TEDWomen 2015
Nonny de la Peña: The future of news? Virtual reality
Nonny de la Peña: Masa depan berita? Virtual reality
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Bagaimana seandainya Anda dapat mengalami sebuah cerita dengan keseluruhan indera, dan tidak hanya dengan pikiran? Nonny de la Peña membuat sebuah metode jurnalisme baru yang menggabungkan reportase tradisional dengan teknologi Virtual Reality yang mulai berkembang, untuk menempatkan penonton di dalam cerita. Hasilnya adalah pengalaman menggugah yang diharapkannya dapat membantu orang-orang memahami berita dengan cara baru.
Nonny de la Peña - Virtual reality pioneer
Nonny de la Peña uses new, immersive media to tell stories that create empathy in readers and viewers. Full bio
Nonny de la Peña uses new, immersive media to tell stories that create empathy in readers and viewers. Full bio
Double-click the English transcript below to play the video.
00:12
What if I could present you a story
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Bagaimana seandainya saya menceritakan
00:14
that you would remember
with your entire body
with your entire body
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sesuatu yang dapat Anda ingat
dengan segenap indra
dengan segenap indra
00:17
and not just with your mind?
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dan tidak hanya dengan memori Anda?
00:19
My whole life as a journalist,
I've really been compelled
I've really been compelled
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Seumur hidup saya sebagai wartawan,
saya sangat ingin
saya sangat ingin
00:22
to try to make stories
that can make a difference
that can make a difference
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membuat kisah yang dapat membuat
perbedaan
perbedaan
00:24
and maybe inspire people to care.
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dan mungkin menginspirasi orang lain
untuk peduli.
untuk peduli.
Saya pernah bekerja di media cetak,
di dokumenter,
di dokumenter,
00:26
I've worked in print.
I've worked in documentary.
I've worked in documentary.
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00:29
I've worked in broadcast.
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penyiaran.
00:30
But it really wasn't until
I got involved with virtual reality
I got involved with virtual reality
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Tapi sebelum saya terlibat dengan
virtual reality,
virtual reality,
00:33
that I started seeing
these really intense,
these really intense,
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saya tidak pernah melihat reaksi otentik
00:36
authentic reactions from people
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yang begitu hebat dari orang-orang,
00:38
that really blew my mind.
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yang benar-benar menakjubkan saya.
00:40
So the deal is that with VR,
virtual reality,
virtual reality,
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Jadi dengan VR, virtual reality,
00:44
I can put you on scene
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saya dapat menempatkan Anda di lokasi
00:47
in the middle of the story.
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di tengah-tengah cerita.
00:50
By putting on these goggles
that track wherever you look,
that track wherever you look,
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Dengan mengenakan kacamata yang mengikuti
kemana pun Anda memandang,
kemana pun Anda memandang,
00:53
you get this whole-body sensation,
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Anda merasakan sensasi dengan keseluruhan
tubuh Anda
tubuh Anda
00:56
like you're actually, like, there.
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seakan-akan, Anda benar-benar ada di sana.
00:59
So five years ago was about when
I really began to push the envelope
I really began to push the envelope
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Lima tahun yang lalu, saya mulai
01:02
with using virtual reality
and journalism together.
and journalism together.
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menghubungkan virtual reality
dan jurnalisme.
dan jurnalisme.
01:05
And I wanted to do a piece about hunger.
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Dan saya ingin meliput berita tentang
kelaparan.
kelaparan.
01:08
Families in America are going hungry,
food banks are overwhelmed,
food banks are overwhelmed,
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Keluarga Amerika yang kelaparan,
sementara bank makanan kewalahan,
sementara bank makanan kewalahan,
01:11
and they're often running out of food.
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dan mereka seringkali kehabisan makanan.
01:14
Now, I knew I couldn't
make people feel hungry,
make people feel hungry,
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Nah, saya tahu saya tidak bisa membuat
orang merasa lapar,
orang merasa lapar,
tapi mungkin saya bisa menemukan cara agar
mereka dapat mengalaminya secara fisik.
mereka dapat mengalaminya secara fisik.
01:17
but maybe I could figure out a way
to get them to feel something physical.
to get them to feel something physical.
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01:22
So -- again, this is five years ago --
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Jadi -- ini lima tahun yang lalu --
01:25
so doing journalism
and virtual reality together
and virtual reality together
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menggabungkan jurnalisme dan
virtual reality
virtual reality
01:29
was considered
a worse-than-half-baked idea,
a worse-than-half-baked idea,
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mungkin dianggap lebih buruk daripada
ide-setengah-jadi,
ide-setengah-jadi,
01:32
and I had no funding.
