The Future of News? Virtual Reality | Nonny de la Peña | TED Talks

Prevoditelj: Sonja Žarić Recezent: Ivan Stamenković

What if I could present you a story

Što kad bi vam mogla predstaviti priču

that you would remember with your entire body

koju biste zapamtili cijelim tijelom

and not just with your mind?

a ne samo svojim umom?

My whole life as a journalist, I've really been compelled

Cijeloga života kao novinarka, morala sam

to try to make stories that can make a difference

pisati priče koje čine razliku

and maybe inspire people to care.

i možda nadahnuti ljude da mare.

I've worked in print. I've worked in documentary.

Radila sam u tiskari. Radila sam na dokumentarcima.

I've worked in broadcast.

Radila sam na prijenosu.

But it really wasn't until I got involved with virtual reality

No, sve dok se nisam počela baviti virtualnom stvarnošću

that I started seeing these really intense,

nisam vidjela zaista intenzivne

authentic reactions from people

autentične reakcije ljudi

that really blew my mind.

koje su me zapanjile.

So the deal is that with VR, virtual reality,

Stvar je što vas VR, virtualna stvarnost,

I can put you on scene

može staviti na poprište događanja

in the middle of the story.

u središte priče.

By putting on these goggles that track wherever you look,

Stavljanjem naočala koje prate gdje god pogledate,

you get this whole-body sensation,

cijelim tijelom vas prožme osjećaj

like you're actually, like, there.

kao da ste zaista ondje.

So five years ago was about when I really began to push the envelope

Prije pet godina sam zaista počela pomicati granice mogućeg

with using virtual reality and journalism together.

koristeći virtualnu stvarnost i novinarstvo zajedno.

And I wanted to do a piece about hunger.

Željela sam raditi na priči o gladi.

Families in America are going hungry, food banks are overwhelmed,

Obitelji u Americi gladuju, banke hrane su prezaposlene,

and they're often running out of food.

i često ostanu bez hrane.

Now, I knew I couldn't make people feel hungry,

Znala sam da ne mogu ljude učiniti gladnima,

but maybe I could figure out a way to get them to feel something physical.

no možda mogu smisliti način da osjećaju nešto fizički.

So -- again, this is five years ago --

Tako da -- ovo je bilo prije pet godina --

so doing journalism and virtual reality together

kombiniranje novinarstva i virtualne stvarnosti

was considered a worse-than-half-baked idea,

se smatralo gorim nego polusmišljena ideja,

and I had no funding.

i nisam imala financiranje.

Believe me, I had a lot of colleagues laughing at me.

Vjerujte mi, mnoštvo kolega mi se smijalo.

And I did, though, have a really great intern,

Iako sam imala stvarno odličnog stažista,

a woman named Michaela Kobsa-Mark.

ženu imena Michaela Kobsa-Mark.

And together we went out to food banks

I zajedno smo otišli do banaka hrane

and started recording audio and photographs.

i počeli snimati zvuk i fotografije.

Until one day she came back to my office

Dok jednog dana nije došla do mog ureda

and she was bawling, she was just crying.

i derala se, plakala je.

She had been on scene at a long line,

Bila je u dugačkom redu,

where the woman running the line was feeling extremely overwhelmed,

gdje je žena koja vodi red bila ekstremno preplavljena,

and she was screaming, "There's too many people!

i vikala je, "Ima previše ljudi!

There's too many people!"

Ima previše ljudi!"

And this man with diabetes doesn't get food in time,

I jedan čovjek sa dijabetesom ne dobije hranu na vrijeme,

his blood sugar drops too low, and he collapses into a coma.

šećer mu padne prenisko, i padne u komu.

As soon as I heard that audio,

Čim sam čula taj snimak,

I knew that this would be the kind of evocative piece

znala sam da će biti snažan komad

that could really describe what was going on at food banks.

koji zaista može opisati što se događa u tim bankama hrane.

So here's the real line. You can see how long it was, right?

Evo stvarnog reda. Možete vidjeti koliko je dugačak bio, jel?

