Hacking Reality
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00:00
Wechselseitige InformationMultiplikationMixed RealityTelekommunikationTwitter <Softwareplattform>Kartesische AbgeschlossenheitEreignishorizontART-NetzVorzeichen <Mathematik>Große VereinheitlichungTopologieObjekt <Kategorie>MAPProgrammierumgebungGüte der AnpassungDiffusorComputeranimationVorlesung/KonferenzBesprechung/Interview
01:29
HypermediaKollaboration <Informatik>InformationDifferenteGruppenoperationStreaming <Kommunikationstechnik>Mixed RealityQuick-SortBitProjektive EbeneGebäude <Mathematik>Vorlesung/Konferenz
02:21
Projektive EbeneBitGebäude <Mathematik>Quick-SortTermBetragsflächeFormation <Mathematik>Kollaboration <Informatik>Faktor <Algebra>sinc-FunktionComputeranimationVorlesung/Konferenz
03:09
Formation <Mathematik>Atomarität <Informatik>Projektive EbeneKollaboration <Informatik>Natürliche ZahlProzess <Informatik>EreignishorizontQuick-SortDivergente ReiheSelbst organisierendes SystemComputeranimationTermMultiplikationsoperatorComputeranimationVorlesung/KonferenzBesprechung/Interview
05:41
Quick-SortPrototypingProzess <Informatik>FokalpunktAuswahlaxiomMechanismus-Design-TheorieComputerspielVorlesung/Konferenz
06:49
Visuelles SystemProgrammierumgebungDatenfeldQuick-SortCoxeter-GruppeEntscheidungstheorieProgrammierumgebungVirtuelle RealitätProjektive EbeneKartesische KoordinatenSpieltheorieComputeranimationBesprechung/Interview
08:05
Demo <Programm>RadiusVirtuelle RealitätVideokonferenzProjektive EbeneIntegralGenerator <Informatik>Quick-SortComputeranimationVorlesung/Konferenz
09:18
VideokonferenzTouchscreenARM <Computerarchitektur>
10:23
UnrundheitEndliche ModelltheorieCyberspaceComputeranimationBesprechung/InterviewVorlesung/Konferenz
11:36
PunktMaschinenschreibenKonditionszahlGlättungZehnNP-hartes ProblemComputeranimationBesprechung/Interview
13:01
DruckverlaufMehrrechnersystemMaschinenschreibenVorlesung/Konferenz
14:20
ZehnZeitzoneVorlesung/Konferenz
16:02
ZehnProzess <Informatik>Projektive EbeneMechanismus-Design-TheorieCyberspaceSichtenkonzeptMAPDifferenteEndliche ModelltheorieBitMereologieVorlesung/Konferenz
18:19
Kappa-KoeffizientMaschinenschreibenStatistische SchlussweiseNeuronales NetzProjektive EbeneVideokonferenzUmwandlungsenthalpieWeb SiteCoxeter-GruppeGoogolComputerspielGebäude <Mathematik>Systemaufrufp-BlockComputeranimationXML
19:29
SichtenkonzeptSoftwaretestSensitivitätsanalyseUnrundheitGlättungGebäude <Mathematik>BildschirmfensterIdeal <Mathematik>Rechter WinkelAggregatzustandBesprechung/Interview
21:20
SichtenkonzeptGebäude <Mathematik>Projektive EbeneVideokonferenzBesprechung/Interview
22:17
WärmeausdehnungWurm <Informatik>VideokonferenzDifferenteVierzigQuick-SortMereologieGeradeVorlesung/KonferenzComputeranimation
23:03
WärmeausdehnungMereologieGeradeProjektive EbeneProgrammierumgebungMaschinenschreibenComputeranimationVorlesung/Konferenz
24:23
MereologieAntwortfunktionVirtuelle RealitätPhysikalisches SystemBitSpiegelung <Mathematik>SchaltnetzTechnische Zeichnung
25:26
Plancksches WirkungsquantumMarketinginformationssystemAssoziativgesetzBeobachtungsstudieSichtenkonzeptSoundverarbeitungPuls <Technik>Elektronischer ProgrammführerMaschinenschreibenAntwortfunktionSpiegelung <Mathematik>VisualisierungGruppenoperationComputeranimationBesprechung/Interview
27:01
Singularität <Mathematik>Quick-SortMultiplikationsoperatorVirtuelle RealitätEreignishorizontWeb SiteVorhersagbarkeitMechanismus-Design-TheorieProzess <Informatik>ProgrammierumgebungEinfach zusammenhängender RaumWellenlehreTopologieVorlesung/Konferenz
28:50
AntwortfunktionQuellcodeBaumechanikMaschinenschreibenMultiplikationsoperatorVirtuelle RealitätComputeranimationFlussdiagramm
29:39
KugelKanalkapazitätSichtenkonzeptVirtuelle RealitätMultiplikationsoperatorMakrobefehlQuick-SortZentrische StreckungTelepräsenzKugelCyberspaceParallele SchnittstelleEigentliche AbbildungVorlesung/Konferenz
30:29
MultiplikationsoperatorDatensatzFormation <Mathematik>Offene MengeComputeranimationVorlesung/Konferenz
31:16
Computeranimation
32:11
Message-PassingBildgebendes VerfahrenDatensatzObjekt <Kategorie>Computeranimation
33:04
KugelMessage-PassingUnordnungPunktFrequenzDatenstrukturMathematikART-NetzVirtuelle RealitätTelekommunikationZeitzoneTafelbildVorlesung/Konferenz
34:14
