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If you are capable, please help us to create good quality subtitles: https://c3subtitles.de/talk/704 Thanks! 1 00:00:14,010 --> 00:00:15,630 Good, as we all know, guys 2 00:00:17,400 --> 00:00:19,199 aren't made signs in this C.C.C. 3 00:00:19,200 --> 00:00:21,599 events all over the place 4 00:00:21,600 --> 00:00:23,190 and coding is poetry. 5 00:00:24,600 --> 00:00:26,729 Bringing, showing or performing that kind 6 00:00:26,730 --> 00:00:28,949 of poetry is a swell that takes some 7 00:00:28,950 --> 00:00:30,029 guts. 8 00:00:30,030 --> 00:00:32,999 So certainly when you're an artist 9 00:00:33,000 --> 00:00:35,819 and here we have one, we found one. 10 00:00:35,820 --> 00:00:37,289 As an artist, you're willing to open 11 00:00:37,290 --> 00:00:39,419 yourself and expose your 12 00:00:39,420 --> 00:00:40,979 being from inside out. 13 00:00:40,980 --> 00:00:43,679 So it takes some guts. 14 00:00:43,680 --> 00:00:45,809 I have the tremendous pleasure and 15 00:00:45,810 --> 00:00:48,179 the big honor here to introduce to you 16 00:00:48,180 --> 00:00:49,379 Kate jenaveve. 17 00:00:49,380 --> 00:00:51,539 And may I spell his ass 18 00:00:51,540 --> 00:00:53,809 in a French way? Genevieve, that is good. 19 00:00:53,810 --> 00:00:55,379 You say it better than I do. 20 00:00:55,380 --> 00:00:56,459 That's Kate. 21 00:00:56,460 --> 00:00:58,109 She's an artist and a director based in 22 00:00:58,110 --> 00:00:58,799 Brighton. 23 00:00:58,800 --> 00:01:01,739 Her works brings together research 24 00:01:01,740 --> 00:01:03,839 in science, technology 25 00:01:03,840 --> 00:01:05,399 and performance. 26 00:01:05,400 --> 00:01:08,009 Her objective is to explore 27 00:01:08,010 --> 00:01:10,979 how humans sense the environment 28 00:01:10,980 --> 00:01:12,569 and each other. 29 00:01:12,570 --> 00:01:13,229 Is that correct? 30 00:01:13,230 --> 00:01:14,409 That is good. 31 00:01:14,410 --> 00:01:15,599 Stage is yours. 32 00:01:15,600 --> 00:01:17,219 OK, light the Fuze. 33 00:01:17,220 --> 00:01:18,119 Put it in play. 34 00:01:18,120 --> 00:01:19,620 Give her a warm welcome, please. 35 00:01:27,780 --> 00:01:29,519 Thank you so much for coming along. 36 00:01:31,710 --> 00:01:33,749 It is nice to be introduced because it 37 00:01:33,750 --> 00:01:36,099 helps me remember who I am. 38 00:01:36,100 --> 00:01:38,279 I am an artist and 39 00:01:38,280 --> 00:01:40,769 a researcher at the 40 00:01:40,770 --> 00:01:43,679 Sackler Center for Consciousness Science 41 00:01:43,680 --> 00:01:46,529 at Sussex University and 42 00:01:46,530 --> 00:01:48,719 the media performance 43 00:01:48,720 --> 00:01:49,949 department there. 44 00:01:49,950 --> 00:01:52,049 And that started off as 45 00:01:52,050 --> 00:01:54,119 a residency and is now turning into a 46 00:01:54,120 --> 00:01:56,369 PhD, which I have to say is very 47 00:01:56,370 --> 00:01:58,549 difficult over. 48 00:01:58,550 --> 00:02:00,149 But I want to just tell you a little bit 49 00:02:00,150 --> 00:02:02,819 about my group as a way of introduction. 50 00:02:02,820 --> 00:02:05,249 I have always done these big mixed 51 00:02:05,250 --> 00:02:07,469 media projects 52 00:02:07,470 --> 00:02:10,049 ever since I was a teenager in warehouses 53 00:02:10,050 --> 00:02:12,419 or on the street with puppets 54 00:02:12,420 --> 00:02:15,659 and with masks, combining 55 00:02:15,660 --> 00:02:17,819 all sorts of different streams 56 00:02:17,820 --> 00:02:19,859 of information and different stories. 57 00:02:19,860 --> 00:02:22,109 This was a collaboration 58 00:02:22,110 --> 00:02:24,509 in 2010 which brought together 59 00:02:24,510 --> 00:02:27,449 a comics narrative, told in a newspaper 60 00:02:27,450 --> 00:02:29,609 and a projection onto a building. 61 00:02:29,610 --> 00:02:31,799 And performers who are coming 62 00:02:31,800 --> 00:02:33,599 out of that building and that sort of 63 00:02:33,600 --> 00:02:35,909 sense of really 64 00:02:35,910 --> 00:02:38,069 reappropriating the story of 65 00:02:38,070 --> 00:02:40,139 the street or playing 66 00:02:40,140 --> 00:02:42,359 with what constructed reality is, 67 00:02:42,360 --> 00:02:44,639 has been a long term 68 00:02:44,640 --> 00:02:45,640 passion 69 00:02:47,460 --> 00:02:48,329 as his music. 70 00:02:48,330 --> 00:02:50,669 I'll just show you a little bit of 71 00:02:50,670 --> 00:02:52,889 some of the projection projects 72 00:02:52,890 --> 00:02:53,890 that I've worked on. 73 00:03:10,980 --> 00:03:13,019 The music generally sounds better. 74 00:03:13,020 --> 00:03:14,430 There were a band called the Acid. 75 00:03:16,060 --> 00:03:18,579 And we made a 76 00:03:18,580 --> 00:03:20,589 get it was a big collaborative project 77 00:03:20,590 --> 00:03:22,719 with Johnny Fabrizio, we made 78 00:03:22,720 --> 00:03:25,209 a projection performance inspired 79 00:03:25,210 --> 00:03:28,239 by ecology and nature's processes. 80 00:03:28,240 --> 00:03:30,459 And that kind of interest in 81 00:03:30,460 --> 00:03:32,679 ecology really got me into working 82 00:03:32,680 --> 00:03:34,059 with neuroscientists 83 00:03:35,380 --> 00:03:37,299 in the lab and with dancers and 84 00:03:37,300 --> 00:03:38,289 performers. 85 00:03:38,290 --> 00:03:40,839 So this is a 86 00:03:40,840 --> 00:03:42,309 little project I did. 87 00:04:23,380 --> 00:04:25,479 And we were working with this idea of 88 00:04:25,480 --> 00:04:27,819 when you visually recognize 89 00:04:27,820 --> 00:04:30,039 something to be human movements and 90 00:04:30,040 --> 00:04:32,149 when it looks synthetic. 91 00:04:32,150 --> 00:04:34,649 So exploring motion detection 92 00:04:34,650 --> 00:04:36,529 that combining that with computer 93 00:04:36,530 --> 00:04:39,619 animation and then turning it into 94 00:04:39,620 --> 00:04:41,779 a big performance and happening, 95 00:04:41,780 --> 00:04:43,759 which happened in the nighttime. 96 00:05:21,380 --> 00:05:23,059 And I guess that's just to give you a 97 00:05:23,060 --> 00:05:25,249 sort of flavor of the kind 98 00:05:25,250 --> 00:05:27,859 of things that I've been interested in, 99 00:05:27,860 --> 00:05:30,229 but I wanted to talk about hacking 100 00:05:30,230 --> 00:05:32,329 reality, and that was a term that I 101 00:05:32,330 --> 00:05:33,709 picked up in Britain. 102 00:05:33,710 --> 00:05:35,419 There was a there's an organization there 103 00:05:35,420 --> 00:05:37,729 called Lighthouse Arts that was running 104 00:05:37,730 --> 00:05:39,859 a whole series of events 105 00:05:39,860 --> 00:05:42,319 around hacking reality and the critical 106 00:05:42,320 --> 00:05:44,659 engineers work, the art 107 00:05:44,660 --> 00:05:47,659 fertilizer, which when I saw 108 00:05:47,660 --> 00:05:50,029 that little viewing 109 00:05:50,030 --> 00:05:52,459 device that out there, 110 00:05:52,460 --> 00:05:54,529 it was a sort of prototype that imagined 111 00:05:54,530 --> 00:05:56,539 replacing the adverts that you saw in the 112 00:05:56,540 --> 00:05:58,729 streets with works of art 113 00:05:58,730 --> 00:06:01,069 by using this like hacked 114 00:06:01,070 --> 00:06:02,419 little viewing piece. 115 00:06:02,420 --> 00:06:05,059 I was really excited 116 00:06:05,060 --> 00:06:06,049 by that potential. 117 00:06:06,050 --> 00:06:07,939 It seemed to tap into something that I 118 00:06:07,940 --> 00:06:09,859 had a really long interest in. 119 00:06:09,860 --> 00:06:12,049 And I think as much 120 00:06:12,050 --> 00:06:14,509 as paying attention to 121 00:06:14,510 --> 00:06:17,179 how the technologies we use 122 00:06:17,180 --> 00:06:19,399 can shape how we see 123 00:06:19,400 --> 00:06:21,559 and experience the world and 124 00:06:21,560 --> 00:06:23,689 maybe taking back some of 125 00:06:23,690 --> 00:06:26,179 that choice 126 00:06:26,180 --> 00:06:28,639 in how we go through life, 127 00:06:28,640 --> 00:06:30,529 there is also this. 128 00:06:30,530 --> 00:06:33,109 There's rich, these rich mechanisms 129 00:06:33,110 --> 00:06:35,179 we have of our own body. 130 00:06:35,180 --> 00:06:37,879 And the biological processes 131 00:06:37,880 --> 00:06:40,069 of sensing is the 132 00:06:40,070 --> 00:06:41,869 thing that through dance and 133 00:06:41,870 --> 00:06:44,629 choreography, has been 134 00:06:44,630 --> 00:06:46,609 the focus of the performance work. 135 00:06:46,610 --> 00:06:49,039 And I started working 136 00:06:49,040 --> 00:06:51,199 with neuroscientists in the 137 00:06:51,200 --> 00:06:54,619 Sackler Center in, I think, 2011. 138 00:06:54,620 --> 00:06:56,779 And when I started doing that, I 139 00:06:56,780 --> 00:06:59,389 found this interdisciplinary field 140 00:06:59,390 --> 00:07:01,609 of present research and that 141 00:07:01,610 --> 00:07:03,709 seemed to help me suddenly get 142 00:07:03,710 --> 00:07:05,839 some sort of precision about 143 00:07:05,840 --> 00:07:08,419 how we could think about reality 144 00:07:08,420 --> 00:07:11,269 and are 145 00:07:11,270 --> 00:07:13,849 our kind of relationship with it. 146 00:07:13,850 --> 00:07:16,249 And I think the most simple explanation 147 00:07:16,250 --> 00:07:18,319 of this that I have ever found is 148 00:07:18,320 --> 00:07:19,370 J.J. Gibson 149 00:07:20,660 --> 00:07:23,029 in 1979 saying presence 150 00:07:23,030 --> 00:07:25,309 is the sense of being in 151 00:07:25,310 --> 00:07:27,259 an environment. 152 00:07:27,260 --> 00:07:29,659 And that 153 00:07:29,660 --> 00:07:31,999 is what I want to dove into. 154 00:07:32,000 --> 00:07:34,069 Inspired very much by 155 00:07:34,070 --> 00:07:36,679 the work of Shahd Davis, 156 00:07:36,680 --> 00:07:39,079 who was, I think, the VR 157 00:07:39,080 --> 00:07:41,779 visionary of the 1990s 158 00:07:41,780 --> 00:07:44,869 she made almost in 1995, 159 00:07:44,870 --> 00:07:47,299 which was a virtual 160 00:07:47,300 --> 00:07:49,459 reality experience that 161 00:07:49,460 --> 00:07:52,609 you could explore 162 00:07:52,610 --> 00:07:54,889 through your breath like a deep sea 163 00:07:54,890 --> 00:07:57,589 diver. And many of the applications 164 00:07:57,590 --> 00:08:00,019 and the VR games that are coming out now 165 00:08:00,020 --> 00:08:02,209 owe this great debt 166 00:08:02,210 --> 00:08:03,829 to Shar Davis. 