TEDWomen 2015
Nonny de la Peña: The future of news? Virtual reality
Nonny de la Peña: Budućnosti vijesti? Virtualna stvarnost
Filmed:
Readability: 3.8
1,291,722 views
Što kad biste mogli iskusiti priču sa cijelim tijelom, ne samo svojim umom? Nonny de la Peña radi na novom obliku novinarstva koje kombinira tradicionalno izvještavanje sa novim tehnologijama virtualne stvarnosti i stavlja publiku unutar priče. Rezultat je snažno iskustvo koje će pomoći ljudima da shvate vijesti na potpuno novi način, de la Peña se nada.
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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Što kad bi vam mogla predstaviti priču
00:14
that you would remember
with your entire body
with your entire body
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koju biste zapamtili cijelim
tijelom
tijelom
00:17
and not just with your mind?
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a ne samo svojim umom?
00:19
My whole life as a journalist,
I've really been compelled
I've really been compelled
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Cijeloga života kao novinarka,
morala sam
morala sam
00:22
to try to make stories
that can make a difference
that can make a difference
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pisati priče koje
čine razliku
čine razliku
00:24
and maybe inspire people to care.
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i možda nadahnuti ljude da mare.
00:26
I've worked in print.
I've worked in documentary.
I've worked in documentary.
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Radila sam u tiskari.
Radila sam na dokumentarcima.
Radila sam na dokumentarcima.
00:29
I've worked in broadcast.
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Radila sam na prijenosu.
00:30
But it really wasn't until
I got involved with virtual reality
I got involved with virtual reality
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No, sve dok se nisam počela baviti
virtualnom stvarnošću
virtualnom stvarnošću
00:33
that I started seeing
these really intense,
these really intense,
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nisam vidjela zaista
intenzivne
intenzivne
00:36
authentic reactions from people
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autentične reakcije ljudi
00:38
that really blew my mind.
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koje su me zapanjile.
00:40
So the deal is that with VR,
virtual reality,
virtual reality,
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Stvar je što vas VR,
virtualna stvarnost,
virtualna stvarnost,
00:44
I can put you on scene
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može staviti na poprište događanja
00:47
in the middle of the story.
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u središte priče.
00:50
By putting on these goggles
that track wherever you look,
that track wherever you look,
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Stavljanjem naočala koje prate
gdje god pogledate,
gdje god pogledate,
00:53
you get this whole-body sensation,
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cijelim tijelom vas prožme osjećaj
00:56
like you're actually, like, there.
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kao da ste zaista ondje.
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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Prije pet godina sam zaista počela
pomicati granice mogućeg
pomicati granice mogućeg
01:02
with using virtual reality
and journalism together.
and journalism together.
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koristeći virtualnu stvarnost i
novinarstvo zajedno.
novinarstvo zajedno.
01:05
And I wanted to do a piece about hunger.
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Željela sam raditi na priči o gladi.
01:08
Families in America are going hungry,
food banks are overwhelmed,
food banks are overwhelmed,
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Obitelji u Americi gladuju,
banke hrane su prezaposlene,
banke hrane su prezaposlene,
01:11
and they're often running out of food.
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i često ostanu bez hrane.
01:14
Now, I knew I couldn't
make people feel hungry,
make people feel hungry,
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Znala sam da ne mogu ljude
učiniti gladnima,
učiniti gladnima,
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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no možda mogu smisliti način
da osjećaju nešto fizički.
da osjećaju nešto fizički.
01:22
So -- again, this is five years ago --
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Tako da -- ovo je bilo prije pet godina --
01:25
so doing journalism
and virtual reality together
and virtual reality together
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kombiniranje novinarstva i
virtualne stvarnosti
virtualne stvarnosti
01:29
was considered
a worse-than-half-baked idea,
a worse-than-half-baked idea,
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se smatralo gorim nego
polusmišljena ideja,
polusmišljena ideja,
01:32
and I had no funding.
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i nisam imala financiranje.
01:33
Believe me, I had a lot
of colleagues laughing at me.
of colleagues laughing at me.
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Vjerujte mi, mnoštvo kolega
mi se smijalo.
mi se smijalo.
01:35
And I did, though,
have a really great intern,
have a really great intern,
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Iako sam imala stvarno odličnog
stažista,
stažista,
01:39
a woman named Michaela Kobsa-Mark.
