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Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.00,0:00:13.42,Default,,0000,0000,0000,,{\i1}rC3 postroll music{\i0}
Dialogue: 0,0:00:13.42,0:00:19.45,Default,,0000,0000,0000,,Herald: Now, imagine a stage with an\Nartist performing in front of a crowd.
Dialogue: 0,0:00:19.45,0:00:25.26,Default,,0000,0000,0000,,Is there a way to measure and even quantify\Nthe shows impact on the spectators?
Dialogue: 0,0:00:25.26,0:00:30.20,Default,,0000,0000,0000,,Kai Kunze is going to address this \Nquestion in his talk Boiling Minds now.
Dialogue: 0,0:00:30.20,0:00:33.20,Default,,0000,0000,0000,,Kai, up to you.
Dialogue: 0,0:00:33.20,0:00:38.72,Default,,0000,0000,0000,,Kai: Thanks a lot for the introduction,\Nbut we have a short video. I hope
Dialogue: 0,0:00:38.72,0:00:47.54,Default,,0000,0000,0000,,that can be played right now.
Dialogue: 0,0:00:47.54,0:01:09.09,Default,,0000,0000,0000,,{\i1}intense electronic staccato music{\i0}
Dialogue: 0,0:01:09.09,0:01:28.10,Default,,0000,0000,0000,,{\i1}music shifts to include softer piano tones{\i0}
Dialogue: 0,0:01:28.10,0:02:04.86,Default,,0000,0000,0000,,{\i1}music shifts again to include harp-like tones{\i0}
Dialogue: 0,0:02:04.86,0:02:10.72,Default,,0000,0000,0000,,{\i1}music keeps gently shifting{\i0}
Dialogue: 0,0:02:10.72,0:02:24.89,Default,,0000,0000,0000,,{\i1}longer drawn out, slowly decreasing pitch{\i0}
Dialogue: 0,0:02:24.89,0:02:40.10,Default,,0000,0000,0000,,{\i1}shift towards slow, guitar-like sounds{\i0}
Dialogue: 0,0:02:40.10,0:03:03.65,Default,,0000,0000,0000,,{\i1}with light crackling noises{\i0}
Dialogue: 0,0:03:03.69,0:03:25.02,Default,,0000,0000,0000,,{\i1}music getting quieter, softer{\i0}
Dialogue: 0,0:03:25.02,0:03:36.22,Default,,0000,0000,0000,,{\i1}and fades away{\i0}
Dialogue: 0,0:03:58.16,0:04:15.30,Default,,0000,0000,0000,,{\i1}inaudible talking{\i0}
Dialogue: 0,0:04:15.30,0:04:22.08,Default,,0000,0000,0000,,Kai: So thanks a lot for the intro and\Nthis is the Boiling Mind talks or linking
Dialogue: 0,0:04:22.08,0:04:30.48,Default,,0000,0000,0000,,physiology and choreography. I just started\Noff with this short video, that could
Dialogue: 0,0:04:30.48,0:04:36.99,Default,,0000,0000,0000,,give you an overview over the experience\Nof this dance performance that we
Dialogue: 0,0:04:36.99,0:04:44.52,Default,,0000,0000,0000,,staged in Tokyo beginning of the year,\Njust before the lockdown, actually.
Dialogue: 0,0:04:44.52,0:04:52.64,Default,,0000,0000,0000,,And the idea behind this was: we wanted to\Nput the audience on a stage. So breaking the
Dialogue: 0,0:04:52.64,0:04:59.92,Default,,0000,0000,0000,,fourth wall. Trying to use physiological\Nsensing in the audience. And that change
Dialogue: 0,0:04:59.92,0:05:08.64,Default,,0000,0000,0000,,then is reflected on stage over the\Nprojection, sound and also audio to
Dialogue: 0,0:05:08.64,0:05:14.96,Default,,0000,0000,0000,,influence the dancers and performers and\Nthen, of course, feed them back again to
Dialogue: 0,0:05:14.96,0:05:22.88,Default,,0000,0000,0000,,the audience. So creating an augmented\Nfeedback loop. In his talk today, I just
Dialogue: 0,0:05:22.88,0:05:28.00,Default,,0000,0000,0000,,want to give you a small overview, a\Nlittle bit about the motivation, why I
Dialogue: 0,0:05:28.00,0:05:36.16,Default,,0000,0000,0000,,thought it's a nice topic for the remote\Nexperience from the Chaos Computer Club
Dialogue: 0,0:05:36.16,0:05:41.12,Default,,0000,0000,0000,,and also a little bit more about the\Nconcept, the set up and the design
Dialogue: 0,0:05:41.12,0:05:48.72,Default,,0000,0000,0000,,iterations, as well as the lessons\Nlearned. So for me to give this talk,
Dialogue: 0,0:05:48.72,0:05:55.92,Default,,0000,0000,0000,,I thought it's a good way to exchange\Nexpertise and get a couple of people that
Dialogue: 0,0:05:55.92,0:06:01.60,Default,,0000,0000,0000,,might be interested for the next\Niterations, because I think we are still
Dialogue: 0,0:06:01.60,0:06:06.96,Default,,0000,0000,0000,,not done with this work. So it's still\Nkind of work in progress. And also a way
Dialogue: 0,0:06:06.96,0:06:12.16,Default,,0000,0000,0000,,to share data. So to do some explorative\Ndata analysis on the recorded performances
Dialogue: 0,0:06:12.16,0:06:19.36,Default,,0000,0000,0000,,that we have. And then most important: I\Nwanted to create a more creative way to
Dialogue: 0,0:06:19.36,0:06:25.76,Default,,0000,0000,0000,,use physiological data and explore it,\Nbecause also for me as a researcher
Dialogue: 0,0:06:25.76,0:06:31.92,Default,,0000,0000,0000,,working on variable computing or activity\Nrecognition, often we just look into
Dialogue: 0,0:06:31.92,0:06:39.33,Default,,0000,0000,0000,,recognizing or predicting certain motions\Nor certain mental states.
Dialogue: 0,0:06:39.33,0:06:47.52,Default,,0000,0000,0000,,And that kind of, at least for simple things,\Nfeeds back into this very - I think -
Dialogue: 0,0:06:47.52,0:06:55.19,Default,,0000,0000,0000,,idiotic or stupid ideas of surveillance and\Napplications cases and that.
Dialogue: 0,0:06:55.19,0:07:01.33,Default,,0000,0000,0000,,So can we create more intuitive ways \Nto use physiological data?