167 00:08:03,830 --> 00:08:06,109 And when I started making projects 168 00:08:06,110 --> 00:08:07,999 like this, the technology hadn't turned 169 00:08:08,000 --> 00:08:10,069 up, the Oculus Rift hadn't turned up. 170 00:08:10,070 --> 00:08:12,199 And everyone told me I was completely 171 00:08:12,200 --> 00:08:14,539 mad for looking at something 172 00:08:14,540 --> 00:08:16,819 like virtual reality because the sense 173 00:08:16,820 --> 00:08:18,799 was that it had died. 174 00:08:18,800 --> 00:08:20,269 You know, it had been tried out in the 175 00:08:20,270 --> 00:08:22,670 90s and it was an experiment that failed. 176 00:08:24,410 --> 00:08:26,569 So I was using these little video goggles 177 00:08:26,570 --> 00:08:29,209 in 2011, made a small project 178 00:08:29,210 --> 00:08:31,549 with the children 179 00:08:31,550 --> 00:08:33,859 on this island in Croatia, and 180 00:08:33,860 --> 00:08:36,558 we were exploring how the stories 181 00:08:36,559 --> 00:08:38,959 of our island weren't being told anymore 182 00:08:38,960 --> 00:08:41,058 and the ways of passing 183 00:08:41,059 --> 00:08:43,519 down knowledge and and 184 00:08:43,520 --> 00:08:46,609 apprenticeships that wasn't being done. 185 00:08:46,610 --> 00:08:48,349 There was this sense of, you know, 186 00:08:48,350 --> 00:08:51,379 aspirational living and cocacola 187 00:08:51,380 --> 00:08:53,689 as something the American 188 00:08:53,690 --> 00:08:55,859 lifestyle that we should all aim for. 189 00:08:55,860 --> 00:08:58,069 And yet the if you looked 190 00:08:58,070 --> 00:08:59,659 at the data of what was happening to that 191 00:08:59,660 --> 00:09:02,239 island, there was rampant unemployment 192 00:09:02,240 --> 00:09:04,489 and the younger generation 193 00:09:04,490 --> 00:09:06,589 going into drugs and this sort of sense 194 00:09:06,590 --> 00:09:08,659 of the integrity of 195 00:09:08,660 --> 00:09:11,119 the community really falling 196 00:09:11,120 --> 00:09:12,229 apart. 197 00:09:12,230 --> 00:09:14,119 So we were doing this exploration of how 198 00:09:14,120 --> 00:09:16,249 to how to tell stories again 199 00:09:16,250 --> 00:09:17,179 with media. 200 00:09:17,180 --> 00:09:19,429 And I 201 00:09:19,430 --> 00:09:22,189 did a small video piece 202 00:09:22,190 --> 00:09:24,559 which played in the the town square. 203 00:09:27,400 --> 00:09:29,499 And basically, anybody who walked 204 00:09:29,500 --> 00:09:31,659 past, I would beckoned 205 00:09:31,660 --> 00:09:33,729 over to come and explore this, and 206 00:09:33,730 --> 00:09:35,859 they had the the 207 00:09:35,860 --> 00:09:37,509 sense of being one of the. 208 00:09:49,460 --> 00:09:50,460 Lookdown. 209 00:09:54,110 --> 00:09:55,110 My friend. 210 00:09:56,640 --> 00:09:58,739 Look at your palms, 211 00:09:58,740 --> 00:09:59,809 your palms feel 212 00:10:01,230 --> 00:10:02,230 follow with me. 213 00:10:09,780 --> 00:10:11,129 This is they're looking through the video 214 00:10:11,130 --> 00:10:13,019 goggles, they were moving their arms 215 00:10:13,020 --> 00:10:14,939 around and I was helping them move their 216 00:10:14,940 --> 00:10:17,009 body in relationship with 217 00:10:17,010 --> 00:10:18,479 what was happening on screen. 218 00:10:20,160 --> 00:10:22,409 And when virtual reality arrived, 219 00:10:23,910 --> 00:10:26,129 that was no longer necessary because we 220 00:10:26,130 --> 00:10:28,199 now had an interactive way of doing 221 00:10:28,200 --> 00:10:29,200 that. 222 00:10:30,600 --> 00:10:31,769 I started 223 00:10:33,030 --> 00:10:36,809 this long residency around 224 00:10:36,810 --> 00:10:38,130 exploring 225 00:10:39,870 --> 00:10:41,549 the techniques that neuroscience was 226 00:10:41,550 --> 00:10:44,159 devising to explore 227 00:10:44,160 --> 00:10:46,299 our bodily reality 228 00:10:46,300 --> 00:10:47,300 and. 229 00:10:48,090 --> 00:10:50,159 I want to kind of grounds 230 00:10:50,160 --> 00:10:51,599 that in 231 00:10:52,800 --> 00:10:55,199 looking at the rubber hand illusion as 232 00:10:55,200 --> 00:10:58,019 it would try this, yeah, 233 00:10:58,020 --> 00:11:01,349 this kind of fundamentally shifted 234 00:11:01,350 --> 00:11:03,449 my sense of what 235 00:11:03,450 --> 00:11:04,769 could be done in the world. 236 00:11:04,770 --> 00:11:06,659 So I want to try it out on someone 237 00:11:06,660 --> 00:11:08,519 because it's one of the techniques they 238 00:11:08,520 --> 00:11:10,919 have in the lab to 239 00:11:10,920 --> 00:11:13,139 actually get a handle on how 240 00:11:13,140 --> 00:11:15,419 we can look at our heavy 241 00:11:15,420 --> 00:11:17,489 personal space, which is how 242 00:11:17,490 --> 00:11:19,739 we sense the space 243 00:11:19,740 --> 00:11:22,229 around us and how we 244 00:11:22,230 --> 00:11:24,329 include something in our 245 00:11:24,330 --> 00:11:26,909 own model of our body. 246 00:11:26,910 --> 00:11:29,549 And everyone experiences it 247 00:11:29,550 --> 00:11:30,659 differently. 248 00:11:30,660 --> 00:11:32,189 Some people don't experience and think. 249 00:11:32,190 --> 00:11:34,859 Some people, some people do. 250 00:11:34,860 --> 00:11:37,259 Does anyone feel a drive to explore 251 00:11:37,260 --> 00:11:38,339 this now? 252 00:11:38,340 --> 00:11:40,919 I have made sort of hacked together 253 00:11:40,920 --> 00:11:41,909 this experiment. 254 00:11:41,910 --> 00:11:44,549 I see one hands, please come to me 255 00:11:44,550 --> 00:11:45,550 over. 256 00:11:46,290 --> 00:11:47,969 And this is kind of what I was doing in 257 00:11:47,970 --> 00:11:49,619 the lab. I was exploring all the 258 00:11:49,620 --> 00:11:51,509 techniques and the experiments they had 259 00:11:51,510 --> 00:11:53,700 for looking at our sensory experience. 260 00:11:54,870 --> 00:11:56,879 OK, thank you. 261 00:11:56,880 --> 00:11:59,449 So you got to kneel down because, 262 00:11:59,450 --> 00:12:02,189 you know, this is not one lab conditions 263 00:12:02,190 --> 00:12:04,439 of. But if you 264 00:12:04,440 --> 00:12:05,820 are. Yeah, you know it. That's great. 265 00:12:07,680 --> 00:12:10,899 If you put your other hand out here. 266 00:12:10,900 --> 00:12:12,349 What's your name. 267 00:12:12,350 --> 00:12:14,039 Michelle. Hi. 268 00:12:14,040 --> 00:12:16,299 I'm going to touch your hand 269 00:12:16,300 --> 00:12:17,699 tenderly. 270 00:12:17,700 --> 00:12:20,279 And can you speak 271 00:12:20,280 --> 00:12:22,529 perhaps shout as loudly 272 00:12:22,530 --> 00:12:24,959 as you can the likes, the sensations 273 00:12:24,960 --> 00:12:26,579 that you are feeling. 274 00:12:26,580 --> 00:12:27,580 OK, beautiful. 275 00:12:28,560 --> 00:12:29,560 Oh good. 276 00:12:30,330 --> 00:12:32,429 OK, so kind of wet 277 00:12:32,430 --> 00:12:34,769 feeling it's soft 278 00:12:34,770 --> 00:12:36,869 and you 279 00:12:36,870 --> 00:12:39,209 have to look if you like 280 00:12:39,210 --> 00:12:42,389 eyes smooth too wet 281 00:12:42,390 --> 00:12:44,549 says hand 282 00:12:44,550 --> 00:12:46,829 in front of you and 283 00:12:46,830 --> 00:12:49,259 really focus on where 284 00:12:49,260 --> 00:12:52,169 the paintbrush point touches 285 00:12:52,170 --> 00:12:53,399 the skin itself. 286 00:12:56,500 --> 00:12:58,869 It's cold now, it feels very cold 287 00:12:58,870 --> 00:12:59,949 because the Handsworth. 288 00:13:05,670 --> 00:13:07,499 There's a little pressure, a soft 289 00:13:07,500 --> 00:13:08,500 pressure. 290 00:13:09,630 --> 00:13:11,420 I want you to know Titus 291 00:13:13,560 --> 00:13:14,929 and really feel 292 00:13:16,290 --> 00:13:18,689 where are you experiencing 293 00:13:18,690 --> 00:13:20,789 this touch in 294 00:13:20,790 --> 00:13:22,769 the middle of the top of my hand. 295 00:13:27,440 --> 00:13:29,629 Down the middle 296 00:13:29,630 --> 00:13:30,630 finger. 297 00:13:33,500 --> 00:13:35,419 And where is your middle finger, 298 00:13:36,560 --> 00:13:37,850 where's my middle finger 299 00:13:40,820 --> 00:13:41,619 on the table. 300 00:13:41,620 --> 00:13:43,839 Stick with Sukru the 301 00:13:43,840 --> 00:13:45,919 he the table and keep really 302 00:13:45,920 --> 00:13:47,989 focusing on 303 00:13:47,990 --> 00:13:50,029 these touches that are coming in. 304 00:13:50,030 --> 00:13:51,030 It's. 305 00:13:52,160 --> 00:13:54,259 Can you notice 306 00:13:54,260 --> 00:13:56,449 how you feel in relationship to 307 00:13:56,450 --> 00:13:58,789 this hand in front 308 00:13:58,790 --> 00:14:00,889 of you, in relationship 309 00:14:00,890 --> 00:14:02,210 to it now? 310 00:14:03,480 --> 00:14:04,610 It's a of pressure. 311 00:14:06,080 --> 00:14:07,790 I don't know where. 312 00:14:12,040 --> 00:14:14,379 Does that hand in any 313 00:14:14,380 --> 00:14:17,009 way feel connected to you? 314 00:14:17,010 --> 00:14:19,149 This one, this 315 00:14:19,150 --> 00:14:21,159 hands that you're staying connected to, 316 00:14:21,160 --> 00:14:23,649 you're not really connected 317 00:14:23,650 --> 00:14:24,879 to you? 318 00:14:24,880 --> 00:14:25,880 To my body, 319 00:14:27,220 --> 00:14:28,360 the one I'm staring at. 320 00:14:29,820 --> 00:14:31,110 Or my actual hand, 321 00:14:33,540 --> 00:14:36,089 because it is very confusing 322 00:14:36,090 --> 00:14:36,869 terrain. 323 00:14:36,870 --> 00:14:39,209 Yeah, this so far, 324 00:14:39,210 --> 00:14:41,459 I really feel my actual hand 325 00:14:41,460 --> 00:14:43,359 still there. Yeah, I'm still in my actual 326 00:14:43,360 --> 00:14:44,360 hand. 327 00:14:56,950 --> 00:14:58,659 It feels like you're much higher on my 328 00:14:58,660 --> 00:15:00,969 hand than when I'm seeing, like, 329 00:15:00,970 --> 00:15:02,319 everything is slightly off. 330 00:15:02,320 --> 00:15:03,320 Yeah. 331 00:15:04,470 --> 00:15:06,659 It is a very strangely shaped and 332 00:15:08,070 --> 00:15:10,320 Steini, a kind of orange 333 00:15:11,880 --> 00:15:14,309 little masculine to these 334 00:15:14,310 --> 00:15:15,570 very masculine. 335 00:15:17,040 --> 00:15:19,069 It's a Trump hands here. 336 00:15:19,070 --> 00:15:20,070 So 337 00:15:22,590 --> 00:15:25,079 can you feel the hand of Trump? 338 00:15:26,760 --> 00:15:28,700 I don't want to view the Trump 339 00:15:31,530 --> 00:15:33,089 nothings. 340 00:15:33,090 --> 00:15:34,110 My hands are here. 341 00:15:37,190 --> 00:15:38,190 OK. 342 00:15:40,970 --> 00:15:42,289 Oh, it's warm now. 343 00:15:43,610 --> 00:15:44,239 Yeah. 344 00:15:44,240 --> 00:15:46,579 Any sense of this little 345 00:15:46,580 --> 00:15:49,399 hand in front of you is being connected 346 00:15:49,400 --> 00:15:52,069 to me? Yeah, no. 347 00:15:52,070 --> 00:15:54,079 Well, I got to leave it there. 