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

Prevodilac: Milenka Okuka Lektor: Mile Živković

When I was a kid,

Kad sam bio dete,

I experienced something so powerful,

iskusio sam nešto toliko moćno

I spent the rest of my life searching for it,

da sam čitav život tragao za tim,

and in all the wrong places.

no na skroz pogrešnim mestima.

What I experienced wasn't virtual reality.

To iskustvo nije bila virtuelna stvarnost.

It was music.

Bila je to muzika.

And this is where the story begins.

I tu počinje moja priča.

That's me,

Ovo sam ja

listening to the Beatles' "White Album."

dok slušam "White Album" od Bitlsa.

And the look on my face is the feeling

A izraz na mom licu je osećaj

that I've been searching for ever since.

za kojim stalno tragam od tad.

Music goes straight to the emotional vein,

Muzika dotiče samu žilu kucavicu,

into your bloodstream

vaš krvotok

and right into your heart.

i ide pravo u vaše srce.

It deepens every experience.

Ona produbljava svako iskustvo.

Fellas?

Drugari?

(Music)

(Muzika)

This is the amazing McKenzie Stubbert

Ovo su divni Mekenzi Stabert

and Joshua Roman.

i Džošua Roman.

Music --

Muzika -

(Applause)

(Aplauz)

Yeah.

Da.

Music makes everything have more emotional resonance.

Zbog muzike sve zvuči emotivnije.

Let's see how it does for this talk.

Pogledajmo kako deluje na ovaj govor.

The right piece of music at the right time fuses with us

Pravi muzički komad u pravom trenutku se stapa s nama

on a cellular level.

na ćelijskom nivou.

When I hear that one song

Kad čujem baš tu pesmu

from that one summer

iz baš tog leta

with that one girl,

s baš tom devojkom,

I'm instantly transported back there again.

momentalno sam prebačen opet tamo.

Hey, Stacey.

Zdravo, Stejsi.

Here's a part of the story, though, where I got a little greedy.

Ovo je deo priče, pak, gde sam postao malčice pohlepan.

I thought if I added more layers on top of the music,

Pomislio sam da kad bih dodao još slojeva povrh muzike,

I could make the feelings even more powerful.

mogao bih da proizvodim još snažnija osećanja.

So I got into directing music videos.

Pa sam počeo da režiram muzičke spotove.

This is what they looked like.

Ovako su izgledali.

That's my brother, Jeff.

To je moj brat Džef.

Sorry about this, Jeff.

Džef, izvini zbog ovoga.

(Laughter)

(Smeh)

Here's me, just so we're even.

Ovo sam ja, prosto da budemo kvit.

Incredible moves.

Neverovatni pokreti.

Should've been a dancer.

Trebalo je da budem plesač.

(Laughter)

(Smeh)

These experiments grew,

Ovi eksperimenti su rasli,

and in time, started to look more like this.

i vremenom su više ličili na ovo.

In both, I'm searching for the same thing, though,

Kod oba tragam za istim, pak,

to capture that lightning in a bottle.

da uhvatim tu svetlost u boci.

Except, I'm not.

Samo što to ne radim.

Adding moving pictures over the music added narrative dimension, yes,

Dodavanje pokretnih slika preko muzike je dodalo pripovednu dimenziju, da,

but never quite equated the power

ali nikad se nije baš izjednačilo s moći

that just raw music had for me on its own.

koju je samo ogoljena muzika imala za mene.

This is not a great thing to realize when you've devoted your life

Ovo nije dobro da shvatite, ako ste posvetili svoj život

and professional career to becoming a music video director.

i profesionalnu karijeru da postanete reditelj muzičkih spotova.

I kept asking myself, did I take the wrong path?

Stalno sam se pitao da li sam krenuo pogrešnim putem?

So I started thinking: if I could involve you, the audience, more,

Pa sam počeo da razmišljam: ako bih uspeo da više angažujem vas, publiku,

I might be able to make you feel something more as well.

možda bih uspeo da i vas navedem da osetite nešto više.