Dialogue: 0,0:07:01.33,0:07:04.40,Default,,0000,0000,0000,,So from a concept perspective, I think the
Dialogue: 0,0:07:04.40,0:07:10.52,Default,,0000,0000,0000,,video gave a good overview of what we\Ntried to create. However,
Dialogue: 0,0:07:10.52,0:07:17.60,Default,,0000,0000,0000,,what we did in 3 performances was: We used\Nphysiological sensors on all audience
Dialogue: 0,0:07:17.60,0:07:22.96,Default,,0000,0000,0000,,members. So for us, it was important that\Nwe are not singling out individual people
Dialogue: 0,0:07:22.96,0:07:29.76,Default,,0000,0000,0000,,to just get feedback from them, but have\Nthe whole response, the whole physiological
Dialogue: 0,0:07:29.76,0:07:37.44,Default,,0000,0000,0000,,state of the audience as an input to the\Nperformance. In that case, we actually
Dialogue: 0,0:07:37.44,0:07:45.52,Default,,0000,0000,0000,,used heart rate variability and also\Ngalvanic skin response as inputs.
Dialogue: 0,0:07:45.52,0:07:51.76,Default,,0000,0000,0000,,And these inputs then changed the projection\Nthat you could see. The lights, especially
Dialogue: 0,0:07:51.76,0:07:58.16,Default,,0000,0000,0000,,the intensity of the lights and also \Nthe sound. And that, again, then led to
Dialogue: 0,0:07:58.16,0:08:05.22,Default,,0000,0000,0000,,changes in the dancing behavior of the\Nperformers.
Dialogue: 0,0:08:05.22,0:08:10.80,Default,,0000,0000,0000,,For the sensing, we went with a variable\Nset up,
Dialogue: 0,0:08:10.80,0:08:18.98,Default,,0000,0000,0000,,so in this case a fully wireless wristband,\Nbecause we wanted to do something that is
Dialogue: 0,0:08:18.98,0:08:25.16,Default,,0000,0000,0000,,easy to wear and easy to put on and to put\Noff. We had a couple of iterations on that
Dialogue: 0,0:08:25.17,0:08:32.97,Default,,0000,0000,0000,,and we decided then for electrodermal\Nactivity and also heart activity
Dialogue: 0,0:08:32.97,0:08:39.52,Default,,0000,0000,0000,,to sense, because there's some\Nrelated work that link these sensors to
Dialogue: 0,0:08:39.52,0:08:45.92,Default,,0000,0000,0000,,engagement stress and also excitement\Nmeasures. And the question then was also
Dialogue: 0,0:08:45.92,0:08:53.20,Default,,0000,0000,0000,,where to sense it first. We went with a\Ncouple of wrist bands and also kind of
Dialogue: 0,0:08:53.20,0:08:58.24,Default,,0000,0000,0000,,commercial approaches or half-commercial\Napproaches. However, the sensing quality
Dialogue: 0,0:08:58.24,0:09:03.75,Default,,0000,0000,0000,,was just not good enough, especially from\Nthe wrist. You cannot really get a good
Dialogue: 0,0:09:03.75,0:09:09.04,Default,,0000,0000,0000,,electrodermal activity, so galvanic skin\Nresponse. It's more or less a sweat
Dialogue: 0,0:09:09.04,0:09:18.64,Default,,0000,0000,0000,,sensor. So that means that you can detect\Nif somebody is sweating and some of the
Dialogue: 0,0:09:18.64,0:09:25.68,Default,,0000,0000,0000,,sweat is actually then related to a stress\Nresponse. And in that case, there are a
Dialogue: 0,0:09:25.68,0:09:30.08,Default,,0000,0000,0000,,couple of ways to measure that. So it\Ncould be on the lower part of your hand or
Dialogue: 0,0:09:30.08,0:09:35.28,Default,,0000,0000,0000,,also on the fingers. These are usually the\Nbest positions. So we used the fingers.
Dialogue: 0,0:09:35.28,0:09:42.56,Default,,0000,0000,0000,,Over the fingers we can also get heartrate\Nactivity. And in addition to that, there's
Dialogue: 0,0:09:42.56,0:09:48.48,Default,,0000,0000,0000,,also a small motion sensor, so a gyro and an\Naccelerometer in the wristband. We haven't
Dialogue: 0,0:09:48.48,0:09:54.16,Default,,0000,0000,0000,,used that for the performance right now, but\Nwe still have the recordings also from the
Dialogue: 0,0:09:54.16,0:10:00.40,Default,,0000,0000,0000,,audience for that. When I say we, I mean\NGeorge especially and also Dingding,
Dialogue: 0,0:10:00.40,0:10:05.16,Default,,0000,0000,0000,,2 researchers that work with me, did \Nactually took care of the designs.
Dialogue: 0,0:10:05.16,0:10:12.09,Default,,0000,0000,0000,,So then the question was also how to\Nmap it to the environment or the staging.
Dialogue: 0,0:10:12.09,0:10:17.18,Default,,0000,0000,0000,,In this case, actually, this was done \Nby a different team,
Dialogue: 0,0:10:17.18,0:10:20.88,Default,,0000,0000,0000,,this was done by the embodied media team\Nalso at KMD.
Dialogue: 0,0:10:20.88,0:10:24.74,Default,,0000,0000,0000,,So I know a little bit about it,\Nbut I'm definitely not an expert.