Virtuelle RealitätQuick-SortNatürliche ZahlBildschirmfensterSpezielle unitäre GruppeEreignishorizontComputeranimationVorlesung/Konferenz
35:22
MultiplikationKugelWebcamVirtuelle RealitätRechter WinkelBildgebendes VerfahrenEnergiedichteComputeranimationVorlesung/Konferenz
36:38
Shape <Informatik>GrundraumTermInformationMapping <Computergraphik>VererbungshierarchieVorlesung/Konferenz
37:24
Rechter WinkelVorlesung/Konferenz
38:20
KugelPunktVirtuelle RealitätInverser LimesWellenlehreEreignishorizontDifferenteProjektive EbeneQuick-SortFormation <Mathematik>MultiplikationsoperatorVorlesung/Konferenz
39:31
Arithmetischer AusdruckBildschirmmaskeFormale SpracheEinfügungsdämpfungAutomatische DifferentiationMultiplikationsoperatorVirtuelle RealitätMaschinenschreibenWasserdampftafelLeistung <Physik>EinsComputeranimation
40:22
VerschiebungsoperatorQuick-SortAvatar <Informatik>Euler-WinkelVorlesung/Konferenz
41:08
Multi-Tier-ArchitekturHypermediaFunktionalPunktspektrumProjektive EbeneInformationVorlesung/KonferenzComputeranimationZeichnungTechnische Zeichnung
42:01
Transformation <Mathematik>CyberspaceProjektive EbeneComputeranimation
42:51
Interaktives FernsehenProjektive EbeneMereologieWort <Informatik>Shape <Informatik>Gebäude <Mathematik>MultiplikationsoperatorBesprechung/InterviewComputeranimation
44:21
HackerComputerspielGanze FunktionQuick-SortErneuerungstheorieHalbleiterspeicherMultiplikationsoperatorBenutzerschnittstellenverwaltungssystemFigurierte ZahlCyberspacePasswortDemoszene <Programmierung>Virtuelle RealitätVorlesung/Konferenz
45:28
Innerer PunktZellularer AutomatPivot-OperationFigurierte ZahlInternetworkingVerdeckungsrechnungMetropolitan area networkGrundsätze ordnungsmäßiger DatenverarbeitungPivot-OperationZellularer AutomatProzess <Informatik>Innerer PunktProgramm/QuellcodeComputeranimation
46:39
MathematikEntscheidungstheorieVirtuelle RealitätVererbungshierarchieWasserdampftafelVorlesung/Konferenz
47:45
HMS <Fertigung>BildschirmfensterEinsProjektive EbenePortal <Internet>ErneuerungstheorieOrdnung <Mathematik>InformationsspeicherungMessage-PassingKartesische KoordinatenLeistung <Physik>Vollständiger VerbandWort <Informatik>GruppenoperationComputeranimation
49:01
Leistung <Physik>GruppenoperationLeistung <Physik>Rechter WinkelWasserdampftafelVererbungshierarchieCyberspaceRauschenGeradeGruppenoperationVorlesung/KonferenzComputeranimation
50:00
Gleitendes MittelSolitärspielLoopKugelkappeVorwärtsfehlerkorrekturSupercomputerElektronischer ProgrammführerRechenwerkGruppenoperationeCosPrototypingVererbungshierarchieProjektive EbeneAutomatische HandlungsplanungLoopWasserdampftafelLeistung <Physik>Vorlesung/KonferenzComputeranimation
50:48
LoginMenütechnikBildverstehenGruppenkeimProgrammierumgebungMessage-PassingDifferenteTermQuick-SortSpieltheorieGruppenoperationSoftwareCyberspaceMobiles InternetComputeranimation
51:42
EnergiedichteDean-ZahlWort <Informatik>MathematikFarbverwaltungssystemKomplex <Algebra>EreignishorizontPhysikalisches SystemArithmetischer AusdruckVerschlingungGradientKollaboration <Informatik>Leistung <Physik>TabelleTransformation <Mathematik>MathematikVirtuelle RealitätTelekommunikationHypermediaInternetworkingTelepräsenzVorlesung/KonferenzComputeranimation
52:59
WikiProgrammFAQEreignishorizontPerspektiveInformationGrundsätze ordnungsmäßiger DatenverarbeitungPhysikalisches SystemMultiplikationsoperatorMomentenproblemÄußere Algebra eines ModulsVorlesung/KonferenzComputeranimation
54:04
EbeneTopologieHypermediaART-NetzGüte der AnpassungMultiplikationsoperatorCoxeter-GruppeDifferenteRechter WinkelMathematikOffene MengeMessage-PassingGesetz <Physik>Web SiteBitAutomatische DifferentiationVerband <Mathematik>Vorlesung/Konferenz
56:21
Natürliche ZahlMessage-PassingNormalvektorMathematikArithmetische FolgeComputerspielEnergiedichteVorlesung/Konferenz
57:18
MathematikCyberspaceKanalkapazitätProzess <Informatik>TeilmengeInternetworkingGenerator <Informatik>GeradeNP-hartes ProblemVerschlingungMomentenproblemVererbungshierarchieZahlenbereichMultiplikationsoperatorWorkstation <Musikinstrument>AbenteuerspielVorlesung/Konferenz
59:43
MedianwertHypermediaKartesische AbgeschlossenheitProgrammierumgebungJSON
Transkript: Englisch(automatisch erzeugt)
00:14
As we all know, guys, art meets science in this CCC event. All over the place.
