Three Aspects of Making of Björk Digital
Uchida Thank you all for waiting. I’m Maholo Uchida from Miraikan, National Museum of Emerging Science and Innovation. As Björk is still in the middle of dressing, let us start the show in the meantime.
First of all, allow me to thank you all for coming here today, on behalf of the hosting team. The ticket sales started late and had less than a week, it was announced abruptly, with a rocky start and all. We, the staff, are really happy to have managed to deliver this show today at our own expense. We almost felt like we might not have been able to make it. I see that we even have a standing audience too. We are really grateful that you all are here to enjoy sharing this experience together. Thank you very much.
I assume many of you here are her enthusiastic fans and should be aware, but it was around this time three years ago that Björk came here, Miraikan, and had wonderful events for 10 days with her album “Biophilia” whose theme is natural science and life. Adults enjoyed her tight-knit “intimate” live concert with original instruments and a huge choir, and children enjoyed workshops to compose music using touch panel application.
And tonight she is back with a new theme and cutting-edge technology, for “Digital Björk”, her new project that evolves with each city traveled. This project is a combination of an exhibition and DJ. And she chose to come back to Miraikan as her platform. We all are so pleased and so is the Geo-Cosmos.
Today, we will be interviewing her as a Q&A session, with the staff involved with the creative parts of the first half experiment. So, when she is done with dressing, we can enjoy her talk as long as time allows.
Let me introduce you to the staff members in charge of the fabulous work today.
The person sitting next to me is Mr. Kaoru Sugano of Dentsu Lab Tokyo.
Sugano Nice to see you.
Uchida He is the creative director of this project. He has been working with Björk for over a year now. We will have him talk about it later.
And the man over there is Mr. Daito Manabe of Rhizomatiks Research.
Manabe It’s nice to meet you.
Uchida He is in charge of direction for technical and AR(Augmented Reality) visuals, as well as lighting designs. Thank you.
And the man over there at the end with a cap, is the visual director, Mr. TAKCOM.
TAKCOM I’m TAKCOM. It’s nice to meet you all.
Uchida He is in charge of VR visuals, and also the direction of the visuals at Geo-Cosmos. What you saw today will be archived later, and he will be doing the film direction for it. Right ?
TAKCOM Yes, that’s right.
Uchida Have you all seen the video during the break time ? The streamed one. I’m afraid you all thought, “Ah, that must be this” and such. So, would you explain what was happening a bit now, Mr. Sugano ?
Sugano It’s impossible to tell what’s going on unless you actually watch it, isn’t it ?
Uchida That’s what I thought. It’s a pity that we cannot allow smartphones in here, so I’m afraid it didn’t make much sense while watching it. So please tell us what exactly was happening ?
Sugano How do you do, everyone. I’m Sugano, of Dentsu Lab Tokyo.
It probably didn’t make much sense to most of you, as it suddenly started and was over before you realized. The performance you just saw here, – you actually saw it twice in total – is actually one set of her performance. It has three aspects for this project.
The first is her live performance that you saw with your own eyes, only those here could experience directly. Her performance and her mask were projected respectively to show her in two different sets of space.
The second is what you just saw as an archive, a 360-degree video that was distributed to the world as a real-time live streaming on YouTube.
That video showed the 360-degree AR visual with the additional rendered VR, though it is not visible to the naked eyes. It is a fusion of what is actually happening in front of the audience and what is happening virtually in mix, and they sometimes get combined, integrated, or switched.
Finally, the third is the music video as an archive that will be later shown in the other exhibitions being held all over the world. Today’s performance is recorded, and the data and visuals of it will be made into an archive.
So, it was a live concert, an experimental live streaming, and also a public recording at the same time. You were here to join and experience this latest experiment, rather than coming to a live concert.
And the premise of this experimental project is Geo-Cosmos at Miraikan, and Björk was wearing a mask created by Professor Neri Oxman of MIT Media Lab and Mediated Matter Group, which is Neri Oxman’s group. So, it’s her research group that made the mask.
As was introduced by Maholo earlier, today’s performance was directed in an integrated manner by Mr. Daito Manabe of Rhizomatiks Research ; from technical and AR visuals, direction, as well as lighting design. Halfway in, do you remember Björk’s mask went “vroom, vroom” in VR ? I’m sorry, I know saying “vroom, vroom” doesn’t really explain it, but after the mask went like that, it whammed into Geo-Cosmos. That part’s VR visuals and Geo-Cosmos’s visuals and also the forementioned third aspect of the project for archiving are the work by Mr. TAKCOM, sitting over there. So we have these two directors here today, and they created what you all experienced today.