Dialogue: 0,0:10:24.74,0:10:33.36,Default,,0000,0000,0000,,And for the initial design we\Nthought we use the EDA for the movement
Dialogue: 0,0:10:33.36,0:10:40.96,Default,,0000,0000,0000,,speed of the projection. So the EDA rate\Nof change is matched to movement of these
Dialogue: 0,0:10:40.96,0:10:47.12,Default,,0000,0000,0000,,blobs that you could see or also the meshs\Nthat you can see and the color represents
Dialogue: 0,0:10:47.12,0:10:52.64,Default,,0000,0000,0000,,the heart rate. We went for the LFHF\Nfeature that's low frequency, high
Dialogue: 0,0:10:52.64,0:10:57.60,Default,,0000,0000,0000,,frequency ratio and should give you,\Naccording to related work, some indication
Dialogue: 0,0:10:57.60,0:11:04.00,Default,,0000,0000,0000,,about excitement. For the lights: the\Nlights were also bound to the heart rate,
Dialogue: 0,0:11:04.00,0:11:08.72,Default,,0000,0000,0000,,in this case, the beats per minute, and\Nthey were matched to intensity. So if the
Dialogue: 0,0:11:08.72,0:11:13.52,Default,,0000,0000,0000,,beats per minute of the audience go\Ncollectively up, the light gets brighter,
Dialogue: 0,0:11:13.52,0:11:19.44,Default,,0000,0000,0000,,otherwise, it's dimmer. For the audio: we\Nhad an audio designer that cared about
Dialogue: 0,0:11:19.44,0:11:27.76,Default,,0000,0000,0000,,sounds and faded in and faded out specific\Nsounds also related to the EDA to the
Dialogue: 0,0:11:27.76,0:11:36.32,Default,,0000,0000,0000,,relative rate of change of the electro-\Ndermal activity. All this happened while
Dialogue: 0,0:11:36.32,0:11:43.76,Default,,0000,0000,0000,,the sensors were connected over sensing\Nserver in QT to touch designer software
Dialogue: 0,0:11:43.76,0:11:53.28,Default,,0000,0000,0000,,that generated this type of projections.\NAnd also the music got fed into and that
Dialogue: 0,0:11:53.28,0:11:59.20,Default,,0000,0000,0000,,was then controlling the feedback\Nto the dancers. If you want to
Dialogue: 0,0:11:59.20,0:12:09.28,Default,,0000,0000,0000,,have a bit more of detail, I uploaded the\Nwork in progress preprint paper, a draft
Dialogue: 0,0:12:09.28,0:12:15.84,Default,,0000,0000,0000,,of an accepted TI paper. So in case you are\Ninterested in the mappings and the design
Dialogue: 0,0:12:15.84,0:12:20.32,Default,,0000,0000,0000,,decisions for the projections, there is\Na little bit more information there.
Dialogue: 0,0:12:20.32,0:12:26.56,Default,,0000,0000,0000,,I'm also happy later on to answer those\Nquestions. However, I will probably just
Dialogue: 0,0:12:26.56,0:12:31.52,Default,,0000,0000,0000,,forward them to the designers, that worked\Non them. And then, for the overall
Dialogue: 0,0:12:31.52,0:12:38.64,Default,,0000,0000,0000,,performance, what happened was, we started\Nout with an explanation of the experience.
Dialogue: 0,0:12:38.64,0:12:45.58,Default,,0000,0000,0000,,So it was already advertised as a performance\Nthat would take in electrodermal
Dialogue: 0,0:12:45.58,0:12:52.08,Default,,0000,0000,0000,,activity and heartbeat activity.\NSo, people that bought tickets or came to
Dialogue: 0,0:12:52.08,0:12:56.00,Default,,0000,0000,0000,,the event already had a little bit of\Nbackground information. We, of course,
Dialogue: 0,0:12:56.00,0:13:00.72,Default,,0000,0000,0000,,made also sure that we explained at the\Nbeginning what type of sensing we will be
Dialogue: 0,0:13:00.72,0:13:09.36,Default,,0000,0000,0000,,using. Also what the risks and problems\Nwith these type of sensors and data
Dialogue: 0,0:13:09.36,0:13:16.00,Default,,0000,0000,0000,,collection is and then audience could decide,\Nwith informed consent, if they just want to
Dialogue: 0,0:13:16.00,0:13:20.24,Default,,0000,0000,0000,,stream the data, don't want to do\Nanything, or they want to stream and also
Dialogue: 0,0:13:20.24,0:13:26.32,Default,,0000,0000,0000,,contribute the data anonymously to our\Nresearch. And then when the performance
Dialogue: 0,0:13:26.32,0:13:31.97,Default,,0000,0000,0000,,started, we had a couple of pieces and\Nparts, that is something that you can see in
Dialogue: 0,0:13:31.97,0:13:38.80,Default,,0000,0000,0000,,B, where we showed the live data feed from\Nall of the audiences in individual tiles. We
Dialogue: 0,0:13:38.80,0:13:45.68,Default,,0000,0000,0000,,had that in before just for debugging, but\Nactually the audience liked that. And so
Dialogue: 0,0:13:45.68,0:13:52.08,Default,,0000,0000,0000,,we made it a part of the performance, also\Ndeciding with the choreographers to
Dialogue: 0,0:13:52.08,0:13:57.84,Default,,0000,0000,0000,,include that. And then for the rest, as\Nyou see in C, we have the individual
Dialogue: 0,0:13:57.84,0:14:07.36,Default,,0000,0000,0000,,objects, these blob objects that move\Naccording to the EDA data and change colour
Dialogue: 0,0:14:07.36,0:14:16.16,Default,,0000,0000,0000,,based on the heart rate information. So\Nthe low to high frequency. In B, you see
Dialogue: 0,0:14:16.16,0:14:24.72,Default,,0000,0000,0000,,also these clouds. And yet similarly, the\Nsize is related to the heart rate data.
Dialogue: 0,0:14:24.72,0:14:33.12,Default,,0000,0000,0000,,And the movement again is EDA. And there's\Nalso one scene in E where the dancers pick
Dialogue: 0,0:14:33.12,0:14:39.76,Default,,0000,0000,0000,,one person in the audience and ask them to\Ncome on stage. And then we will display
Dialogue: 0,0:14:39.76,0:14:47.84,Default,,0000,0000,0000,,that audience members data at large in the\Nback of the projection. And for the rest,
Dialogue: 0,0:14:47.84,0:14:54.56,Default,,0000,0000,0000,,again, we're using this excitement data\Nfrom the heart rate and from the
Dialogue: 0,0:14:54.57,0:15:07.20,Default,,0000,0000,0000,,electrodermal activity to change sizes and\Ncolours. So, to come up with this design, we
Dialogue: 0,0:15:07.20,0:15:14.00,Default,,0000,0000,0000,,went the co-design route, discussing with\Nthe researchers, dancers, visual
Dialogue: 0,0:15:14.00,0:15:20.32,Default,,0000,0000,0000,,designers, audio designers a couple of\Ntimes. And actually that's also how I got
Dialogue: 0,0:15:20.32,0:15:27.84,Default,,0000,0000,0000,,involved first, because the initial idea is\Nalso from Moe, the primary designer of this
Dialogue: 0,0:15:27.84,0:15:36.16,Default,,0000,0000,0000,,piece, were to combine somehow perception\Nand motion. And I worked a bit in research
Dialogue: 0,0:15:36.16,0:15:41.76,Default,,0000,0000,0000,,with the eye tracking. So you see on the\Nscreen the pupil website eye tracker it is
Dialogue: 0,0:15:41.76,0:15:50.32,Default,,0000,0000,0000,,and open source eye tracking solution and\Nalso EOG electro-oculography glasses, that
Dialogue: 0,0:15:50.32,0:15:58.24,Default,,0000,0000,0000,,use the capacitance of your eyeballs to\Ndetect something. Rough about eye emotion.