So Aaron Koblin and I began auditioning new technologies

Pa smo Aron Koblin i ja počeli da isprobavamo novu tehnologiju

that could put more of you inside of the work,

koja bi vas više uvela unutar naših dela,

like your childhood home in "The Wilderness Downtown,"

poput doma iz detinjstva u: "The Wilderness Downtown",

your hand-drawn portraits, in "The Johnny Cash Project,"

vaši ručno rađeni portreti u: "The Johnny Cash Project",

and your interactive dreams

i vaši interaktivni snovi

in "3 Dreams of Black."

u: "3 Dreams of Black".

We were pushing beyond the screen,

Probijali smo se mimo ekrana,

trying to connect more deeply

pokušavajući da se povežemo dublje

to people's hearts and imaginations.

s ljudskim srcima i maštom.

But it wasn't quite enough.

Ali nije bilo baš dovoljno.

It still didn't have the raw experiential power of pure music for me.

I dalje za mene nije imalo ogoljenu iskustvenu moć čiste muzike.

So I started chasing a new technology

Pa sam počeo da tragam za novom tehnologijom

that I only had read about in science fiction.

o kojoj sam jedino čitao u naučnoj fantastici.

And after years of searching, I found a prototype.

I nakon godina traganja, otkrio sam prototip.

It was a project from Nonny de la Peña in Mark Bolas's lab in USC.

Bio je to projekat Noni de la Penja u laboratoriji Marka Bolasa na USC-u.

And when I tried it, I knew I'd found it.

I kad sam je isprobao, znao sam da to je to.

I could taste the lightning.

Mogao sam da okusim blesak.

It was called virtual reality.

Nazivalo se virtuelnom realnošću.

This was it five years ago when I ran into it.

Pre pet godina sam naleteo na to.

This is what it looks like now.

Ovako to sada izgleda.

I quickly started building things in this new medium,

Brzo sam počeo da stvaram stvari u ovom novom mediju,

and through that process we realized something:

a kroz taj proces smo nešto shvatili:

that VR is going to play an incredibly important role

virtuelna stvarnost će da igra neverovatno važnu ulogu

in the history of mediums.

u istoriji medija.

In fact, it's going to be the last one.

Zapravo, biće zadnji medij.

I mean this because it's the first medium that actually makes the jump

Smatram da je tako jer je prvi medij koji zapravo pravi skok

from our internalization of an author's expression

iz naše internalizacije autorskog izraza

of an experience,

nekog iskustva

to our experiencing it firsthand.

do njegovog doživljaja iz prve ruke.

You look confused. I'll explain. Don't worry.

Izgledate zbunjeno. Objasniću. Ne brinite.

(Laughter)

(Smeh)

If we go back to the origins of mediums,

Kad bismo se vratili na izvorište medija,

by all best guesses,

najbolja pretpostavka

it starts around a fire, with a good story.

je da su začeti oko vatre, dobrom pričom.

Our clan leader is telling us

Naš vođa klana nam je govorio

about how he hunted the woolly mammoth on the tundra that day.

o tome kako je tog dana lovio runastog mamuta po tundri.

We hear his words

Slušamo njegove reči

and translate them into our own internal truths.

i prevodimo ih u naše lične unutrašnje istine.

The same thing happens

Isto se dešava

when we look at the cave painting version of the story,

kad posmatramo verzije priče na slikama iz pećina,

the book about the mammoth hunt,

knjigu o lovu na mamute,

the play,

predstavu,

the radio broadcast,

radijski prenos,

the television show

televizijsku emisiju

or the movie.

ili film.

All of these mediums require what we call "suspension of disbelief,"

Svi ovi mediji zahtevaju nešto što zovemo "ukidanjem neverice",

because there's a translation gap between the reality of the story

jer postoji jaz u tumačenju između stvarnosti priče

and our consciousness interpreting the story

i toga kako naša svest prevodi priču

into our reality.

na našu stvarnost.

I'm using the word "consciousness" as a feeling of reality that we get

Koristim reč "svest" kao osećanje stvarnosti koje dobijamo

from our senses experiencing the world around us.

od naših čula koja doživljavaju svet oko nas.

Virtual reality bridges that gap.

Virtuelna stvarnost premošćuje taj jaz.

Now, you are on the tundra hunting with the clan leader.