Uchida Looks like our timing was good and she is now ready.
Sugano Ah I see, I’ve actually been keeping her to appear.
Uchida All right then. This is the world’s first experiment of its kind and it’s being held in Japan and everyone is so excited. Let’s welcome Björk now. Björk, please come this way. Everyone, please welcome her with applause.
Uchida Now, Björk. First of all, welcome back to Tokyo and to Miraikan. Congratulations on your success of the beautiful performance and experiment. Thank you very much.
Björk Oh, thank you. Thanks for inviting me.
Uchida We have some audience up above and everywhere today. Could you please… ?
Björk Hello. I’m very happy to be here again. Thank you.
Uchida Thank you. We would love to ask you about the experiment, but now, let me start with this question. You are here today for “Digital Björk” on the theme of Virtual Reality. Why did you choose your album “Vulnicura” for the VR theme for this new project and exhibition ? Many of us would like to hear it directly from you, so would you please tell us about it ?
Björk Yes. I think maybe easiest to explain when I did “Biophilia”. It was kind of the opposite to “Vulnicura” because we went to an island, rented a house on a beach, and programming, especially songs with touch screen in mind.
So, it was being born at the same time together, the programming. Program 10 songs in 10 different ways that would fit 10 different natural elements and 10 different things in musicality. So it grew together.
This was almost the opposite of “Vulnicura”, because I first did the album, and it was very narrative-driven, and it was the only album I’ve done with chronology. So, it had like a story. So, I felt this was because it had almost like an old traditional structure. It could, almost like a Greek tragedy, it could take the experimental angle of VR.
I really enjoy entering the unknown and trying, exploring new things, but I think it’s important also that it is done with something with a strong spine. And “Vulnicura”, because it has this kind of chronological stubborn spine, I felt it was an album that could take it.
Uchida May I ask what motivated you to use VR for the very first time ? What did you see in VR as its
potential ? Because not everyone has experienced VR yet.
Björk Well, two years ago, I was commissioned by MoMA to do one song, and I chose “Black Lake”. And I discussed with Andrew Thomas Huang. We were gonna actually film it in 360 and talked about it in the beginning like this a lot. And then because of MoMA, their rooms, it was better to have it on two screens. So we filmed actually two screens that were not the same. And this we exhibited in MoMA, and also in Sydney one month ago. So people go between the two screens and it’s very claustrophobic.
It was actually written the song in a Onsen, in two ? one hour ? north from Japan, in a hot spring. In a very tight canyon, it’s very very small, crevice, probably it’s called. So, we were trying to repeat the claustrophobia of the crevice, and we sort of in a way always wanted to do in 360, but then we kinda had to compromise and do it as two screens.
And then we were filming this for a whole year and changing it twenty times so it would fit MoMA. And then we were in Iceland, like, bored one night in my house, listening to music and we had this 360 camera. And we were like, and Andrew was like, “How about filming tomorrow “Stonemilker” on your favorite beach ?” and I’m like “Yes ! Let’s do it !” And we were just really tired of all the work of “Black Lake”. It has been a whole year. But we had all the crew and the team and everything there.
So, the next morning, like 8 hours later, we went to the beach, and it was my birthday so I was in a really good mood. And we filmed ; we just put the camera in the middle of the beach and then they all went then we’re hiding behind the rock. And I would just go walk around it and sing the song.
And the reason why I said yes to Andrew Huang like this is the song is because the song is almost like a fugue or like a pop song but it has a cyclical feeling. It’s like you can just go and circle again, over and over again. So it was easy to do. And then me and Andrew Huang were like, “Oh this is so exciting, let’s do some more”. So we started doing “Family”, which is not completed yet, we have done half of it, and so, yeah. And then, like everyone, every video we got flavor. And this one was probably the very best one. [laugh] So it was a gradual progression.
Uchida You’re full of smiles at “Stonemilker”. I guess your good mood really showed in it.
Björk We had a very good party after that.
Uchida So you have various episodes like these and you create a new work in each city as you travel around. Could you please tell us about the process of today’s work ? Either from Björk or from Mr. Sugano ?
Björk Yes. I have been talking with Dentsu for a while, and they helped us with “Mouth Mantra” which we did with Jesse Kanda, especially with the technology, and they invented a new camera, including many other things. So, it was after that it was enthusiasm from both sides to welcome all together. And Dentsu showed interests in doing a live streaming 360 in front of audience, to me.