Dialogue: 0,0:15:58.24,0:16:05.52,Default,,0000,0000,0000,,And we thought at the beginning, we want\Nto combine this, a person seeing the play
Dialogue: 0,0:16:05.52,0:16:10.08,Default,,0000,0000,0000,,with the motions of the dancers and\Nunderstand that better. So that's kind of
Dialogue: 0,0:16:10.08,0:16:21.76,Default,,0000,0000,0000,,how it started. The second inspiration for\Nthis idea in the theatre came from a
Dialogue: 0,0:16:21.76,0:16:29.20,Default,,0000,0000,0000,,visiting scholar, Jamie. Jamie Ward came\Nover and his work with the flood theater
Dialogue: 0,0:16:29.20,0:16:34.32,Default,,0000,0000,0000,,in London. That's an inclusive theatre\Nthat also does workshops or Shakespeare
Dialogue: 0,0:16:34.32,0:16:40.88,Default,,0000,0000,0000,,workshops. And he did some sensing just\Nwith the accelerometers and gyroscopes or
Dialogue: 0,0:16:40.88,0:16:47.02,Default,,0000,0000,0000,,inertial motion wristbands to detect\Ninterpersonal synchrony between
Dialogue: 0,0:16:47.02,0:16:53.36,Default,,0000,0000,0000,,participants in these workshops. And then\Nwe thought, when he came over, we had a
Dialogue: 0,0:16:53.36,0:16:59.55,Default,,0000,0000,0000,,small piece where we looked into this\Ninterpersonal synchrony again in face to
Dialogue: 0,0:16:59.55,0:17:04.16,Default,,0000,0000,0000,,face communications. I mean, now we are\Nremote and I'm just talking into a camera
Dialogue: 0,0:17:04.16,0:17:08.96,Default,,0000,0000,0000,,and I cannot see anybody. But usually, if\Nyou would have a face to face conversation,
Dialogue: 0,0:17:08.96,0:17:15.04,Default,,0000,0000,0000,,doesn't happen too often anymore,\Nunfortunately. We would show some type of
Dialogue: 0,0:17:15.04,0:17:20.56,Default,,0000,0000,0000,,synchronies or, you know, kind of eyeblink,\Nhead nod and so on would synchronize with
Dialogue: 0,0:17:20.56,0:17:24.88,Default,,0000,0000,0000,,the other person, if you're talking to\Nthem. And we also showed, that in small
Dialogue: 0,0:17:24.88,0:17:30.24,Default,,0000,0000,0000,,recordings also we showed that we \Ncan recognize this in a variable sensing
Dialogue: 0,0:17:30.24,0:17:36.56,Default,,0000,0000,0000,,setup. So again, using some glasses and we\Nthought, why don't we try to scale that
Dialogue: 0,0:17:36.56,0:17:42.40,Default,,0000,0000,0000,,up? Why don't we try and see what happens\Nin a theatre performance or in another
Dialogue: 0,0:17:42.40,0:17:49.81,Default,,0000,0000,0000,,dance performance and see if we can\Nrecognize also some type of synchrony. And
Dialogue: 0,0:17:49.81,0:17:57.52,Default,,0000,0000,0000,,with a couple of ideation sessions, a\Ncouple of also test performances, also
Dialogue: 0,0:17:57.52,0:18:04.88,Default,,0000,0000,0000,,including dancers trying out glasses,\Ntrying out other headwear. And that was
Dialogue: 0,0:18:04.88,0:18:10.48,Default,,0000,0000,0000,,not really possible to use for the dancers\Nduring the performance. We came up with an
Dialogue: 0,0:18:10.48,0:18:18.64,Default,,0000,0000,0000,,initial prototype and that we tried out,\Nso in, I think November 2018 or so, where
Dialogue: 0,0:18:18.64,0:18:24.32,Default,,0000,0000,0000,,we used a couple of pupil-labs and also\Npupil-invisible. These are nicer eye tracking
Dialogue: 0,0:18:24.32,0:18:27.84,Default,,0000,0000,0000,,glasses, they are optical eye tracking\Nglasses, so they have small cameras in
Dialogue: 0,0:18:27.84,0:18:34.08,Default,,0000,0000,0000,,them, distributed in the audience. A couple\Nof those Yoji glasses, they have also
Dialogue: 0,0:18:34.08,0:18:38.72,Default,,0000,0000,0000,,initial motion sensors in them. So\Naccelerometer and gyroscope. And we had at
Dialogue: 0,0:18:38.72,0:18:46.80,Default,,0000,0000,0000,,the time heart rate sensors. However, they\Nwere fixed and wired to the system. And
Dialogue: 0,0:18:46.80,0:18:53.36,Default,,0000,0000,0000,,also the dancers wore some wristbands\Nwhere we could record the motion data. And
Dialogue: 0,0:18:53.36,0:18:59.92,Default,,0000,0000,0000,,then what we did in these cases, then we\Nhad projections on three frames on top
Dialogue: 0,0:18:59.92,0:19:05.84,Default,,0000,0000,0000,,of the dancers. One was showing the blink\Nand the headnod synchronization of the
Dialogue: 0,0:19:05.84,0:19:10.88,Default,,0000,0000,0000,,audience. The other one showed heart rate\Nand variability. And the third one just
Dialogue: 0,0:19:10.88,0:19:17.28,Default,,0000,0000,0000,,showed raw feed from one of the eye\Ntrackers. And it looked more or less like
Dialogue: 0,0:19:17.28,0:19:23.20,Default,,0000,0000,0000,,this. And from a technical perspective, we\Nwere surprised because it actually worked.