00:22
And coding is poetry. Bringing, showing or performing that kind of poetry is as well. That takes some guts. So, certainly when you're an artist, and here we have one, we found one. As an artist you're willing to open yourself and expose your being from inside out.
00:41
So it takes some guts. I have the tremendous pleasure and the big honour here to introduce to you Kate Genevieve. May I spell this in a French way? That is good. You say it better than I do. That's Kate. She's an artist and a director based in Brighton. Her work brings together research in science, technology and performance.
01:05
Her objective is to explore how humans sense the environment and each other. Is that correct? Good. Stage is yours. Light the fuse. Put it in play. Give her a warm welcome, please.
01:28
Thank you so much for coming along. It is nice to be introduced because it helps me remember who I am. I am an artist and a researcher at the Sackler Centre for Consciousness Science
01:43
at Sussex University. And the media performance department there. And that started off as a residency and is now turning into a PhD, which I have to say is very difficult. But I want to just tell you a little bit about my group as a way of introduction.
02:03
I have always done these big mixed media projects, ever since I was a teenager, in warehouses or on the street with puppets and with masks, combining all sorts of different streams of information and different stories. This was a collaboration in 2010, which brought together a comics narrative
02:26
told in a newspaper and a projection onto a building and performers who were coming out of that building. And that sort of sense of really re-appropriating the story of the street or playing with what constructed reality is
02:42
has been a long-term passion. As has music, I'll just show you a little bit of some of the projection projects that I've worked on.
03:11
Music generally sounds better. They're a band called The Acid. And we made a... Again, it was a big collaborative project with Gianni Fabrizio.
03:22
We made a projection performance inspired by ecology and nature's processes. And that kind of interest in ecology really got me into working with newer scientists in the lab and with dancers and performers. So, this is a little project I did
03:45
with the Oxford University.
04:23
And we were working with this idea of when you visually recognise something to be human movement and when it looks synthetic. So, exploring motion detection and combining that with computer animation and then turning it into a big performance and happening,
04:42
which happened in the night time.
05:21
And I guess that's just to give you a sort of flavour of the kind of things that I've been interested in. But I wanted to talk about hacking reality. And that was a term that I picked up in Brighton. There's an organisation there called Lighthouse Arts that was running. A whole series of events around hacking reality
05:41
and the critical engineer's work, The Artvertiser, which, when I saw that little viewing device, it was a sort of prototype that imagined replacing the adverts that you saw in the street with works of art by using this hacked little viewing piece.
06:03
I was really excited by that potential. It seemed to tap into something that I'd had a really long interest in. And I think as much as paying attention to how the technologies we use can shape how we see and experience the world
06:21
and maybe taking back some of that choice in how we go through life, there is also this rich, these rich mechanisms we have of our own body. And the biological processes of sensing is the thing that, through dance and choreography,
06:43
has been the focus of the performance work. And I started working with neuroscientists in the Sackler Centre in, I think, 2011. And when I started doing that, I found this interdisciplinary field of presence research.
07:01
And that seemed to help me suddenly get some sort of precision about how we can think about reality and our kind of relationship with it. And I think the most simple explanation of this that I have ever found is J.J. Gibson, in 1979,
07:22
saying presence is the sense of being in an environment. And that is what I want to dive into, inspired very much by the work of Shah Davis, who was, I think, the VR visionary of the 1990s.
07:42
She made Osmose in 1995, which was a virtual reality experience that you could explore through your breath like a deep-sea diver and many of the applications and the VR games that are coming out now owe this great debt to Shah Davis.
08:04
And when I started making projects like this, the technology hadn't turned up, the Oculus Rift hadn't turned up, and everyone told me I was completely mad for looking at something like virtual reality, because the sense was that it had died. It had been tried out in the 90s and it was an experiment that had failed.
08:24
So, I was using these little video goggles in 2011, made a small project with the children on this island in Croatia, and we were exploring how the stories of that island weren't being told anymore, and the ways of passing down knowledge and apprenticeships,
08:45
that wasn't being done. There was this sense of aspirational living and Coca-Cola as something, the American lifestyle that we should all aim for. And yet, if you looked at the data of what was happening to that island,
09:00
there was rampant unemployment and the younger generation going into drugs and this sort of sense of the integrity of the community really falling apart. So, we were doing this exploration of how to tell stories again with media, and I did a small video piece
09:22
which played in the town square, and basically anybody who walked past, I would beckon over to come and explore this, and they had the sense of being one of the children in that village.
