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Marco Tempest：我今天要向大家展示一項正在進行中的實驗，今天是首次演出，這是擴增實境的現場示範，各位即將看到的並非預錄畫面，這是現場表演，並跟我進行即時互動，我喜歡將它視為一種科技魔術，所以，祝我好運吧！並將目光集中在大螢幕。
擴增實境是使真實世界與電腦生成的圖像融為一體，這似乎是一窺魔術之謎的最佳途徑，同時提出質疑，為何在科技時代，人們對魔術依然感到神奇？魔術是一種騙術，卻是令人樂在其中的騙術，要享受這種欺騙，觀眾必須先捨棄懷疑。詩人柯立芝（Samuel Taylor Coleridge）是第一個建議大眾採納這種心態的人。
柯立芝：我試著在作品中傳達一種真理的假像，為這些想像的影子帶來捨棄懷疑的意願，因此，在某個時刻，便構成了詩意的信仰。
MT：對任何一種劇場體驗來說，這種虛幻的信仰都極為重要，沒有這種信仰，腳本只是文字的堆砌。擴增實境是最新的科技，我手中所變的戲法只是一種靈巧的藝術展示。我們都很擅長捨棄懷疑，每天如此，當我們讀小說、看電視或看電影時；我們自願進入虛擬世界，為其中的英雄歡呼，為不曾有過的朋友哭泣。沒有這種能力，魔術就不存在。
胡迪尼－法國最偉大的幻術師－最先意識到，魔術師可以扮演說書人的角色，他的話就貼在我工作室的牆上。
胡迪尼：魔術師不是變戲法的人，而是扮演魔術師的演員。
MT：這意味著魔術是一場戲劇，每套戲法都是一個故事。魔術的戲法遵循敘事小說的原型，故事中有創造和失敗、死亡和復活，還有必須克服的障礙。現今很多故事的戲劇性都很強－魔術師與烈火和鋼刀共舞、挑戰狂暴的電鋸、膽敢徒手接子彈、或試著在千鈞一髮之際逃生；但觀眾不曾見到魔術師死亡，他們總是平安無事，因為最好的故事總會有快樂的結局。
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以下為系統擷取之英文原文
Marco Tempest: What I'd like to show you today is something in the way of an experiment.Today's its debut. It's a demonstration of augmented reality. And the visuals you're about to see are not prerecorded. They are live and reacting to me in real time. I like to think of it as a kind of technological magic. So fingers crossed. And keep your eyes on the big screen.
Augmented reality is the melding of the real world with computer-generated imagery. It seems the perfect medium to investigate magic and ask, why, in a technological age, we continue to have this magical sense of wonder. Magic is deception, but it is a deception we enjoy. To enjoy being deceived, an audience must first suspend its disbelief. It was the poet Samuel Taylor Coleridge who first suggested this receptive state of mind.
Samuel Taylor Coleridge: I try to convey a semblance of truth in my writing to produce for these shadows of the imagination a willing suspension of disbelief that, for a moment,constitutes poetic faith.
MT: This faith in the fictional is essential for any kind of theatrical experience. Without it, a script is just words. Augmented reality is just the latest technology. And sleight of hand is just an artful demonstration of dexterity. We are all very good at suspending our disbelief.We do it every day, while reading novels, watching television or going to the movies. We willingly enter fictional worlds where we cheer our heroes and cry for friends we never had. Without this ability there is no magic.
It was Jean Robert-Houdin, France's greatest illusionist, who first recognized the role of the magician as a storyteller. He said something that I've posted on the wall of my studio.
Jean Robert-Houdin: A conjurer is not a juggler. He is an actor playing the part of a magician.
MT: Which means magic is theater and every trick is a story. The tricks of magic follow the archetypes of narrative fiction. There are tales of creation and loss, death and resurrection, and obstacles that must be overcome. Now many of them are intensely dramatic. Magicians play with fire and steel, defy the fury of the buzzsaw, dare to catch a bullet or attempt a deadly escape. But audiences don't come to see the magician die, they come to see him live. Because the best stories always have a happy ending.