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ženu imena Michaela Kobsa-Mark.
01:41
And together we went out to food banks
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I zajedno smo otišli do banaka hrane
01:43
and started recording
audio and photographs.
audio and photographs.
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i počeli snimati zvuk i
fotografije.
fotografije.
01:46
Until one day she came back to my office
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Dok jednog dana nije došla do mog ureda
01:48
and she was bawling, she was just crying.
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i derala se, plakala je.
01:51
She had been on scene at a long line,
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Bila je u dugačkom redu,
01:53
where the woman running the line
was feeling extremely overwhelmed,
was feeling extremely overwhelmed,
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gdje je žena koja vodi red
bila ekstremno preplavljena,
bila ekstremno preplavljena,
01:57
and she was screaming,
"There's too many people!
"There's too many people!
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i vikala je,
"Ima previše ljudi!
"Ima previše ljudi!
02:00
There's too many people!"
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Ima previše ljudi!"
02:02
And this man with diabetes
doesn't get food in time,
doesn't get food in time,
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I jedan čovjek sa dijabetesom
ne dobije hranu na vrijeme,
ne dobije hranu na vrijeme,
02:06
his blood sugar drops too low,
and he collapses into a coma.
and he collapses into a coma.
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šećer mu padne prenisko,
i padne u komu.
i padne u komu.
02:10
As soon as I heard that audio,
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Čim sam čula taj snimak,
02:12
I knew that this would be
the kind of evocative piece
the kind of evocative piece
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znala sam da će biti
snažan komad
snažan komad
02:15
that could really describe
what was going on at food banks.
what was going on at food banks.
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koji zaista može opisati
što se događa u tim bankama hrane.
što se događa u tim bankama hrane.
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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Evo stvarnog reda.
Možete vidjeti koliko je dugačak bio, jel?
Možete vidjeti koliko je dugačak bio, jel?
02:22
And again, as I said, we didn't
have very much funding,
have very much funding,
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I opet, kao što sam rekla,
nismo imali financiranje,
nismo imali financiranje,
02:25
so I had to reproduce it
with virtual humans that were donated,
with virtual humans that were donated,
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tako da sam morala reproducirati
virtualne ljude koji su nam poklonjeni,
virtualne ljude koji su nam poklonjeni,
02:29
and people begged and borrowed favors
to help me create the models
to help me create the models
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a ljudi su preklinjali i posuđivali
da bi mi pomogli stvoriti modele
da bi mi pomogli stvoriti modele
02:33
and make things as accurate as we could.
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i da bi stvari bile što točnije.
02:35
And then we tried to convey
what happened that day
what happened that day
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A onda smo pokušali prenijeti
što se dogodilo taj dan
što se dogodilo taj dan
02:38
with as much as accuracy as is possible.
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sa što većom točnošću mogućom.
02:41
(Video) Voice: There's too many people!
There's too many people!
There's too many people!
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(Video) Glas: Ima previše ljudi!
Ima previše ljudi!
Ima previše ljudi!
02:54
Voice: OK, he's having a seizure.
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Glas: OK, on ima napad.
03:11
Voice: We need an ambulance.
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Glas: Trebamo hitnu pomoć.
03:14
Nonny de la Peña: So the man on the right,
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Nonny de la Peña: Tako da je čovjek desno,
03:16
for him, he's walking around the body.
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za njega, on se kreće oko tijela.
03:18
For him, he's in the room with that body.
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Njemu se čini da je u prostoriji
s tijelom.
s tijelom.
03:21
Like, that guy is at his feet.
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Kao da mu je pored stopala.
03:23
And even though,
through his peripheral vision,
through his peripheral vision,
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Iako putem perifernog vida,
03:25
he can see that he's in this lab space,
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može vidjeti da je u laboratoriju,
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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može vidjeti da nije zaista na ulici,
03:32
but he feels like he's there
with those people.
with those people.
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no ipak se osjeća kao da je tamo
sa tim ljudima.
sa tim ljudima.
03:35
He's very cautious not to step on this guy
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Vrlo je oprezan da ne stane na
tog čovjeka
tog čovjeka
03:37
who isn't really there, right?
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koji nije zaista ondje, zar ne?
03:39
So that piece ended up
going to Sundance in 2012,
going to Sundance in 2012,
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Ovaj komad je završio na Sundance
festivalu 2012. godine,
festivalu 2012. godine,
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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nevjerojatna stvar, ovo je prvi
film koji koristi virtualnu stvarnost
film koji koristi virtualnu stvarnost
03:46
ever, basically.