And again, as I said, we didn't have very much funding,

I opet, kao što sam rekla, nismo imali financiranje,

so I had to reproduce it with virtual humans that were donated,

tako da sam morala reproducirati virtualne ljude koji su nam poklonjeni,

and people begged and borrowed favors to help me create the models

a ljudi su preklinjali i posuđivali da bi mi pomogli stvoriti modele

and make things as accurate as we could.

i da bi stvari bile što točnije.

And then we tried to convey what happened that day

A onda smo pokušali prenijeti što se dogodilo taj dan

with as much as accuracy as is possible.

sa što većom točnošću mogućom.

(Video) Voice: There's too many people! There's too many people!

(Video) Glas: Ima previše ljudi! Ima previše ljudi!

Voice: OK, he's having a seizure.

Glas: OK, on ima napad.

Voice: We need an ambulance.

Glas: Trebamo hitnu pomoć.

Nonny de la Peña: So the man on the right,

Nonny de la Peña: Tako da je čovjek desno,

for him, he's walking around the body.

za njega, on se kreće oko tijela.

For him, he's in the room with that body.

Njemu se čini da je u prostoriji s tijelom.

Like, that guy is at his feet.

Kao da mu je pored stopala.

And even though, through his peripheral vision,

Iako putem perifernog vida,

he can see that he's in this lab space,

može vidjeti da je u laboratoriju,

he should be able to see that he's not actually on the street,

može vidjeti da nije zaista na ulici,

but he feels like he's there with those people.

no ipak se osjeća kao da je tamo sa tim ljudima.

He's very cautious not to step on this guy

Vrlo je oprezan da ne stane na tog čovjeka

who isn't really there, right?

koji nije zaista ondje, zar ne?

So that piece ended up going to Sundance in 2012,

Ovaj komad je završio na Sundance festivalu 2012. godine,

a kind of amazing thing, and it was the first virtual reality film

nevjerojatna stvar, ovo je prvi film koji koristi virtualnu stvarnost

ever, basically.

ikad.

And when we went, I was really terrified.

Kada smo otišli, bila sam prestravljena.

I didn't really know how people were going to react

Nisam znala kako će ljudi reagirati

and what was going to happen.

i što će se dogoditi.

And we showed up with this duct-taped pair of goggles.

A pojavili smo se sa samoljepljivim parom naočala.

(Video) Oh, you're crying. You're crying. Gina, you're crying.

(Video) Oh, ti plačeš. Plačeš. Gina, ti plačeš.

So you can hear the surprise in my voice, right?

Možete čuti iznenađenje u mom glasu, zar ne?

And this kind of reaction ended up being the kind of reaction we saw

A ova reakcija je ona koju smo vidjeli

over and over and over:

opet i opet i opet:

people down on the ground trying to comfort the seizure victim,

ljudi na zemlji pokušavaju utješiti žrtvu napada,

trying to whisper something into his ear

pokušavaju šaptati nešto u njegovo uho

or in some way help, even though they couldn't.

ili pomoći na neki način, iako ne mogu.

And I had a lot of people come out of that piece saying,

Mnogo ljudi je na izlasku govorilo,

"Oh my God, I was so frustrated. I couldn't help the guy,"

"O moj Bože, bio sam toliko frustriran. Nisam mogao pomoći tipu,"

and take that back into their lives.

i ponijelo to sa sobom u svakodnevne živote.

So after this piece was made,

Nakon što smo napravili ovaj film,

the dean of the cinema school at USC, the University of Southern California,

dekan filmske škole na USC-u, Sveučilište Južna Kalifornija,

brought in the head of the World Economic Forum to try "Hunger,"

je doveo šefa Svjetskog ekonomskog foruma da pogleda "Glad",

and he took off the goggles,

i kad je skinio naočale,

and he commissioned a piece about Syria on the spot.

naručio je film o Siriji istog trenutka.