348 00:15:54,080 --> 00:15:55,849 And I think we all found out something 349 00:15:55,850 --> 00:15:56,850 very important 350 00:15:58,760 --> 00:16:00,889 about how maybe getting in the 351 00:16:00,890 --> 00:16:02,959 zone is really important to how 352 00:16:02,960 --> 00:16:04,729 these things work of. 353 00:16:06,600 --> 00:16:08,759 Like, it's funny, I could 354 00:16:08,760 --> 00:16:11,159 do it with a kitchen glove and 355 00:16:11,160 --> 00:16:13,949 that kitchen glove is part of my body, 356 00:16:13,950 --> 00:16:16,919 that people are very different and 357 00:16:16,920 --> 00:16:18,539 I think we all need different kind of 358 00:16:18,540 --> 00:16:20,549 levels of suspension, of disbelief. 359 00:16:20,550 --> 00:16:21,550 I've done it, too. 360 00:16:22,830 --> 00:16:23,819 In the lab. 361 00:16:23,820 --> 00:16:25,889 I did this process, which involves 362 00:16:25,890 --> 00:16:28,079 having the upper hand to be for 363 00:16:28,080 --> 00:16:30,599 an hour and continually 364 00:16:30,600 --> 00:16:32,489 talking about all the feelings that I was 365 00:16:32,490 --> 00:16:34,949 having. And I notice that 366 00:16:34,950 --> 00:16:37,469 it's often described as an experiment 367 00:16:37,470 --> 00:16:39,929 where your body model switches 368 00:16:39,930 --> 00:16:42,059 over just like a little switch and 369 00:16:42,060 --> 00:16:44,759 you're like, whoa, this is my hand here. 370 00:16:44,760 --> 00:16:47,009 It's not like that at all, 371 00:16:47,010 --> 00:16:48,010 as we just seen. 372 00:16:48,960 --> 00:16:50,909 But it sometimes can work and it 373 00:16:50,910 --> 00:16:52,829 sometimes can create really bizarre 374 00:16:52,830 --> 00:16:54,989 experiences of having like two 375 00:16:54,990 --> 00:16:57,059 hands, which has split in the 376 00:16:57,060 --> 00:16:59,159 middle. Sometimes you feel like there's 377 00:16:59,160 --> 00:17:01,409 a tunnel from this 378 00:17:01,410 --> 00:17:03,569 bit of the hand to your other 379 00:17:03,570 --> 00:17:04,799 hand over there. 380 00:17:04,800 --> 00:17:06,929 And I just was so 381 00:17:06,930 --> 00:17:09,089 fascinated when 382 00:17:10,230 --> 00:17:12,328 I started doing that because 383 00:17:12,329 --> 00:17:14,399 I'd always had this sense 384 00:17:14,400 --> 00:17:16,618 that the body itself 385 00:17:16,619 --> 00:17:18,779 was in some some 386 00:17:18,780 --> 00:17:20,760 way really shifting and malleable and 387 00:17:21,930 --> 00:17:23,879 our experience of the world could be 388 00:17:23,880 --> 00:17:24,959 transformed. 389 00:17:24,960 --> 00:17:27,030 I had this very 390 00:17:29,910 --> 00:17:32,039 effective and dramatic near-death 391 00:17:32,040 --> 00:17:34,619 experience when I was 18 of falling 392 00:17:34,620 --> 00:17:35,699 in the jungle. 393 00:17:35,700 --> 00:17:37,799 And as I'd fallen, I had 394 00:17:37,800 --> 00:17:40,169 this whole bird's eye view of where 395 00:17:40,170 --> 00:17:41,549 I was in space. 396 00:17:41,550 --> 00:17:43,919 So I knew that the mechanisms of the body 397 00:17:43,920 --> 00:17:46,379 existed to give us these extraordinary 398 00:17:46,380 --> 00:17:48,449 sensory experiences 399 00:17:48,450 --> 00:17:50,519 and wanted to build those 400 00:17:50,520 --> 00:17:52,349 like properly into. 401 00:17:53,380 --> 00:17:55,569 The projects that I was making 402 00:17:55,570 --> 00:17:57,729 and also noticed how people 403 00:17:57,730 --> 00:18:00,309 were feeling them back, so, 404 00:18:00,310 --> 00:18:02,139 you know, it was a long process. 405 00:18:02,140 --> 00:18:03,789 If people weren't feeling it, then he had 406 00:18:03,790 --> 00:18:06,459 to tweak it, tweak it, tweak it until 407 00:18:06,460 --> 00:18:08,319 it was working. And it never would work 408 00:18:08,320 --> 00:18:10,719 for everyone because some people were so 409 00:18:10,720 --> 00:18:13,269 absolutely intent on 410 00:18:13,270 --> 00:18:15,399 sticking with their sense of like prior 411 00:18:15,400 --> 00:18:17,409 knowledge about where their hand was. 412 00:18:17,410 --> 00:18:19,569 So I want to quickly 413 00:18:19,570 --> 00:18:22,749 show you how I 414 00:18:22,750 --> 00:18:24,969 turned that into 415 00:18:24,970 --> 00:18:27,099 a project extending on the 416 00:18:27,100 --> 00:18:28,149 rubber hand illusion. 417 00:18:28,150 --> 00:18:30,759 We have all these body swapping illusions 418 00:18:30,760 --> 00:18:32,859 that have been now developed for 419 00:18:32,860 --> 00:18:34,180 about a decade. 420 00:18:35,350 --> 00:18:36,259 It is possible. 421 00:18:36,260 --> 00:18:37,899 It does work of. 422 00:18:39,000 --> 00:18:41,400 Have a look at this video 423 00:18:42,420 --> 00:18:43,420 of. 424 00:18:44,400 --> 00:18:45,900 This piece called Noplace. 425 00:18:56,290 --> 00:18:58,719 No place is a site specific tour 426 00:18:58,720 --> 00:19:00,969 of Modernist Residential Block Embassy 427 00:19:00,970 --> 00:19:03,069 Court, the first performance 428 00:19:03,070 --> 00:19:05,079 run from midday to midnight during the 429 00:19:05,080 --> 00:19:07,539 White Knight Festival, Vitan and Hope 430 00:19:07,540 --> 00:19:09,819 it is a digital performance that makes 431 00:19:09,820 --> 00:19:11,919 his live acting with film as seen through 432 00:19:11,920 --> 00:19:13,479 video goggles. 433 00:19:13,480 --> 00:19:15,579 Visitors to no place are met by 434 00:19:15,580 --> 00:19:18,069 an estate agent on Brighton seafront 435 00:19:18,070 --> 00:19:19,749 and are led into the building. 436 00:19:19,750 --> 00:19:21,699 Inside, they are asked to put on video 437 00:19:21,700 --> 00:19:23,919 goggles, equipment used at the Sackler 438 00:19:23,920 --> 00:19:25,779 Center for Consciousness Science to 439 00:19:25,780 --> 00:19:27,849 scientifically investigate presence 440 00:19:27,850 --> 00:19:29,249 and embodiment. 441 00:19:29,250 --> 00:19:31,060 You just like to look around to the left. 442 00:19:39,860 --> 00:19:40,860 Ran to the right. 443 00:19:49,390 --> 00:19:51,690 OK, I'm going to take your hand. 444 00:19:52,990 --> 00:19:55,059 If you could just look down, look 445 00:19:55,060 --> 00:19:56,060 at your palm. 446 00:19:58,520 --> 00:20:00,619 Can I just say yes, if you can see 447 00:20:00,620 --> 00:20:02,039 the mark at the center? 448 00:20:02,040 --> 00:20:03,040 Yes. 449 00:20:07,370 --> 00:20:08,779 Now, I'm just going to do a quick test 450 00:20:08,780 --> 00:20:11,059 sensitivity here, 451 00:20:12,290 --> 00:20:13,290 here, 452 00:20:14,420 --> 00:20:15,420 here. 453 00:20:18,560 --> 00:20:19,560 And here. 454 00:20:21,240 --> 00:20:22,529 Fantastic. 455 00:20:22,530 --> 00:20:24,509 I think we're ready to go if you'd just 456 00:20:24,510 --> 00:20:25,549 like to follow me this way. 457 00:20:35,270 --> 00:20:37,739 So as the audience member 458 00:20:37,740 --> 00:20:39,979 before you were led around this body, 459 00:20:39,980 --> 00:20:42,109 this building, as if they were on 460 00:20:42,110 --> 00:20:44,419 a viewing of their kind of future ideal 461 00:20:44,420 --> 00:20:46,559 home, the experience 462 00:20:46,560 --> 00:20:49,209 of the building itself started to change, 463 00:20:49,210 --> 00:20:51,169 had ridges on the floor. 464 00:20:51,170 --> 00:20:53,479 I'd asked them to feel these haptic 465 00:20:53,480 --> 00:20:55,579 props as a 466 00:20:55,580 --> 00:20:57,979 place to be real into a visceral 467 00:20:57,980 --> 00:21:00,139 started to include a lot of 468 00:21:00,140 --> 00:21:01,099 animation. 469 00:21:01,100 --> 00:21:02,789 Is there experience in the building? 470 00:21:02,790 --> 00:21:05,029 So this could say they had their head 471 00:21:05,030 --> 00:21:07,129 up against the window, the light that 472 00:21:07,130 --> 00:21:09,919 they would see something completely 473 00:21:09,920 --> 00:21:11,630 submerged beyond the window into. 474 00:21:23,030 --> 00:21:25,189 And at the end of the experience, I 475 00:21:25,190 --> 00:21:28,309 spoke to the left 476 00:21:28,310 --> 00:21:31,669 and the left 477 00:21:31,670 --> 00:21:34,129 stroked them with feathers, and 478 00:21:34,130 --> 00:21:36,259 they had the sensation of 479 00:21:36,260 --> 00:21:38,509 feathers going out of their head, which 480 00:21:38,510 --> 00:21:40,819 are kind of imagined they would 481 00:21:40,820 --> 00:21:42,979 go with kind of like the experience 482 00:21:42,980 --> 00:21:45,349 we just had here, because 483 00:21:45,350 --> 00:21:47,779 I thought it was too too much too 484 00:21:47,780 --> 00:21:48,979 fantastical. 485 00:21:48,980 --> 00:21:51,079 But we might be that the fact 486 00:21:51,080 --> 00:21:52,819 that the project rolled through the night 487 00:21:52,820 --> 00:21:54,779 and people gradually arrived drunkard 488 00:21:54,780 --> 00:21:56,359 drugger, or the fact that people actually 489 00:21:56,360 --> 00:21:58,579 genuinely wants to 490 00:21:58,580 --> 00:22:00,169 have an experience of being something 491 00:22:00,170 --> 00:22:01,549 else and to fly. 492 00:22:01,550 --> 00:22:03,709 So as they went up in the 493 00:22:03,710 --> 00:22:05,869 lift shaft, they started sticking 494 00:22:05,870 --> 00:22:08,059 out their hands and like really 495 00:22:08,060 --> 00:22:10,759 embodying that sense of flying 496 00:22:10,760 --> 00:22:12,319 over the building. And through the video, 497 00:22:12,320 --> 00:22:14,569 they had this bird's eye view 498 00:22:14,570 --> 00:22:16,699 of what it might look like 499 00:22:16,700 --> 00:22:18,669 to fly out to see. 500 00:22:18,670 --> 00:22:19,969 And then at the end of the experiment, 501 00:22:19,970 --> 00:22:22,189 they were led out onto the 502 00:22:22,190 --> 00:22:25,099 rooftop to have 503 00:22:25,100 --> 00:22:26,719 a cocktail in this place. 504 00:22:26,720 --> 00:22:28,879 They'd seen within the the 505 00:22:28,880 --> 00:22:30,949 video experience, they were kind 506 00:22:30,950 --> 00:22:33,469 of abandoned alone 507 00:22:33,470 --> 00:22:36,139 in the night with a cocktail in a very 508 00:22:36,140 --> 00:22:38,449 a very different kind of 509 00:22:38,450 --> 00:22:40,820 winter dark 510 00:22:42,080 --> 00:22:44,149 balcony scene just to sort of 511 00:22:44,150 --> 00:22:46,369 make some sense of what an earth 512 00:22:46,370 --> 00:22:47,689 had just been through. 513 00:22:47,690 --> 00:22:50,029 And I think that what I'm really 514 00:22:50,030 --> 00:22:52,369 interested in is not 515 00:22:52,370 --> 00:22:54,649 necessarily drawing conclusions 516 00:22:54,650 --> 00:22:56,959 from the way that our body 517 00:22:56,960 --> 00:22:59,089 can shift around, but really to explore 518 00:22:59,090 --> 00:23:01,759 and to push it and 519 00:23:01,760 --> 00:23:04,159 imagine into it so that we 520 00:23:04,160 --> 00:23:06,409 can find 521 00:23:06,410 --> 00:23:08,179 out things about metamorphosis. 