Sad ste vi u tundri, lovite s vođom klana.

Or you are the clan leader.

Ili ste vođa klana.

Or maybe you're even the woolly mammoth.

Ili ste čak runasti mamut.

(Laughter)

(Smeh)

So here's what special about VR.

Evo šta je posebno kod VS-a.

In all other mediums,

Kod svih drugih medija,

your consciousness interprets the medium.

vaša svest tumači medij.

In VR, your consciousness is the medium.

Kod VS-a, vaša svest jeste medij.

So the potential for VR is enormous.

Te je potencijal VS-a ogroman.

But where are we now?

Ali gde smo sad?

What is the current state of the art?

Kakvo je trenutno stanje stvari?

Well,

Pa,

we are here.

ovde smo.

We are the equivalent of year one of cinema.

Ekvivalent nam je prva godina filma.

This is the Lumière Brothers film

Ovo je film braće Limijer,

that allegedly sent a theater full of people running for their lives

koji je navodno poslao pun bioskop ljudi da beže da sačuvaju glavu,

as they thought a train was coming toward them.

misleći da voz ide ka njima.

Similar to this early stage of this medium,

Slično ranoj fazi ovog medija,

in VR, we also have to move past the spectacle

kod VS-a takođe moramo da prevaziđemo spektakl

and into the storytelling.

i stignemo do pripovedanja.

It took this medium decades

Ovom mediju su bile potrebne decenije

to figure out its preferred language of storytelling,

da otkrije željeni jezik pripovedanja,

in the form of a feature film.

u obliku dugometražnog filma.

In VR today, we're more learning grammar

Kod VS-a trenutno više učimo gramatiku

than writing language.

nego što pišemo jezik.

We've made 15 films in the last year at our VR company, Vrse,

Napravili smo 15 filmova prošle godine u našoj firmi VS-a, Vrsi,

and we've learned a few things.

i naučili smo nekoliko stvari.

We found that we have a unique, direct path into your senses,

Otkrili smo da imamo jedinstven, direktan pristup vašim čulima,

your emotions, even your body.

vašim emocijama, čak i vašem telu.

So let me show you some things.

Dozvolite mi da vam nešto pokažem.

For the purpose of this demo,

U svrhu ove demonstracije,

we're going to take every direction that you could possibly look,

uzećemo u obzir svaki pravac u kojem možete da gledate,

and stretch it into this giant rectangle.

i razvući ćemo ga u ovaj džinovski pravougaonik.

OK, here we go.

U redu, krećemo.

So, first: camera movement is tricky in VR.

Dakle, kao prvo: pokreti kamere su komplikovani u VS-u.

Done wrong, it can actually make you sick.

Kad se loše odrade, zapravo može da vam pozli.

We found if you move the camera at a constant speed in a straight line,

Otkrili smo da ako pokrećete kameru ustaljenom brzinom pravolinijski,

you can actually get away with it, though.

zapravo možete da to izbegnete, pak.

The first day in film school,

Prvog dana u školi filma,

they told me you have to learn every single rule

rekli su mi da morate da naučite baš svako pravilo

before you can break one.

pre nego prekršite jedno.

We have not learned every single rule.

Nismo naučili baš svako pravilo.

We've barely learned any at all,

Jedva da smo naučili ijedno,

but we're already trying to break them

ali već pokušavamo da ih prekršimo

to see what kind of creative things we can accomplish.

da bismo otkrili šta sve na polju kreativnosti možemo postići.

In this shot here, where we're moving up off the ground, I added acceleration.

Na ovom snimku ovde, gde se odvajamo od zemlje, dodao sam ubrzanje.

I did that because I wanted to give you a physical sensation

Učinio sam to jer sam želeo da vam pružim fizički utisak

of moving up off the ground.

podizanja sa zemlje.

In VR, I can give that to you.

U VS-u to mogu da vam pružim.

(Music)

(Muzika)

Not surprisingly, music matters a lot in this medium as well.

Ne iznenađuje to da je muzika veoma važna i u ovom mediju.

It guides us how to feel.

Vodič je za naša osećanja.

