ฐพ์œผ์‹œ๊ธฐ๋ฅผ ๋ฐ”๋ž๋‹ˆ๋‹ค.
12:41
You're about to participate
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์—ฌ๋Ÿฌ๋ถ„์€ ์ด์ œ
12:43
in the largest collective VR viewing in history.
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์‚ฌ์ƒ ์ตœ๋Œ€ ์ธ์›์˜ ๊ฐ€์ƒํ˜„์‹ค ์ฒดํ—˜์— ๋™์ฐธํ•˜์‹œ๋Š” ๊ฑฐ์˜ˆ์š”.
12:48
And in that classic old-timey style of yesteryear,
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์˜›๋‚ ์— ํ–ˆ๋˜ ๋ฐฉ์‹ ๊ทธ๋Œ€๋กœ
12:51
we're all going to watch something
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๋ชจ๋‘๊ฐ€ ๊ฐ™์ด ์–ด๋–ค ์˜์ƒ์„ ๋ณด๊ฒŒ ๋  ๊ฒ๋‹ˆ๋‹ค.
12:54
at the exact same time, together.
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๋‹คํ•จ๊ป˜ ๋™์‹œ์— ๋ง์ด์ฃ .
12:57
Let's hope it works.
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์ž˜ ๋˜์—ˆ์œผ๋ฉด ์ข‹๊ฒ ๋„ค์š”.
12:58
What's the countdown look like? I can't see.
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์นด์šดํŠธ๋‹ค์šด์ด ์–ด๋””๊นŒ์ง€ ์™”์ฃ ? ์ €๋Š” ๋ณผ ์ˆ˜ ์—†์–ด์„œ์š”.
13:04
Audience: ...15, 14, 13, 12, 11, 10, 9,
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[์ฒญ์ค‘] 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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(์ƒˆ ์†Œ๋ฆฌ)
13:34
(Train engine)
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(๊ธฐ์ฐจ ์†Œ๋ฆฌ)
13:45
Audience: (Shreiks)
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(์ฒญ์ค‘์˜ ๋น„๋ช…์†Œ๋ฆฌ)
14:03
(Video) JR: Let me tell you
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(์˜์ƒ) JR: ์ œ๊ฐ€ ๋‰ด์š•ํƒ€์ž„์ฆˆ์ง€์˜
14:04
how I shot the cover of the New York Times Magazine,
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ํ‘œ์ง€๋ฅผ ์–ด๋–ป๊ฒŒ ์ฐ์—ˆ๋Š”์ง€ ๋ง์”€๋“œ๋ฆฌ์ฃ .
14:07
"Walking New York."
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"Walking New York"
14:18
I just got strapped on outside the helicopter,
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์ค„์— ๋งค๋‹ฌ๋ ค์„œ ํ—ฌ๊ธฐ ๋ฐ–์œผ๋กœ ๋ชธ์„ ๋‚ด๋ฐ€๊ณ 
14:22
and I had to be perfectly vertical so I could grab it.
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์ˆ˜์ง์ƒํƒœ๊ฐ€ ๋˜์–ด์•ผ ์‚ฌ์ง„์— ๋‹ด์„ ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
14:26
And when I was perfectly above --
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๋ฐ”๋กœ ์œ„์— ๋–  ์žˆ๋Š” ์ƒํƒœ์—์„œ
14:27
you know, with the wind, we had to redo it a few times --
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๋ฐ”๋žŒ์ด ์‹ฌํ•ด์„œ ๋ช‡ ๋ฒˆ์ด๊ณ  ๋‹ค์‹œ ์‹œ๋„ํ•˜๋ฉด์„œ
14:30
then I kept shooting.
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์…”ํ„ฐ๋ฅผ ๊ณ„์† ๋ˆŒ๋Ÿฌ๋Œ”์ฃ .
14:39
(Video) Woman's voice: Dear Lord,
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[์˜์ƒ] ์—ฌ์„ฑ์˜ ์Œ์„ฑ: ์‹ ์ด์‹œ์—ฌ,
14:41
protect us from evil,
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์ €ํฌ๋ฅผ ์•…์œผ๋กœ๋ถ€ํ„ฐ ์ง€์ผœ์ฃผ์†Œ์„œ.
