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

Prevodilac: Jelena Kovačević Lektor: Marija Kojić

What if I could present you a story

Šta ako bih mogla da vam predstavim priču

that you would remember with your entire body

koju biste zapamtili celim bićem

and not just with your mind?

a ne samo umom?

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

Živeći kao novinar, stvarno sam morala

to try to make stories that can make a difference

da se trudim da pišem priče koje mogu nešto da promene

and maybe inspire people to care.

i možda inspirišu ljude da se za nešto zainteresuju.

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

Radila sam u štampi. Radila sam dokumentarce.

I've worked in broadcast.

Radila sam u emisijama.

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

Ipak, sve dok se nisam uključila u rad sa virtuelnom stvarnošću

that I started seeing these really intense,

nisam zaista uspela da vidim te zaista intenzivne,

authentic reactions from people

iskrene reakcije ljudi

that really blew my mind.

koje su me zaista oduševile.

So the deal is that with VR, virtual reality,

Dakle, caka je u tome što kroz VR, virtuelnu realnost,

I can put you on scene

mogu da vas prenesem na mesto radnje,

in the middle of the story.

u sred priče.

By putting on these goggles that track wherever you look,

Stavljajući ove naočare koje prate vaš pogled,

you get this whole-body sensation,

dobijate osećaj kao da ste zapravo

like you're actually, like, there.

celim telom zaista tamo.

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

Pre oko 5 godina sam zaista počela da pomeram granice

with using virtual reality and journalism together.

u kombinovanju virtuelne stvarnosti

i novinarstva.

And I wanted to do a piece about hunger.

Htela sam da napravim rad o gladi.

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

Porodice u Americi su sve gladnije, banke hrane su preopterećene

and they're often running out of food.

i često ostaju bez hrane.

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

Znala sam da ne mogu da učinim da ljudi osete glad,

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

ali možda sam mogla da nađem način da nešto fizički osete.

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

Dakle - opet, ovo je bilo pre 5 godina -

so doing journalism and virtual reality together

dakle, kombinovanje novinarstva i virtuelne stvarnosti

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

smatralo se gorim i od nerazrađene ideje,

and I had no funding.

i nisam imala finansijskih sredstava.

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

Verujte mi, mnoge kolege su mi se smejale.

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

Ipak, imala sam jako dobrog stažistu,

a woman named Michaela Kobsa-Mark.

ženu po imenu Mihaela Kobsa-Mark.

And together we went out to food banks

Zajedno smo odlazile u banke hrane

and started recording audio and photographs.

i počele da prikupljamo snimke i fotografije.

Until one day she came back to my office

Sve dok jednog dana nije došla u moju kancelariju jecajući,

and she was bawling, she was just crying.

samo je plakala.

She had been on scene at a long line,

Bila je na terenu gde se čekao dug red,

where the woman running the line was feeling extremely overwhelmed,

i žena koja je čekala u redu se osećala iscrpljeno

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

i počela je da viče: „Ima previše ljudi ovde!

There's too many people!"

Ima previše ljudi!"

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

Jedan čovek, dijabetičar, nije dobio hranu na vreme,

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

šećer mu je pao i on je pao u komu.

As soon as I heard that audio,

Čim sam poslušala snimak,

I knew that this would be the kind of evocative piece

znala sam da je to provokativno delo

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

koje bi moglo da prikaže šta se zaista dešava u bankama hrane.

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

Pa, evo pravog reda. Možete da vidite koliko je dug, zar ne?

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

Kao što sam rekla, nismo imali mnogo sredstava,

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

pa smo morali to da nadomestimo virtuelnim ljudima koji su dodati,

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

ljudi su molili i tražili usluge od drugih da mi pomognu da kreiram modele

and make things as accurate as we could.

i napravimo sve precizno koliko je u našoj moći.

And then we tried to convey what happened that day

Zatim smo pokušali da prikažemo šta se dešavalo tog dana

with as much as accuracy as is possible.

sa što većom preciznošću.

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

(Video) Glas: Previše je ljudi ovde! Previše je ljudi!

Voice: OK, he's having a seizure.

Glas: Ok, ima napad.

Voice: We need an ambulance.

Glas: Treba nam hitna pomoć.

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

Noni de la Penja: Dakle, čovek s desna,

for him, he's walking around the body.