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ikad.
03:49
And when we went, I was really terrified.
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Kada smo otišli, bila sam prestravljena.
03:51
I didn't really know
how people were going to react
how people were going to react
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Nisam znala kako će ljudi reagirati
03:53
and what was going to happen.
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i što će se dogoditi.
03:54
And we showed up
with this duct-taped pair of goggles.
with this duct-taped pair of goggles.
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A pojavili smo se sa samoljepljivim parom
naočala.
naočala.
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, ti plačeš.
Plačeš. Gina, ti plačeš.
Plačeš. Gina, ti plačeš.
04:01
So you can hear
the surprise in my voice, right?
the surprise in my voice, right?
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Možete čuti iznenađenje u
mom glasu, zar ne?
mom glasu, zar ne?
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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A ova reakcija je ona koju smo
vidjeli
vidjeli
04:08
over and over and over:
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opet i opet i opet:
04:11
people down on the ground
trying to comfort the seizure victim,
trying to comfort the seizure victim,
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ljudi na zemlji pokušavaju
utješiti žrtvu napada,
utješiti žrtvu napada,
04:14
trying to whisper something into his ear
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pokušavaju šaptati nešto u njegovo uho
04:16
or in some way help,
even though they couldn't.
even though they couldn't.
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ili pomoći na neki način,
iako ne mogu.
iako ne mogu.
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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Mnogo ljudi je na izlasku govorilo,
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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"O moj Bože, bio sam toliko frustriran.
Nisam mogao pomoći tipu,"
Nisam mogao pomoći tipu,"
04:26
and take that back into their lives.
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i ponijelo to sa sobom u svakodnevne
živote.
živote.
04:28
So after this piece was made,
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Nakon što smo napravili ovaj film,
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 filmske škole na USC-u,
Sveučilište Južna Kalifornija,
Sveučilište Južna Kalifornija,
04:36
brought in the head of the World
Economic Forum to try "Hunger,"
Economic Forum to try "Hunger,"
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je doveo šefa Svjetskog ekonomskog
foruma da pogleda "Glad",
foruma da pogleda "Glad",
04:40
and he took off the goggles,
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i kad je skinio naočale,
04:41
and he commissioned
a piece about Syria on the spot.
a piece about Syria on the spot.
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naručio je film o Siriji istog trenutka.
04:44
And I really wanted to do something
about Syrian refugee kids,
about Syrian refugee kids,
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Željela sam naoraviti nešto za
djecu izbjeglice iz Sirije,
djecu izbjeglice iz Sirije,
04:47
because children have been the worst
affected by the Syrian civil war.
affected by the Syrian civil war.
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jer su djeca najviše pogođena
sirijskim građanskim ratom.
sirijskim građanskim ratom.
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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Poslala sam tim na granicu Iraka da
snimi materijal u izbjegličkim kampovima,
snimi materijal u izbjegličkim kampovima,
04:56
basically an area I wouldn't
send a team now,
send a team now,
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u područje gdje ne bih slala tim sada,
04:59
as that's where ISIS is really operating.
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jer ondje ISIS ima sjedište.
05:02
And then we also recreated a street scene
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Rekreirali smo scenu na ulici
05:05
in which a young girl is singing
and a bomb goes off.
and a bomb goes off.
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u kojoj mala djevojčica pjeva
i bomba eksplodira.
i bomba eksplodira.
05:09
Now, when you're
in the middle of that scene
in the middle of that scene
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Kad ste u središtu takve scene
05:11
and you hear those sounds,
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i čujete te zvukove,
05:14
and you see the injured around you,
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i vidite ozlijeđene ljude oko sebe,
05:16
it's an incredibly scary and real feeling.
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nevjerojatno je strašno i stvarno.
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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Pojedinci koji su iskusili stvarno
bombardiranje su mi rekli
bombardiranje su mi rekli
05:23
that it evokes the same kind of fear.
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da pobuđuje sličan osjećaj straha.
05:28
[The civil war in Syria may seem far away]
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[Građanski rat u Siriji se čini udaljen]
05:34
[until you experience it yourself.]
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[dok ga ne iskusite osobno.]