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dan saya tidak punya dana.
01:33
Believe me, I had a lot
of colleagues laughing at me.
of colleagues laughing at me.
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Percayalah, ada banyak kolega yang
menertawakan saya.
menertawakan saya.
01:35
And I did, though,
have a really great intern,
have a really great intern,
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Tapi saya punya seorang pegawai magang
yang hebat,
yang hebat,
01:39
a woman named Michaela Kobsa-Mark.
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seorang perempuan bernama
Michaela Kobsa-Mark.
Michaela Kobsa-Mark.
01:41
And together we went out to food banks
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Dan bersama-sama, kami pergi ke
bank makanan
bank makanan
01:43
and started recording
audio and photographs.
audio and photographs.
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dan mulai merekam audio dan
mengambil gambar.
mengambil gambar.
01:46
Until one day she came back to my office
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Hingga suatu hari dia datang
ke ruangan saya
ke ruangan saya
01:48
and she was bawling, she was just crying.
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dan dia menangis.
01:51
She had been on scene at a long line,
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Dia berada dalam antrian panjang di lokasi
01:53
where the woman running the line
was feeling extremely overwhelmed,
was feeling extremely overwhelmed,
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ketika seorang perempuan yang kewalahan
01:57
and she was screaming,
"There's too many people!
"There's too many people!
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berteriak, "Ada begitu banyak orang!"
02:00
There's too many people!"
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"Ada terlalu banyak orang!"
02:02
And this man with diabetes
doesn't get food in time,
doesn't get food in time,
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Dan seorang pria dengan diabetes yang
tidak mendapat makanan tepat waktu,
tidak mendapat makanan tepat waktu,
02:06
his blood sugar drops too low,
and he collapses into a coma.
and he collapses into a coma.
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gula darahnya turun rendah,
dan ia jatuh koma.
dan ia jatuh koma.
02:10
As soon as I heard that audio,
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Segera setelah mendengar rekaman itu,
02:12
I knew that this would be
the kind of evocative piece
the kind of evocative piece
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saya tahu ini akan menjadi
laporan menggugah
laporan menggugah
02:15
that could really describe
what was going on at food banks.
what was going on at food banks.
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yang dapat benar-benar menggambarkan
apa yang terjadi di bank makanan.
apa yang terjadi di bank makanan.
02:19
So here's the real line.
You can see how long it was, right?
You can see how long it was, right?
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Jadi ini adalah antrian betulan.
Anda bisa lihat betapa panjang, bukan?
Anda bisa lihat betapa panjang, bukan?
02:22
And again, as I said, we didn't
have very much funding,
have very much funding,
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Dan seperti saya bilang,
kami tak punya banyak dana,
kami tak punya banyak dana,
02:25
so I had to reproduce it
with virtual humans that were donated,
with virtual humans that were donated,
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jadi saya harus mereka ulang
dengan manusia virtual yang disumbangkan,
dengan manusia virtual yang disumbangkan,
02:29
and people begged and borrowed favors
to help me create the models
to help me create the models
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dan orang-orang memohon dan membantu
saya untuk menciptakan model
saya untuk menciptakan model
02:33
and make things as accurate as we could.
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dan membuat reka ulang ini
se-akurat mungkin.
se-akurat mungkin.
02:35
And then we tried to convey
what happened that day
what happened that day
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Kemudian kami mencoba untuk
menyampaikan kejadian itu
menyampaikan kejadian itu
02:38
with as much as accuracy as is possible.
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se-akurat mungkin.
02:41
(Video) Voice: There's too many people!
There's too many people!
There's too many people!
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(Video) Suara: Terlalu banyak orang!
Terlalu banyak orang!
Terlalu banyak orang!
02:54
Voice: OK, he's having a seizure.
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Suara: Dia kejang-kejang.
03:11
Voice: We need an ambulance.
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Suara: Kita perlu ambulans.
03:14
Nonny de la Peña: So the man on the right,
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Nonny de la Peña: Pria di sebelah kanan,
03:16
for him, he's walking around the body.
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baginya, ia berjalan mengelilingi jenazah.
03:18
For him, he's in the room with that body.
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Baginya, ia ada di ruangan itu.
03:21
Like, that guy is at his feet.
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Seakan-akan pria itu ada di kakinya.