522 00:23:08,180 --> 00:23:10,309 So, you know, if 523 00:23:10,310 --> 00:23:12,769 you can start to feel 524 00:23:12,770 --> 00:23:15,019 feathers or a river running 525 00:23:15,020 --> 00:23:16,999 down your own hand as. 526 00:23:18,010 --> 00:23:20,079 Part of yourself as part of the 527 00:23:20,080 --> 00:23:22,239 world, that line between where your own 528 00:23:22,240 --> 00:23:23,619 body and the environment 529 00:23:24,670 --> 00:23:27,399 is very malleable and 530 00:23:27,400 --> 00:23:29,529 certainly in England we have had 531 00:23:29,530 --> 00:23:32,139 a very difficult year about 532 00:23:32,140 --> 00:23:33,549 misconstruing 533 00:23:34,780 --> 00:23:37,119 insularity as 534 00:23:37,120 --> 00:23:39,369 this whole movement of tried 535 00:23:39,370 --> 00:23:41,499 to align all the art projects I 536 00:23:41,500 --> 00:23:43,209 do to try and connect people with that 537 00:23:43,210 --> 00:23:45,429 relational aspect of what 538 00:23:45,430 --> 00:23:47,529 being a human is. 539 00:23:47,530 --> 00:23:49,659 And I think 540 00:23:49,660 --> 00:23:51,639 as VR culture is emerging, there's a lot 541 00:23:51,640 --> 00:23:54,009 of great fantasy experiences 542 00:23:54,010 --> 00:23:54,819 that are being based. 543 00:23:54,820 --> 00:23:56,739 There's lots of visceral performances 544 00:23:56,740 --> 00:23:59,319 where you could sort of go to a warehouse 545 00:23:59,320 --> 00:24:01,779 and plunge your hand down a loo 546 00:24:01,780 --> 00:24:04,449 and have a really dramatic 547 00:24:04,450 --> 00:24:07,119 experience, which involves touch. 548 00:24:07,120 --> 00:24:09,189 But I am 549 00:24:09,190 --> 00:24:11,379 more interested in really diving 550 00:24:11,380 --> 00:24:13,489 into the subtlety of said, see, 551 00:24:13,490 --> 00:24:15,549 I've spent the last four years doing 552 00:24:15,550 --> 00:24:17,799 these open workshops, using 553 00:24:17,800 --> 00:24:20,109 movements and contact 554 00:24:20,110 --> 00:24:22,749 experiments and improvization 555 00:24:22,750 --> 00:24:25,179 drawing on the research 556 00:24:25,180 --> 00:24:27,369 that has kind of been amassed 557 00:24:27,370 --> 00:24:29,379 in the biological sciences. 558 00:24:29,380 --> 00:24:31,539 And what we know about physiology 559 00:24:31,540 --> 00:24:34,599 to to try to really go into 560 00:24:34,600 --> 00:24:36,759 the the more fine 561 00:24:36,760 --> 00:24:39,069 grained experiences 562 00:24:39,070 --> 00:24:41,349 of this has just evolved 563 00:24:41,350 --> 00:24:42,369 virtual reality. 564 00:24:42,370 --> 00:24:44,679 It's evolved using whatever 565 00:24:44,680 --> 00:24:45,969 technologies are at hand. 566 00:24:45,970 --> 00:24:48,469 I've made peace with 567 00:24:48,470 --> 00:24:49,559 heart sensor 568 00:24:50,800 --> 00:24:52,989 and a two way mirror which 569 00:24:52,990 --> 00:24:55,449 alters the light on either side 570 00:24:55,450 --> 00:24:57,969 of the mirror so that 571 00:24:57,970 --> 00:25:00,159 you started to see someone through 572 00:25:00,160 --> 00:25:02,499 the mirror who was not you. 573 00:25:02,500 --> 00:25:04,449 And yet it kept on fading back into your 574 00:25:04,450 --> 00:25:05,469 reflection. 575 00:25:05,470 --> 00:25:07,059 There's something very weird about that 576 00:25:07,060 --> 00:25:09,579 experience where a third person 577 00:25:09,580 --> 00:25:11,739 starts to emerge, which is a combination 578 00:25:11,740 --> 00:25:14,109 of two people, and that felt really meaty 579 00:25:14,110 --> 00:25:16,509 and a very 580 00:25:16,510 --> 00:25:19,119 good way to explore actually 581 00:25:19,120 --> 00:25:21,789 how the mirror neurons in our systems 582 00:25:21,790 --> 00:25:23,889 are always reacting to the faces that 583 00:25:23,890 --> 00:25:26,019 we see in front of us are just 584 00:25:26,020 --> 00:25:27,269 to show you a little bit of that 585 00:25:29,560 --> 00:25:31,929 delegates but slots to explore 586 00:25:31,930 --> 00:25:33,400 the installation individually. 587 00:25:37,240 --> 00:25:39,429 Each participant wore fingertip pulse 588 00:25:39,430 --> 00:25:41,619 oximeter and their pulse dynamically 589 00:25:41,620 --> 00:25:43,779 influences the behavior of various 590 00:25:43,780 --> 00:25:45,730 props, lights and sound effects. 591 00:25:49,650 --> 00:25:50,939 Look at your cheek. 592 00:25:52,470 --> 00:25:54,569 Reach out and touch your cheek. 593 00:26:11,940 --> 00:26:13,109 The sound is 594 00:26:14,400 --> 00:26:16,739 not see how slowly you can move your hand 595 00:26:16,740 --> 00:26:17,740 without some. 596 00:26:19,150 --> 00:26:20,289 Send it right down 597 00:26:21,340 --> 00:26:22,340 to. 598 00:26:26,160 --> 00:26:27,180 There's that face in the. 599 00:26:29,060 --> 00:26:31,279 To recognize it, not 600 00:26:31,280 --> 00:26:32,280 quite. 601 00:26:33,370 --> 00:26:35,020 The movement is now your guide, 602 00:26:36,130 --> 00:26:38,439 follow it, follow 603 00:26:38,440 --> 00:26:39,440 your reflection. 604 00:26:42,030 --> 00:26:43,030 Let it lead you. 605 00:26:45,540 --> 00:26:47,369 Follow it as accurately as possible. 606 00:26:55,530 --> 00:26:57,119 Impulse to use these techniques of 607 00:26:57,120 --> 00:26:58,889 visuals and touch to explore an 608 00:26:58,890 --> 00:26:59,929 interpersonal said. 609 00:27:01,450 --> 00:27:03,749 Yeah, so I spent a lot of time 610 00:27:03,750 --> 00:27:05,369 dancing with virtual reality. 611 00:27:07,940 --> 00:27:09,679 And funnily enough, when virtual reality 612 00:27:09,680 --> 00:27:12,439 technology came out, I was sort of 613 00:27:12,440 --> 00:27:15,319 moving away from the science lab because 614 00:27:15,320 --> 00:27:17,659 science is very good at telling you about 615 00:27:17,660 --> 00:27:19,729 the mechanisms of prediction it 616 00:27:19,730 --> 00:27:22,309 needs to make generalized. 617 00:27:22,310 --> 00:27:24,289 It needs to draw generalized conclusions 618 00:27:24,290 --> 00:27:26,509 about how we experience the world. 619 00:27:26,510 --> 00:27:28,699 But what started to emerge and emerge was 620 00:27:28,700 --> 00:27:31,009 this interest in the unique 621 00:27:31,010 --> 00:27:33,349 creative experience of each 622 00:27:33,350 --> 00:27:35,539 audience member, which was something 623 00:27:35,540 --> 00:27:37,849 that I kept on noticing as people 624 00:27:37,850 --> 00:27:39,679 came to these events. 625 00:27:39,680 --> 00:27:42,079 And science has some way to go 626 00:27:42,080 --> 00:27:44,629 before really being able to say 627 00:27:44,630 --> 00:27:46,939 anything much about 628 00:27:46,940 --> 00:27:49,190 the creative instinct. 629 00:27:50,540 --> 00:27:52,639 And I wanted to look at some 630 00:27:52,640 --> 00:27:54,499 different ways of knowing the world and 631 00:27:54,500 --> 00:27:56,659 spend some time in New 632 00:27:56,660 --> 00:27:58,580 Zealand with the Barre community. 633 00:27:59,660 --> 00:28:01,999 I have a teacher in 634 00:28:02,000 --> 00:28:04,189 Hawaii who taught me to do 635 00:28:04,190 --> 00:28:06,799 this technique of indigenous dreiberg 636 00:28:06,800 --> 00:28:08,989 where you record 637 00:28:08,990 --> 00:28:10,609 the dreams that people are having and 638 00:28:10,610 --> 00:28:12,239 draw them. 639 00:28:12,240 --> 00:28:14,299 But each day you 640 00:28:14,300 --> 00:28:15,979 sort of go deeper and deeper into the 641 00:28:15,980 --> 00:28:18,199 unconscious of that process. 642 00:28:18,200 --> 00:28:20,269 I spent some time in South Africa 643 00:28:20,270 --> 00:28:22,999 with the Bushmen of the Kalahari that 644 00:28:23,000 --> 00:28:25,549 adds this started to shift 645 00:28:25,550 --> 00:28:27,769 by sense of how we 646 00:28:27,770 --> 00:28:30,109 were in the world and. 647 00:28:31,430 --> 00:28:34,039 Give me a 648 00:28:34,040 --> 00:28:36,319 feeling of big in the world, 649 00:28:36,320 --> 00:28:38,959 which I hadn't had before, which was 650 00:28:38,960 --> 00:28:41,029 a way of actually feeling at home 651 00:28:41,030 --> 00:28:43,159 in connection with the environment 652 00:28:43,160 --> 00:28:45,289 around me, and that's 653 00:28:45,290 --> 00:28:47,899 what I always was going to explore 654 00:28:47,900 --> 00:28:49,849 through these pieces. 655 00:29:14,060 --> 00:29:16,599 I started to explore what happens 656 00:29:16,600 --> 00:29:18,729 if you had the 657 00:29:18,730 --> 00:29:21,729 civil society of touch and sound 658 00:29:21,730 --> 00:29:23,579 and color. 659 00:29:23,580 --> 00:29:26,249 And basically 660 00:29:26,250 --> 00:29:28,499 kind of creating a poetic experience 661 00:29:28,500 --> 00:29:30,449 of synesthesia. 662 00:29:30,450 --> 00:29:31,450 So. 663 00:29:32,790 --> 00:29:34,979 I'm going to move through the 664 00:29:34,980 --> 00:29:36,809 research because we don't have time for 665 00:29:36,810 --> 00:29:39,089 it, but when virtual 666 00:29:39,090 --> 00:29:41,249 reality really, truly came, I realized 667 00:29:41,250 --> 00:29:44,099 that it has this wonderful capacity 668 00:29:44,100 --> 00:29:45,900 of being able to look at 669 00:29:46,980 --> 00:29:49,679 the individual unique sensory experience 670 00:29:49,680 --> 00:29:51,749 of one person at the same time, 671 00:29:51,750 --> 00:29:54,269 or as being able to facilitate 672 00:29:54,270 --> 00:29:55,169 a macro view. 673 00:29:55,170 --> 00:29:57,269 So through virtual reality, you might 674 00:29:57,270 --> 00:29:58,349 be able to sense 675 00:29:59,400 --> 00:30:01,889 large scale data about the world. 676 00:30:01,890 --> 00:30:05,039 But you're also having a very intense, 677 00:30:05,040 --> 00:30:07,139 immersive personal 678 00:30:07,140 --> 00:30:08,609 experience. 679 00:30:08,610 --> 00:30:11,849 And that sort of seemed 680 00:30:11,850 --> 00:30:13,319 to draw these 681 00:30:15,240 --> 00:30:17,399 these parallels to 682 00:30:17,400 --> 00:30:19,649 what had happened to astronauts 683 00:30:19,650 --> 00:30:21,539 who had gone out into space and looked 684 00:30:21,540 --> 00:30:23,609 back to the Earth and. 685 00:30:24,770 --> 00:30:26,179 By first proper V.R. 686 00:30:26,180 --> 00:30:28,789 piece is called Of The Sphere's. 687 00:30:31,660 --> 00:30:34,359 And it's about the Voyager probe that we 688 00:30:34,360 --> 00:30:36,569 sent out in 1977. 689 00:30:37,890 --> 00:30:40,019 And communicates what we could 690 00:30:40,020 --> 00:30:41,729 about human experience at that time, 691 00:30:41,730 --> 00:30:43,289 mostly through sound. 