Dialogue: 0,0:19:23.20,0:19:32.72,Default,,0000,0000,0000,,So we could stream around 10 glasses,\Nthree eye trackers and four, five, I think
Dialogue: 0,0:19:32.72,0:19:40.00,Default,,0000,0000,0000,,heart rate sensors at the same time and the surfer \Nworked. However, from an audience
Dialogue: 0,0:19:40.00,0:19:45.36,Default,,0000,0000,0000,,perspective, a lot of the feedback was the\Naudience didn't like that just some people
Dialogue: 0,0:19:45.36,0:19:50.24,Default,,0000,0000,0000,,got singled out and got the device by\Nthemselves and others could not really
Dialogue: 0,0:19:50.24,0:19:54.56,Default,,0000,0000,0000,,contribute and could not also see the\Ndata. And then also from a performance
Dialogue: 0,0:19:54.56,0:19:59.12,Default,,0000,0000,0000,,perspective, the dancers didn't really\Nlike that they couldn't interact with the
Dialogue: 0,0:19:59.12,0:20:05.60,Default,,0000,0000,0000,,data. The dance piece also in this case\Nwas pre-choreographed. So there was no
Dialogue: 0,0:20:05.60,0:20:11.28,Default,,0000,0000,0000,,possibility for the dancers to really\Ninteract with the data. And then also,
Dialogue: 0,0:20:11.28,0:20:17.12,Default,,0000,0000,0000,,again, from an esthetic perspective, we\Nreally didn't like that the screens were
Dialogue: 0,0:20:17.12,0:20:22.32,Default,,0000,0000,0000,,on top because either you would\Nconcentrate on the screens or you would
Dialogue: 0,0:20:22.32,0:20:28.16,Default,,0000,0000,0000,,concentrate on the dance performance. And\Nyou had to kind of make a decision also on
Dialogue: 0,0:20:28.16,0:20:33.36,Default,,0000,0000,0000,,what type of visualization you would focus\Non. So overall, you know, kind of partly
Dialogue: 0,0:20:33.36,0:20:40.00,Default,,0000,0000,0000,,okay, but still there were some troubles.\NSo one was definitely we wanted to include
Dialogue: 0,0:20:40.00,0:20:48.56,Default,,0000,0000,0000,,all of the audience. Meaning we wanted to\Nhave everybody participate. Then the
Dialogue: 0,0:20:48.56,0:20:53.60,Default,,0000,0000,0000,,problem with that part was then also\Nhaving enough eye trackers or having
Dialogue: 0,0:20:53.60,0:21:00.96,Default,,0000,0000,0000,,enough head worn devices was an issue. In\Naddition to that, you know, kind of, if
Dialogue: 0,0:21:00.96,0:21:05.84,Default,,0000,0000,0000,,it's head worn some people might not like\Nit. The pandemic hadn't started yet. When
Dialogue: 0,0:21:05.84,0:21:12.16,Default,,0000,0000,0000,,we did the recordings, however, there was\Nalready the information, some information
Dialogue: 0,0:21:12.16,0:21:19.12,Default,,0000,0000,0000,,about the virus going around. So we didn't\Nreally want as, putting everybody,
Dialogue: 0,0:21:19.12,0:21:25.84,Default,,0000,0000,0000,,giving everybody some eyeglasses. So then\Nwe moved to the heart rate and, galvanic
Dialogue: 0,0:21:25.84,0:21:33.44,Default,,0000,0000,0000,,skin response solution and the set up\Nwhere the projection is now part of the
Dialogue: 0,0:21:33.44,0:21:38.32,Default,,0000,0000,0000,,stage. So we used the two walls, but we\Nalso used, it's a little bit hard to see
Dialogue: 0,0:21:38.32,0:21:45.36,Default,,0000,0000,0000,,in the images, but we also used the floor\Nas another projection surface for the
Dialogue: 0,0:21:45.36,0:21:50.24,Default,,0000,0000,0000,,dancers to interact with and the main\Ninteraction, actually came then over the
Dialogue: 0,0:21:50.24,0:22:02.00,Default,,0000,0000,0000,,sound. So then moving over to the lessons\Nlearned. So what did we take away from
Dialogue: 0,0:22:02.00,0:22:15.28,Default,,0000,0000,0000,,from that experience? And the first part\Nwas talking with the dancers and talking
Dialogue: 0,0:22:15.28,0:22:21.28,Default,,0000,0000,0000,,with the audience often, if you saw,\Nespecially the more intricate, the more
Dialogue: 0,0:22:21.28,0:22:27.92,Default,,0000,0000,0000,,abstract visualizations, it was sometimes\Nhard to interpret also how their own data
Dialogue: 0,0:22:27.92,0:22:33.76,Default,,0000,0000,0000,,would feed into that visualization. So,\Nyou know, kind of some audience members
Dialogue: 0,0:22:33.76,0:22:38.00,Default,,0000,0000,0000,,mentioned to some point in time they were\Nnot sure if they're influencing anything
Dialogue: 0,0:22:38.00,0:22:44.80,Default,,0000,0000,0000,,or if it had an effect on other parts,\Nespecially if they saw the live data. It
Dialogue: 0,0:22:44.80,0:22:50.16,Default,,0000,0000,0000,,was kind of obvious. But for future work,\Nwe really want to play more with the
Dialogue: 0,0:22:50.16,0:22:57.20,Default,,0000,0000,0000,,agency and also perceived agency of the\Naudiences and the performers. And we also
Dialogue: 0,0:22:57.20,0:23:02.71,Default,,0000,0000,0000,,really wonder how can we measure this type\Nof feedback loops? Because now we have
Dialogue: 0,0:23:02.71,0:23:07.33,Default,,0000,0000,0000,,these recordings. We looked also a little\Nbit more into the data, but it's hard to
Dialogue: 0,0:23:07.33,0:23:16.38,Default,,0000,0000,0000,,understand. Were we successful? I think in\Nsome extent maybe yes, because the
Dialogue: 0,0:23:16.38,0:23:24.30,Default,,0000,0000,0000,,experience was fun. It was enjoyable. But\Non this level of, did we really create
Dialogue: 0,0:23:24.30,0:23:28.87,Default,,0000,0000,0000,,feedback loops and how do you evaluate\Nfeedback loops, that's something that we
Dialogue: 0,0:23:28.87,0:23:35.11,Default,,0000,0000,0000,,want to address in future work. On the\Nother hand, what was surprising I