In this project we made with the New York Times, Zach Richter

Ovaj projekat smo napravili sa Zakom Rikterom iz "Njujork Tajmsa"

and our friend, JR,

i našim prijateljem, Džej-Arom,

we take you up in a helicopter,

povedemo vas u helikopter,

and even though you're flying 2,000 feet above Manhattan,

i iako letite 610 metara iznad Menhetna,

you don't feel afraid.

ne plašite se.

You feel triumphant for JR's character.

Osećate se slavodobitno zbog Džej-Arovog lika.

The music guides you there.

Muzika vas dovodi to toga.

(Music)

(Muzika)

Contrary to popular belief,

Nasuprot opštem mišljenju,

there is composition in virtual reality,

virtuelna stvarnost ima strukturu,

but it's completely different than in film,

ali je potpuno različita od one na filmu,

where you have a rectangular frame.

gde imate pravougaoni kadar.

Composition is now where your consciousness exists

Struktura je sada mesto gde počiva svesnost

and how the world moves around you.

i način na koji se svet pomera oko vas.

In this film, "Waves of Grace," which was a collaboration between Vrse,

U ovom filmu, "Waves of Grace", koji je saradnja između Vrse,

the United Nations, Gabo Arora, and Imraan Ismail,

Ujedinjenih nacija, Gaba Aurore, i Imrana Ismaila,

we also see the changing role of the close-up in virtual reality.

vidimo i kako se menja uloga krupnog kadra u virtuelnoj stvarnosti.

A close-up in VR means you're actually close up to someone.

Krupni kadar u VS-u znači da ste zapravo blizu nekoga.

It brings that character inside of your personal space,

Ona dovodi tog lika unutar vašeg privatnog prostora,

a space that we'd usually reserve for the people that we love.

prostora koji obično čuvamo za ljude koje volimo.

And you feel an emotional closeness to the character

I osećate emotivnu bliskost s likom

because of what you feel to be a physical closeness.

zbog osećaja koji pruža fizička blizina.

Directing VR is not like directing for the rectangle.

Režiranje u VS-u nije poput režiranja u pravougaoniku.

It's more of a choreography of the viewer's attention.

Pre se radi o koreografisanju gledaočeve pažnje.

One tool we can use to guide your attention

Jedno od mogućih oruđa za usmeravanje vaše pažnje

is called "spatialized sound."

se naziva "prostornim zvukom".

I can put a sound anywhere in front of you, to left or right,

Mogu da unesem zvuk bilo gde - ispred vas, levo ili desno,

even behind you,

čak i iza vas,

and when you turn your head, the sound will rotate accordingly.

a kad okrenete glavu, zvuk će da se rotira u skladu s tim.

So I can use that to direct your attention to where I want you to see.

Te mogu da koristim to da usmeravam vašu pažnju tamo gde želim da gledate.

Next time you hear someone singing over your shoulder,

Sledeći put kad čujete nekoga da peva iza vašeg ramena,

it might be Bono.

mogao bi to da bude Bono.

(Laughter)

(Smeh)

VR makes us feel like we are part of something.

Zbog VS-a se osećamo delom nečega.

For most of human history, we lived in small family units.

Većim delom ljudske istorije smo živeli u malim porodičnim krugovima.

We started in caves,

Krenuli smo iz pećina,

then moved to clans and tribes, then villages and towns,

potom smo prešli u klanove i plemena, zatim u sela i gradove,

and now we're all global citizens.

a sad smo svi građani sveta.

But I believe that we are still hardwired to care the most

Ali verujem da smo i dalje predodređeni da najviše marimo

about the things that are local to us.

o stvarima koje su za nas domaće.

And VR makes anywhere and anyone feel local.

A zbog VS-a se bilo gde i bilo ko doživljavaju domaćim.

That's why it works as an empathy machine.

Zato ona deluje kao mašina za empatiju.

Our film "Clouds Over Sidra" takes you to a Syrian refugee camp,

Naš film: "Oblaci iznad Sidre" vas vodi u sirijski izbeglički kamp

and instead of watching a story about people over there,

i umesto da gledate priču o ljudima tamo,

it's now a story about us here.

sada je to priča o nama ovde.

But where do we go from here?

Ali šta dalje s ovim?