And I was thinking about what would be the best song for this because “Quicksand” is the most short and most urgent song. I felt it was something that could take it and to be with improve by being performed live. And also it’s hard to explain, but the rhythm has like this strobo feeling. It’s very urgent and that I felt could perhaps travel online the urgency of the song. And hopefully emotionally with a reach to people.
And also of course I would like to mention the collaboration with Neri Oxman. She did the 3D printed mask, which took, I think, 60 hours to print. I met Neri Oxman now like 3 or 4 times for the last year. Maybe this is a little bit difficult of the collaborations. I have sometimes that it takes a long time, and sometimes just talks and you’re trying to figure out where the two groups overlap and where they can be equally generous for both sides.
I really believe in this kind of equilibrium. I’m a bit of, most brought up by hippies so I really believe in this kind of cosmic equal “give and take” between people that work together that is similar to friendships. You just know when it’s lopsided or when it’s like equal that it feels, has that feeling. And both of these relationships feel like this and feels like with both of these partners. Neri Oxman and Dentsu was sure of already flirting with doing more things.
Uchida When it comes to collaborations, I would like to hear some impressions from each of the staff members as you have discussed a lot with her while creating the works. Also, if you’d like to ask her a question, please go ahead. Would you like to start, Mr. Sugano ?
Sugano Okay. Just as Björk told us about the background story to our collaboration… it was probably March last year. Some time in February or March in New York. We initiated contact with her for the first time in March and started talking. We had been talking about a collaboration work together, meeting in New York and also in Iceland. I’ve been to Iceland twice. So we had been seeking for the opportunity for quite a while.
Just as an additional explanation, it is true that we officially did technical support and planning for the production of “Mouth Mantra” video directed by Jesse Kanda, to shoot inside a mouth in 360 degrees, but the actual technical part owes a lot to Manabe and Rhizomatiks Research. We had Manabe join in for this particular team, got the camera made by them, and the technical direction and production was carried out together with Rhizomatiks Research. Manabe also went to Iceland with me and we had discussed it together, saying, can we do this or what about doing that and so on. So, please let me add that too as a fact. It was more like their collaboration with Dentsu Lab Tokyo, or rather, a joint work together and we were more like in charge of the planning and production.
Technology and Being Connected Emotionally
Uchida What kind of impression do you have ?
Sugano If anything, we have discussed a lot through skype and all, she has been to our studio in Tokyo many times since she’s in Japan, so we have had a lot of discussions. My impression is like we had Björk giving creative direction to inspire us and gather ideas and see the craft being built up over time.
Anyways, the exhibition we have this time is centered around the 360-degree VR visual, but not only that, but also she was very pleased with the idea of the real time live streaming to the world. She was so excited and pleased with the new technology aspect of the project. Just like she said earlier, she is very positive about expressing what she has, using new technology. What stroke me the most about her is that she is always so conscious about emotions. Like she said, she enjoys expressing things with new technology and she is always willing to challenge, but also she is always making sure to see some emotional connections or relationships with others in it and is aware of how she shows them. The new technology is there, but it is not the purpose for her, but the means to show emotions instead. She has emphasized that very strongly.
That was where I spent a lot of time worrying about for this project. The most difficult but essential part of this project is exactly how to acquire that. So, I would like to ask her how an artist, who creates new interpretations towards new technology, acquires the emotional bits and connections with people. I would like to hear her stance on that.
Uchida Okay, Björk ?
Björk Yes. I think, officially being a musician, and I feel like it’s my role to deal with humanity and the soul. And I feel that’s always been kind of my role a little bit through the years.
If I’m working with acoustic instruments or with technology or always computers or what it is, I think, we think, for example, violins taped in around for a few hundred years at least. At least since they became the classical sort of western canon. And it’s kinda already very coagulated how we express ourselves and what sort of feelings, you know, that already it’s a certain alphabet of feelings that you will attach to violins, you know, it’s the romantic French thing and there is like the German thing and there is like string quartets, and always kind of thing that maybe I’m just using this as an example, for example.
Because “Vulnicura” I did only string arrangements and I enjoyed it very much. And this was actually 70% of the work of “Vulnicura” was making string arrangements for violins, which are actually old computers, [laugh] invented very long time ago, made a reboot in strings and stroking with bows. And so I think computers and VR or whatever it is, is gonna have the same catalog or archive or library of emotions that you can attach to it. And I think it’s just right now we are inventing it.
