ABOUT THE SPEAKER
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.

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 speaker
Nonny de la Peña | Speaker | TED.com
TEDWomen 2015

Nonny de la Peña: The future of news? Virtual reality

Nonny de la Peña: Budućnosti vijesti? Virtualna stvarnost

Filmed:
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.
- Virtual reality pioneer
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 presentpredstaviti you a storypriča
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Što kad bi vam mogla predstaviti priču
00:14
that you would rememberzapamtiti
with your entirečitav bodytijelo
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koju biste zapamtili cijelim
tijelom
00:17
and not just with your mindum?
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a ne samo svojim umom?
00:19
My wholečitav life as a journalistnovinar,
I've really been compelledprimoran
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Cijeloga života kao novinarka,
morala sam
00:22
to try to make storiespriče
that can make a differencerazlika
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pisati priče koje
čine razliku
00:24
and maybe inspirenadahnuti people to carebriga.
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i možda nadahnuti ljude da mare.
00:26
I've workedradio in printotisak.
I've workedradio in documentarydokumentarni film.
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Radila sam u tiskari.
Radila sam na dokumentarcima.
00:29
I've workedradio in broadcastemitiranje.
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Radila sam na prijenosu.
00:30
But it really wasn'tnije untildo
I got involvedumiješan with virtualvirtualan realitystvarnost
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No, sve dok se nisam počela baviti
virtualnom stvarnošću
00:33
that I startedpočeo seeingvidim
these really intenseintenzivan,
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nisam vidjela zaista
intenzivne
00:36
authenticautentičan reactionsreakcije from people
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autentične reakcije ljudi
00:38
that really blewraznio my mindum.
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koje su me zapanjile.
00:40
So the dealdogovor is that with VRVR,
virtualvirtualan realitystvarnost,
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Stvar je što vas VR,
virtualna stvarnost,
00:44
I can put you on scenescena
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može staviti na poprište događanja
00:47
in the middlesrednji of the storypriča.
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u središte priče.
00:50
By puttingstavljanje on these goggleszaštitne naočale
that trackstaza wherevergdje god you look,
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Stavljanjem naočala koje prate
gdje god pogledate,
00:53
you get this whole-bodycijelog tijela sensationosjećaj,
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cijelim tijelom vas prožme osjećaj
00:56
like you're actuallyzapravo, like, there.
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kao da ste zaista ondje.
00:59
So fivepet yearsgodina agoprije was about when
I really beganpočeo to pushgurnuti the envelopeomotnica
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Prije pet godina sam zaista počela
pomicati granice mogućeg
01:02
with usingkoristeći virtualvirtualan realitystvarnost
and journalismnovinarstvo togetherzajedno.
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koristeći virtualnu stvarnost i
novinarstvo zajedno.
01:05
And I wanted to do a piecekomad about hungerglad.
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Željela sam raditi na priči o gladi.
01:08
FamiliesObitelji in AmericaAmerika are going hungrygladan,
foodhrana banksbanke are overwhelmedosvaja,
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Obitelji u Americi gladuju,
banke hrane su prezaposlene,
01:11
and they're oftenčesto runningtrčanje out of foodhrana.
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i često ostanu bez hrane.
01:14
Now, I knewznao I couldn'tne mogu
make people feel hungrygladan,
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Znala sam da ne mogu ljude
učiniti gladnima,
01:17
but maybe I could figurelik out a way
to get them to feel something physicalfizička.
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no možda mogu smisliti način
da osjećaju nešto fizički.
01:22
So -- again, this is fivepet yearsgodina agoprije --
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Tako da -- ovo je bilo prije pet godina --
01:25
so doing journalismnovinarstvo
and virtualvirtualan realitystvarnost togetherzajedno
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kombiniranje novinarstva i
virtualne stvarnosti
01:29
was consideredsmatra
a worse-than-half-bakedjoš gore-od-polu-pečena ideaideja,
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se smatralo gorim nego
polusmišljena ideja,
01:32
and I had no fundingfinanciranje.
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i nisam imala financiranje.
01:33
Believe me, I had a lot
of colleagueskolege laughingsmijanje at me.
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Vjerujte mi, mnoštvo kolega
mi se smijalo.
01:35
And I did, thoughiako,
have a really great interninternirati,
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Iako sam imala stvarno odličnog
stažista,
01:39
a womanžena namedpod nazivom MichaelaMichaela Kobsa-MarkKobsa-Mark.
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ženu imena Michaela Kobsa-Mark.
01:41
And togetherzajedno we wentotišao out to foodhrana banksbanke
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I zajedno smo otišli do banaka hrane
01:43
and startedpočeo recordingsnimanje
audiozvučni and photographsfotografije.
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i počeli snimati zvuk i
fotografije.
01:46
UntilDo one day she camedošao back to my officeured
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Dok jednog dana nije došla do mog ureda
01:48
and she was bawlingMoj heroj, she was just cryingplakati.
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i derala se, plakala je.
01:51
She had been on scenescena at a long linecrta,
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Bila je u dugačkom redu,
01:53
where the womanžena runningtrčanje the linecrta
was feelingosjećaj extremelykrajnje overwhelmedosvaja,
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gdje je žena koja vodi red
bila ekstremno preplavljena,
01:57
and she was screamingvrištanje,
"There's too manymnogi people!
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i vikala je,
"Ima previše ljudi!
02:00
There's too manymnogi people!"
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Ima previše ljudi!"