Dialogue: 0,0:23:35.11,0:23:42.05,Default,,0000,0000,0000,,mentioned before the raw data was\Nsomething that the dancers as well as the
Dialogue: 0,0:23:42.05,0:23:48.69,Default,,0000,0000,0000,,audience really liked. And that was\Nsurprising for me because I thought we had
Dialogue: 0,0:23:48.69,0:23:54.27,Default,,0000,0000,0000,,to hide that more or less. But we had it\Non. As I said, there's kind of a debug at
Dialogue: 0,0:23:54.27,0:24:00.02,Default,,0000,0000,0000,,the beginning of some test screenings and\Naudience members were interested in it and
Dialogue: 0,0:24:00.02,0:24:05.93,Default,,0000,0000,0000,,could see and were talking about: "Oh, see\Nyour heart rate is going up or your EDA is
Dialogue: 0,0:24:05.93,0:24:11.33,Default,,0000,0000,0000,,going up." And the dancers also like that.\NAnd we used that then in the performance
Dialogue: 0,0:24:11.33,0:24:19.66,Default,,0000,0000,0000,,in the three performances that we then\Nsuccessfully made for especially scenes
Dialogue: 0,0:24:19.66,0:24:25.47,Default,,0000,0000,0000,,where the dancers would interact directly\Nwith parts of the audience. At the
Dialogue: 0,0:24:25.47,0:24:32.98,Default,,0000,0000,0000,,beginning of the play is a scene where the\Ndancers give out business cards to some
Dialogue: 0,0:24:32.98,0:24:38.95,Default,,0000,0000,0000,,audience members. And it was fun to see\Nthat some audience members could identify
Dialogue: 0,0:24:38.95,0:24:44.52,Default,,0000,0000,0000,,themselves, other audience members would\Nidentify somebody else that was sitting
Dialogue: 0,0:24:44.52,0:24:50.26,Default,,0000,0000,0000,,next to them. And then this member had a\Nspike in EDA because of the surprise. So
Dialogue: 0,0:24:50.26,0:24:55.29,Default,,0000,0000,0000,,there was really, you know, kind of some\Ninteraction going on. So maybe staying if
Dialogue: 0,0:24:55.29,0:25:00.88,Default,,0000,0000,0000,,you're planning to do a similar event,\Nstaying close to the raw data and also low
Dialogue: 0,0:25:00.88,0:25:07.40,Default,,0000,0000,0000,,latency. So I think it's quite important\Nfor some types of these interactions. From
Dialogue: 0,0:25:07.40,0:25:13.53,Default,,0000,0000,0000,,the dancers there was a big interest, on\Nthe one side, they wanted to use the data
Dialogue: 0,0:25:13.53,0:25:20.02,Default,,0000,0000,0000,,for reflection. So they really liked that\Nthey had the printouts of the effects of
Dialogue: 0,0:25:20.02,0:25:27.78,Default,,0000,0000,0000,,the audience later on. However, they also\Nwanted to dance more with biometric data
Dialogue: 0,0:25:27.78,0:25:33.53,Default,,0000,0000,0000,,and also use that for their rehearsals\Nmore. So, of course, you know, we had to
Dialogue: 0,0:25:33.53,0:25:39.28,Default,,0000,0000,0000,,co-design, so we worked directly. We\Nshowed the dancers the sensors and the
Dialogue: 0,0:25:39.28,0:25:43.98,Default,,0000,0000,0000,,possibilities and then worked with them to\Nfigure out what can work and what cannot
Dialogue: 0,0:25:43.98,0:25:49.42,Default,,0000,0000,0000,,work and what might have an effect, what\Nmight not have an effect. And then we did
Dialogue: 0,0:25:49.42,0:25:55.48,Default,,0000,0000,0000,,some, as you saw, also some prototype\Nscreenings and also some internal
Dialogue: 0,0:25:55.48,0:26:02.36,Default,,0000,0000,0000,,rehearsals where we used some recorded\Ndata. We used some, a couple of people of
Dialogue: 0,0:26:02.36,0:26:06.62,Default,,0000,0000,0000,,us were sitting in the audience. We got a\Ncouple of other researchers and also
Dialogue: 0,0:26:06.62,0:26:12.50,Default,,0000,0000,0000,,students involved to sit in the audience\Nto stream data. And we also worked a
Dialogue: 0,0:26:12.50,0:26:19.97,Default,,0000,0000,0000,,little bit with prerecorded experiences\Nand also synthetic experiences, how we
Dialogue: 0,0:26:19.97,0:26:25.63,Default,,0000,0000,0000,,envisioned that the data would move. But\Nstill, it was not enough in terms of
Dialogue: 0,0:26:25.63,0:26:32.17,Default,,0000,0000,0000,,providing an intuitive way to understand\Nwhat is going on, especially also for the
Dialogue: 0,0:26:32.17,0:26:39.04,Default,,0000,0000,0000,,visualizations and the projections. They\Nwere harder to interpret than the sound in
Dialogue: 0,0:26:39.04,0:26:50.04,Default,,0000,0000,0000,,the sound sphere. So and then the next and\Nthe biggest point, maybe as well is, the
Dialogue: 0,0:26:50.04,0:26:55.70,Default,,0000,0000,0000,,sensors and the feature best practices. So\Nwe're still wondering, you know, what to
Dialogue: 0,0:26:55.70,0:27:02.74,Default,,0000,0000,0000,,use. We're still searching. What kind of,\Nsensing equipment can we use to relay
Dialogue: 0,0:27:02.74,0:27:08.76,Default,,0000,0000,0000,,this, in this invisible link between\Naudience and performers? How can we
Dialogue: 0,0:27:08.76,0:27:15.03,Default,,0000,0000,0000,,augment that? We started out with the\Nperception and eye tracking part, we then
Dialogue: 0,0:27:15.03,0:27:22.37,Default,,0000,0000,0000,,went to wrist one device because it's\Neasier to maintain and it's also wireless.
Dialogue: 0,0:27:22.37,0:27:30.09,Default,,0000,0000,0000,,And it worked quite well to stream 50 to\N60 audience members for one of those
Dialogue: 0,0:27:30.09,0:27:38.71,Default,,0000,0000,0000,,events to a wireless router and do the\Nrecording, as well as the life
Dialogue: 0,0:27:38.71,0:27:43.04,Default,,0000,0000,0000,,visualization with it. However, the\Nfeatures might have not been.
