I'm Christian Zollner, and I'm the first speaker here, and I'm

here on behalf of the Constitute, and the Constitute is my colleague, Sebastian Piazza, and we have a design and research studio in Berlin-Golzberg in 2012, and

we have independent art development, so when we design, we have a lot of workshops, academic teaching,

and a lot of work being done at the gas profession. We also have a lot of publications, like Human-Computer Interaction, and we also have a lot of talks and lectures, and we also have a lot of talks and lectures, and the theme of the last slide is that a narrative strategy

in technology communication, and also in design, that's what everyone wants, and design fiction, and that makes a lot of space, and the theme of virtual reality, which is quite interesting to us, is how we, with the

Fraunhofer Institute, decided to take part in the

first virtual reality headset, and it was an experiment with the first virtual reality headset, which was the consumer message of the market commerce, and we decided to work on it. When we worked on virtual reality, we thought it would be a skill or

a skill to work on it, and then we went to the diastrates and Eric Clapton, who was the

Ambassador to the US, and he gave the talk in the public forum at the beginning.

We built it. We created it from the very beginning. We created it from the very beginning. And then as well as this, we created the fighting for we and the fighting for the flying

and modernist for help in state. What then?

We don't know. No, it's good. Right. I get on some of it. Marlon Brando in the video or the The Wild One. It's not around 50. And I have heard here. You can't either. This is the aviator from Ray Ban. And he is English. OK, so type practice. Well, it's for the pilot. And it's what I pick. And we get one right in English.

Not me. We the ass and payload. It's a mess with the Russia owner. Cockpit. It's a mess with the wind chutes, but it's a blend chutes. And it's a top form allowed. There's nothing in an instrument in Tafel. And it's not a blend, it's just a gliding. Recohered, but it's a top form.

Total of the total chute. And it has its own value. And the gliding is a total shady in its gliding. We have the GIs. The US, America, and Europe are with us. And that's why we are the winners. And I also want to say that that's why we are the winners.

We are the winners. And that's why we are here with the GIs, the US, America. And that's why we are here in America. It's the rocker culture, the urban gang. And it's the outsider with the tendencies of outlaws. And that's why we are the winners of the GIS.

For an inner narrative, these are sufferers. The outsider, and these are the brothers, and the distancing of the GIS.

And it's really cool. And the form that you see here, with the brothers, is actually a very functional stereotype. But the list is totally different. And the English iconography is, as you can see,

it's not really related to reality. Instead, it's related to the narrative, or to the experiences of our society. And you can see here, we are transforming, reinterpreting, and rearranging. And it's that individualization and individualization.

And that's why we are here with the US, and we are here in the fashion industry. And that's why we are here. Because we are here now. And we are here. We are here, we are here, but we are more here.

And here comes the problem. Because I say, we are here because that is the most global thing that we are capable of. And I believe that there is more than just virtual reality and the technology, but also relative science systems.

We are not aware of how our bodies are connected, or how we are connected to the environment. Because it is a closed headset in the visual and cultural context. It is only the 8th or the 9th century that has been so long since we have been here.

And that is why the fact that the people here are here is that they are always under the setting of the sun. Because that is the setting in the virtual reality world. Because they are not really in the sports industry.

They are not in the boulevard and represent their new outfits and complete that with the sun. And that is a single user experience. And this single user experience is in the private sector. And that is the reality setting in the virtual reality world.

For example, the finance, the computer technology, that is the virtual reality setting, but also virtual reality. So we can, with a totally different view in the virtual reality world, inform one of the tasks and work on it. But it is really hard to imagine that.

And that is virtual reality and out-of-body. And that virtual reality setting, the social reality, that is in the experience. And you can't expect the designer to have a long experience. He wants a soft sit, that he wants a good seat,

that he is up for it. And that is a very stable thing. But it is only product design. It is only functionality and not pragmatic. And for me, it is really hard to imagine that. So the first experiment I did was in fashion. It is here, Tommy Hilfiger is standing.

I am going to show you. And it is going to be a promo shoot. I am going to show you the result. And here, I am going to show you that, or rather, I am going to show you that the model is not as functional as the product design model. It is only production, it is only reinterpretation, it is only rearrangement, and it is only

magic leap. Magic leap is the greatest mix-reality startup

that is in America. It is in Florida. It has a great feature in the wired. And I think that this is the alternative to what you have, not that you don't know what you have. But you have all these things, shades or communities.

And it is interesting to note that you can see that this is a dynamic, digital light field signal. So when it is in the background, I am going to show you. And this is what you see. A light-impulse signal.