The tricky thing is that with all previous mediums,

Zamršeno je zbog toga što kod svih prethodnih medija,

the format is fixed at its birth.

format je učvršćen u nastanku.

Film has been a sequence of rectangles,

Film je niz pravougaonika

from Muybridge and his horses to now.

od Majbridža i njegovih konja do danas.

The format has never changed.

Format se nikad nije promenio.

But VR as a format, as a medium,

Ali VS, kao medij,

isn't complete yet.

još uvek nije dovršen.

It's not using physical celluloid or paper or TV signals.

Ne radi se o upotrebi fizičkog celuloida ili papira ili TV signala.

It actually employs what we use to make sense of the world.

Ona zapravo angažuje ono čime osmišljavamo svet.

We're using your senses as the paints on the canvas,

Koristimo vaša čula kao boje na platnu,

but only two right now.

ali trenutno samo dve.

Eventually, we can see if we will have all of our human senses employed,

Vremenom ćemo videti da li ćemo da angažujemo sva ljudska čula,

and we will have agency to live the story in any path we choose.

i imaćemo sposobnost da doživimo priču na način koji odaberemo.

And we call it virtual reality right now,

Trenutno to nazivamo virtuelnom stvarnošću,

but what happens when we move past simulated realities?

ali šta će da se desi kad prekoračimo simuliranu stvarnost?

What do we call it then?

Kako ćemo to nazivati tada?

What if instead of verbally telling you about a dream,

Šta ako ne bih rečima govorio o snu

I could let you live inside that dream?

već bih mogao da vas pustim da živite unutar tog sna?

What if instead of just experiencing visiting some reality on Earth,

Šta ako biste umesto pukog iskustva posećivanja neke stvarnosti na Zemlji,

you could surf gravitational waves on the edge of a black hole,

mogli da surfujete gravitacionim talasima na ivici crne rupe

or create galaxies from scratch,

ili da stvorite galaksije od nule

or communicate with each other not using words

ili da komunicirate jedni s drugima bez korišćenja reči,

but using our raw thoughts?

već korišćenjem naših neobrađenih misli?

That's not a virtual reality anymore.

To više nije virtuelna stvarnost.

And honestly I don't know what that's called.

I, iskreno, pojma nemam kako se to naziva.

But I hope you see where we're going.

Ali se nadam da shvatate kuda se krećemo.

But here I am, intellectualizing a medium I'm saying is experiential.

Ali eto mene kako pametujem o mediju za koji kažem da je eksperimentalan.

So let's experience it.

Stoga, hajde da ga doživimo.

In your hands, you hopefully hold a piece of cardboard.

Nadam se da u vašim rukama držite parče kartona.

Let's open the flap.

Otvorimo poklopac.

Tap on the power button to unlock the phone.

Pritisnite dugme da otključate telefon.

For the people watching at home,

Za ljude koji gledaju kod kuće,

we're going to put up a card right now

upravo sad ćemo da postavimo uputstva

to show you how to download this experience on your phone yourself,

da vam pokažemo kako sami da skinete ovo iskustvo na vaš telefon,

and even get a Google cardboard of your own to try it with.

pa čak i da dobijete sopstvenu Guglovu kutiju da to isprobate.

We played in cardboard boxes as kids,

Igrali smo se kao deca u kartonskim kutijama,

and as adults, I'm hoping we can all find a little bit of that lightning

a kao odrasli, nadam se da svi možemo pronaći trag tog bleska

by sticking our head in one again.

ponovo stavljajući naše glave u jednu od njih.

You're about to participate

Uskoro ćete da učestvujete

in the largest collective VR viewing in history.

u najvećem grupnom posmatranju VS-a u istoriji.

And in that classic old-timey style of yesteryear,

I u tom klasičnom zastarelom stilu davnih vremena,

we're all going to watch something

svi ćemo da gledamo nešto

at the exact same time, together.

tačno u isto vreme, zajedno.

Let's hope it works.

Nadamo se da će raditi.

What's the countdown look like? I can't see.

Kako izgleda odbrojavanje? Ne vidim.