And so when we are making something naked and human tool, these things now, I like this exciting feeling that it’s like you’re walking the first footsteps on Mars. But you get to actually cry there or something. Or see the astronauts that walked on the Moon have a laughing face. Those something would have been nice. So you then increase the emotional scale. I think this is kinda fun to explore and we already, there was always panic attack.
Like when they invented the first telephones hundred years ago, there were these articles in the newspapers, like “Oh my god, humanity is going crazy and we will never meet again !” and “We’re all gonna become cold machines !” And then now hundred years later we use the phone for very emotional things. And this one category, if you wanna call your loved ones, or if you wanna skype them, or if you wanna text them, or if you wanna… it’s all different colors. And we have already defined. “Okay, I need to tell my mother this. I’m not gonna call her, I’m gonna text her.” You know, you always categorized what sort of emotion is attached to what technology.
And I think we can do this also with VR or with any technology. And we just have to do it altogether and we have been humans for, you know, long time [laugh] tens of thousands of years ? or maybe hundreds of thousands. And we will be that for the next million or hundred thousand or whatever, and we will continue. We have that side in us. The humanity is always gonna be the biggest part of us. And I’m very excited to be part of figuring out what tool fits what emotion best. Thank you.
Translator I’ll try my best.
Uchida Ms Banno has been translating all the interviews for this project.
Sugano This one is extremely long.
Uchida It’s getting longer and longer.
Important things in Collaboration
Uchida Okay, about emotions. Mr. TAKCOM, I’ve heard that your work is mainly about you showing the visuals first and getting her feedback later, instead of working through discussions for this project.
TAKCOM That’s right. Well, when I joined in, most of the discussion phase was over and I was asked to do the visuals. So, I just brought her the pictures, and it was like that.
Uchida Your impression, what is it like ? And if you would like to ask her something.
TAKCOM Let’s see. My impression is quite close to her public image. When we first talked, it was often about her concept and a bigger picture of the project. So, I thought whatever visuals I would bring her would have certain gaps or misalignment somehow from what she had in mind. I expected that I would need to work on fixing in details later. But she went like “Oh, nice !” and just responded very casually at every picture like that, and I found it very interesting.
Uchida Let’s see, shall I ask her my question instead then ?
TAKCOM I’d like to ask how she balances out between her concept and the visuals. Like, how to deal with the difference between a visual as something simply interesting and what comes from her own concept.
Uchida Could you also add that I’d like to hear if she is satisfied with the emotions expressed in this project ?
Björk Yeah. Thanks. It was great working with you.
Björk I think the simplest way to explain it is when I do my music, I become quite stubborn, and want to be a tyrant. [laugh] I want things to be certain way.
But the visuals for me is more like I’m back in the Sugarcubes, or back in a band. And I really enjoy it because I really, I was for ten years in bands before I became solo, and I was very scared to go solo because I thought it would be very lonely and boring, but it actually hasn’t because I work with a lot of people. But I think with visuals it’s for me it’s never twice the same. Because each one is different and I think maybe what was especially different about this is we are in a way live streaming, the filming. So, the VR video we will do, it’s we’ve only started for me. And I think that was kinda scary but also felt right. Right kind of scary.
But I’m very excited for the next stage. Maybe this is something we should, I don’t know what happened before, but when we all make this into a VR video, we will probably will add more sings into it and I will maybe could be more I’m probably gonna be a little bit more precise with the lyric or what goes what, where, and more the sort of emotional, make sure the emotional message is there.
But I feel my role is a little bit making sure the bridge between the music and the visual is there. So the people I make visuals with, they usually make the visuals and I’m just making sure there is a connection and there it’s cohesive. And yeah there’s some emotional whole picture. Usually I have several clues for each song.
For example, with this song, “The strobo” being with the beats, and the color, and then there is a lot in the lyric about because it’s a fight between pessimism and optimism. So it’s a lot about the pits, or the Abyss below you, and then the heaven or the celestial things above you. So it’s sort of about the battle between pessimism and optimism, and the tension between the two, and the tension between mothers and daughters. How mothers, if they are depressed, their daughters sink with them. And then when the mothers become optimistic, the daughters can be optimists too. If the mothers don’t keep optimistic, their daughter will fall into the Abyss and then their daughters will fall into the Abyss, and their daughters will fall into the Abyss. So it’s this kind of feeling this chain in families, but if you don’t deal with your demons, your daughter will have to do it. And I’m sure this is the same with guys, you know ? But since I’m a woman, I was talking more about this.