Dialogue: 0,0:27:43.04,0:30:42.96,Default,,0000,0000,0000,,{\i1}Audio Failure{\i0}
Dialogue: 0,0:30:42.96,0:30:55.54,Default,,0000,0000,0000,,Okay. Sorry for the short part where it was\Noffline. So, we were talking about a sense
Dialogue: 0,0:30:55.54,0:31:01.85,Default,,0000,0000,0000,,of features and best practices. So in this\Ncase, we are still searching for the right
Dialogue: 0,0:31:01.85,0:31:13.10,Default,,0000,0000,0000,,type of sensors and features to use for\Nthis type of audience, performer
Dialogue: 0,0:31:13.10,0:31:23.66,Default,,0000,0000,0000,,interaction. And we were using, the, yeah,\Nthe low frequency, high frequency ratio of
Dialogue: 0,0:31:23.66,0:31:28.79,Default,,0000,0000,0000,,the heart rate values and also the\Nrelative changes of the EDA. And that was
Dialogue: 0,0:31:28.79,0:31:35.38,Default,,0000,0000,0000,,working, I would say not that well,\Ncompared to other features that we now
Dialogue: 0,0:31:35.38,0:31:41.97,Default,,0000,0000,0000,,found while looking into the performances\Nand the recorded data of the around, 98
Dialogue: 0,0:31:41.97,0:31:49.43,Default,,0000,0000,0000,,participants that agreed to share the data\Nwith us, for these performances. And from
Dialogue: 0,0:31:49.43,0:31:56.28,Default,,0000,0000,0000,,the preliminary analysis that Karen Han,\None of our researchers working on and
Dialogue: 0,0:31:56.28,0:32:03.77,Default,,0000,0000,0000,,looking into what type of features are\Nindicative of changes in the performance.
Dialogue: 0,0:32:03.77,0:32:10.90,Default,,0000,0000,0000,,It seems that a feature called PNN that's\Nrelated to heart rate variability to the
Dialogue: 0,0:32:10.90,0:32:19.25,Default,,0000,0000,0000,,R-R intervals is, seems to be quite good. And\Nalso the peak detection per minute using
Dialogue: 0,0:32:19.25,0:32:25.35,Default,,0000,0000,0000,,the EDA data. So we're just counting the\Nrelative changes, the relative up and
Dialogue: 0,0:32:25.35,0:32:32.35,Default,,0000,0000,0000,,down, for the EDA. If you're interested\NI'm happy to share the data with you. So
Dialogue: 0,0:32:32.35,0:32:37.56,Default,,0000,0000,0000,,we have three performances each \Naround an hour and 98 participants in
Dialogue: 0,0:32:37.56,0:32:45.66,Default,,0000,0000,0000,,total. And we have the heart rate data,\Nthe EDA data, from the two fingers as well
Dialogue: 0,0:32:45.66,0:32:54.26,Default,,0000,0000,0000,,as, the motion data as well. We haven't\Nused the motion data at all except for
Dialogue: 0,0:32:54.26,0:33:00.38,Default,,0000,0000,0000,,filtering out a little bit the EDA and\Nheart rate data because if you're moving a
Dialogue: 0,0:33:00.38,0:33:06.61,Default,,0000,0000,0000,,lot, you will have some errors and some\Nproblems, some motion artifacts in it. But
Dialogue: 0,0:33:06.61,0:33:15.37,Default,,0000,0000,0000,,what do I mean with why is the PNN or why\Nis the EDA peak detection so nice? Let's
Dialogue: 0,0:33:15.37,0:33:20.68,Default,,0000,0000,0000,,look a little bit closer into the data.\NAnd here you see I just highlighted
Dialogue: 0,0:33:20.68,0:33:31.07,Default,,0000,0000,0000,,performance three from the previous plots.\NYou see PNN50 on the left side is the scale, the
Dialogue: 0,0:33:31.07,0:33:40.49,Default,,0000,0000,0000,,blue line gives you the average of the\NPNN50 value. So this is the R-R interval
Dialogue: 0,0:33:40.49,0:33:47.81,Default,,0000,0000,0000,,related heart rate variability feature and\Nthat feature is especially related to
Dialogue: 0,0:33:47.81,0:33:54.66,Default,,0000,0000,0000,,relaxation and also to stress. So usually\Na lower PNN50 value means you're more
Dialogue: 0,0:33:54.66,0:34:00.99,Default,,0000,0000,0000,,relaxed and a higher value means that\Nyou're. No, higher value means that you're
Dialogue: 0,0:34:00.99,0:34:07.53,Default,,0000,0000,0000,,more relaxed, sorry. Lower value means \Nthat you are more stressed out. So what happens
Dialogue: 0,0:34:07.53,0:34:12.78,Default,,0000,0000,0000,,now in the performance is something that\Nfits very, very well and correlates with
Dialogue: 0,0:34:12.78,0:34:18.86,Default,,0000,0000,0000,,the intention of the choreographer.\NBecause the first half of the performance,
Dialogue: 0,0:34:18.86,0:34:27.26,Default,,0000,0000,0000,,you see section one, two, three, four,\Nfive and six on the bottom. The first half
Dialogue: 0,0:34:27.26,0:34:32.06,Default,,0000,0000,0000,,of the performance is to create a conflict\Nin the audience and to stir them up a
Dialogue: 0,0:34:32.06,0:34:39.96,Default,,0000,0000,0000,,little. So, for example, also the business\Ncard scene is part of that part, or also
Dialogue: 0,0:34:39.96,0:34:47.82,Default,,0000,0000,0000,,the scene where somebody gets brought from\Nthe audience to the stage and joins the
Dialogue: 0,0:34:47.82,0:34:53.64,Default,,0000,0000,0000,,performance is also part of that versus\Nthe latter part is more about reflection
Dialogue: 0,0:34:53.64,0:34:59.35,Default,,0000,0000,0000,,and also relaxation. So taking in what you\Nexperienced at the first part, and that's
Dialogue: 0,0:34:59.35,0:35:03.62,Default,,0000,0000,0000,,something that you see actually quite nice\Nin the PNN50. So at the beginning it's
Dialogue: 0,0:35:03.62,0:35:10.41,Default,,0000,0000,0000,,rather low. That means the audience is\Nslightly tense versus in the latter part
Dialogue: 0,0:35:10.41,0:35:17.100,Default,,0000,0000,0000,,they more relaxed. Similarly, the EDA in\Nthe bottom as a bar chart gives you an
Dialogue: 0,0:35:17.100,0:35:23.56,Default,,0000,0000,0000,,indication of a lot of peaks happening at\Nspecific points. And these points
Dialogue: 0,0:35:23.56,0:35:31.32,Default,,0000,0000,0000,,correlate very well to memorable scenes in\Nthe performance. So seeing the one scene,
Dialogue: 0,0:35:31.32,0:35:36.33,Default,,0000,0000,0000,,where, actually section four, the red one,\Nis the one where somebody from the
Dialogue: 0,0:35:36.33,0:35:41.59,Default,,0000,0000,0000,,audience gets brought onto the stage.\NWhere is this? I think around minute
Dialogue: 0,0:35:41.59,0:35:52.51,Default,,0000,0000,0000,,twelve there is a scene where the dancers\Nhandout business cards. And that's
Dialogue: 0,0:35:52.51,0:35:56.16,Default,,0000,0000,0000,,also something, I think. So it's\Npromising, we're not there yet definitely
Dialogue: 0,0:35:56.16,0:36:01.84,Default,,0000,0000,0000,,from the data analysis part, but there are\Nsome interesting things to see. And that
Dialogue: 0,0:36:01.84,0:36:11.23,Default,,0000,0000,0000,,kind of brings me back to the starting\Npoint. So I think, it was an amazing
Dialogue: 0,0:36:11.23,0:36:16.42,Default,,0000,0000,0000,,experience actually, working with a lot of\Ntalented people on that and the
Dialogue: 0,0:36:16.42,0:36:22.30,Default,,0000,0000,0000,,performance was a lot of fun, but we are\Nslowly moving towards putting the audience
Dialogue: 0,0:36:22.30,0:36:28.50,Default,,0000,0000,0000,,on stage and trying to break the fourth\Nwall, I think, with these type of setups.
