It was the 1970s.

在 1970 年代，

I got into the field very young: I was seven years old.

我在非常年輕的時候就加入這個領域， 當時我七歲，

And the tool that I used to access virtual reality

而那個讓我進入虛擬實境的工具

was the Evel Knievel stunt cycle.

是艾佛·克尼沃的特技飛車模型。

This is a commercial for that particular item:

這是它的商業宣傳：

(Video) Voice-over: What a jump!

（影片）旁白：看那一跳！

Evel's riding the amazing stunt cycle.

艾佛正在表演驚人的飛車特技，

That gyro-power sends him over 100 feet at top speed.

他以最高速讓陀螺轉子的力量 到達 100 英尺的高度。

Chris Milk: So this was my joy back then.

克里斯·米爾克：這就是我當時的娛樂。

I rode this motorcycle everywhere.

我騎著這個摩托車到處跑。

And I was there with Evel Knievel; we jumped the Snake River Canyon together.

我和艾佛·克尼沃一起 跳過了蛇湖峽谷。

I wanted the rocket.

我想要那個火箭。

I never got the rocket, I only got the motorcycle.

但我卻沒得到那個火箭， 我只有得到摩托車。

I felt so connected to this world.

這讓我感覺到我與世界緊緊相連。

I didn't want to be a storyteller when I grew up, I wanted to be stuntman.

我不想長大後成是一個講故事人， 我想成為一個特技演員。

I was there. Evel Knievel was my friend.

我就在那裡， 艾佛·克尼沃是我的朋友。

I had so much empathy for him.

我在他身上投入了很多感情。

But it didn't work out. (Laughter)

但是這沒什麼用。（笑聲）

I went to art school.

我進了藝術學校。

I started making music videos.

開始製作音樂影片。

And this is one of the early music videos that I made:

這是我早期製作的音樂影片之一：

(Music: "Touch the Sky" by Kanye West)

（音樂：「觸摸蒼穹」 凱恩·韋斯特）

CM: You may notice some slight similarities here.

克里斯·米爾克：你可能會發現 一些細微的相同點。

(Laughter)

（笑聲）

And I got that rocket.

我得到了那火箭。

(Laughter)

（笑聲）

So, now I'm a filmmaker, or, the beginning of a filmmaker,

所以，現在我是一個電影製片人， 或者說，一個新手的電影製片人。

and I started using the tools that are available to me as a filmmaker

我開始嘗試運用 我可以利用的製片工具

to try to tell the most compelling stories that I can to an audience.

將故事以吸引人方式帶給觀眾。

And film is this incredible medium that allows us to feel empathy

而電影，是不可思議的媒介， 讓我們感同身受，

for people that are very different than us

體會那些截然不同的人生，

and worlds completely foreign from our own.

和那些對我們而言陌生的世界。

Unfortunately,

不幸的是

Evel Knievel did not feel the same empathy for us that we felt for him,

艾佛·克尼沃並沒有 感受到我們的感受，

and he sued us for this video --

他因為這個影片而控告了我們

(Laughter) --

（笑聲）

shortly thereafter.

在那之後不久。

On the upside, the man that I worshipped as a child,

不過就好的方面來說， 那個我小時候一直崇拜的男人，

the man that I wanted to become as an adult,

那我長大後想成為的男人，

I was finally able to get his autograph.

最終我得到了他的簽名。

(Applause)

（掌聲）

Let's talk about film now.

現在我們來談談電影

Film, it's an incredible medium,

電影， 是一種不可思議的媒介，

but essentially, it's the same now as it was then.

不過就本質來說， 它發展至今並沒有變化。

It's a group of rectangles that are played in a sequence.

它只是將一組長方形（電影幀片） 按一定的順序播放。

And we've done incredible things with those rectangles.

而我們用這些長方形 製作了很多令人難以置信的電影。

But I started thinking about,

但我開始設想，

is there a way that I can use modern and developing technologies

是否有什麼辦法， 讓我運用現代先進技術，

to tell stories in different ways

將故事以不同的形式表達出來，

and tell different kinds of stories

並講述不同的故事，

that maybe I couldn't tell using the traditional tools of filmmaking

那些我不能用 傳統技藝表達出來的故事，

that we've been using for 100 years?

那些已經用了 100 多年的技術？

So I started experimenting,

所以我開始進行試驗，

and what I was trying to do was to build the ultimate empathy machine.

一個終極的可以表達情感的機器。

And here's one of the early experiments:

這是早期的試驗之一：

(Music)

（音樂）

So this is called "The Wilderness Downtown."

這個叫做「市中心的荒野。」

It was a collaboration with Arcade Fire.

一個與「拱廊之火」的合作項目。

It asked you to put in the address where you grew up at the beginning of it.