05:41
(Girl singing)
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(Djevojčica pjeva)
05:48
(Explosion)
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(Eksplozija)
05:50
[Project Syria]
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[Projekt Sirija]
05:55
[A virtual reality experience]
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[Iskustvo virtualne stvarnosti]
05:58
NP: We were then invited to take the piece
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NP: Onda su nas pozvali da donesemo film
06:00
to the Victoria and Albert
Museum in London.
Museum in London.
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u Victoria i Albert muzej u Londonu.
06:02
And it wasn't advertised.
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Nismo ga reklamirali.
06:04
And we were put in this tapestry room.
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Stavili su nas u sobu s tapiserijama.
06:06
There was no press about it,
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Nije bilo vijesti o tome,
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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tako da nas je svatko tko se našao u
muzeju taj dan
muzeju taj dan
06:11
would see us with these crazy lights.
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mogao vidjeti sa tim ludim svjetlima.
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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Znate, možda su htjeli vidjeti
staro pripovjedanje tapiserija.
staro pripovjedanje tapiserija.
06:17
They were confronted
by our virtual reality cameras.
by our virtual reality cameras.
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Ali su bili suočeni sa našim
kamerama virtualne stvarnosti.
kamerama virtualne stvarnosti.
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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No, mnogo ljudi ih je isprobalo i
nakon pet dana
nakon pet dana
06:23
we ended up with 54 pages
of guest book comments,
of guest book comments,
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smo imali 54 stranice komentara u
knjizi posjetilaca,
knjizi posjetilaca,
06:28
and we were told by the curators there
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a tamošnji kustosi su nam rekli
06:30
that they'd never seen such an outpouring.
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da nikad nisu vidjeli toliki priljev
gostiju.
gostiju.
06:33
Things like, "It's so real,"
"Absolutely believable,"
"Absolutely believable,"
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Stvari kao, "Tako je stvarno,"
"Apsolutno uvjerljivo,"
"Apsolutno uvjerljivo,"
06:37
or, of course, the one
that I was excited about,
that I was excited about,
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ili, naravno, jedan koji me najviše
uzbudio,
uzbudio,
06:40
"A real feeling as if you were
in the middle of something
in the middle of something
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"Stvarni osjećaj kao da ste usred nečega
06:43
that you normally see on the TV news."
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što najčešće vidite na TV-u u vijestima."
06:46
So, it works, right? This stuff works.
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Tako da radi, zar ne? Ova stvar radi.
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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I nije bitno odakle ste ili
koliko godina imate --
koliko godina imate --
06:54
it's really evocative.
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Zaista je moćno.
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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Nemojte me krivo shvatiti -- ne govorim da
dok ste tamo
dok ste tamo
07:00
you forget that you're here.
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zaboravljate da ste ovdje.
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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Ali ispada da se možemo osjećati kao
da smo na dva mjesta odjednom.
da smo na dva mjesta odjednom.
07:06
We can have what I call
this duality of presence,
this duality of presence,
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Možemo iskusiti ono što ja zovem
dvojnost prisustva,
dvojnost prisustva,
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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i mislim da je to ono što mi omogućava da
zagazimo u osjećaje empatije.
zagazimo u osjećaje empatije.
07:14
Right?
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Zar ne?
07:16
So that means, of course,
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To znači, naravno,
07:19
that I have to be very cautious
about creating these pieces.
about creating these pieces.
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da moram biti veoma oprezna pri
stvaranju ovih filmova.
stvaranju ovih filmova.
07:24
I have to really follow
best journalistic practices
best journalistic practices
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Moram stvarno pratiti najbolje
novinarske vještine
novinarske vještine
07:28
and make sure that these powerful stories
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i osigurati da ove moćne priče
07:30
are built with integrity.
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budu stvorene s integritetom.
07:32
If we don't capture
the material ourselves,
the material ourselves,
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Ako ne sami ne snimimo materijal,
07:34
we have to be extremely exacting
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moramo biti ekstremno strogi
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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pri saznavanju podrijetla i
odakle su te stvari došle
odakle su te stvari došle
07:42
and is it authentic?
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i jesu li autentične?
07:44
Let me give you an example.
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Dat ću vam primjer.