692 00:30:43,290 --> 00:30:46,139 It's the golden record is dedicated 693 00:30:46,140 --> 00:30:48,849 to music makers of all worlds 694 00:30:48,850 --> 00:30:49,850 all times 695 00:30:50,910 --> 00:30:51,910 and. 696 00:30:52,480 --> 00:30:54,669 I'll show you the open at 697 00:30:54,670 --> 00:30:55,670 that. 698 00:32:33,700 --> 00:32:35,319 These are all images that are on the 699 00:32:35,320 --> 00:32:37,599 golden record itself that we've 700 00:32:37,600 --> 00:32:40,059 sent out to space and that went through 701 00:32:40,060 --> 00:32:42,219 the heliosphere in 702 00:32:42,220 --> 00:32:44,409 2013 703 00:32:44,410 --> 00:32:46,539 and is now the first manmade object 704 00:32:46,540 --> 00:32:48,729 in interstellar space seeking 705 00:32:48,730 --> 00:32:50,289 only and friendship. 706 00:32:53,980 --> 00:32:56,109 To teach if we are called upon. 707 00:33:08,590 --> 00:33:10,719 I think it's so interesting that 708 00:33:10,720 --> 00:33:13,059 we done that as far 709 00:33:13,060 --> 00:33:15,189 as humanity, but we've 710 00:33:15,190 --> 00:33:16,690 basically sends 711 00:33:17,860 --> 00:33:20,349 a message out to the alien 712 00:33:20,350 --> 00:33:22,569 other ads. 713 00:33:22,570 --> 00:33:24,249 I was wondering about what would happen 714 00:33:24,250 --> 00:33:26,379 if we heard back from that ad 715 00:33:26,380 --> 00:33:28,389 fellow. That might be a good thing to 716 00:33:28,390 --> 00:33:31,569 think about at this point on Earth when 717 00:33:31,570 --> 00:33:33,699 we are living through such a 718 00:33:33,700 --> 00:33:36,399 period of. 719 00:33:36,400 --> 00:33:38,110 Of chaos and of 720 00:33:39,610 --> 00:33:41,919 of structural change that hasn't quite 721 00:33:41,920 --> 00:33:42,920 happened yet. 722 00:33:45,350 --> 00:33:47,469 And I wanted to take people 723 00:33:47,470 --> 00:33:49,369 in a really immersive way to just 724 00:33:49,370 --> 00:33:52,039 inhabiting, imagining what a wise 725 00:33:52,040 --> 00:33:54,329 living kind of uba 726 00:33:54,330 --> 00:33:56,569 evolve technological 727 00:33:56,570 --> 00:33:58,729 alien species might be, how 728 00:33:58,730 --> 00:34:01,399 they might communicate to 729 00:34:01,400 --> 00:34:03,619 such a being, what that 730 00:34:03,620 --> 00:34:05,479 what that communication might be, what 731 00:34:05,480 --> 00:34:07,249 might be worth saying, what might be 732 00:34:07,250 --> 00:34:09,619 worth asking, made a piece 733 00:34:09,620 --> 00:34:12,138 for in a burst of full XOMA 734 00:34:12,139 --> 00:34:14,569 and also is a virtual reality 735 00:34:14,570 --> 00:34:16,849 experience for outside, 736 00:34:16,850 --> 00:34:18,919 because I'd be doing all these 737 00:34:18,920 --> 00:34:21,109 virtual reality experience indoors 738 00:34:21,110 --> 00:34:23,479 and they'd be making people cry because 739 00:34:23,480 --> 00:34:25,129 they were about nature. 740 00:34:25,130 --> 00:34:27,439 And there was this weird sensation 741 00:34:27,440 --> 00:34:29,599 of exploring nature 742 00:34:29,600 --> 00:34:31,789 through virtual reality in an indoors 743 00:34:31,790 --> 00:34:34,279 room, in a gallery without any windows 744 00:34:34,280 --> 00:34:35,419 being like air. 745 00:34:36,540 --> 00:34:38,718 A melancholy thing like 746 00:34:38,719 --> 00:34:40,698 virtual reality was the only place we 747 00:34:40,699 --> 00:34:43,218 were going to come to meet the natural 748 00:34:43,219 --> 00:34:45,049 world in the future. 749 00:34:45,050 --> 00:34:46,609 This was sort of entirely not what I 750 00:34:46,610 --> 00:34:47,809 wanted to get across. 751 00:34:47,810 --> 00:34:49,999 So I started doing these pieces more 752 00:34:50,000 --> 00:34:52,189 like rituals outside on 753 00:34:52,190 --> 00:34:53,209 the beach. 754 00:34:53,210 --> 00:34:56,178 There was one that I made for the 755 00:34:56,179 --> 00:34:58,519 eclipse, which we had in England 756 00:34:58,520 --> 00:35:01,509 in 2014, which has this 757 00:35:01,510 --> 00:35:03,649 of, you know, there's a natural 758 00:35:03,650 --> 00:35:05,029 event that's happening up there that we 759 00:35:05,030 --> 00:35:07,099 actually can't look at with 760 00:35:07,100 --> 00:35:09,169 with our with our 761 00:35:09,170 --> 00:35:10,999 eyes without going blind. 762 00:35:11,000 --> 00:35:12,769 So you have to have some sort of viewing 763 00:35:12,770 --> 00:35:13,699 technology. 764 00:35:13,700 --> 00:35:15,259 So it seemed like a really good thing to 765 00:35:15,260 --> 00:35:17,449 use Viarsa to 766 00:35:17,450 --> 00:35:19,549 explore. So people see 767 00:35:19,550 --> 00:35:21,859 actually what happens when 768 00:35:21,860 --> 00:35:23,599 the alignments 769 00:35:25,100 --> 00:35:27,229 of the sun and the moon and the earth 770 00:35:27,230 --> 00:35:29,089 happen in a virtual reality experience. 771 00:35:29,090 --> 00:35:31,369 And then that experience opens up into 772 00:35:31,370 --> 00:35:33,500 a webcam and they can look at the sky. 773 00:35:35,030 --> 00:35:37,609 And that whole sense of mixing 774 00:35:37,610 --> 00:35:39,709 up VR and 775 00:35:39,710 --> 00:35:42,049 the outside world is 776 00:35:42,050 --> 00:35:44,299 like what's really resonated. 777 00:35:44,300 --> 00:35:46,069 I've been doing these workshops with kids 778 00:35:46,070 --> 00:35:47,869 in Scotland. I can't actually show you 779 00:35:47,870 --> 00:35:49,939 any images of them because I don't 780 00:35:49,940 --> 00:35:52,309 have the rights to show you their images. 781 00:35:52,310 --> 00:35:54,649 But they are so excited about 782 00:35:54,650 --> 00:35:57,529 this technology that leading workshops 783 00:35:57,530 --> 00:35:59,959 around them, performing 784 00:35:59,960 --> 00:36:02,179 their own stories on the top of these 785 00:36:02,180 --> 00:36:04,399 mounds, which if you went up to 786 00:36:04,400 --> 00:36:06,469 14 year old 50 year old Scottish 787 00:36:06,470 --> 00:36:08,599 kids and said, I want you to go up onto 788 00:36:08,600 --> 00:36:10,729 this mound and improvise 789 00:36:10,730 --> 00:36:13,199 a performance, I feel they would 790 00:36:13,200 --> 00:36:15,529 without the without 791 00:36:15,530 --> 00:36:17,429 the encouragement of virtual reality, 792 00:36:17,430 --> 00:36:19,609 these weird little 360 cameras, 793 00:36:19,610 --> 00:36:22,009 I think they would be very 794 00:36:22,010 --> 00:36:24,079 difficult to encourage to do that. 795 00:36:24,080 --> 00:36:26,599 But strangely, the 360 796 00:36:26,600 --> 00:36:29,599 cameras seem to be like this facilitation 797 00:36:29,600 --> 00:36:31,489 for them to unleash their imagination 798 00:36:31,490 --> 00:36:33,229 because they don't even notice that 799 00:36:33,230 --> 00:36:35,659 they're creating performances. 800 00:36:35,660 --> 00:36:38,179 So we'd be making these 801 00:36:38,180 --> 00:36:40,339 experiences for the multiverse 802 00:36:40,340 --> 00:36:42,169 in Scotland. 803 00:36:42,170 --> 00:36:44,239 The multiverse itself is this 804 00:36:44,240 --> 00:36:46,309 huge art park that is 805 00:36:46,310 --> 00:36:48,469 shaped to it's kind of styled as 806 00:36:48,470 --> 00:36:50,809 a new Stonehenge and it's shaped 807 00:36:50,810 --> 00:36:52,909 to contemporary 808 00:36:52,910 --> 00:36:55,249 understandings of 809 00:36:55,250 --> 00:36:55,879 the universe. 810 00:36:55,880 --> 00:36:58,249 So it has its got I 811 00:36:58,250 --> 00:36:59,929 think I have a little. 812 00:37:03,720 --> 00:37:05,969 You can see it in 360, 813 00:37:05,970 --> 00:37:06,970 it has. 814 00:37:07,660 --> 00:37:08,660 All the. 815 00:37:11,470 --> 00:37:13,989 All the landscape is is built to. 816 00:37:15,410 --> 00:37:17,899 Information we have, there's some mapping 817 00:37:17,900 --> 00:37:19,559 of superclusters somewhere, I don't think 818 00:37:19,560 --> 00:37:21,709 you can see it from here, these 819 00:37:21,710 --> 00:37:23,869 mounds one, this this mound 820 00:37:23,870 --> 00:37:26,869 is built around 821 00:37:26,870 --> 00:37:28,519 data from Andromeda. 822 00:37:28,520 --> 00:37:30,289 This one represents the Milky Way. 823 00:37:31,430 --> 00:37:33,560 It's a really extraordinary place. 824 00:37:34,900 --> 00:37:37,929 Oh, God, Bullock's 825 00:37:37,930 --> 00:37:38,930 sorry. 826 00:37:39,740 --> 00:37:41,799 The right to the right to the 827 00:37:41,800 --> 00:37:42,819 right. 828 00:37:42,820 --> 00:37:43,959 Hello? 829 00:37:43,960 --> 00:37:46,029 Oh, no, no, it's fucked. 830 00:37:46,030 --> 00:37:47,030 This is excellent. 831 00:37:49,960 --> 00:37:51,150 OK, here we go. 832 00:37:52,910 --> 00:37:54,299 There you go. 833 00:37:54,300 --> 00:37:55,300 OK. 834 00:38:32,440 --> 00:38:34,829 And this project has involved making 835 00:38:34,830 --> 00:38:37,659 360 vistas 836 00:38:37,660 --> 00:38:39,969 of all sorts of different places 837 00:38:39,970 --> 00:38:41,979 in the world. This is the limited 838 00:38:41,980 --> 00:38:44,559 community in Vanuatu, 839 00:38:44,560 --> 00:38:46,809 in the Pacific, one of the islands that 840 00:38:46,810 --> 00:38:49,059 is really threatened by climate change. 841 00:38:49,060 --> 00:38:50,060 And 842 00:38:51,310 --> 00:38:52,959 and they they know that 843 00:38:54,550 --> 00:38:57,189 it is likely that the island will 844 00:38:57,190 --> 00:38:59,049 go below the waves at some point. 845 00:38:59,050 --> 00:39:01,209 So I guess I'm trying to 846 00:39:01,210 --> 00:39:03,339 bring it through these 847 00:39:03,340 --> 00:39:05,469 the the capability of virtual reality 848 00:39:05,470 --> 00:39:07,719 to see beyond our own spheres 849 00:39:07,720 --> 00:39:09,069 their sense of all the different 850 00:39:09,070 --> 00:39:11,469 experiences that are currently happening 851 00:39:11,470 --> 00:39:12,849 in the world right now. 852 00:39:12,850 --> 00:39:14,199 And what a 853 00:39:15,850 --> 00:39:18,099 what a vital 854 00:39:18,100 --> 00:39:20,319 time is to sort of wake up 855 00:39:20,320 --> 00:39:22,269 and pay attention to that. 856 00:39:22,270 --> 00:39:24,699 So the limited community 857 00:39:24,700 --> 00:39:27,039 and the way that they the 858 00:39:27,040 --> 00:39:29,229 way that they formed that music, which 859 00:39:29,230 --> 00:39:30,789 they make with their hands by slapping 860 00:39:30,790 --> 00:39:32,319 water, you know, that's something which 861 00:39:32,320 --> 00:39:34,389 comes from that particular island itself. 