And I really wanted to do something about Syrian refugee kids,

Željela sam naoraviti nešto za djecu izbjeglice iz Sirije,

because children have been the worst affected by the Syrian civil war.

jer su djeca najviše pogođena sirijskim građanskim ratom.

I sent a team to the border of Iraq to record material at refugee camps,

Poslala sam tim na granicu Iraka da snimi materijal u izbjegličkim kampovima,

basically an area I wouldn't send a team now,

u područje gdje ne bih slala tim sada,

as that's where ISIS is really operating.

jer ondje ISIS ima sjedište.

And then we also recreated a street scene

Rekreirali smo scenu na ulici

in which a young girl is singing and a bomb goes off.

u kojoj mala djevojčica pjeva i bomba eksplodira.

Now, when you're in the middle of that scene

Kad ste u središtu takve scene

and you hear those sounds,

i čujete te zvukove,

and you see the injured around you,

i vidite ozlijeđene ljude oko sebe,

it's an incredibly scary and real feeling.

nevjerojatno je strašno i stvarno.

I've had individuals who have been involved in real bombings tell me

Pojedinci koji su iskusili stvarno bombardiranje su mi rekli

that it evokes the same kind of fear.

da pobuđuje sličan osjećaj straha.

[The civil war in Syria may seem far away]

[Građanski rat u Siriji se čini udaljen]

[until you experience it yourself.]

[dok ga ne iskusite osobno.]

(Girl singing)

(Djevojčica pjeva)

(Explosion)

(Eksplozija)

[Project Syria]

[Projekt Sirija]

[A virtual reality experience]

[Iskustvo virtualne stvarnosti]

NP: We were then invited to take the piece

NP: Onda su nas pozvali da donesemo film

to the Victoria and Albert Museum in London.

u Victoria i Albert muzej u Londonu.

And it wasn't advertised.

Nismo ga reklamirali.

And we were put in this tapestry room.

Stavili su nas u sobu s tapiserijama.

There was no press about it,

Nije bilo vijesti o tome,

so anybody who happened to walk into the museum to visit it that day

tako da nas je svatko tko se našao u muzeju taj dan

would see us with these crazy lights.

mogao vidjeti sa tim ludim svjetlima.

You know, maybe they would want to see the old storytelling of the tapestries.

Znate, možda su htjeli vidjeti staro pripovjedanje tapiserija.

They were confronted by our virtual reality cameras.

Ali su bili suočeni sa našim kamerama virtualne stvarnosti.

But a lot of people tried it, and over a five-day run

No, mnogo ljudi ih je isprobalo i nakon pet dana

we ended up with 54 pages of guest book comments,

smo imali 54 stranice komentara u knjizi posjetilaca,

and we were told by the curators there

a tamošnji kustosi su nam rekli

that they'd never seen such an outpouring.

da nikad nisu vidjeli toliki priljev gostiju.

Things like, "It's so real," "Absolutely believable,"

Stvari kao, "Tako je stvarno," "Apsolutno uvjerljivo,"

or, of course, the one that I was excited about,

ili, naravno, jedan koji me najviše uzbudio,

"A real feeling as if you were in the middle of something

"Stvarni osjećaj kao da ste usred nečega

that you normally see on the TV news."

što najčešće vidite na TV-u u vijestima."

So, it works, right? This stuff works.

Tako da radi, zar ne? Ova stvar radi.

And it doesn't really matter where you're from or what age you are --

I nije bitno odakle ste ili koliko godina imate --

it's really evocative.

Zaista je moćno.

Now, don't get me wrong -- I'm not saying that when you're in a piece

Nemojte me krivo shvatiti -- ne govorim da dok ste tamo

you forget that you're here.

zaboravljate da ste ovdje.

But it turns out we can feel like we're in two places at once.

Ali ispada da se možemo osjećati kao da smo na dva mjesta odjednom.

We can have what I call this duality of presence,

Možemo iskusiti ono što ja zovem dvojnost prisustva,

and I think that's what allows me to tap into these feelings of empathy.

i mislim da je to ono što mi omogućava da zagazimo u osjećaje empatije.