它會請求你鍵入你成長地的地址。

It's a website.

是一個網站。

And out of it starts growing these little boxes with different browser windows.

之後，一些小方塊 會從不同的瀏覽器視窗出現。

And you see this teenager running down a street,

然後你會看見一個青少年在街上跑，

and then you see Google Street View and Google Maps imagery

再然後， 你會看見谷歌街景和谷歌地圖圖像

and you realize the street he's running down is yours.

你會意識到，那個青少年跑過的街區， 就是你童年呆過的地方。

And when he stops in front of a house, he stops in front of your house.

當他停下的時候， 正好停在你的房子面前。

And this was great, and I saw people having an even deeper emotional reaction

這太棒了， 我發現大家有更深層次的情感反饋。

to this than the things that I had made in rectangles.

比那些長方形幀片帶來的感情更深。

And I'm essentially taking a piece of your history

基本上是拿出你的一段過往

and putting it inside the framing of the story.

並將它植入故事的框架。

But then I started thinking,

但是我又開始設想，

okay, well that's a part of you,

沒錯，那是你故事一部分，

but how do I put all of you inside of the frame?

但我怎樣才能 將你們的全部融入這個框架呢？

So to do that, I started making art installations.

為了達成這個目標， 我開始加入藝術效果。

And this is one called "The Treachery of Sanctuary."

這叫做「聖堂的背叛。」

It's a triptych. I'm going to show you the third panel.

是一個三聯畫， 我現在向你展示第三聯畫。

(Music)

（音樂）

So now I've got you inside of the frame,

那麼現在，你進入了我的框架，

and I saw people having even more visceral emotional reactions

我看見人們有了比先前

to this work than the previous one.

更發自肺腑的情感反應。

But then I started thinking about frames, and what do they represent?

但是，我開始思考這些框架： 這代表了什麼？

And a frame is just a window.

框架只是一扇窗戶。

I mean, all the media that we watch -- television, cinema --

我的意思是， 所有的媒體﹣電視、電影﹣

they're these windows into these other worlds.

都是通往其他世界的窗戶。

And I thought, well, great. I got you in a frame.

那麼我設想， 好的，你進入了我設計的框架。

But I don't want you in the frame, I don't want you in the window,

但我不想讓你進入裡面， 不想讓你出現在我的窗口，

I want you through the window, I want you on the other side,

我想讓你穿越這扇窗戶，

in the world, inhabiting the world.

到達這個世界的另一邊， 完全融入那個世界。

So that leads me back to virtual reality.

這讓我重新開始設想虛擬實境。

Let's talk about virtual reality.

那麼，我們來談談虛擬實境。

Unfortunately,

不幸的是，

talking about virtual reality is like dancing about architecture.

虛擬實境就像 用舞蹈來解釋建築設計一樣。

And this is actually someone dancing about architecture in virtual reality.

這真的是在虛擬世界裡 就像舞蹈之於建築。

(Laughter)

（笑聲）

So, it's difficult to explain. Why is it difficult to explain?

所以這很難解釋，為甚麼難呢？

It's difficult because it's a very experiential medium.

因為這是一個來自個人經驗的媒介。

You feel your way inside of it.

你會感覺到屬於你自己的方式。

It's a machine, but inside of it,

這是個機器，但是它的內部，

it feels like real life, it feels like truth.

就如同真實的世界 , 它就像現實一樣。

And you feel present in the world that you're inside

你會感覺到你進入的那個世界

and you feel present with the people that you're inside of it with.

你感覺你與那個世界的人一起存在。

So, I'm going to show you a demo of a virtual reality film:

那麼現在， 我要向大家展示一個虛擬實境的剪輯：

a full-screeen version of all the information

一個全螢幕的

that we capture when we shoot virtual reality.

在拍攝虛擬實境過程中獲得的資訊。

So we're shooting in every direction.

我們從每個角度進行拍攝。

This is a camera system that we built

我們構建一個攝影機系統，

that has 3D cameras that look in every direction

每個角度都有 3D 攝影機進行拍攝，

and binaural microphones that face in every direction.

並且有多方位的雙聲道麥克風裝置。

We take this and we build, basically, a sphere of a world that you inhabit.

實際上，我們利用這個系統 構建了一個大家居住的世界。

So what I'm going to show you is not a view into the world,

那麼，我將向你展示的， 不僅是這世界的一個拍攝角度，

it's basically the whole world stretched into a rectangle.

而且是完整的一個被壓縮進 長方形的世界。

So this film is called "Clouds Over Sidra,"

這段影片稱為「浮雲籠罩錫德拉，」

and it was made in conjunction with our virtual reality company called VRSE

和虛擬實境公司 VRSE

and the United Nations,

以及聯合國一起製作，

and a co-collaborator named Gabo Arora.