862 00:39:34,390 --> 00:39:35,859 It's a cultural form. 863 00:39:35,860 --> 00:39:37,929 And when that island is gone, 864 00:39:37,930 --> 00:39:40,209 you know, where does that language 865 00:39:40,210 --> 00:39:41,350 of expression live? 866 00:39:43,090 --> 00:39:44,679 This is these are really 867 00:39:45,880 --> 00:39:46,880 big questions. 868 00:39:49,190 --> 00:39:51,079 The modern would say there is no truth. 869 00:39:58,440 --> 00:40:00,539 There was a time on this planet when fish 870 00:40:00,540 --> 00:40:02,749 threw themselves out of the water and 871 00:40:02,750 --> 00:40:04,889 legs, all 872 00:40:04,890 --> 00:40:07,499 this and other miracles 873 00:40:07,500 --> 00:40:08,500 on Earth. 874 00:40:09,450 --> 00:40:10,450 Welcome home. 875 00:40:20,710 --> 00:40:23,049 Yeah, so I'm working with virtual 876 00:40:23,050 --> 00:40:25,119 reality to last, and 877 00:40:25,120 --> 00:40:28,449 it's been about six years to 878 00:40:28,450 --> 00:40:30,549 make these avatars which move with 879 00:40:30,550 --> 00:40:34,479 your body ads are transformed 880 00:40:34,480 --> 00:40:35,439 with touch. 881 00:40:35,440 --> 00:40:37,029 So I've always they're touching the 882 00:40:37,030 --> 00:40:38,349 participants. 883 00:40:38,350 --> 00:40:40,899 And I guess opening up to 884 00:40:40,900 --> 00:40:42,999 what the fact that we might 885 00:40:43,000 --> 00:40:45,219 be aliens to explore the 886 00:40:45,220 --> 00:40:47,679 senses that we have in 887 00:40:47,680 --> 00:40:49,779 new ways and I 888 00:40:49,780 --> 00:40:52,389 guess shift from thinking about 889 00:40:52,390 --> 00:40:55,419 the alien and the unknown as something 890 00:40:55,420 --> 00:40:57,639 that is, ah, that's 891 00:40:57,640 --> 00:40:59,289 finished. That's dead. 892 00:40:59,290 --> 00:41:00,290 There's sort of 893 00:41:02,020 --> 00:41:04,089 these narratives that I hear 894 00:41:04,090 --> 00:41:06,489 around inevitable extinction 895 00:41:07,540 --> 00:41:09,579 sort of seem to be like a failure of 896 00:41:09,580 --> 00:41:11,439 imagination. 897 00:41:11,440 --> 00:41:13,989 It's funny because when we 898 00:41:13,990 --> 00:41:17,019 imagine the alien, like our big stories, 899 00:41:18,040 --> 00:41:20,019 often involve the alien already being 900 00:41:20,020 --> 00:41:22,159 dead. So we can in some way expect what 901 00:41:22,160 --> 00:41:24,099 it is first before we have to deal with 902 00:41:24,100 --> 00:41:25,059 it. 903 00:41:25,060 --> 00:41:27,519 But are they all this creative 904 00:41:27,520 --> 00:41:29,289 media that we have, I think could be 905 00:41:29,290 --> 00:41:31,419 encouraging the creative 906 00:41:31,420 --> 00:41:33,909 function, which is 907 00:41:33,910 --> 00:41:36,009 so embedded in our physiology, as 908 00:41:36,010 --> 00:41:38,319 well as this predictive function 909 00:41:38,320 --> 00:41:40,539 to arise and come out 910 00:41:40,540 --> 00:41:42,619 in in a 911 00:41:42,620 --> 00:41:44,439 genuinely new ways. 912 00:41:44,440 --> 00:41:46,509 So this is a long running 913 00:41:46,510 --> 00:41:48,870 project I have about receiving 914 00:41:50,290 --> 00:41:52,689 information from the stars and 915 00:41:52,690 --> 00:41:55,029 being open to alien contact, 916 00:41:55,030 --> 00:41:57,399 but also to receiving 917 00:41:57,400 --> 00:41:59,829 the information we have from other places 918 00:41:59,830 --> 00:42:01,869 on Earth, which we might not be 919 00:42:01,870 --> 00:42:03,999 necessarily considering. 920 00:42:04,000 --> 00:42:06,099 And that 921 00:42:06,100 --> 00:42:08,799 has always led me to 922 00:42:08,800 --> 00:42:11,199 knowing what we've constructed 923 00:42:11,200 --> 00:42:13,299 here on Earth as 924 00:42:13,300 --> 00:42:15,579 a constructed reality 925 00:42:15,580 --> 00:42:18,339 that can be played with, 926 00:42:18,340 --> 00:42:20,979 that can be created into that 927 00:42:20,980 --> 00:42:23,589 might be as malleable and flexible 928 00:42:23,590 --> 00:42:26,109 and transformable as 929 00:42:26,110 --> 00:42:28,179 the feeling of our body in space, 930 00:42:29,590 --> 00:42:30,590 that is. 931 00:42:32,200 --> 00:42:34,689 Something that I guess 932 00:42:34,690 --> 00:42:36,399 activist communities 933 00:42:37,930 --> 00:42:39,999 are really trying 934 00:42:40,000 --> 00:42:41,000 to 935 00:42:42,690 --> 00:42:44,829 to really see through, 936 00:42:44,830 --> 00:42:47,139 I feel great about a sadness around this 937 00:42:47,140 --> 00:42:49,749 this year. It's been a difficult year, 938 00:42:49,750 --> 00:42:51,129 but. But what are the things that I've 939 00:42:51,130 --> 00:42:53,229 done is just hit the streets and got to 940 00:42:53,230 --> 00:42:55,599 talking to people and asking them about 941 00:42:55,600 --> 00:42:57,879 their reality and what they hope for and 942 00:42:57,880 --> 00:42:58,959 what they dream about. 943 00:42:58,960 --> 00:43:01,149 I've done these projects which 944 00:43:01,150 --> 00:43:03,249 have been unfortunately 945 00:43:03,250 --> 00:43:04,359 sabotaged. 946 00:43:04,360 --> 00:43:06,759 So I made 947 00:43:06,760 --> 00:43:09,429 a project which was to vocalize 948 00:43:09,430 --> 00:43:12,819 the word on the street, which 949 00:43:12,820 --> 00:43:14,919 the public reacted, or one part of the 950 00:43:14,920 --> 00:43:17,169 public reacted by utterly destroying 951 00:43:17,170 --> 00:43:19,239 it, which I feel like is the theme 952 00:43:19,240 --> 00:43:22,219 of this particular year is 953 00:43:22,220 --> 00:43:23,220 over. 954 00:43:24,080 --> 00:43:26,199 There's this this is kind 955 00:43:26,200 --> 00:43:27,729 of coming through of creative 956 00:43:27,730 --> 00:43:29,469 perseverance. 957 00:43:29,470 --> 00:43:31,719 But that project, in 958 00:43:31,720 --> 00:43:34,089 fact, Liverpool started by drawing 959 00:43:34,090 --> 00:43:36,819 a sigil outside the building 960 00:43:36,820 --> 00:43:38,889 and budget and thinking 961 00:43:38,890 --> 00:43:41,139 about magic seems a very long, long way 962 00:43:41,140 --> 00:43:43,419 from my time in the neuroscience 963 00:43:43,420 --> 00:43:46,089 lab. But strangely, 964 00:43:46,090 --> 00:43:48,219 they are not so they are not so 965 00:43:48,220 --> 00:43:49,209 distant. 966 00:43:49,210 --> 00:43:50,829 One of the things about drawing a sigil 967 00:43:50,830 --> 00:43:52,209 where you're meant to combine an 968 00:43:52,210 --> 00:43:54,699 intention and use the first 969 00:43:54,700 --> 00:43:57,009 letters of each of the words and what 970 00:43:57,010 --> 00:43:59,439 it is that you would like to invoke into 971 00:43:59,440 --> 00:44:02,109 the world, you have to combine 972 00:44:02,110 --> 00:44:04,419 as like one shape so all the letters fit 973 00:44:04,420 --> 00:44:06,909 into each other and then 974 00:44:06,910 --> 00:44:07,929 you draw it. 975 00:44:07,930 --> 00:44:10,329 I drew it in light outside 976 00:44:10,330 --> 00:44:11,919 Liverpool and then you have to 977 00:44:11,920 --> 00:44:14,589 immediately forget that you've done it, 978 00:44:14,590 --> 00:44:16,689 which is one of the 979 00:44:16,690 --> 00:44:18,999 ways that helps it work. 980 00:44:19,000 --> 00:44:21,249 So weirdly, 981 00:44:21,250 --> 00:44:24,149 that is something that I kind of want 982 00:44:24,150 --> 00:44:26,319 to seed out there, that even 983 00:44:26,320 --> 00:44:29,139 the the darkest times, even 984 00:44:29,140 --> 00:44:32,409 when all of your 985 00:44:32,410 --> 00:44:34,889 your hopes are sort of beating 986 00:44:34,890 --> 00:44:37,389 a very fierce challenge 987 00:44:37,390 --> 00:44:39,669 in opposition to kind 988 00:44:39,670 --> 00:44:42,309 of stick with their sense of creative 989 00:44:42,310 --> 00:44:43,629 renewal. And 990 00:44:44,800 --> 00:44:47,049 I want to add by thinking about 991 00:44:47,050 --> 00:44:49,629 Alan Moore, who is 992 00:44:49,630 --> 00:44:51,759 the master magician 993 00:44:51,760 --> 00:44:54,669 who's influenced by life 994 00:44:54,670 --> 00:44:56,139 kind of entirely, I think what are the 995 00:44:56,140 --> 00:44:58,269 first memories I have is of being severed 996 00:44:58,270 --> 00:44:59,979 and opening the watchmen. 997 00:44:59,980 --> 00:45:02,199 This is a scene from The Watchmen, which 998 00:45:02,200 --> 00:45:04,329 which imagines a 999 00:45:04,330 --> 00:45:06,399 virtual reality so that a 1000 00:45:06,400 --> 00:45:07,840 virtual reality, an alien, 1001 00:45:11,290 --> 00:45:13,389 an alien invasion of New York, 1002 00:45:14,740 --> 00:45:17,929 he manages to. 1003 00:45:17,930 --> 00:45:20,239 Explore that weird 1004 00:45:20,240 --> 00:45:22,849 space between the imagination 1005 00:45:22,850 --> 00:45:26,029 and reality in the most 1006 00:45:26,030 --> 00:45:28,279 interesting of ways, I found 1007 00:45:28,280 --> 00:45:30,559 this obvious that the mask is bought 1008 00:45:30,560 --> 00:45:32,689 even in countries where Guy Fawkes is not 1009 00:45:32,690 --> 00:45:34,819 such a well-known figure 1010 00:45:34,820 --> 00:45:35,820 and. 1011 00:45:36,320 --> 00:45:38,509 He writes to 1012 00:45:38,510 --> 00:45:39,510 Chelsea Manning, 1013 00:45:41,510 --> 00:45:43,639 something which kind of 1014 00:45:43,640 --> 00:45:45,139 moved me. 1015 00:45:45,140 --> 00:45:47,539 Each man and woman is positioned 1016 00:45:47,540 --> 00:45:49,729 at the center of a cosmos that is theirs 1017 00:45:49,730 --> 00:45:52,069 alone and the individual 1018 00:45:52,070 --> 00:45:53,689 as its pivots and its governing 1019 00:45:53,690 --> 00:45:55,129 intelligence. 1020 00:45:55,130 --> 00:45:57,619 Our inner world is in this sense, 1021 00:45:57,620 --> 00:45:59,599 the only world that we can ever know or 1022 00:45:59,600 --> 00:46:02,149 live in. But our inner world is endless 1023 00:46:02,150 --> 00:46:04,129 and immeasurable and is also the 1024 00:46:04,130 --> 00:46:06,349 mysterious fountain from which 1025 00:46:06,350 --> 00:46:08,689 most of the apparent outer world around 1026 00:46:08,690 --> 00:46:10,699 us has emerged. 1027 00:46:10,700 --> 00:46:12,889 The territory inside is the most 1028 00:46:12,890 --> 00:46:15,199 potent and astounding human territory 1029 00:46:15,200 --> 00:46:17,659 of all and is accessible by anyone, 1030 00:46:17,660 --> 00:46:19,819 regardless of their tangible material 1031 00:46:19,820 --> 00:46:21,349 circumstances. 