03:23
And even though,
through his peripheral vision,
through his peripheral vision,
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Dan meskipun melalui penglihatan periferal
03:25
he can see that he's in this lab space,
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ia dapat melihat bahwa ia di dalam lab,
03:27
he should be able to see
that he's not actually on the street,
that he's not actually on the street,
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ia dapat melihat bahwa dia tidak
benar-benar ada di jalan,
benar-benar ada di jalan,
03:32
but he feels like he's there
with those people.
with those people.
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tapi ia merasa seakan ia ada di sana
bersama mereka.
bersama mereka.
Dia sangat berhati-hati agar tidak
menginjak pria ini
menginjak pria ini
03:35
He's very cautious not to step on this guy
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03:37
who isn't really there, right?
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yang sebenarnya tidak ada di sana.
03:39
So that piece ended up
going to Sundance in 2012,
going to Sundance in 2012,
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Jadi dokumenter ini sampai ke
Sundance pada tahun 2012,
Sundance pada tahun 2012,
03:42
a kind of amazing thing,
and it was the first virtual reality film
and it was the first virtual reality film
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dan sungguh menakjubkan, karena ini
adalah film virtual reality pertama
adalah film virtual reality pertama
03:46
ever, basically.
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yang pernah ada.
Dan waktu itu, saya benar-benar khawatir.
03:49
And when we went, I was really terrified.
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03:51
I didn't really know
how people were going to react
how people were going to react
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Saya tidak tahu akan seperti
apa reaksi orang-orang
apa reaksi orang-orang
03:53
and what was going to happen.
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dan apa yang akan terjadi.
03:54
And we showed up
with this duct-taped pair of goggles.
with this duct-taped pair of goggles.
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Dan kami muncul dengan sepasang kacamata
yang diselotip.
yang diselotip.
03:57
(Video) Oh, you're crying.
You're crying. Gina, you're crying.
You're crying. Gina, you're crying.
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(Video) Oh, kamu menangis.
Kamu menangis. Gina, kamu menangis.
Kamu menangis. Gina, kamu menangis.
04:01
So you can hear
the surprise in my voice, right?
the surprise in my voice, right?
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Kamu bisa mendengar kekagetan di suaraku,
kan?
kan?
04:04
And this kind of reaction ended up being
the kind of reaction we saw
the kind of reaction we saw
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Dan reaksi semacam inilah yang kami lihat
04:08
over and over and over:
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lagi dan lagi dan lagi:
04:11
people down on the ground
trying to comfort the seizure victim,
trying to comfort the seizure victim,
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orang-orang berlutut di tanah untuk
membantu korban kejang,
membantu korban kejang,
04:14
trying to whisper something into his ear
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berusaha membisikkan sesuatu ke telinganya
04:16
or in some way help,
even though they couldn't.
even though they couldn't.
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atau membantu sebisanya,
meskipun mereka tak mungkin bisa.
meskipun mereka tak mungkin bisa.
04:20
And I had a lot of people
come out of that piece saying,
come out of that piece saying,
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Dan banyak orang yang setelah menonton
film itu berkata,
film itu berkata,
04:23
"Oh my God, I was so frustrated.
I couldn't help the guy,"
I couldn't help the guy,"
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"Ya Tuhan, saya frustasi.
Saya tak bisa membantu pria itu,"
Saya tak bisa membantu pria itu,"
04:26
and take that back into their lives.
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dan membawa pengalaman itu
dalam hidup mereka.
dalam hidup mereka.
04:28
So after this piece was made,
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Setelah film ini dibuat,
04:32
the dean of the cinema school at USC,
the University of Southern California,
the University of Southern California,
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dekan sekolah perfilman di USC,
University of Southern California,
University of Southern California,
04:36
brought in the head of the World
Economic Forum to try "Hunger,"
Economic Forum to try "Hunger,"
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mengundang ketua World Economic Forum
untuk melihat "Hunger,"
untuk melihat "Hunger,"
04:40
and he took off the goggles,
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dan dia melepas kacamatanya,
04:41
and he commissioned
a piece about Syria on the spot.
a piece about Syria on the spot.
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dan memesan dokumenter tentang Suriah
ketika itu juga.
ketika itu juga.
Dan saya benar-benar ingin melakukan
sesuatu untuk anak-anak pengungsi Suriah,
sesuatu untuk anak-anak pengungsi Suriah,
04:44
And I really wanted to do something
about Syrian refugee kids,
about Syrian refugee kids,
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04:47
because children have been the worst
affected by the Syrian civil war.
affected by the Syrian civil war.