09:49
Look down at your hands. My hands feel warm. Look at your palms. Your palms feel warm.
10:01
Follow with me. As they're looking through the video goggles, they were moving their arms around, and I was helping them move their body in relationship with what was happening on screen.
10:20
And when virtual reality arrived, that was no longer necessary because we now had an interactive way of doing that. I started this long residency around exploring the techniques
10:40
that neuroscience was devising to explore our bodily reality. And I want to kind of ground that in looking at the rubber hand illusion, as in, we try this. Yeah. This kind of fundamentally shifted
11:02
my sense of what could be done in the world. So I want to try it out on someone because it's one of the techniques they have in the lab to actually get a handle on how we can look at our peripersonal space, which is how we sense the space around us
11:21
and how we include something in our own model of our body. And everyone experiences it differently. Some people don't experience anything, some people do. Does anyone feel the drive to explore this now? I have made this, I've hacked together this experiment.
11:42
I see one hand, please come to me. And this is kind of what I was doing in the lab. I was exploring all the techniques and the experiments they had for looking at our sensory experience. Okay, thank you. So you've got to kneel down because, you know, this isn't, it's not lab conditions.
12:03
But if you, yeah, you know it, that's great. If you put your other hand out here. What's your name? Michelle. Michelle, hi. I'm going to touch your hand tensily and can you speak, perhaps shout, as loudly as you can,
12:23
the sensations that you are feeling? Sure. Okay, beautiful. Oh, good, okay. It's a kind of wet feeling, it's soft and smooth. You have to look if you direct your eyes to this hand in front of you.
12:46
And really focus on where the paintbrush point touches the skin itself. It's cold, now it feels very cold because the hand's wet.
13:06
There's a little pressure, a soft pressure. I want you to notice and really feel where are you experiencing this touch?
13:20
In the middle of the top of my hand, down the middle finger. And where is your middle finger? Where is my middle finger?
13:41
On the table? Stick with it, stick with it, keep feeling and keep really focusing on these touches that are coming in. It's... Can you notice how you feel in relationship to this hand in front of you? In relationship to it?
14:03
Now... It's a harder pressure. I don't know. Where does that hand in any way feel connected to you? This one? This hand that you're staring at now?
14:21
Connected to yours, not really. Connected to you? To my body. The one I'm staring at. Or my actual hand. This is very confusing terrain. So far, I really feel my actual hand.
14:41
You're still there. Yeah, I'm still in my actual hand. It feels like you're much higher on my hand than what I'm seeing.
15:01
Like, everything is slightly off. Yeah. It is a very strangely shaped hand. It's tiny and kind of orange. It's hard to feel connected to it. A little masculine, too. It is very masculine. It's a Trump hand. You're so right.
15:23
Can you feel the hand of Trump? I don't want to feel the hand of Trump. No, thanks. My hands are here. OK.
15:41
Oh, it's warm now. Yeah. Any sense of this little hand in front of yours being connected? To me? No. Well, I'm going to leave it there. And I think we all found out something very important. About how maybe getting in the zone
16:01
is really important to how these things work. It's funny, I could do it with a kitchen glove and that kitchen glove is part of my body. But people are very different. And I think we all need different kind of levels of suspension of disbelief.
16:21
I've done it to, in the lab, I did this process which involved having the rubber hand done to me for an hour and continually talking about all the feelings that I was having. And I noticed that it's often described as an experiment where your body model switches over just like a little switch
16:42
and you're like, whoa, this is my hand here. It's not like that at all, as we've just seen. But it sometimes can work and it sometimes can create really bizarre experiences of having like two hands which has split in the middle. Sometimes you feel like there's a tunnel from this bit of the hand to your other hand over there.
17:05
And I just was so fascinated when I started doing that because I'd always had this sense that the body itself was in some way really shiftable and malleable
17:20
and our experience of the world could be transformed. I had this very effective and dramatic near-death experience when I was 18 of falling in the jungle. And as I'd fallen, I had this whole bird's eye view of where I was in space.
17:42
So I knew that the mechanisms of the body existed to give us these extraordinary sensory experiences and wanted to build those properly into the projects that I was making and also notice how people were feeling them back. So, you know, it was a long process.
18:02
If people weren't feeling it, then you had to tweak it and tweak it and tweak it until it was working. And it never would work for everyone because some people were so absolutely intent on sticking with their sense of prior knowledge about where their hand was. So I want to quickly show you
18:20
how I turned that into a project. And extending on the rubber hand illusion, we have all these body-swapping illusions that have been now developed for about a decade. It is possible. It does work. Have a look at this video
18:43
of this piece called No Place. No Place is a site-specific tour of modernist residential block Embassy Court.