So this made me something that we sort of just started to work on in their live streaming. And I feel we could go further. I think it’s very exciting. I mean we change this beautiful dome into the mother. Mother earth. And it’s gonna be, I think it was very exciting to translate this. And I think we can take it even further and especially when people have VR on, it’s gonna be like a lot more to play with, less struggle. But yeah, I’m very excited about the visuals. Thank you very much.
Uchida Mr. Manabe’s role was about connecting all the various technologies into one for the project, I think. What is your opinion ?
Manabe I’m very grateful for this opportunity and also to Sugano who gave me the opportunity.
We wanted to do something together, and when we were talking about what we could do next, we started talking like “it would be great if we could do something with Björk”. Then we decided to go meet her and brought all the equipment with us and did a presentation together. Some media artists around me have worked with her before, so I had heard a lot about her being great and all. And I learned through the actual work with her that she was indeed great as everyone said.
Let me also add to the earlier explanation. I learned through discussions that she put a lot of weight on how to interpret her lyrics into visuals, like she said earlier, so I split the visuals into 95 pieces of different scenes. Those people over there in black with solemn expression are the engineers of Rhizomatiks Research. Basically they create core visual elements,
and they also do the systems and the AR or such original hardware systems. I use them to make the structure and the flow of the video. So I had them do the work too, but about 30 to 40% of their work is not used here. Sorry about that. [laugh]
I make a matrix and decide where to put each scene in detail, like, using this scene here but showing its front side here, and so on. But Björk provides us with a clear picture of her theme, so once we start talking a bit, we get to see what is exactly needed very clearly. That’s what is so great about her direction. So, it feels like we are working under Björk’s direction, really. Also, we discuss it again once we see what’s created. And when we do, I guess it’s her instinct, but she always convinces me, and often I went like “oh she is right, why didn’t I realize that before ?” It was such a valuable experience for me.
Well that was my impression. Now let me ask her a question. She works on many collaborations with a wide variety of artists. It doesn’t matter at all if they are famous or not, their age, or nationalities. How does she choose her collaboration partners, or what motivates her to decide on whom to do a collaboration with ? She earlier mentioned how she enjoyed the equal work or equilibrium when collaborating. I’d really like to hear more about her ideas on her collaboration works.
Björk Thank you. It was very magical to work with you guys too and I’m very grateful how easy it was to communicate and be heard.
What do I look for ? [laugh] I don’t know. I’m very impulsive like you say, and I think maybe I try to… I’m very loyal, but I also. Maybe because I was in a band for 10 years, and then I was with the same people for 10 years. And then I learned that it’s good to do everything always with the same people, but also it’s not everything. I know this makes any sense. But then when I started to do my own thing, I just decided to always listen really really really carefully to my gut feeling, with collaborations, if it was growing, if both people were growing, and if not, sometimes you have to let people go, and it’s really sad, but it’s true. And sometimes you can do another thing together but they have to feel genuine. You cannot just do it because of habits. You have to rediscover why you want to do this together, and it has to feel fertile for both people.
And then, I’m very lucky because a lot of people I work with, I work with since I was sixteen years old. So I have this kind of loyalty and this long relationships, but I also have this relationships that were very short, but well equally strong. But it is hard sometimes when you know in your guts like “Okay, this we will mean to do three things together not four”. It’s hard but that’s life, you know ?
I think it’s very similar to friendships, you know ? Like you see a friend, and you know if you want to go with this friend for three weeks on holiday on an island, or there is no way. [laugh] Or if you want to share a hotel with them, or if you want to just see them once a week, or once a month. And you just know. And if you are seeing this person too often, and you run out of things to say, then you know you should see each other maybe a little bit less.
So I think it’s the same kind of instinct, you know, that I follow if you feel a little still a creative conversation to be had, and if it feels generous both ways, then it’s just a feeling. Then you know, you know it is right. But. Yeah, I think that’s it. I hope this makes sense.
Technology and the Future of our Planet
Uchida Thank you. It’s already been an hour and I was notified that we only have five minutes left. So, the last question. I’d like to ask her about something a bit serious, about the future.