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karena anak-anak adalah korban
paling parah dari perang sipil di Suriah.
paling parah dari perang sipil di Suriah.
04:52
I sent a team to the border of Iraq
to record material at refugee camps,
to record material at refugee camps,
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Saya mengirim tim ke perbatasan Irak untuk
merekam para pengungsi di kamp,
merekam para pengungsi di kamp,
04:56
basically an area I wouldn't
send a team now,
send a team now,
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ke wilayah yang sekarang tidak lagi aman,
04:59
as that's where ISIS is really operating.
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karena disanalah ISIS sekarang beroperasi.
05:02
And then we also recreated a street scene
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Dan kami juga mereka ulang satu
kejadian di jalanan
kejadian di jalanan
05:05
in which a young girl is singing
and a bomb goes off.
and a bomb goes off.
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dimana seorang gadis kecil sedang
bernyanyi dan sebuah bom meledak.
bernyanyi dan sebuah bom meledak.
05:09
Now, when you're
in the middle of that scene
in the middle of that scene
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Ketika Anda berada di tengah-tengah
kejadian itu,
kejadian itu,
05:11
and you hear those sounds,
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dan Anda mendengar suara itu,
dan Anda melihat orang-orang terluka
di sekitar Anda,
di sekitar Anda,
05:14
and you see the injured around you,
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05:16
it's an incredibly scary and real feeling.
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itu adalah perasaan yang sangat menakutkan
dan begitu nyata.
dan begitu nyata.
05:19
I've had individuals who have been
involved in real bombings tell me
involved in real bombings tell me
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Saya pernah bertemu orang-orang yang
pernah mengalami pengeboman betulan
pernah mengalami pengeboman betulan
05:23
that it evokes the same kind of fear.
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dan mereka bilang perasaan takutnya sama.
05:28
[The civil war in Syria may seem far away]
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[Perang sipil Suriah mungkin terasa jauh]
05:34
[until you experience it yourself.]
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[sampai Anda mengalaminya sendiri.]
05:41
(Girl singing)
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(Gadis menyanyi)
05:48
(Explosion)
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(Ledakan)
05:50
[Project Syria]
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[Proyek Suriah]
05:55
[A virtual reality experience]
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[Pengalaman virtual reality]
05:58
NP: We were then invited to take the piece
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NP: Kami kemudian diundang untuk
membawanya
membawanya
06:00
to the Victoria and Albert
Museum in London.
Museum in London.
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ke Museum Victoria dan Albert di London.
06:02
And it wasn't advertised.
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Tidak ada iklan.
06:04
And we were put in this tapestry room.
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Kami ditempatkan di ruangan permadani ini.
06:06
There was no press about it,
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Tidak ada promosi media,
06:07
so anybody who happened to walk
into the museum to visit it that day
into the museum to visit it that day
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jadi siapa pun yang kebetulan mengunjungi
museum pada hari itu
museum pada hari itu
bisa melihat kami dengan lampu besar ini.
06:11
would see us with these crazy lights.
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06:13
You know, maybe they would want to see
the old storytelling of the tapestries.
the old storytelling of the tapestries.
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Yah, mungkin mereka ingin melihat
kisah lama yang diceritakan di permadani.
kisah lama yang diceritakan di permadani.
06:17
They were confronted
by our virtual reality cameras.
by our virtual reality cameras.
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Mereka justru menemukan
kamera virtual reality kami.
kamera virtual reality kami.
06:20
But a lot of people tried it,
and over a five-day run
and over a five-day run
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Tapi banyak orang yang mencobanya,
dan sepanjang 5 hari
dan sepanjang 5 hari
06:23
we ended up with 54 pages
of guest book comments,
of guest book comments,
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buku pengunjung kami penuh dengan
pesan pengunjung sepanjang 54 halaman,
pesan pengunjung sepanjang 54 halaman,
06:28
and we were told by the curators there
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dan menurut kurator di sana
06:30
that they'd never seen such an outpouring.
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mereka tak pernah melihat pengunjung
seramai itu.
seramai itu.
06:33
Things like, "It's so real,"
"Absolutely believable,"
"Absolutely believable,"
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Pesan seperti, "Ini seperti betulan,"
"Seperti asli,"
"Seperti asli,"
06:37
or, of course, the one
that I was excited about,
that I was excited about,
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atau, tentunya, yang saya paling suka,
06:40
"A real feeling as if you were
in the middle of something
in the middle of something
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"Perasaan seakan saya benar-benar
ada di tengah kejadian
ada di tengah kejadian
06:43
that you normally see on the TV news."