Dialogue: 0,0:36:28.50,0:36:36.07,Default,,0000,0000,0000,,And that leads me then also to the end of\Nthe talk where I just have to do a shout
Dialogue: 0,0:36:36.07,0:36:42.50,Default,,0000,0000,0000,,out for the people who did the actual\Nwork. So all of the talented performers
Dialogue: 0,0:36:42.50,0:36:49.63,Default,,0000,0000,0000,,and the project lead, especially Moe who\Norganized and was also the link between
Dialogue: 0,0:36:49.63,0:36:56.36,Default,,0000,0000,0000,,the artistic side and the dancers with\NMademoiselle Cinema and us, as well as the
Dialogue: 0,0:36:56.36,0:37:04.95,Default,,0000,0000,0000,,choreographer Ito-san. And yeah, I hope I\Ndidn't miss anybody. So that's it. So
Dialogue: 0,0:37:04.95,0:37:13.96,Default,,0000,0000,0000,,thanks a lot for this opportunity to\Nintroduce this work to you. And now I'm
Dialogue: 0,0:37:13.96,0:37:21.34,Default,,0000,0000,0000,,open for a couple of questions, remarks. I\Nwanted to also host a self organized
Dialogue: 0,0:37:21.34,0:37:25.72,Default,,0000,0000,0000,,session sometime. I haven't really gotten\Nthe link or anything, but I'll probably
Dialogue: 0,0:37:25.72,0:37:32.63,Default,,0000,0000,0000,,just post something on Twitter or in one\Nof the chats if you want to stay in
Dialogue: 0,0:37:32.63,0:37:38.66,Default,,0000,0000,0000,,contact. I'll try to get two or three\Nresearchers also to join. I know George,
Dialogue: 0,0:37:38.66,0:37:44.26,Default,,0000,0000,0000,,who was working on the hardware, and\NKaren, who worked on the visualizations,
Dialogue: 0,0:37:44.26,0:37:53.07,Default,,0000,0000,0000,,the data analysis might be available. And \Nif you interested in that, just send me an
Dialogue: 0,0:37:53.07,0:37:59.97,Default,,0000,0000,0000,,email or check, maybe, I just also add it\Nto the blog post or so if I get the link
Dialogue: 0,0:37:59.97,0:38:05.34,Default,,0000,0000,0000,,later. So, yeah. Thanks a\Nlot for the attention.
Dialogue: 0,0:38:08.55,0:38:16.69,Default,,0000,0000,0000,,Herald: Thanks, Kai, for this nice talk.\NFor the audience, please excuse us for the
Dialogue: 0,0:38:16.69,0:38:22.03,Default,,0000,0000,0000,,small disruption of service we had here.\NWe're a little bit late already, but I
Dialogue: 0,0:38:22.03,0:38:26.56,Default,,0000,0000,0000,,think we still have time for a question or\Nso. Unfortunately, I don't see anything
Dialogue: 0,0:38:26.56,0:38:31.61,Default,,0000,0000,0000,,here online at the moment. So if\Nsomebody tried to pose a question and
Dialogue: 0,0:38:31.61,0:38:36.71,Default,,0000,0000,0000,,there was also disruption of service, I\Napologize beforehand for that. On the
Dialogue: 0,0:38:36.71,0:38:43.19,Default,,0000,0000,0000,,other hand now, Kai, you talked about data\Nsharing. So how can the data be accessed?
Dialogue: 0,0:38:43.19,0:38:47.84,Default,,0000,0000,0000,,Do people need to access you or drop to\Nyou a mail or personal message?
Dialogue: 0,0:38:47.84,0:38:54.31,Default,,0000,0000,0000,,Kai: Yeah, we're on the, \Nso right now, no publication is
Dialogue: 0,0:38:54.31,0:38:59.60,Default,,0000,0000,0000,,still accepted and there's also some\Nissues actually, a little bit of some
Dialogue: 0,0:38:59.60,0:39:03.31,Default,,0000,0000,0000,,rights issues or so on. So the \Neasiest part is just to send me a mail.
Dialogue: 0,0:39:03.31,0:39:14.38,Default,,0000,0000,0000,,It will be posted sometime next year\Non a more public website. But the easiest
Dialogue: 0,0:39:14.38,0:39:20.36,Default,,0000,0000,0000,,is just to post me a mail. There're already\Na couple of people working on it and we
Dialogue: 0,0:39:20.36,0:39:25.56,Default,,0000,0000,0000,,have the rights to share it. It's just a little\Nbit of a question of setting it up.
Dialogue: 0,0:39:25.56,0:39:31.54,Default,,0000,0000,0000,,I wanted to have the website also online\Nbefore the talk, but yeah, as with the
Dialogue: 0,0:39:31.54,0:39:35.32,Default,,0000,0000,0000,,technical difficulties and so on, everything\Nis a little bit harder this year.
Dialogue: 0,0:39:35.32,0:39:43.06,Default,,0000,0000,0000,,Herald: Indeed. Indeed. Thanks,\Nguys. Yes, I'd say that's it for this
Dialogue: 0,0:39:43.06,0:39:49.46,Default,,0000,0000,0000,,session. Thank you very much again for\Nyour presentation. And I'll switch back to
Dialogue: 0,0:39:49.46,0:39:53.09,Default,,0000,0000,0000,,the others.
Dialogue: 0,0:39:53.09,0:39:58.30,Default,,0000,0000,0000,,{\i1}postroll music{\i0}
Dialogue: 0,0:39:58.30,0:40:33.00,Default,,0000,0000,0000,,Subtitles created by c3subtitles.de\Nin the year 2020. Join, and help us!