19:02
The first performance ran from midday to midnight during the White Knight Festival Brighton and Hove. It is a digital performance that mixes live acting with film as seen through video goggles. Visitors to No Place are met by an estate agent on Brighton's seafront and are led into the building. Inside, they are asked to put on video goggles,
19:23
equipment used at the Sackler Centre for Consciousness Science to scientifically investigate presence and embodiment. If you'd just like to look around to the left and all the way back round and round to the right,
19:50
I'm going to take your hand. If you could just look down and look at your palm and just say yes if you can see the mark at the centre.
20:07
Now, I'm just going to do a quick test for sensitivity. Here. Here. Here. Here. And here.
20:21
Fantastic. I think we're ready to go. If you'd just like to follow me this way. So, as the audience members were led around this modernist building
20:41
as if they were on a viewing of their kind of future ideal home, the experience of the building itself started to change and put ridges on the floor and asked them to feel these haptic props and started to include a lot of animation
21:01
in their experience in the building. So, say they had their hand up against the window, then they would see something completely impossible emerge beyond that window. It's cold and smooth.
21:23
And at the end of the experience, I smuggled them into the lift and in the lift stroked them with feathers and they had the sensation of feathers growing out of their head, which I kind of imagined they wouldn't go with,
21:42
kind of like the experience we just had here, because I thought it was too much, too fantastical. But it might be the fact that the project rolled through the night and people gradually arrived, drunker and drunker, or the fact that people actually genuinely want to have an experience of being something else and to fly.
22:02
So, as they went up in the lift shaft, they started sticking out their hands and really embodying that sense of flying over the building. And through the video, they had this bird's-eye view of what it might look like to fly out to sea. And then at the end of the experience, they were led out onto the rooftop
22:24
to have a cocktail. And in this place they'd seen within the video experience, they were kind of abandoned, alone in the night with a cocktail in a very different kind of winter, dark balcony scene,
22:43
just to sort of make some sense of what an Earth they'd just been through. And I think that what I'm really interested in is not necessarily drawing conclusions from the way that our body can shift around, but really to explore and to push it
23:00
and imagine into it so that we can find out things about metamorphosis. So, you know, if you can start to feel feathers or a river running down your own hand as part of yourself, as part of the world,
23:21
that line between where your own body and the environment is very malleable. And certainly in England, we have had a very difficult year about misconstruing our insularity. And this whole movement of trying to align all the art projects I do
23:42
to try and connect people with that relational aspect of what being a human is. And I think as VR culture is emerging, there's a lot of great fantasy experiences that are being made. There's lots of visceral performances where you could sort of go to a warehouse and plunge your hand down a loo
24:02
and have a really dramatic experience which involves touch. But I am more interested in really diving into the subtlety of sensing. I've spent the last four years doing these open workshops using movements and contact experiments and improvisation,
24:22
drawing on the research that has kind of been amassed in the biological sciences and what we know about physiology to try and really go into the more fine-grained experiences. And this hasn't just involved virtual reality.
24:42
It's involved using whatever technologies are at hand. I made one piece with a heart sensor and a two-way mirror which altered the light on either side of the mirror so that you started to see someone through the mirror
25:01
who was not you and yet it kept on fading back into your reflection. There's something very weird about that experience where a third person starts to emerge, which is a combination of two people. And that felt really meaty and a very good way to explore actually how the mirror neurons in our systems
25:21
are always reacting to the faces that we see in front of us. I'll just show you a little bit of that. ...delegates booked slots to explore the installation individually. Each participant wore a fingertip pulse oximeter and their pulse dynamically influences the behaviour
25:43
of various props, lights and sound effects. Look at your right cheek. Reach up and touch your cheek.
26:12
The sound is not... See how slowly you can move your hand without stopping. Slow it right down but don't stop.
26:26
There's that face in the mirror. Do you recognise it? Not quite. The mirror is now your guide. Follow it. Follow your reflection.
26:42
Let it lead you. Follow it as accurately as possible. Impulse used these techniques of visuals and touch to explore an interpersonal...
27:01
Yeah, so I spent a lot of time dancing with virtual reality. And funnily enough, when virtual reality technology came out, I was sort of moving away from the science lab because science is very good at telling you about the mechanisms of prediction. It needs to make generalised...
27:22
It needs to draw generalised conclusions about how we experience the world. But what started to emerge and emerge was this interest in the unique creative experience of each audience member, which was something that I kept on noticing as people came to these events. And science has some way to go before really being able to say
27:44
anything much about the creative instinct. And I wanted to look at some different ways of knowing the world and spend some time in New Zealand with the Maori community. I have a teacher in Hawaii
28:03
who taught me to do this technique of indigenous dreaming, where you record the dreams that people are having and draw them. But each day, you sort of go deeper and deeper into the unconscious in that process. I spent some time in South Africa with the Bushmen and the Kalahari doing that.
28:23
And this started to shift my sense of how we were in the world. And give me a feeling of being in the world, which I hadn't had before, which was a way of actually feeling at home
28:41
in connection with the environment around me. And that's what I always was going to explore through these pieces.