07:45
With this Trayvon Martin case,
this is a guy, a kid,
this is a guy, a kid,
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Slučaj Trayvona Martina,
ovo je tip, dečko,
ovo je tip, dečko,
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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koji je imao 17 godina i kupio sok
i slatkiš u trgovini,
i slatkiš u trgovini,
07:52
and on his way home he was tracked
by a neighborhood watchman
by a neighborhood watchman
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i na putu prema kući ga je pratio
čuvar susjedstva
čuvar susjedstva
07:56
named George Zimmerman
who ended up shooting and killing him.
who ended up shooting and killing him.
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imena George Zimmerman koji ga je
naposljetku upucao i ubio.
naposljetku upucao i ubio.
07:59
To make that piece,
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Da bi napravili ovaj film,
08:00
we got the architectural drawings
of the entire complex,
of the entire complex,
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nabavili smo arhitektonske crteže
cijelog kompleksa,
cijelog kompleksa,
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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i ponovo sagradili cijelu scenu
izvana i iznutra, na temelju tih crteža.
izvana i iznutra, na temelju tih crteža.
08:09
All of the action
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Cijeli događaj
08:10
is informed by the real 911
recorded calls to the police.
recorded calls to the police.
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je popraćen stvarnim snimljenim pozivima
policiji.
policiji.
08:16
And interestingly, we broke
some news with this story.
some news with this story.
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Zanimljivo, sa ovom pričom smo
došli do novih saznanja.
došli do novih saznanja.
08:19
The forensic house that did the audio
reconstruction, Primeau Productions,
reconstruction, Primeau Productions,
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Forenzička kuća koja je radila audio
rekonstrukciju, Primeau Productions,
rekonstrukciju, Primeau Productions,
08:23
they say that they would testify
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je rekla da će svjedočiti
08:25
that George Zimmerman,
when he got out of the car,
when he got out of the car,
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da je George Zimmerman,
kad je izašao iz vozila,
kad je izašao iz vozila,
08:27
he cocked his gun before he went
to give chase to Martin.
to give chase to Martin.
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da je napeo pištolj prije potjere za
Martinom.
Martinom.
08:32
So you can see that
the basic tenets of journalism,
the basic tenets of journalism,
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Možete vidjeti da se temeljni prinicipi
novinarstva,
novinarstva,
08:35
they don't really change here, right?
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ne mijenjaju puno ovdje, zar ne?
08:37
We're still following the same principles
that we would always.
that we would always.
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Mi i dalje pratimo ista načela kao
uvijek.
uvijek.
08:40
What is different is the sense
of being on scene,
of being on scene,
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Ono što je drukčije je
osjećaj da smo na poprištu,
osjećaj da smo na poprištu,
08:44
whether you're watching
a guy collapse from hunger
a guy collapse from hunger
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bilo da gledate čovjeka koji se
ruši od gladi
ruši od gladi
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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ili osjećate kao da ste usred
bombaškog napada.
bombaškog napada.
08:48
And this is kind of what has driven me
forward with these pieces,
forward with these pieces,
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To je ono što me tjera naprijed sa ovim
filmovima,
filmovima,
08:53
and thinking about how to make them.
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i razmišljanju kako da ih napravim.
08:55
We're trying to make this, obviously,
beyond the headset, more available.
beyond the headset, more available.
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Pokušavamo ovo napraviti, očito,
mogućim i bez slušalica, dostupnije.
mogućim i bez slušalica, dostupnije.
08:59
We're creating mobile pieces
like the Trayvon Martin piece.
like the Trayvon Martin piece.
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Pravimo mobilne komade
kao što je Trayvon Martin film.
kao što je Trayvon Martin film.
09:02
And these things have had impact.
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Ove stvari su imale utjecaja.
09:06
I've had Americans tell me
that they've donated,
that they've donated,
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Neki Amerikanci su mi rekli da su
donirali,
donirali,
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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direktnim skidanjem s bankovnog računa,
novac koji će ići djeci izbjeglicama iz Sirije.
novac koji će ići djeci izbjeglicama iz Sirije.
09:13
And "Hunger in LA," well,
it's helped start
it's helped start
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A "Glad u LA-u" je pomogao
pokrenuti
pokrenuti
09:15
a new form of doing journalism
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novi oblik novinarstva
09:18
that I think is going to join
all the other normal platforms
all the other normal platforms
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koji će se, ja mislim, pridružiti
svim ostalim normalnim platformama
svim ostalim normalnim platformama
09:21
in the future.
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u budućnosti.
09:22
Thank you.
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Hvala vam.
09:23
(Applause)
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(Pljesak)
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