1032 00:46:21,350 --> 00:46:23,299 As the great American philosopher and 1033 00:46:23,300 --> 00:46:25,459 entertainer Robert Anton Wilson once had 1034 00:46:25,460 --> 00:46:27,839 his fictional character, John Dillinger 1035 00:46:27,840 --> 00:46:29,959 Vermaak, the only way to 1036 00:46:29,960 --> 00:46:32,059 escape from a locked cell is 1037 00:46:32,060 --> 00:46:34,009 to walk out through the wall into the 1038 00:46:34,010 --> 00:46:35,010 fire. 1039 00:46:36,500 --> 00:46:39,469 And my God, how do we do that? 1040 00:46:39,470 --> 00:46:40,939 How does Chelsea Manning do that? 1041 00:46:43,100 --> 00:46:45,259 Last December, 1042 00:46:45,260 --> 00:46:47,419 I was in Paris doing 1043 00:46:47,420 --> 00:46:49,549 activism on the streets, having 1044 00:46:49,550 --> 00:46:51,679 lost all my work from the last few 1045 00:46:51,680 --> 00:46:53,839 years, most of my money, 1046 00:46:53,840 --> 00:46:56,689 and had this enduring sense that 1047 00:46:56,690 --> 00:46:58,759 nevertheless, I wanted to turn 1048 00:46:58,760 --> 00:47:01,399 up and do creative 1049 00:47:01,400 --> 00:47:03,469 activism during 1050 00:47:03,470 --> 00:47:05,629 this decision that was being made about 1051 00:47:05,630 --> 00:47:07,879 their climate at 1052 00:47:07,880 --> 00:47:10,039 the the agreements that was 1053 00:47:10,040 --> 00:47:11,690 being carved out in Paris. 1054 00:47:12,830 --> 00:47:15,229 And I told a story not through virtual 1055 00:47:15,230 --> 00:47:17,299 reality, but just 1056 00:47:17,300 --> 00:47:19,489 through storytelling, imagining 1057 00:47:19,490 --> 00:47:21,709 the climate crisis itself 1058 00:47:21,710 --> 00:47:24,859 as a very old story 1059 00:47:24,860 --> 00:47:27,109 that we all knew 1060 00:47:27,110 --> 00:47:29,239 a lot about this 1061 00:47:29,240 --> 00:47:31,429 idea that the kingdom has been 1062 00:47:31,430 --> 00:47:33,499 laid to waste and the meadows fade, the 1063 00:47:33,500 --> 00:47:35,599 flowers die, the animals disappear when 1064 00:47:35,600 --> 00:47:37,699 the waters dwindle, that sense of 1065 00:47:37,700 --> 00:47:39,769 the world being out of joint or out of 1066 00:47:39,770 --> 00:47:41,869 health is in 1067 00:47:41,870 --> 00:47:43,309 all the great stories. 1068 00:47:44,480 --> 00:47:47,029 And really inviting 1069 00:47:47,030 --> 00:47:50,059 people to see the world that they live in 1070 00:47:50,060 --> 00:47:52,669 as a participation 1071 00:47:52,670 --> 00:47:55,339 in this very, very old story 1072 00:47:55,340 --> 00:47:56,340 of renewal. 1073 00:47:57,300 --> 00:47:59,759 I went around invoking 1074 00:47:59,760 --> 00:48:01,979 doors, I drew doors on 1075 00:48:01,980 --> 00:48:04,829 the walls, I made 1076 00:48:04,830 --> 00:48:07,799 projection portals in windows 1077 00:48:07,800 --> 00:48:09,869 and ones that opened 1078 00:48:09,870 --> 00:48:11,219 up when you walked over them 1079 00:48:13,320 --> 00:48:15,629 on the pavements as 1080 00:48:15,630 --> 00:48:18,959 this real attempt to imagine 1081 00:48:18,960 --> 00:48:19,960 doors. 1082 00:48:20,710 --> 00:48:22,389 Where we can only see walls. 1083 00:48:24,250 --> 00:48:26,619 And I planted a lot of seeds, seeds 1084 00:48:26,620 --> 00:48:28,809 printed like labyrinths, and I 1085 00:48:28,810 --> 00:48:30,879 sent a lot of messages out to into 1086 00:48:30,880 --> 00:48:31,880 the city. 1087 00:48:32,710 --> 00:48:35,439 And though it was a tiring 1088 00:48:35,440 --> 00:48:38,049 and huge 1089 00:48:38,050 --> 00:48:40,209 experience, there's no real way 1090 00:48:40,210 --> 00:48:42,189 of knowing what anyone's actually how 1091 00:48:42,190 --> 00:48:44,619 that affected the climate agreement or 1092 00:48:44,620 --> 00:48:46,779 in fact, what that climate agreement, 1093 00:48:46,780 --> 00:48:48,129 you know, what bearing that climate 1094 00:48:48,130 --> 00:48:50,229 agreement might have on the world's. 1095 00:48:50,230 --> 00:48:52,449 Now, that's the axis 1096 00:48:52,450 --> 00:48:55,059 of power has shifted so strangely 1097 00:48:55,060 --> 00:48:56,060 in America. 1098 00:48:57,100 --> 00:48:59,619 But all through that meeting 1099 00:48:59,620 --> 00:49:01,809 and all through the many, many 1100 00:49:01,810 --> 00:49:04,119 creative activists and policy makers 1101 00:49:04,120 --> 00:49:05,529 who are gathered there. 1102 00:49:05,530 --> 00:49:07,659 There was this question, what is 1103 00:49:07,660 --> 00:49:08,660 power? 1104 00:49:12,010 --> 00:49:14,049 And I think that's a really important 1105 00:49:14,050 --> 00:49:16,539 question to ask 1106 00:49:16,540 --> 00:49:18,669 of ourselves, of a creative 1107 00:49:18,670 --> 00:49:21,969 power over the way we perceive 1108 00:49:21,970 --> 00:49:24,039 our reality and our 1109 00:49:24,040 --> 00:49:26,589 creative agency in the world, as 1110 00:49:26,590 --> 00:49:28,659 it was being asked by 1111 00:49:28,660 --> 00:49:31,839 the indigenous rights activists 1112 00:49:31,840 --> 00:49:34,029 who hacked 1113 00:49:34,030 --> 00:49:36,249 the experience of Paris 1114 00:49:36,250 --> 00:49:38,649 by having a huge 1115 00:49:38,650 --> 00:49:40,779 demonstration for the sacred 1116 00:49:40,780 --> 00:49:42,580 waters in front of the Notre Dame. 1117 00:49:43,780 --> 00:49:46,389 It was asked by Olafur Eliasson 1118 00:49:46,390 --> 00:49:49,239 and Mitnik Rowson, 1119 00:49:49,240 --> 00:49:50,830 who put melting 1120 00:49:51,940 --> 00:49:54,279 ice from the Arctic 1121 00:49:54,280 --> 00:49:57,339 in public spaces that slowly 1122 00:49:57,340 --> 00:49:58,619 stripped away. 1123 00:50:00,040 --> 00:50:02,259 It was asked by all those who 1124 00:50:02,260 --> 00:50:04,539 gathered to hold up the red lines 1125 00:50:05,980 --> 00:50:08,259 in a action 1126 00:50:08,260 --> 00:50:10,179 which could buy thousands and thousands 1127 00:50:10,180 --> 00:50:12,759 of people organized by 350 1128 00:50:12,760 --> 00:50:13,760 to. 1129 00:50:15,060 --> 00:50:17,369 Which was plans for India's 1130 00:50:17,370 --> 00:50:19,649 big censors in Paris and 1131 00:50:19,650 --> 00:50:21,629 in those censors, you found interesting 1132 00:50:21,630 --> 00:50:24,149 projects like Poque 21, 1133 00:50:24,150 --> 00:50:25,859 which was all about eco hacking the 1134 00:50:25,860 --> 00:50:28,319 future and setting up 1135 00:50:28,320 --> 00:50:30,539 prototypes as a way 1136 00:50:30,540 --> 00:50:32,969 of partaking in this 1137 00:50:32,970 --> 00:50:35,039 question of what do we do now 1138 00:50:35,040 --> 00:50:36,719 and what has power. 1139 00:50:36,720 --> 00:50:38,639 So they had things like a shower loop, 1140 00:50:38,640 --> 00:50:40,859 that recycled water in itself, 1141 00:50:40,860 --> 00:50:43,199 which is a really simple idea, but. 1142 00:50:44,590 --> 00:50:46,719 By prototyping it, you bring it into the 1143 00:50:46,720 --> 00:50:47,720 world. 1144 00:50:49,500 --> 00:50:51,179 There was the climate games, which is an 1145 00:50:51,180 --> 00:50:53,339 open invitation to all activists and all 1146 00:50:53,340 --> 00:50:55,679 Gabes lovers to come to Paris and 1147 00:50:55,680 --> 00:50:58,079 creates on their own terms 1148 00:50:59,310 --> 00:51:01,559 something for the environment 1149 00:51:01,560 --> 00:51:02,219 itself. 1150 00:51:02,220 --> 00:51:04,529 So a lot of people gathered 1151 00:51:04,530 --> 00:51:06,059 in one place with all sorts of different 1152 00:51:06,060 --> 00:51:08,339 ideas about what's sort 1153 00:51:08,340 --> 00:51:10,739 of really taking 1154 00:51:10,740 --> 00:51:12,899 hold of 1155 00:51:12,900 --> 00:51:14,729 the climate message might be 1156 00:51:15,840 --> 00:51:18,089 there up with a great group called Edge 1157 00:51:18,090 --> 00:51:20,189 Riders there who actually 1158 00:51:20,190 --> 00:51:22,559 have an alternative 1159 00:51:22,560 --> 00:51:24,659 space, which is just in the hotel 1160 00:51:24,660 --> 00:51:26,969 next door, where the kind of workshopping 1161 00:51:26,970 --> 00:51:29,309 ideas about what do we do now, 1162 00:51:29,310 --> 00:51:31,499 how do we form creative networks 1163 00:51:31,500 --> 00:51:33,119 that can support each other? 1164 00:51:33,120 --> 00:51:36,119 How can we actually, like, mobilize 1165 00:51:36,120 --> 00:51:38,669 all the different ideas that are 1166 00:51:38,670 --> 00:51:41,039 of being born, have been worked out 1167 00:51:41,040 --> 00:51:43,409 over the decades for shifting 1168 00:51:43,410 --> 00:51:45,360 how we do democracy and how we do money. 1169 00:51:47,340 --> 00:51:50,249 And doing that together, 1170 00:51:50,250 --> 00:51:52,409 I came to the club 1171 00:51:52,410 --> 00:51:54,629 to this Congress last year 1172 00:51:54,630 --> 00:51:55,630 adds. 1173 00:51:56,640 --> 00:51:59,519 We had a debate out in the corridors 1174 00:51:59,520 --> 00:52:01,979 really trying to brainstorm, 1175 00:52:01,980 --> 00:52:04,349 you know, what the fuck we do now 1176 00:52:04,350 --> 00:52:06,539 for the climate of 1177 00:52:06,540 --> 00:52:08,789 what are the great things 1178 00:52:08,790 --> 00:52:10,949 that came out of that was an essay. 1179 00:52:10,950 --> 00:52:12,089 But just this. 1180 00:52:12,090 --> 00:52:14,039 There's LIG to this wonderful essay which 1181 00:52:14,040 --> 00:52:17,039 really unpacks what technologists 1182 00:52:17,040 --> 00:52:18,719 can do for the climate. 1183 00:52:18,720 --> 00:52:20,580 But I guess by. 1184 00:52:22,020 --> 00:52:24,209 Expression about that is that 1185 00:52:24,210 --> 00:52:26,219 if we are really to understand what 1186 00:52:26,220 --> 00:52:28,559 structural change takes, 1187 00:52:28,560 --> 00:52:30,919 maybe we need to look at the 1188 00:52:30,920 --> 00:52:33,329 the transformative change 1189 00:52:33,330 --> 00:52:35,249 that is needed in our own bodies and our 1190 00:52:35,250 --> 00:52:37,709 own perception to stop thinking 1191 00:52:37,710 --> 00:52:39,899 about virtual reality and immersive 1192 00:52:39,900 --> 00:52:41,519 media ads. 1193 00:52:41,520 --> 00:52:43,739 This gift we have of 1194 00:52:43,740 --> 00:52:45,449 getting people into communication and 1195 00:52:45,450 --> 00:52:47,249 collaboration through the digital or 1196 00:52:47,250 --> 00:52:49,079 through the Internet as something that is 1197 00:52:49,080 --> 00:52:51,779 used for editable and fantasy alone, 1198 00:52:51,780 --> 00:52:53,880 but that there is a latent power 1199 00:52:55,320 --> 00:52:57,389 within that, that 1200 00:52:57,390 --> 00:52:59,639 if we are going to 1201 00:52:59,640 --> 00:53:02,159 in some way meet, 1202 00:53:02,160 --> 00:53:04,649 we need to know how to work together 1203 00:53:04,650 --> 00:53:05,650 and. 1204 00:53:06,450 --> 00:53:08,579 If we could work together, well, 1205 00:53:08,580 --> 00:53:10,319 we need the self-knowledge of knowing our 1206 00:53:10,320 --> 00:53:12,959 own systems, how we take in information, 1207 00:53:12,960 --> 00:53:15,509 how we react to other people, and 1208 00:53:15,510 --> 00:53:18,389 how we can kind of combine 1209 00:53:18,390 --> 00:53:21,569 our talents and our perspectives 1210 00:53:21,570 --> 00:53:23,639 and our skills in 1211 00:53:23,640 --> 00:53:25,769 the world in a way 1212 00:53:25,770 --> 00:53:26,770 that. 1213 00:53:29,020 --> 00:53:30,020 Has power. 