29:14
I started to explore what happens if you had the simultaneity of touch and sound and colour
29:25
and basically kind of creating a poetic experience of synesthesia. So, I'm going to move through the dream research because we don't have time for it. But when virtual reality really truly came, I realised that
29:42
it has this wonderful capacity of being able to look at the individual, unique sensory experience of one person at the same time as being able to facilitate a macro view. So, through virtual reality, you might be able to sense large-scale data about the world,
30:02
but you're also having a very intense, immersive, personal experience. And that sort of seemed to draw these... these parallels to what had happened to astronauts who had gone out into space and looked back to the Earth.
30:24
And my first proper VR piece is called, Of The Spheres. And it's about the Voyager probe that we sent out in 1977 and communicated what we could about human experience at that time,
30:42
mostly through sound. The Golden Record is dedicated to music makers of all worlds, all times. And I'll show you the opener to that.
32:34
These are all images that are on the Golden Record itself that we've sent out to space and that went through the heliosphere in 2013
32:44
and is now the first man-made object in interstellar space.
33:08
I think it's so interesting that we've done that as humanity. We've basically sent a message out to the alien other
33:21
and I was wondering about what would happen if we heard back from them and felt that that might be a good thing to think about at this point on Earth when we are living through such a period of chaos and of structural change that hasn't quite happened yet.
33:45
And I wanted to take people in, in a really immersive way to just inhabiting, imagining what a wise, living, kind of uber-evolved, technological, alien species might be, how they might communicate to such a being,
34:03
what that communication might be, what might be worth saying, what might be worth asking, made a piece for an immersive full dome and also as a virtual reality experience for outside because I'd been doing all these virtual reality experiences indoors
34:21
and they'd been making people cry because they were about nature and there was this weird sensation of exploring nature through virtual reality in an indoors room in a gallery without any windows, being like a melancholy thing, like virtual reality was the only place we were going to come to meet
34:42
the natural world in the future. This was sort of entirely not what I wanted to get across. So I started doing these pieces more like rituals outside on the beach. There was one that I made for the eclipse, which we had in England in 2014, which has this natural event that's happening up there
35:05
that we actually can't look at with our eyes without going blind. So you have to have some sort of viewing technology. So it seemed like a really good thing to use VR to explore. So people see actually what happens
35:21
when the alignments of the sun and the moon and the earth happen in a virtual reality experience and then that experience opens up into a webcam and they can look at the sky. And that whole sense of mixing up VR and the outside world
35:41
is like what's really resonated. I've been doing these workshops with kids in Scotland. I can't actually show you any images of them because I don't have the rights to show you their images, but they are so excited about this technology that leading workshops around them performing their own stories on the top of these mounds,
36:03
which if you went up to 14-year-old, 15-year-old Scottish kids and said, I want you to go up onto this mound and improvise a performance, I feel they would, without the encouragement of virtual reality, these weird little 360 cameras, I think they would be very difficult to encourage to do that.
36:24
But strangely, the 360 cameras seem to be like this facilitation for them to unleash their imagination because they don't even notice that they're creating performances. So we've been making these experiences for the Chorwick Multiverse in Scotland.
36:42
The Chorwick Multiverse itself is this huge art park that is shaped to, it's kind of styled as a new Stonehenge and it's shaped to contemporary understandings of the universe. So it has, it's got, I think I have a little,
37:04
you can see it in 360. It has, all the landscape is built to information we have. There's some mapping of super clusters somewhere, I don't think you can see it from here.
37:22
These mounds, this mound is built around data from androids, this one represents the Milky Way. It's a really extraordinary place. Oh God, bollocks, sorry.
37:40
To the right, to the right. Hello, oh no, now it's fucked. This is excellent. OK, here we go. There, thank you, God, OK.
38:32
As this project has involved making 360 vistas of all sorts of different places in the world.
38:41
This is the Lewittan community in Vanuatu in the Pacific, one of the islands that is really threatened by climate change. And they know that it is likely that the island will go below the waves at some point. So I guess I'm trying to bring it through these,
39:03
the capability of virtual reality to see beyond our own spheres, this sense of all the different experiences that are currently happening in the world right now and what a vital time it is to sort of wake up and pay attention to that.
39:22
So the Lewittan community and the way that they formed that music which they make with their hands by slapping water, you know, that's something which comes from that particular island itself. It's a cultural form. And when that island is gone, you know, where does that language of expression live?
39:43
This is, these are really big questions. The modern ones say there is no truth. There are. There is power in your hands. There was a time on this planet when fish threw themselves out of the water and grew legs.
40:05
All this and other miracles on Earth. Welcome home.
40:22
So I'm working with virtual reality to, at last, and it's been about six years coming, to make these avatars which move with your body and are transformed with touch. So I'm always there touching the participants. And I guess opening up to what, the fact that we might be aliens,
40:44
to explore the senses that we have in new ways. And I guess shift from thinking about the alien and the unknown as something that is, that's finished, that's dead.