što se njega tiče, on hoda oko tela.

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

On je u sobi sa tim telom.

Like, that guy is at his feet.

Ovaj čovek mu je pod nogama.

And even though, through his peripheral vision,

I čak i tada, preko perifernog vida,

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

on može da vidi da je u laboratoriji,

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

trebalo bi da može da vidi da nije stvarno na ulici,

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

ali oseća se kao da jeste tamo sa svim tim ljudima.

He's very cautious not to step on this guy

Vodi računa da ne stane na ovog čoveka,

who isn't really there, right?

koji zapravo i nije stvarno tu, zar ne?

So that piece ended up going to Sundance in 2012,

Eto taj rad je 2012. godine završio na festivalu Sandens,

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

što je neverovatna stvar, i to je bio prvi film u virtuelnoj stvarnosti

ever, basically.

svih vremena, zapravo.

And when we went, I was really terrified.

I kada je krenulo, bila sam prestravljena.

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

Nisam baš znala kako će ljudi reagovati

and what was going to happen.

i šta će se dešavati.

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

I tako smo se pojavili sa ovim improvizovanim naočarima.

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

(Video) O, pa ti plačeš. Plačeš. Đina, ti plačeš.

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

Možete da čujete iznenađenje u mom glasu, zar ne?

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

I ova vrsta reakcije je završila postavši reakcija koju smo viđali

over and over and over:

iznova i iznova:

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

ljudi na zemlji koji bi pokušavali da uteše žrtvu napada

trying to whisper something into his ear

da mu šapnu nešto na uho,

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

ili na neki način pomognu, čak iako nisu mogli.

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

I mnogi su nakon tog snimka govorili:

„O Bože, bio sam tako frustriran.

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

Nisam mogao da pomognem čoveku",

i odnosili su to sa sobom kroz život.

and take that back into their lives.

So after this piece was made,

I tako, nakon što je ovaj rad napravljen,

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

dekan fakulteta filmske umetnosti na Univerzitetu u Južnoj Kaliforniji

doneo je rad pred rukovodioce Svetskog ekonomskog foruma

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

da isprobaju „Glad", i kada je skinuo naočare,

and he took off the goggles,

and he commissioned a piece about Syria on the spot.

na licu mesta je poručio rad o Siriji.

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

I zaista sam želela da uradim nešto o sirijskoj deci izbeglicama,

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

jer deca su najugroženija u sirijskom građanskom ratu.

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

Poslala sam tim na granicu Iraka da u izbegličkim kampovima prikuplja materijal.

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

U suštini, to je oblast u koju ih sada ne bih poslala,

as that's where ISIS is really operating.

jer je tamo ID stvarno aktivna.

And then we also recreated a street scene

I tada smo takođe rekreirali uličnu scenu

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

u kojoj se vidi mlada devojka koja peva, kada dođe do eksplozije.

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

Kada se nađete u sred ovakve scene

and you hear those sounds,

i čujete te zvuke,

and you see the injured around you,

i vidite ranjenike oko sebe,

it's an incredibly scary and real feeling.

to je neverovatno strašan i stvaran osećaj.

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

Bilo je i pojedinaca koji su preživeli pravo bombardovanje i svedočili

that it evokes the same kind of fear.

da je to u njima probudilo istu vrstu straha.

[The civil war in Syria may seem far away]

(Građanski rat u Siriji možda izgleda kao da je daleko]

[until you experience it yourself.]

[sve dok ga ne osetite na svojoj koži.)

(Girl singing)

(Devojka peva)

(Explosion)

(Eksplozija)

[Project Syria]

(Projekat Sirija)

[A virtual reality experience]

(iskustvo virtuelne stvarnosti)

NP: We were then invited to take the piece

NP: Zatim smo pozvani da rad prikažemo

to the Victoria and Albert Museum in London.

u Muzeju Viktorije i Alberta u Londonu.

And it wasn't advertised.

Nismo imali nikakvu reklamu.

And we were put in this tapestry room.

Rad je izložen u sobi sa tapiserijama.

There was no press about it,

Nije pisano o njemu u štampi,

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

pa ko god da bi došao u muzej tog dana

would see us with these crazy lights.

mogao je da vidi sva ta luda svetla.

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

Znate, možda su želeli da vide stare priče na tapiserijama.