14:44
for you are the Lord,
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์‹ ์ด์‹œ์—ฌ
14:47
the light.
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๋น›์ด์—ฌ
14:53
You who gave us life took it away.
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์ €ํฌ์—๊ฒŒ ์ค€ ์ƒ๋ช…์„ ๊ฑฐ๋‘์‹œ๋Š” ๋ถ„์ด์‹œ๋‹ˆ
14:58
Let your will be done.
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๋‹น์‹  ๋œป๋Œ€๋กœ ํ•˜์†Œ์„œ.
15:00
Please bring peace to the many who have lost loved ones.
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์‚ฌ๋ž‘ํ•˜๋Š” ์ด๋ฅผ ์žƒ์€ ๋ชจ๋“  ์ด์—๊ฒŒ ํ‰ํ™”๋ฅผ ๋‚ด๋ฆฌ์‚ฌ
15:05
Help us to live again.
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๋‹ค์‹œ ์‚ด๋„๋ก ํž˜์„ ์ฃผ์†Œ์„œ.
15:10
(Music)
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(์Œ์•…)
15:29
(Video) (Children's voices)
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(์˜์ƒ) (์•„์ด๋“ค์˜ ๋ชฉ์†Œ๋ฆฌ)
15:31
Child's voice: There are more kids in Zaatari than adults right now.
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์•„์ด์˜ ์Œ์„ฑ: ์ง€๊ธˆ ์žํƒ€๋ฆฌ์—๋Š” ์–ด๋ฅธ๋ณด๋‹ค ์•„์ด๋“ค์ด ๋” ๋งŽ์•„์š”.
15:41
Sometimes I think
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๊ฐ€๋” ์ด๋Ÿฐ ์ƒ๊ฐ์ด ๋“ค์–ด์š”.
15:43
we are the ones in charge.
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์ด์ œ ์šฐ๋ฆฌ๊ฐ€ ์ฑ…์ž„์ ธ์•ผ ํ•œ๋‹ค๊ณ ์š”.
15:51
Chris Milk: How was it?
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CM: ์–ด๋– ์…จ์–ด์š”?
15:52
(Applause)
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(๋ฐ•์ˆ˜)
15:56
That was a cheap way of getting you to do a standing ovation.
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๊ธฐ๋ฆฝ๋ฐ•์ˆ˜๋ฅผ ๋ฐ›๋Š” ๊ฐ€์žฅ ์ €๋ ดํ•œ ๋ฐฉ๋ฒ•์ด๋„ค์š”.
15:59
I just made you all stand. I knew you'd applaud at the end.
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์—ฌ๋Ÿฌ๋ถ„ ๋ชจ๋‘ ์ผ์œผ์ผœ ์„ธ์šฐ๊ณ , ๋์— ๋ฐ•์ˆ˜๋ฅผ ๋ณด๋‚ผ ์ค„ ์•Œ๊ณ  ์žˆ์—ˆ์ฃ .
16:02
(Applause)
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(๋ฐ•์ˆ˜)
16:03
I believe that everyone on Earth needs to experience
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์—ฌ๋Ÿฌ๋ถ„์ด ์ง€๊ธˆ ๊ฒฝํ—˜ํ•œ ๊ฒƒ์„
16:07
what you just experienced.
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์„ธ์ƒ ๋ชจ๋“  ์‚ฌ๋žŒ๋“ค๋„ ๊ฒฝํ—˜ํ•ด๋ด์•ผ ํ•œ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
16:10
That way we can collectively start to shape this,
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๊ทธ๋ž˜์•ผ ๋ชจ๋‘์—๊ฒŒ ์ด ๊ธฐ์ˆ ์„ ์ดํ•ด์‹œํ‚ฌ ์ˆ˜ ์žˆ๊ฒ ์ฃ .
16:13
not as a tech platform
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๊ธฐ์ˆ ์  ๋„๊ตฌ๊ฐ€ ์•„๋‹ˆ๋ผ
16:15
but as a humanity platform.
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์ธ๊ฐ„์„ฑ์˜ ๋„๊ตฌ๋กœ์„œ ๋ง์ด์ฃ .