41:02
These narratives that I hear around ineffable extinction sort of seem to be like a failure of imagination. It's funny because when we imagine the alien, like our big stories, often involve the alien already being dead,
41:20
so we can in some way inspect what it is first before we have to deal with it. And all this creative media that we have, I think could be encouraging the creative function, which is so embedded in our physiology as well as this predictive function, to arise and come out in genuinely new ways.
41:45
So this is a long-running project I have about receiving information from the stars and being open to alien contact, but also to receiving the information we have from other places on Earth
42:00
which we might not be necessarily considering. And that has always led me to knowing what we've constructed here on Earth as a constructed reality that can be played with, that can be created into,
42:20
that might be as malleable and flexible and transformable as the feeling of our body in space. That is something that, I guess, activist communities are really trying to really see through.
42:45
I feel great about the sadness around this this year. It's been a difficult year. But one of the things that I've done is just hit the streets and got to talking to people and asking them about their reality and what they hope for and what they dream about. I've done these projects which have been unfortunately sabotaged.
43:05
So I made a project which was to vocalise the word on the street, which the public reacted, or one part of the public reacted by utterly destroying it, which I feel like is the theme of this particular year.
43:21
And there's this sense kind of coming through of creative perseverance. But that project, in fact, Liverpool started by drawing a sigil outside the building. And thinking about magic seems a very long, long way from my time in the neuroscience lab.
43:44
But strangely, they are not so distant. One of the things about drawing a sigil, where you're meant to combine an intention and use the first letters of each of the words in what it is that you would like to invoke into the world,
44:00
you have to combine as one shape so all the letters fit into each other. And then you draw it. I drew it in light outside Liverpool. And then you have to immediately forget that you've done it, which is one of the ways that helps it work. So weirdly, that is something that I kind of want to seed out there,
44:26
that even in the darkest times, even when all of your hopes are sort of meeting a very fierce challenge and opposition, to kind of stick with this sense of creative renewal.
44:43
And I want to end by thinking about Alden Moore, who is the master magician who's influenced my life kind of entirely. I think one of the first memories I have is of being seven and opening the Watchmen. And this is a scene from the Watchmen, which imagines a virtual reality,
45:06
sorry, not a virtual reality, an alien... ...an alien invasion of New York. He manages to explore that weird space
45:21
between the imagination and reality in the most interesting of ways. I found this on the internet. The mask is bought even in countries where Guy Fawkes is not such a well-known figure. And he writes to Chelsea Manning,
45:41
something which kind of moved me. Each man and woman is positioned at the center of a cosmos that is theirs alone, and the individual as its pivots and its governing intelligence. Our inner world is, in this sense, the only world that we can ever know or live in.
46:00
But our inner world is endless and immeasurable and is also the mysterious fountain from which most of the apparent outer world around us has emerged. The territory inside is the most potent and astounding human territory of all and is accessible by anyone, regardless of their tangible material circumstances.
46:21
As the great American philosopher and entertainer Robert Anton Wilson once had his fictional character, John Dillinger, remark, the only way to escape from a locked cell is to walk out through the wall into the fire. And my God, how do we do that? How does Chelsea Manning do that?
46:44
Last December, I was in Paris doing activism on the streets, having lost all my work from the last few years, most of my money, and had this enduring sense that, nevertheless, I wanted to turn up and do creative activism
47:02
during this decision that was being made about the climate and the agreement that was being carved out in Paris. And I told a story not through virtual reality, but just through storytelling, imagining the climate crisis itself as a very old story
47:25
that we all knew a lot about, this idea that the kingdom has been laid to waste and the meadows fade, the flowers die, the animals disappear and the waters dwindle. That sense of the world being out of joint or out of health
47:41
is in all the great stories. And really inviting people to see the world that they live in as a participation in this very, very old story of renewal. I went around invoking doors.
48:01
I drew doors on walls. I made projection portals in windows and ones that opened up when you walked over them on the pavement as this real attempt to imagine doors
48:20
where we can only see walls. And I planted a lot of seeds, seeds printed like labyrinths, and I sent a lot of messages out into the city. And though it was a tiring and huge experience, and there's no real way of knowing what anyone's action,
48:42
how that affected the climate agreement or, in fact, what that climate agreement, what bearing that climate agreement might have on the world now that the axis of power has shifted so strangely in America. But all through that meeting and all through the many, many creative activists and policymakers
49:04
who were gathered there, there was this question, what is power? And I think that's a really important question to ask of ourselves, of our creative power, of the way we perceive our reality
49:23
and our creative agency in the world. It was being asked by the indigenous rights activists who hacked the experience of Paris by having a huge demonstration for the Sakefoot waters
49:41
in front of the Notre Dame. It was asked by Olafur Eliasson and Minic Rausen, who put melting ice from the Arctic in public spaces that slowly dripped away. It was asked by all those who gathered to hold up the red lines,
50:05
in an action which could buy thousands and thousands of people organized by 350.org, which was plans in these big centers in Paris. And in those centers, you found interesting projects like POC21,
50:24
which was all about eco-hacking the future and setting up prototypes as a way of partaking in this question of what do we do now and what has power? So they had things like a shower loop that recycled water in itself,
50:41
which is a really simple idea, but by prototyping it, you bring it into the world. And there was the Climate Games, which is an open invitation to all activists and all games lovers to come to Paris and create on their own terms something for the environment itself.