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魔術的訣竅在於一項特殊元素，即故事的離奇性。德博諾博士（Edward de Bono）說，人類的大腦是一種模式比對機器，而魔術師費心探索觀眾的想法。
德博諾博士：舞臺魔術幾乎全都仰賴動量的誤差，觀眾在引導下進行假設或構思，看似十分合理，但卻和眼中所見的事實大相逕庭。
MT：以這方面來說，魔術和笑話很像。笑話帶領人們朝預期的終點前進，但當我們想像的場景突然轉變，變成某種完全出乎意料之事，我們就會大笑，人們觀看魔術時也是這樣。最後的結局偏離了邏輯，給予這個問題全新的見解，觀眾以哈哈大笑表達他們的驚愕。被愚弄是很有趣的。
所有故事最重要的特點之一是，它們的創造是為了分享。我們迫不及待地想講述故事，每當我在派對上表演魔術時－（笑聲）那個人就立刻拉他的朋友過來，要求我再表演一次。他們想分享這種經歷，這讓我的表演變得越來越困難，因為如果我想給他們驚喜，就必須說出開頭相同、但結尾不同的故事－在改變了的招數上再加上改變，這搞得我很忙。
現在，專家們相信，出乎意料的故事帶給人們歡樂。我們按照敘事結構思考，把事件和情感相連，本能地將它轉化成容易理解的脈絡，這是人類獨特的才能。每個人都想分享自己的故事，不論是在派對中看到的把戲、辦公室糟糕的一天或假期中美麗的日落。
今天，感謝科技，我們可用不同以往的方式分享故事，藉由電子郵件、臉書、部落格、twitter還有TED網站。社交網路工具成了一種數位營火，觀眾圍繞在它的四周，傾聽我們的故事。我們將事實轉變成明喻或暗喻，甚至幻想；我們將生活艱難的一面打磨，使它得以完整。故事成就我們對自身的認同；有時，它讓我們成為自己所希望的人；故事賦予我們身份及身為社群一份子的歸屬感。如果故事精彩，或許還能博人一笑，謝謝。
（掌聲）
謝謝。
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The tricks of magic have one special element. They are stories with a twist. Now Edward de Bono argued that our brains are pattern matching machines. He said that magicians deliberately exploit the way their audiences think.
Edward de Bono: Stage magic relies almost wholly on the momentum error. The audience is led to make assumptions or elaborations that are perfectly reasonable, but do not, in fact, match what is being done in front of them.
MT: In that respect, magic tricks are like jokes. Jokes lead us down a path to an expected destination. But when the scenario we have imagined suddenly flips into something entirely unexpected, we laugh. The same thing happens when people watch magic tricks.The finale defies logic, gives new insight into the problem, and audiences express their amazement with laughter. It's fun to be fooled.
One of the key qualities of all stories is that they're made to be shared. We feel compelled to tell them. When I do a trick at a party -- (Laughter) that person will immediately pull their friend over and ask me to do it again. They want to share the experience. That makes my job more difficult, because, if I want to surprise them, I need to tell a story that starts the same, but ends differently -- a trick with a twist on a twist. It keeps me busy.
Now experts believe that stories go beyond our capacity for keeping us entertained. We think in narrative structures. We connect events and emotions and instinctively transform them into a sequence that can be easily understood. It's a uniquely human achievement.We all want to share our stories, whether it is the trick we saw at the party, the bad day at the office or the beautiful sunset we saw on vacation.
Today, thanks to technology, we can share those stories as never before, by email, Facebook, blogs, tweets, on TED.com. The tools of social networking, these are the digital campfires around which the audience gathers to hear our story. We turn facts into similes and metaphors, and even fantasies. We polish the rough edges of our lives so that they feel whole. Our stories make us the people we are and, sometimes, the people we want to be. They give us our identity and a sense of community. And if the story is a good one, it might even make us smile.
Thank you.
(Applause)
Thank you.