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yang biasanya hanya bisa dilihat dalam
berita TV."
berita TV."
06:46
So, it works, right? This stuff works.
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Jadi, berhasil, kan? Ini bisa berhasil.
06:50
And it doesn't really matter
where you're from or what age you are --
where you're from or what age you are --
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Dan tak peduli dari mana asal Anda
atau usia Anda --
atau usia Anda --
06:54
it's really evocative.
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ini benar-benar menggugah.
06:56
Now, don't get me wrong -- I'm not saying
that when you're in a piece
that when you're in a piece
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Jangan salah paham -- saya tidak bilang
bahwa ketika Anda ada dalam satu adegan
bahwa ketika Anda ada dalam satu adegan
07:00
you forget that you're here.
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Anda lupa Anda ada di sini.
07:03
But it turns out we can feel
like we're in two places at once.
like we're in two places at once.
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Tapi ternyata kita bisa merasa berada
di dua tempat sekaligus.
di dua tempat sekaligus.
07:06
We can have what I call
this duality of presence,
this duality of presence,
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Kita bisa memiliki yang saya sebut
dualisme keberadaan,
dualisme keberadaan,
07:09
and I think that's what allows me
to tap into these feelings of empathy.
to tap into these feelings of empathy.
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dan menurut saya ini memberi saya
perasaan empati.
perasaan empati.
07:14
Right?
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Ya, kan?
07:16
So that means, of course,
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Jadi itu artinya, tentu saja,
07:19
that I have to be very cautious
about creating these pieces.
about creating these pieces.
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saya harus benar-benar hati-hati
dalam menciptakan adegan-adegan ini.
dalam menciptakan adegan-adegan ini.
07:24
I have to really follow
best journalistic practices
best journalistic practices
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Saya harus benar-benar mengikuti
praktik jurnalisme yang terbaik
praktik jurnalisme yang terbaik
07:28
and make sure that these powerful stories
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dan memastikan agar kisah-kisah ini
07:30
are built with integrity.
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dibuat dengan penuh integritas.
07:32
If we don't capture
the material ourselves,
the material ourselves,
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Jika kami tidak mengambil bahan
secara langsung,
secara langsung,
07:34
we have to be extremely exacting
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kami harus memastikan dengan benar
07:39
about figuring out the provenance
and where did this stuff come from
and where did this stuff come from
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sumber dan asalnya
07:42
and is it authentic?
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dan keasliannya.
07:44
Let me give you an example.
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Saya akan beri satu contoh.
07:45
With this Trayvon Martin case,
this is a guy, a kid,
this is a guy, a kid,
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Dalam kasus Travyon Martin,
seorang anak laki-laki
seorang anak laki-laki
07:48
who was 17 years old and he bought
soda and a candy at a store,
soda and a candy at a store,
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berusia 17 tahun yang membeli
soda dan permen di toko,
soda dan permen di toko,
07:52
and on his way home he was tracked
by a neighborhood watchman
by a neighborhood watchman
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dan dia dalam perjalanan pulang ketika
dihadang oleh seorang penjaga malam
dihadang oleh seorang penjaga malam
07:56
named George Zimmerman
who ended up shooting and killing him.
who ended up shooting and killing him.
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bernama George Zimmerman
yang belakangan menembak dan membunuhnya.
yang belakangan menembak dan membunuhnya.
Untuk membuat adegan itu,
07:59
To make that piece,
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08:00
we got the architectural drawings
of the entire complex,
of the entire complex,
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kami menerima gambar arsitektur
kompleks tersebut
kompleks tersebut
08:04
and we rebuilt the entire scene
inside and out, based on those drawings.
inside and out, based on those drawings.
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dan kami membangun keseluruhan adegan
luar-dalam, berdasarkan gambar tersebut.
luar-dalam, berdasarkan gambar tersebut.
08:09
All of the action
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Seluruh kejadiannya
08:10
is informed by the real 911
recorded calls to the police.
recorded calls to the police.
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diinformasikan oleh telepon 911
yang sebenarnya pada polisi.
yang sebenarnya pada polisi.
08:16
And interestingly, we broke
some news with this story.
some news with this story.
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Dan menariknya,
kami menelurkan berita dalam cerita ini.
kami menelurkan berita dalam cerita ini.