Björk has been working on connecting us to the nature and something primitive through her music and technology. But right now we have so many problems in this world both as a society and as individuals, and the earth is filled with problems, while we also hope that our new technology may be bringing us something bright and positive. I think this era we live in has so many things that we have to balance around. And you really seem to cherish the connections as such. So, as a musician, or as just a human-being, either will do, but what would you like to do, like with your activities in this present society, in the future ? It’s a bit serious topic, but would you please share your thoughts as your last message for this interview ?
Björk Thank you. Yeah, maybe it’s not so much how I see my own role, but rather, just what I feel needs to be done, when it comes to the future. I think it’s kind of obvious, we all kinda know that we should long time ago be doing everything. Solar powers, and green, and have invented the things, the machines to go into the oceans, and use older plastic and belt, skyscrapers with them or change it into something else, and we should have all started doing that really long time ago.
But I don’t think it’s maybe as much as easy to point that politicians. I think maybe a lot of it is just this paralyzed feeling of guilt that you don’t know where to start. And it’s all over and anyway. And it’s terrible because it’s really sad to see it just last three or four years. It’s already in 70% of Hollywood movies. I know about people who, like, think that in the future that the earth is too fucked to fix so. They’re just gonna go to Mars and you know, start a city there. And which is like, [“uh-oh” @01:02:05] you know, it’s not an option. And I think we need to to treat this little creature a little bit better.
But, I mean, I still hope we can do it. And there every day you see online, new things, you know, like the town in Holland that was totally… I don’t know the English word, it’s in Icelandic, but totally took care of all their garbage and grew all their foods, and totally self-sufficient bubble. And I think, was it in Belgium or somewhere, where they dealt for a whole week. And you just hear these news, you know, some kid who managed to find something to change plastic into oil. I just think we have to do, you know, all these things.
And I talk a lot about this with my friend, Anohni, last ten years, she’s been one of my best friends in New York. She’s not as optimistic as me about this. [laugh] and we have this kind of enjoyable debates. And I think we can still turn around, and I think there is gonna be a turning point.
You know, I keep thinking about this moment in England, London, hundred fifty years ago, whenever, when the coal are worse, and everybody were dying and coughing, and everybody thought, “Oh no, it’s too late, we’ll just have to deal it”, you know, settle with this coal fog, smoke. And then somebody changed. You know, their whole city, I think people were dying and the mayor just said, “Okay, we have to stop the coal thing, and we have to switch”, and the city switched. And you can still see the sky in London, you know, which you couldn’t. So.
And plus, I live half of my time in Brooklyn. 10 years ago there was no fish in the Hudson because there was a Kodak factory two hours up the river. They put all the toxic thing in the river. And then hippies stop them and they stopped, and nobody was expecting fish. And suddenly, actually when I was there, like 8 years ago, it was like “Ah ! The fish is back !”, you know ? And the whales are actually coming all the way up to where the Statue of Liberty is. They had not done it for like a hundred years. So, it is reversible. I think it is, and I think it’s the same with music.
And that’s one of the reason why I think it’s important to include technology and include music making because we are not gonna clean up the planet with brooms and, you know, cloths. That’s not gonna work. We’re gonna need the best most advanced high-tech shit we’ve got and the most advanced brains and the whole planet is gonna have to do it together, you know ? And this gonna be have to be some government who just set the rules like London and say, “Okay, now we are stopping to do this and now we’re gonna have to do this, or we’ll just all die.”
And I think creativity and technology is gonna be what helps with the switch. And that’s why I think we shouldn’t lose hope and going to caves and play flutes. I think we need to continue to try to discover a technology that can work with nature, with humanity, with music. And with nature, and with the planets. That’s my little five cents.
Uchida Thank you very much.
Björk Arigato ! Arigato !
Uchida So maybe you can say a very short message ? Lastly, a message… to visitors and you know ? Very short. Then… you know ?
Translator Make it quick.
Björk Oh I always feel like I say too much. [laugh]
Björk But yeah, just thank you very much for your interests. I don’t take it for granted. Thank you.
Uchida Thank you, Björk. You can return to your room. Thank you very much !
Ladies and gentlemen, thank you very much for joining us for this long. With some time schedule changes and everything, it must have been very hard for the standing audience. Now we are closing this show. She really wants you all to see the exhibition and accepted this talk show event, so please come back for the exhibition starting tomorrow. Please have a safe trip back home. Thank you again.
Announcement This is all for the whole program of “Making of Björk Digital” public recording. Please make sure that you do not leave anything behind. Moreover, we will be showing the live streaming video of the live performance at the first floor space until 11 PM exclusively, so please check that out before you leave the building. Thank you for coming today.