They were confronted by our virtual reality cameras.

Bili su suočeni sa našim kamerama virtuelne realnosti.

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

No, mnogi ljudi su odlučili da probaju, i nakon 5 dana projekcije

we ended up with 54 pages of guest book comments,

imali smo 54 strane komentara u knjizi utisaka,

and we were told by the curators there

i kustosi su nam rekli

that they'd never seen such an outpouring.

da ikada nisu videli takve izlive emocija.

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

Pisali su stvari tipa: „Tako je stvarno", „Potpuno uverljivo",

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

ili naravno, onaj koji me najviše oduševio:

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

„Stvaran osećaj, baš kao da sam u sred nečega

that you normally see on the TV news."

što inače viđamo na vestima."

So, it works, right? This stuff works.

Dakle, radi, zar ne? Ovo stvarno funkcioniše.

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

I nije zapravo važno odakle ste ili koje ste godište -

it's really evocative.

jer ovo zaista može da izazove reakciju.

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

Sad, nemojte me pogrešno shvatiti - ne kažem da tokom ovoga

you forget that you're here.

zaboravite gde ste.

Ispostavlja se da možete da se osećate kao da ste istovremeno na dva mesta.

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

We can have what I call this duality of presence,

Možemo doživeti dualnost prisustva,

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

i msilim da mi baš to dozvoljava da probudim taj osećaj 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 da budem veoma oprezna kada stvaram ova dela.

I have to really follow best journalistic practices

Moram zaista da ispratim najbolju novinarsku praksu

and make sure that these powerful stories

i uverim se da su ove moćne priče

are built with integrity.

sazdane s integritetom.

If we don't capture the material ourselves,

Ako sav materijal ne prikupimo sami,

we have to be extremely exacting

moramo da budemo veoma pažljivi

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

u pogledu porekla informacija

and is it authentic?

i njihove autentičnosti.

Let me give you an example.

Da vam dam primer.

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

Primer je u vezi sa slučajem Trejvona Martina,

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

koji je imao 17 godina. Kupio je sok i slatkiše u prodavnici,

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

i na putu do kuće pratio ga je pripadnik građanske straže

named George Zimmerman who ended up shooting and killing him.

po imenu Džordž Zimerman koji ga je na kraju upucao i ubio.

To make that piece,

Da bismo stvorili ovo delo,

we got the architectural drawings of the entire complex,

uzeli smo arhitektonske nacrte celog kompleksa,

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

i na osnovu njih izgradili celu scenu i spolja i iznutra.

All of the action

Sve informacije o akciji

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

smo dobili sa snimljenih poziva upućenih policiji.

And interestingly, we broke some news with this story.

Zanimljivo, uspeli smo ovom pričom da saopštimo nove vesti.

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

Forenzičari produkcijske kuće zadužene za rekonstrukciju zvuka

they say that they would testify

kažu da bi svedočili na sudu

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

da je Džordž Zimerman, kada je izašao iz kola,

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

već bio otkočio pištolj pre nego što je pojurio za Martinom.

Možete videti

So you can see that the basic tenets of journalism,

da se osnovna načela novinarstva

they don't really change here, right?

ovde baš i ne menjaju, zar ne?

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

I dalje se prate ista načela koja bi se i inače pratila.

What is different is the sense of being on scene,

Ono što je drugačije jeste utisak da ste na terenu,

whether you're watching a guy collapse from hunger

bilo da posmatrate kako čovek kolabira od gladi,

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

bilo da se nađete usred eksplozije.

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

To je ono što me je vuklo napred u ovom radu,

and thinking about how to make them.

teralo da mislim o tome kako da ove radove napravim.

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

Pokušavamo da ovo učinimo više dostupnim.

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

Stvaramo mobilne radove, kao što je slučaj Trejvona Martina.

And these things have had impact.

I ove stvari su imale uticaja.

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

Amerikanci su mi rekli da su donirali novac za sirijsku decu izbeglice

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

što je direktan odbitak sa njihovih bankovnih računa.

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

I „Glad" je pomogla da se pokrene

a new form of doing journalism

novi oblik novinarstva

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

za koji mislim da će se pridružiti ostalim uobičajenim platformama

in the future.

u budućnosti.

Thank you.

Hvala vam.

(Applause)

(Aplauz)