And there is a nano-particle, where in the network, the light is coming from. So I am going to show you everything here. But I am going to show you all the pop-up information directly from the screen.

And it is a totally different point.

So it is a positive call center agent. They are getting super cool service. No, that is the look. But you don't want to see it. You don't want to see it. And that's why it is here, in the middle of the identity network, and it is a kind of work that I call M-design.

And I am going to tell you something. So for me, it is a really cool system. So we are going to talk a little bit about that. We are going to show you a retro-photo. And you can see the wayfarer, the aviator,

and all the different brands from the company. But you may not know it, because you can see the entire system in a very controlled way. That is what is OK, but I am really proud of it. So you can see the light-impulse signal. And I am going to tell you something. You must remember what is virtual reality

and augmented reality. And you should understand that in a nutshell. And I find that there is something in the narrative, as we can see on Star Trek, on Star Wars, on Matrix, on a lot of science fiction films.

There is a question that today shows that there is a second question.

It is, but Jordi LaForge is super uncool. Well, this is Star Trek, where there is no suffering.

So it is not that every one of those things is so recurring, because of an adaptation, and there is a cool sub-production. But the trick of Star Trek is that it is up to date, no more, no longer long, it is only a return.

And it is a total social positivity utopia. And that is not only a return on Google Glass. And I think, or I might say, that one day, I thought, OK, what is going on in English? So it is not like we are talking about it, and we are talking about it, and Risico,

and the most outlaw-feeling in science fiction. And then I realized that, when I started with Star Trek, English was just the beginning. So it is the beginning, the beginning. And that is why I am so interested in design, and I am so interested in science. And I am so much more interested in music and raffa.

That is one, and it is another, when we are talking about the closet headset. And that is where our end of the moods, with the view of the Isaac Project, is going to be, OK, wow, that is English. That's what we want. Well, that is what I want to talk about, English is the most alien thing.

Not only that, but also the face-hugger thing, that is the way to describe it, and also to describe it. Why? That is why I am saying, and this is a big question, in sociology, that it is the alienation, that is a phenomenon, with which you have to understand,

when you are in such a situation. And here, the virtual reality is also there. So you are so far away from the room, and you must have an English in-design space. And where? There is space. And that is why we also have a force in the room,

and as I said before, it is space. That is the motion design studio field in England, in London. And they have, for the last six years, a big challenge, which is with virtual reality and even their externalized representation of the virtual reality.

This is quite bizarre. And you should not have a virtual reality, as it is a state of experience, a state of narration. But these devices, the ones that are in the room,

are also a thing. There is also an Oculus system, or a virtual reality system. But it is linked to the brain and the brain. And it is not just the brain, but the brain itself as an interactive description. And I believe that,

this is the space where, as I said before, the brain is in a big state, the virtual reality is there, and this is where everything is so much more secure. And this is the space where there is space, and that is the supernautism, where there is space with identity, where there is space in the fashion office, where there is space to function. And that is why I believe that

there is not enough production to your project. This is how fashion photography works. So with the whole look, the whole silhouette, the whole style, the pose that functions is not at the product level. And that is why it can function,

when there is more mood, then there is, you say, okay, let's talk about this. This is completely different, and it is like a new silhouette, a new design system. And so, as I said before, Marshmallow Laser Feast

is also a design collective in England. And this is at the end of this year, or at the end of this year. This project is called Eyes of the Animal, and this is a virtual scenario that you can see, or you can see, the nature of the animal can see the entire perspective,

or you can see the entire perspective. And we also say that this is a very, very logical setting so that you can see the whole design process, even though it is a very small project. And that is, this is a very clear approach

in the system, in the devices, and there is a lot of hint as to what is the interactive experience. And this is why I say that we need to be able to practice this product in a fashion zone,

and we need to do it in a multi-use way, so that more people can see the whole design process, but when you're doing virtual reality, it's very important that you're doing it in a way that you're doing it in a way that you're doing it in the same way that you're doing it. And you must also do virtual reality in the same way

you're doing it in a virtual way, and in the same way in reality. And if you do that in the same way, then you can do it in model design and in fashion design. I think it's really super new, cool new, and it's a great way to do it. I'd like to say a few thanks.

And if you want to say a few words, thank you, and a few thanks. Do you want to say a few words?

Yes, I'd like to say a few words. One moment, thank you. Yes, it's a really good question. It's more of an idea that I've already said and I'd like to say that I'd like to say

a few words. Thank you, Christian.