Audience: ...15, 14, 13, 12, 11, 10, 9,

Publika: ...15, 14, 13, 12, 11, 10, 9,

8, 7, 6, 5, 4, 3, 2, 1

8, 7, 6, 5, 4, 3, 2, 1

(Birds singing)

(poj ptica)

(Train engine)

(motor voza)

Audience: (Shreiks)

Publika: (vrišti)

(Video) JR: Let me tell you

(Video) Džej-Ar: Ispričaću vam

how I shot the cover of the New York Times Magazine,

kako sam fotografisao naslovnicu za časopis "Njujork Tajms":

"Walking New York."

"Walking New York".

I just got strapped on outside the helicopter,

Prosto su me vezali sa spoljnje strane helikoptera,

and I had to be perfectly vertical so I could grab it.

i ja sam morao da budem potpuno u vertikalnom položaju da bih je uhvatio.

And when I was perfectly above --

I kad sam bio sasvim iznad -

you know, with the wind, we had to redo it a few times --

znate, uz vetar, morali smo nekoliko puta da ponavljamo -

then I kept shooting.

onda sam nastavio da slikam.

(Video) Woman's voice: Dear Lord,

(Video) Glas žene: Gospode dragi,

protect us from evil,

zaštiti nas od zla

for you are the Lord,

jer ti si Gospod,

the light.

svetlost.

You who gave us life took it away.

Ti koji nam daješ život i uzimaš.

Let your will be done.

Neka bude volja tvoja.

Please bring peace to the many who have lost loved ones.

Molim te donesi mir mnogima koji su izgubili voljene.

Help us to live again.

Pomozi nam da opet živimo.

(Music)

(Muzika)

(Video) (Children's voices)

(Video) (Glasovi dece)

Child's voice: There are more kids in Zaatari than adults right now.

Glas deteta: Trenutno ima više dece nego odraslih u Zatariju.

Sometimes I think

Ponekad mislim

we are the ones in charge.

da smo mi ti koji upravljaju.

Chris Milk: How was it?

Kris Milk: Kako je bilo?

(Applause)

(Aplauz)

That was a cheap way of getting you to do a standing ovation.

Bio je ovo jeftin način da vas nateram na stojeće ovacije.

I just made you all stand. I knew you'd applaud at the end.

Naterao sam vas da stojite. Znao sam da ćete aplaudirati na kraju.

(Applause)

(Aplauz)

I believe that everyone on Earth needs to experience

Verujem da bi svako na zemlji trebalo da doživi

what you just experienced.

ono što ste vi upravo doživeli.

That way we can collectively start to shape this,

Tako bismo grupno mogli da počnemo da oblikujemo ovo,

not as a tech platform

ne kao tehnološku platformu,

but as a humanity platform.

već kao ljudsku platformu.

And to that end, in November of last year,

I u tom cilju, u novembru prošle godine,

the New York Times and Vrse made a VR project called "The Displaced."

"Njujork Tajms" i Vrse su napravili VS projekat nazvan: "The Displaced".

It launched with one million Google Cardboards

Započeo je slanjem milion Guglovih kutija

sent out to every Sunday subscriber with their newspaper.

svakom pretplatnku nedeljnog primerka uz njihove novine.

But a funny thing happened that Sunday morning.

No desilo se nešto smešno tog nedeljnog jutra.

A lot of people got them

Mnogo ljudi ih je dobilo

that were not the intended recipients on the mailing label.

koji nisu bili namerni primaoci označeni na pošiljci.

And we started seeing this all over Instagram.

I počeli smo da viđamo ovo širom Instagrama.

Look familiar?

Izgleda vam poznato?

Music led me on a path

Muzika me je odvela na put,

of searching for what seemed like the unattainable

put traganja za onim što se činilo nedostižnim

for a very long time.

dugo vremena.

Now, millions of kids just had the same formative experience

Sad, milioni dece su upravo imali isto formativno iskustvo

in their childhood

u svom detinjstvu

that I had in mine.

koje sam ja imao u mom.

Only I think this one

Samo što smatram da ga ovo iskustvo

surpasses it.

nadilazi.

Let's see

Videćemo

where this

kuda će ih ovo

leads them.

odvesti.

Thank you.

Hvala vam.

(Applause)

(Aplauz)