51:02
So a lot of people gathered in one place with all sorts of different ideas about what sort of retaking holds of the climate message might be. And they're up with a great group called Edgeriders there, who actually have an alternative space
51:23
which is just in the hotel next door, where they're kind of workshopping ideas about what do we do now, how do we form creative networks that can support each other, how can we actually, like, mobilize. All the different ideas that are being born, have been worked at over the decades
51:42
for shifting how we do democracy and how we do money. And doing that together. I came to this Congress last year and we had a debate out in the corridors, really trying to brainstorm, you know, what the fuck we do now
52:04
for the climate. But one of the great things that came out of that was an essay of just this link to this wonderful essay, which really unpacks what technologists can do for the climate. But I guess my expression around that
52:23
is that if we are really to understand what structural change takes, maybe we need to look at the kind of transformative change that is needed in our own bodies and our own perception. To stop thinking about virtual reality and immersive media
52:40
and this gift we have of bringing in people into communication and collaboration through the digital and through the internet as something that is used for entertainment and fantasy alone. But that there is a latent power within that, that if we are going to in some way meet,
53:02
we need to know how to work together. And if we can work together well, we need the self-knowledge of knowing our own systems, how we take in information, how we react to other people, how we can kind of combine our talents and our perspectives
53:22
and our skills in the world in a way that has power. So the venue for the alternative 3-3-C-3 is literally next door at the Radisson Blue.
53:43
And I ask you all to give your questions to me on this completely unexpected turn. I thought I was going to be talking about neuroscience, and yet I cannot think of how to stand up at this moment in time
54:04
without really asking, what do we do now? And one idea is to think planetary and try and make that a reality we can actually hold.
54:42
Thank you, Kate, for sharing your openness, your feeling, your seeing, your looking. We have five minutes here. We can take some questions from the audience. I start with one first. I don't know. I'm waiting for the rest. So if people want to move now, it's your time.
55:02
Kate, you mentioned to me something that you're publishing a book. There is a book coming out. I think I've lost my bike. There's a book coming out in December. About? About my work with neuroscientists and perception. It's a collection of essays by lots of different media artists.
55:22
Okay, a collection of essays from familiar artists of you. What is the title? Not known yet? I think it's called Intersecting Arts. Intersecting Arts. And will be published probably via your website? I will put something up there, yeah. Okay. If people are interested to follow her in her journey,
55:45
there is one with a question here, I suppose. Could you ask? An off-the-mic question. An indecent proposal here. Is that the right time and place, guys? I have a question. Please take the microphone over there.
56:02
You can do it now. Kate? I have one question there from that person. Thanks for the great presentation and bringing up the ideas. I have a question. We're talking about climate change. Actually, we are in danger that we'll be extinct species like that. As I can interpret the message, good.
56:23
Pardon? Can you...? Climate change is actually... We're having climate change. We're afraid that we'll be extinct, actually. The human race will go with the climate change, or at least we'll lose the nature. And the message is now we have to save the planet, the nature, right? That's the idea behind the activism around the climate change and stuff.
56:47
I think we have to recognise the situation and that we're depleting all the Earth's resources. But there are many, many problems from intense poverty and lack of education. It isn't simply just something around how we use energy.
57:02
Yeah, I got that one. I meant that if, let's say, we won't lose the Earth, because, as George Carlin put it, the Earth existed way before us, and it will still exist even if we are gone. But maybe that's the normal way that things should go, probably. Have you ever thought about that? I hear this, you know, but I love life.
57:24
And I love to create, and I love to evolve. And when I teach my daughter a maths problem, if she says to me, I cannot do this, it is impossible. It's impossible and it cannot be solved, then she doesn't get very far with that maths problem.
57:41
But if she keeps that space of possibility open, where, you know, she doesn't know how she's going to solve it, but she keeps on trying, then she finds that capacity in herself. And that is the creative process. That's like a courage and a lightness of heart. And, you know, the place where being too aware
58:04
of how everything could go so wrong, although we need to feel that fear, we need to know that the world is burning. It has always been burning in some sense. But to rise up to what the creative moments could be, I think that's what I'm trying to invite people into,
58:22
which is, yeah, extinction might be a reality. And that is a hard thought, especially, I don't know, especially for parents, but I certainly feel that link to all these generations that are coming further down the line.
58:41
So, yeah, maybe the Earth will find its balance again, but if we could try and give our very best to be here as well and evolve with it and live with it and participate, then, you know... OK, I have one question, more question about the Internet. Is that OK? Can I take a look at the signal, Angel?
59:01
What is the question there? Excuse me, we can't hear you here. Take your microphone, otherwise... OK, there was another one who had the question there. Can I take your question, sir? No? OK.
59:22
Don't you have a question then? OK, then we cut. Sorry, excuses. Thank you very much, because we don't have any time. We have to rush for the next presentation. Thank you, Kate, once again. And if there are people with serious questions here, please give a warm applause again.