1214 00:53:36,280 --> 00:53:38,589 So the venue for the alternative 1215 00:53:38,590 --> 00:53:40,749 three three three is literally 1216 00:53:40,750 --> 00:53:43,479 next door at the Radisson Blu, and 1217 00:53:43,480 --> 00:53:46,059 I ask you all to give 1218 00:53:46,060 --> 00:53:48,639 your your questions 1219 00:53:48,640 --> 00:53:50,440 to be on this completely 1220 00:53:52,270 --> 00:53:54,699 unexpected turn. 1221 00:53:54,700 --> 00:53:56,469 I thought I was going to be talking about 1222 00:53:56,470 --> 00:53:58,689 different sides, and yet I 1223 00:53:58,690 --> 00:54:00,790 cannot think of 1224 00:54:01,900 --> 00:54:04,569 how to stand up at this moment in time 1225 00:54:04,570 --> 00:54:05,570 without. 1226 00:54:06,770 --> 00:54:09,140 Really asking, what do we do now? 1227 00:54:10,970 --> 00:54:13,489 And what the idea is to think Planetree 1228 00:54:13,490 --> 00:54:15,569 and try to make that a reality, 1229 00:54:15,570 --> 00:54:16,639 we could actually hold. 1230 00:54:42,240 --> 00:54:44,250 Thank you, Kate, for sharing 1231 00:54:45,270 --> 00:54:48,119 your openness, your feeling you're seeing 1232 00:54:48,120 --> 00:54:49,929 it looking, we have five minutes here. 1233 00:54:49,930 --> 00:54:51,359 We can take some questions from the 1234 00:54:51,360 --> 00:54:52,360 audience. 1235 00:54:53,550 --> 00:54:55,199 I start with one first. 1236 00:54:55,200 --> 00:54:56,649 I didn't know I was waiting for the rest. 1237 00:54:56,650 --> 00:54:59,339 So if people want to move now and 1238 00:54:59,340 --> 00:55:01,889 not, it's your time. 1239 00:55:01,890 --> 00:55:03,679 Kate, you mentioned me. 1240 00:55:03,680 --> 00:55:05,369 Something that you're publishing a book. 1241 00:55:07,170 --> 00:55:08,849 There is a book coming out. 1242 00:55:08,850 --> 00:55:09,960 I think I've lost my bike. 1243 00:55:10,980 --> 00:55:13,229 There's a book coming out in December 1244 00:55:13,230 --> 00:55:15,509 about about my work with 1245 00:55:15,510 --> 00:55:16,649 your scientists. 1246 00:55:16,650 --> 00:55:18,299 Adds Perception. 1247 00:55:18,300 --> 00:55:20,429 It's it's a collection of essays by lots 1248 00:55:20,430 --> 00:55:22,439 of different media artists, a collection 1249 00:55:22,440 --> 00:55:24,539 of essays from familiar writers 1250 00:55:24,540 --> 00:55:25,540 of you. 1251 00:55:25,980 --> 00:55:28,319 What is the title not known yet? 1252 00:55:28,320 --> 00:55:30,809 I think it's called Intersecting Arts, 1253 00:55:30,810 --> 00:55:32,969 Intersecting Arts 1254 00:55:32,970 --> 00:55:35,369 and will be published probably 1255 00:55:35,370 --> 00:55:36,690 via your website. 1256 00:55:37,710 --> 00:55:39,059 But I will put something up there. 1257 00:55:39,060 --> 00:55:40,429 Yeah, okay. 1258 00:55:40,430 --> 00:55:42,210 If people are interested to follow her 1259 00:55:43,560 --> 00:55:45,629 in our journey, there 1260 00:55:45,630 --> 00:55:47,340 is one way. A questionnaire, I suppose. 1261 00:55:50,430 --> 00:55:52,469 Could you ask my question? 1262 00:55:52,470 --> 00:55:54,690 An indecent proposal here. 1263 00:55:56,190 --> 00:55:58,059 Is that the right time and place? 1264 00:55:58,060 --> 00:55:59,849 Guys, I have a questionnaire. 1265 00:55:59,850 --> 00:56:02,159 Please take the microphone over there. 1266 00:56:02,160 --> 00:56:03,599 You can do it now, Kate. 1267 00:56:03,600 --> 00:56:05,669 Yep. I find question there from 1268 00:56:05,670 --> 00:56:05,909 that. 1269 00:56:05,910 --> 00:56:07,800 OK, there's a great presentation 1270 00:56:09,060 --> 00:56:10,249 in the bringing up the idea. 1271 00:56:10,250 --> 00:56:12,299 So I have a question actually about we're 1272 00:56:12,300 --> 00:56:14,429 talking about climate change and actually 1273 00:56:14,430 --> 00:56:15,359 we are endangered. 1274 00:56:15,360 --> 00:56:17,639 That will will 1275 00:56:17,640 --> 00:56:19,739 be extinct. Species like that 1276 00:56:19,740 --> 00:56:21,949 is is as I can interpret the message 1277 00:56:21,950 --> 00:56:24,329 is that climate change 1278 00:56:24,330 --> 00:56:26,579 is actually we are having 1279 00:56:26,580 --> 00:56:28,019 the climate change. We are afraid that we 1280 00:56:28,020 --> 00:56:29,009 will be extinct. 1281 00:56:29,010 --> 00:56:31,109 Actually, the human race will go 1282 00:56:31,110 --> 00:56:32,699 with the climate change or at least we 1283 00:56:32,700 --> 00:56:34,019 will lose the nature. 1284 00:56:34,020 --> 00:56:36,209 And now the message is that we 1285 00:56:36,210 --> 00:56:38,439 have to save the planet, 1286 00:56:38,440 --> 00:56:39,569 the nature. Right. 1287 00:56:39,570 --> 00:56:40,980 That's the idea behind 1288 00:56:42,010 --> 00:56:44,219 activism, around the climate change 1289 00:56:44,220 --> 00:56:45,220 and stuff. 1290 00:56:46,290 --> 00:56:48,389 And that is 1291 00:56:48,390 --> 00:56:50,489 the situation and 1292 00:56:50,490 --> 00:56:51,959 that we're depleting all the Earth's 1293 00:56:51,960 --> 00:56:54,059 resources. But there were very many 1294 00:56:54,060 --> 00:56:55,989 problems for intense poverty. 1295 00:56:55,990 --> 00:56:58,079 And lack of education is 1296 00:56:58,080 --> 00:57:00,179 simply just something about 1297 00:57:00,180 --> 00:57:01,499 how we use energy. 1298 00:57:01,500 --> 00:57:02,670 Yeah, yeah. I got that one. 1299 00:57:03,990 --> 00:57:06,689 I meant but if let's say 1300 00:57:06,690 --> 00:57:08,939 we want losers because as George 1301 00:57:08,940 --> 00:57:10,679 Carlin put it, the earth existed way 1302 00:57:10,680 --> 00:57:12,779 before us and it still exist even if we 1303 00:57:12,780 --> 00:57:14,249 if we are gone. 1304 00:57:14,250 --> 00:57:16,409 But maybe that's the normal 1305 00:57:16,410 --> 00:57:17,279 way that things would go. 1306 00:57:17,280 --> 00:57:19,489 Probably I never thought about 1307 00:57:19,490 --> 00:57:21,719 after I hear this, you know, but 1308 00:57:21,720 --> 00:57:23,999 I did. I love life 1309 00:57:24,000 --> 00:57:25,469 as I love to Christmas. 1310 00:57:25,470 --> 00:57:27,599 We all do it and I love to evolve. 1311 00:57:27,600 --> 00:57:29,999 And, you know, when I teach my daughter 1312 00:57:30,000 --> 00:57:32,309 a math problem, if she says 1313 00:57:32,310 --> 00:57:34,229 to me, I cannot do this, it is 1314 00:57:34,230 --> 00:57:35,849 impossible. It's impossible. 1315 00:57:35,850 --> 00:57:38,309 And the it cannot be solved, 1316 00:57:38,310 --> 00:57:39,839 then she doesn't get very far with that 1317 00:57:39,840 --> 00:57:41,129 math problem. 1318 00:57:41,130 --> 00:57:43,529 But if she keeps that space 1319 00:57:43,530 --> 00:57:46,349 of possibility open where, 1320 00:57:46,350 --> 00:57:47,609 you know, she does know how she's going 1321 00:57:47,610 --> 00:57:49,649 to solve it, but she keeps on trying, 1322 00:57:49,650 --> 00:57:51,989 then she she finds that capacity 1323 00:57:51,990 --> 00:57:52,889 in herself. 1324 00:57:52,890 --> 00:57:55,469 And there's that is the creative process 1325 00:57:55,470 --> 00:57:57,569 that's like a courage and 1326 00:57:57,570 --> 00:57:59,039 a lightness of heart. 1327 00:57:59,040 --> 00:58:01,499 And, you know, the place 1328 00:58:01,500 --> 00:58:03,629 where big too aware 1329 00:58:03,630 --> 00:58:05,699 of how everything could 1330 00:58:05,700 --> 00:58:07,649 go so wrong, although we need to feel 1331 00:58:07,650 --> 00:58:09,929 that fear. We need to know that the world 1332 00:58:09,930 --> 00:58:10,859 is burning. 1333 00:58:10,860 --> 00:58:13,019 It has always been burning in some 1334 00:58:13,020 --> 00:58:15,299 sense. But to rise 1335 00:58:15,300 --> 00:58:17,519 up to what the 1336 00:58:17,520 --> 00:58:19,679 creative Bobert could be, I think 1337 00:58:19,680 --> 00:58:21,429 that's what I've tried to invite people 1338 00:58:21,430 --> 00:58:22,439 into, which is, 1339 00:58:23,850 --> 00:58:26,789 yeah, extinction might be 1340 00:58:26,790 --> 00:58:29,339 a reality at that is 1341 00:58:29,340 --> 00:58:31,949 a hard thought, especially, 1342 00:58:31,950 --> 00:58:33,849 I don't know, especially for parents, for 1343 00:58:33,850 --> 00:58:35,939 I. I certainly feel that 1344 00:58:35,940 --> 00:58:37,739 link to all these generations that are 1345 00:58:37,740 --> 00:58:40,919 Cobourg further down the line of. 1346 00:58:40,920 --> 00:58:43,139 So yet maybe the Earth will find 1347 00:58:43,140 --> 00:58:44,279 its balance again. 1348 00:58:44,280 --> 00:58:46,409 But if we could try 1349 00:58:47,610 --> 00:58:49,769 to be hatswell and evolve 1350 00:58:49,770 --> 00:58:51,539 with it and live with it at parties, 1351 00:58:51,540 --> 00:58:53,939 participate, then, you know, OK, 1352 00:58:53,940 --> 00:58:55,779 I have one question in adventure 1353 00:58:55,780 --> 00:58:56,279 internet. 1354 00:58:56,280 --> 00:58:58,559 Is it okay? Can I 1355 00:58:58,560 --> 00:59:00,589 I have I take a look at this little 1356 00:59:00,590 --> 00:59:02,369 angel. What is the question there? 1357 00:59:10,460 --> 00:59:13,429 Excuse me, we can't hear you here, 1358 00:59:13,430 --> 00:59:15,629 take your microphone otherwise, OK, 1359 00:59:15,630 --> 00:59:16,579 there was another one who had the 1360 00:59:16,580 --> 00:59:18,019 question there. Can I take your question, 1361 00:59:18,020 --> 00:59:19,020 sir? 1362 00:59:20,390 --> 00:59:21,390 OK. 1363 00:59:21,980 --> 00:59:22,980 You have a question. 1364 00:59:25,110 --> 00:59:26,299 OK, we cut. 1365 00:59:26,300 --> 00:59:27,939 I'm sorry, excuse us. 1366 00:59:27,940 --> 00:59:29,349 Thank you very much. Because we don't 1367 00:59:29,350 --> 00:59:30,639 have any time. We have to rush for the 1368 00:59:30,640 --> 00:59:31,779 next presentation. 1369 00:59:31,780 --> 00:59:33,279 Thank you, Kate. Once again. 1370 00:59:33,280 --> 00:59:35,049 And there are people with serious 1371 00:59:35,050 --> 00:59:36,339 questions here. 1372 00:59:36,340 --> 00:59:38,409 Please give a warm applause 1373 00:59:38,410 --> 00:59:39,410 again, Kate.