還有一位合作者，名叫加博·阿羅拉。

And we went to a Syrian refugee camp in Jordan in December

我們於十二月拜訪了 一個位於約旦敘利亞難民營

and shot the story of a 12-year-old girl there named Sidra.

並拍攝了一個 12 歲小女孩 名叫錫德拉的故事。

And she and her family fled Syria through the desert into Jordan

她與她的家人逃離了敘利亞， 穿過沙漠來到了約旦

and she's been living in this camp for the last year and a half.

住在這個難民營已一年半了。

(Video) Sidra: My name is Sidra.

（影片）錫德拉：我叫錫德拉。

I am 12 years old.

今年十二歲。

I am in the fifth grade.

我上五年級。

I am from Syria, in the Daraa Province, Inkhil City.

我來自敘利亞達拉省， 印基爾市。

I have lived here in the Zaatari camp in Jordan for the last year and a half.

我居住在這裡， 約旦的扎塔里營地，已經有一年半了。

I have a big family:

我有一個大家庭：

three brothers, one is a baby.

3 個兄弟，其中一個是嬰兒。

He cries a lot.

他經常哭。

I asked my father if I cried when I was a baby and he says I did not.

我問爸爸我小時候 是不是也經常哭，他說沒有。

I think I was a stronger baby than my brother.

我認為我比我弟弟更堅強。

CM: So, when you're inside of the headset.

克里斯·米爾克：因此， 當你戴上這個裝置時，

you're not seeing it like this.

你看到的不會是這樣。

You're looking around through this world.

而是透過這構建的世界去看。

You'll notice you see full 360 degrees, in all directions.

你會注意到，你看到的景象是 360 度全方位的世界。

And when you're sitting there in her room, watching her,

你坐在她的房間裡，看著她，

you're not watching it through a television screen,

你不是透過一個電視螢幕看到她，

you're not watching it through a window, you're sitting there with her.

也不是透過窗戶， 你是真實地與她坐在一起。

When you look down, you're sitting on the same ground that she's sitting on.

當你向下看的時候， 你會發現你與她坐在同一塊地板上。

And because of that,

正因為如此，

you feel her humanity in a deeper way.

你可以更深地體會到她的人性，

You empathize with her in a deeper way.

你與她有更深層次的情感交流。

And I think that we can change minds with this machine.

我認為我們可以通過 這個機器改變人的想法。

And we've already started to try to change a few.

我們已經開始嘗試進行小小的改變。

So we took this film to the World Economic Forum in Davos in January.

因此，我們一月時將這個微電影 帶到了在達沃斯的世界經濟大會，

And we showed it to a group of people

我們向一組人展示

whose decisions affect the lives of millions of people.

這些人他們的決定 會影響數以百萬人的生活。

And these are people who might not otherwise

這些人可能不會真的

be sitting in a tent in a refugee camp in Jordan.

坐在一個約旦的難民營帳篷裡。

But in January, one afternoon in Switzerland,

但是在一月的那個下午，就在瑞士，

they suddenly all found themselves there.

他們發現自己已然身處那裡。

(Applause)

（掌聲）

And they were affected by it.

他們被這打動了。

So we're going to make more of them.

因此我們會製作更多。

We're working with the United Nations right now

我們現在與聯合國合作

to shoot a whole series of these films.

去製作一系列的這樣的電影。

We just finished shooting a story in Liberia.

我們剛剛完成了一個在利比亞的拍攝，

And now, we're going to shoot a story in India.

並即將前往印度。

And we're taking these films,

我們會將這些拍攝的影片，

and we're showing them at the United Nations

在聯合國播放

to people that work there and people that are visiting there.

給那些在那裡工作的人 和去那裡參觀的人看。

And we're showing them to the people

我們將這些

that can actually change the lives of the people inside of the films.

展示給了觀眾，這些觀眾有能力 真正改變電影裡的人的命運。

And that's where I think we just start to scratch the surface

我相信那就是我們的出發點

of the true power of virtual reality.

去真正接觸虛擬現實的力量。

It's not a video game peripheral.

這不是一個遊戲機器，

It connects humans to other humans in a profound way

它將人與人以一種 緊密的方式連接在一起

that I've never seen before in any other form of media.

我從未從任何以往的媒介中發現。

And it can change people's perception of each other.

它可以改變人與人之間的感受

And that's how I think

這就是我為何相信

virtual reality has the potential to actually change the world.

虛擬實境俱有改變現實世界的力量。

So, it's a machine,

它是一個機器

but through this machine we become more compassionate,

但是透過它，我們變得更富有同情心

we become more empathetic, and we become more connected.

變得更能將心比心，變得更緊密。

And ultimately, we become more human.

最終變得更人性。

Thank you.

謝謝大家。

(Applause)

（掌聲）