08:19
The forensic house that did the audio
reconstruction, Primeau Productions,
reconstruction, Primeau Productions,
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Kantor forensik yang melakukan
rekonstruksi audio, Primeau Productions,
rekonstruksi audio, Primeau Productions,
08:23
they say that they would testify
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mengatakan bahwa mereka akan bersaksi
08:25
that George Zimmerman,
when he got out of the car,
when he got out of the car,
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bahwa ketika George Zimmerman keluar
dari mobil,
dari mobil,
08:27
he cocked his gun before he went
to give chase to Martin.
to give chase to Martin.
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Ia mengokang senjatanya
sebelum Ia mengejar Martin.
sebelum Ia mengejar Martin.
08:32
So you can see that
the basic tenets of journalism,
the basic tenets of journalism,
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Jadi Anda bisa melihat prinsip-prinsip
dasar jurnalisme,
dasar jurnalisme,
08:35
they don't really change here, right?
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yang tidak berubah di sini, ya kan?
08:37
We're still following the same principles
that we would always.
that we would always.
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Kami masih mengikuti prinsip yang selalu
kami ikuti.
kami ikuti.
08:40
What is different is the sense
of being on scene,
of being on scene,
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Bedanya adalah peraasan berada di lokasi
08:44
whether you're watching
a guy collapse from hunger
a guy collapse from hunger
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baik ketika Anda menonton seseorang
jatuh kelaparan
jatuh kelaparan
08:46
or feeling like you're
in the middle of a bomb scene.
in the middle of a bomb scene.
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atau merasa berada di tengah
adegan pengeboman.
adegan pengeboman.
08:48
And this is kind of what has driven me
forward with these pieces,
forward with these pieces,
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Dan inilah yang mendorong saya
melakukannya.
melakukannya.
dan berpikir bagaimana
caranya membuatnya
caranya membuatnya
08:53
and thinking about how to make them.
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08:55
We're trying to make this, obviously,
beyond the headset, more available.
beyond the headset, more available.
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Kami mencoba membuatnya
lebih gampang diakses, tanpa headset.
lebih gampang diakses, tanpa headset.
08:59
We're creating mobile pieces
like the Trayvon Martin piece.
like the Trayvon Martin piece.
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Kami membuat adegan "mobile"
seperti kasus Trayvon Martin.
seperti kasus Trayvon Martin.
09:02
And these things have had impact.
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Dan mereka berdampak.
Ada orang yang mengatakan
bahwa mereka memberikan donasi,
bahwa mereka memberikan donasi,
09:06
I've had Americans tell me
that they've donated,
that they've donated,
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09:09
direct deductions from their bank account,
money to go to Syrian children refugees.
money to go to Syrian children refugees.
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mengirimkan uang dari rekening bank mereka
untuk anak-anak pengungsi Suriah.
untuk anak-anak pengungsi Suriah.
09:13
And "Hunger in LA," well,
it's helped start
it's helped start
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Dan "Hunger in LA" sudah membantu memulai
09:15
a new form of doing journalism
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sebuah metode jurnalisme
09:18
that I think is going to join
all the other normal platforms
all the other normal platforms
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yang menurut saya akan menjadi salah satu
media biasa
media biasa
09:21
in the future.
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di masa depan.
09:22
Thank you.
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Terima kasih.
09:23
(Applause)
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(Tepuk tangan)
ABOUT THE SPEAKER
Nonny de la Peña - Virtual reality pioneerNonny de la Peña uses new, immersive media to tell stories that create empathy in readers and viewers.
Why you should listen
As the CEO of Emblematic Group, Nonny de la Peña uses cutting-edge technologies to tell stories — both fictional and news-based — that create intense, empathic engagement on the part of viewers. She has been called “The Godmother of Virtual Reality” by Engadget, while Fast Company named her “One of the People Who Made the World More Creative” for her pioneering work in immersive journalism.
A former correspondent for Newsweek, de la Peña has more than 20 years of award-winning experience in print, film and TV. Her virtual-reality work has been featured by the BBC, Mashable, Vice, Wired and many others, and been screened around the globe at museums and gaming conventions. De la Peña is an Annenberg Fellow at the University of Southern California’s School of Cinematic Arts.
More profile about the speakerA former correspondent for Newsweek, de la Peña has more than 20 years of award-winning experience in print, film and TV. Her virtual-reality work has been featured by the BBC, Mashable, Vice, Wired and many others, and been screened around the globe at museums and gaming conventions. De la Peña is an Annenberg Fellow at the University of Southern California’s School of Cinematic Arts.
Nonny de la Peña | Speaker | TED.com