16:17
And to that end, in November of last year,
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๊ทธ๋Ÿฌ๊ธฐ ์œ„ํ•ด์„œ, ์ž‘๋…„ 11์›”์—
16:20
the New York Times and Vrse made a VR project called "The Displaced."
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๋‰ด์š•ํƒ€์ž„์ฆˆ์™€ VRSE์€ "The Displaced"๋ผ๋Š” ๊ฐ€์ƒํ˜„์‹ค ํ”„๋กœ์ ํŠธ๋ฅผ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
16:24
It launched with one million Google Cardboards
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100๋งŒ๊ฐœ์˜ ๊ตฌ๊ธ€ ์นด๋“œ๋ณด๋“œ๋ฅผ ๋งŒ๋“ค์–ด์„œ
16:26
sent out to every Sunday subscriber with their newspaper.
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์‹ ๋ฌธ๊ณผ ์„ ๋ฐ์ด์ง€ ๊ฐ€์ž…์ž๋“ค์—๊ฒŒ ๋ณด๋ƒˆ์ฃ .
16:29
But a funny thing happened that Sunday morning.
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์ผ์š”์ผ ์•„์นจ์— ์žฌ๋ฐŒ๋Š” ์ผ์ด ๋ฒŒ์–ด์กŒ๋Š”๋ฐ์š”.
16:32
A lot of people got them
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๊ทธ๊ฑธ ๋ฐ›์€ ๋Œ€๋‹ค์ˆ˜๊ฐ€
16:33
that were not the intended recipients on the mailing label.
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๊ทธ๊ฑธ ๋ฐ›๊ฒŒ ๋  ์ค„ ๋ชฐ๋ž๋˜๊ฑฐ์ฃ .
16:38
And we started seeing this all over Instagram.
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๊ทธ ๋’ค ์ธ์Šคํƒ€๊ทธ๋žจ์— ์ด๋Ÿฐ ์‚ฌ์ง„์ด ์˜ฌ๋ผ์˜ค๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
16:45
Look familiar?
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๋‚ฏ์ต์€ ๋ชจ์Šต์ด์ฃ ?
16:48
Music led me on a path
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์Œ์•…์€ ์˜ค๋žœ ์‹œ๊ฐ„๋™์•ˆ
16:50
of searching for what seemed like the unattainable
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๋„๋‹ฌํ•  ์ˆ˜ ์—†์„ ๊ฒƒ ๊ฐ™๋˜ ๋ฌด์–ธ๊ฐ€๋ฅผ ์ฐพ๋„๋ก
16:53
for a very long time.
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์ €๋ฅผ ์ด๋Œ์–ด ์™”์Šต๋‹ˆ๋‹ค.
16:55
Now, millions of kids just had the same formative experience
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์ง€๊ธˆ, ์ˆ˜๋งŽ์€ ์•„์ด๋“ค์ด ํ‹€์— ๋ฐ•ํžŒ ๋˜‘๊ฐ™์€ ๊ฒฝํ—˜์„ ํ•˜๋ฉฐ
16:59
in their childhood
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๊ทธ๋“ค์˜ ์œ ๋…„์‹œ๊ธฐ๋ฅผ ๋ณด๋ƒ…๋‹ˆ๋‹ค.
17:01
that I had in mine.
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์ œ๊ฐ€ ๊ทธ๋žฌ๋˜ ๊ฒƒ์ฒ˜๋Ÿผ ๋ง์ด์ฃ .
17:04
Only I think this one
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์ œ ์ƒ๊ฐ์—, ์˜ค์ง ์ด๊ฒƒ๋งŒ์ด
17:06
surpasses it.
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๊ทธ๊ฑธ ๋›ฐ์–ด๋„˜์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
17:08
Let's see
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ํ•จ๊ป˜ ์ง€์ผœ ๋ณด์‹œ์ฃ .
17:09
where this
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์ด ๊ธฐ์ˆ ์ด
17:11
leads them.
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๊ทธ๋“ค์„ ์–ด๋””๋กœ ์ด๋„๋Š”์ง€์š”.
17:13
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
17:14
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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