Right?

Zar ne?

So that means, of course,

To znači, naravno,

that I have to be very cautious about creating these pieces.

da moram biti veoma oprezna pri stvaranju ovih filmova.

I have to really follow best journalistic practices

Moram stvarno pratiti najbolje novinarske vještine

and make sure that these powerful stories

i osigurati da ove moćne priče

are built with integrity.

budu stvorene s integritetom.

If we don't capture the material ourselves,

Ako ne sami ne snimimo materijal,

we have to be extremely exacting

moramo biti ekstremno strogi

about figuring out the provenance and where did this stuff come from

pri saznavanju podrijetla i odakle su te stvari došle

and is it authentic?

i jesu li autentične?

Let me give you an example.

Dat ću vam primjer.

With this Trayvon Martin case, this is a guy, a kid,

Slučaj Trayvona Martina, ovo je tip, dečko,

who was 17 years old and he bought soda and a candy at a store,

koji je imao 17 godina i kupio sok i slatkiš u trgovini,

and on his way home he was tracked by a neighborhood watchman

i na putu prema kući ga je pratio čuvar susjedstva

named George Zimmerman who ended up shooting and killing him.

imena George Zimmerman koji ga je naposljetku upucao i ubio.

To make that piece,

Da bi napravili ovaj film,

we got the architectural drawings of the entire complex,

nabavili smo arhitektonske crteže cijelog kompleksa,

and we rebuilt the entire scene inside and out, based on those drawings.

i ponovo sagradili cijelu scenu izvana i iznutra, na temelju tih crteža.

All of the action

Cijeli događaj

is informed by the real 911 recorded calls to the police.

je popraćen stvarnim snimljenim pozivima policiji.

And interestingly, we broke some news with this story.

Zanimljivo, sa ovom pričom smo došli do novih saznanja.

The forensic house that did the audio reconstruction, Primeau Productions,

Forenzička kuća koja je radila audio rekonstrukciju, Primeau Productions,

they say that they would testify

je rekla da će svjedočiti

that George Zimmerman, when he got out of the car,

da je George Zimmerman, kad je izašao iz vozila,

he cocked his gun before he went to give chase to Martin.

da je napeo pištolj prije potjere za Martinom.

So you can see that the basic tenets of journalism,

Možete vidjeti da se temeljni prinicipi novinarstva,

they don't really change here, right?

ne mijenjaju puno ovdje, zar ne?

We're still following the same principles that we would always.

Mi i dalje pratimo ista načela kao uvijek.

What is different is the sense of being on scene,

Ono što je drukčije je osjećaj da smo na poprištu,

whether you're watching a guy collapse from hunger

bilo da gledate čovjeka koji se ruši od gladi

or feeling like you're in the middle of a bomb scene.

ili osjećate kao da ste usred bombaškog napada.

And this is kind of what has driven me forward with these pieces,

To je ono što me tjera naprijed sa ovim filmovima,

and thinking about how to make them.

i razmišljanju kako da ih napravim.

We're trying to make this, obviously, beyond the headset, more available.

Pokušavamo ovo napraviti, očito, mogućim i bez slušalica, dostupnije.

We're creating mobile pieces like the Trayvon Martin piece.

Pravimo mobilne komade kao što je Trayvon Martin film.

And these things have had impact.

Ove stvari su imale utjecaja.

I've had Americans tell me that they've donated,

Neki Amerikanci su mi rekli da su donirali,

direct deductions from their bank account, money to go to Syrian children refugees.

direktnim skidanjem s bankovnog računa, novac koji će ići djeci izbjeglicama iz Sirije.

And "Hunger in LA," well, it's helped start

A "Glad u LA-u" je pomogao pokrenuti

a new form of doing journalism

novi oblik novinarstva

that I think is going to join all the other normal platforms

koji će se, ja mislim, pridružiti svim ostalim normalnim platformama

in the future.

u budućnosti.

Thank you.

Hvala vam.

(Applause)

(Pljesak)