02:02
And this man with diabetesdijabetes
doesn't get foodhrana in time,
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I jedan čovjek sa dijabetesom
ne dobije hranu na vrijeme,
02:06
his bloodkrv sugaršećer dropsKapi too lownizak,
and he collapsessruši into a comaKomu.
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šećer mu padne prenisko,
i padne u komu.
02:10
As soonuskoro as I heardčuo that audiozvučni,
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Čim sam čula taj snimak,
02:12
I knewznao that this would be
the kindljubazan of evocativekoji podsjeća piecekomad
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znala sam da će biti
snažan komad
02:15
that could really describeopisati
what was going on at foodhrana banksbanke.
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koji zaista može opisati
što se događa u tim bankama hrane.
02:19
So here'sevo the realstvaran linecrta.
You can see how long it was, right?
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Evo stvarnog reda.
Možete vidjeti koliko je dugačak bio, jel?
02:22
And again, as I said, we didn't
have very much fundingfinanciranje,
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I opet, kao što sam rekla,
nismo imali financiranje,
02:25
so I had to reproducereproduciraju it
with virtualvirtualan humansljudi that were donateddonirao,
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tako da sam morala reproducirati
virtualne ljude koji su nam poklonjeni,
02:29
and people beggedMolio and borrowedPosudio favorsusluge
to help me createstvoriti the modelsmodeli
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a ljudi su preklinjali i posuđivali
da bi mi pomogli stvoriti modele
02:33
and make things as accuratetočan as we could.
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i da bi stvari bile što točnije.
02:35
And then we triedpokušala to conveyprenijeti
what happeneddogodilo that day
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A onda smo pokušali prenijeti
što se dogodilo taj dan
02:38
with as much as accuracytočnost as is possiblemoguće.
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sa što većom točnošću mogućom.
02:41
(VideoVideo) VoiceGlas: There's too manymnogi people!
There's too manymnogi people!
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(Video) Glas: Ima previše ljudi!
Ima previše ljudi!
02:54
VoiceGlas: OK, he's havingima a seizurenapadaj.
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Glas: OK, on ima napad.
03:11
VoiceGlas: We need an ambulancehitna pomoć.
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Glas: Trebamo hitnu pomoć.
03:14
NonnyRekoh dede laLa PePEña: 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 walkinghodanje around the bodytijelo.
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za njega, on se kreće oko tijela.
03:18
For him, he's in the roomsoba with that bodytijelo.
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Njemu se čini da je u prostoriji
s tijelom.
03:21
Like, that guy is at his feetnoge.
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Kao da mu je pored stopala.
03:23
And even thoughiako,
throughkroz his peripheralperiferni visionvizija,
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Iako putem perifernog vida,
03:25
he can see that he's in this lablaboratorija spaceprostor,
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može vidjeti da je u laboratoriju,
03:27
he should be ableu stanju to see
that he's not actuallyzapravo on the streetulica,
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može vidjeti da nije zaista na ulici,
03:32
but he feelsosjeća like he's there
with those people.
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no ipak se osjeća kao da je tamo
sa tim ljudima.
03:35
He's very cautiousoprezan not to stepkorak on this guy
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Vrlo je oprezan da ne stane na
tog čovjeka
03:37
who isn't really there, right?
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koji nije zaista ondje, zar ne?
03:39
So that piecekomad endedzavršeno up
going to SundanceSundance in 2012,
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Ovaj komad je završio na Sundance
festivalu 2012. godine,
03:42
a kindljubazan of amazingnevjerojatan thing,
and it was the first virtualvirtualan realitystvarnost filmfilm
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nevjerojatna stvar, ovo je prvi
film koji koristi virtualnu stvarnost
03:46
ever, basicallyu osnovi.
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ikad.
03:49
And when we wentotišao, I was really terrifiedprestrašena.
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Kada smo otišli, bila sam prestravljena.
03:51
I didn't really know
how people were going to reactreagirati
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Nisam znala kako će ljudi reagirati
03:53
and what was going to happendogoditi se.
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i što će se dogoditi.
03:54
And we showedpokazala up
with this duct-tapedtraku pairpar of goggleszaštitne naočale.
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A pojavili smo se sa samoljepljivim parom
naočala.
03:57
(VideoVideo) Oh, you're cryingplakati.
You're cryingplakati. GinaGina, you're cryingplakati.
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(Video) Oh, ti plačeš.
Plačeš. Gina, ti plačeš.
04:01
So you can hearčuti
the surpriseiznenađenje in my voiceglas, right?
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Možete čuti iznenađenje u
mom glasu, zar ne?
04:04
And this kindljubazan of reactionreakcija endedzavršeno up beingbiće
the kindljubazan of reactionreakcija we saw
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A ova reakcija je ona koju smo
vidjeli
04:08
over and over and over:
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opet i opet i opet:
04:11
people down on the groundtlo
tryingtežak to comfortudobnost the seizurenapadaj victimžrtva,
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ljudi na zemlji pokušavaju
utješiti žrtvu napada,
04:14
tryingtežak to whisperšapat something into his earuho
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pokušavaju šaptati nešto u njegovo uho
04:16
or in some way help,
even thoughiako they couldn'tne mogu.
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ili pomoći na neki način,
iako ne mogu.
04:20
And I had a lot of people
come out of that piecekomad sayingizreka,
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Mnogo ljudi je na izlasku govorilo,
04:23
"Oh my God, I was so frustratedfrustriran.
I couldn'tne mogu help the guy,"
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"O moj Bože, bio sam toliko frustriran.
Nisam mogao pomoći tipu,"
04:26
and take that back into theirnjihov livesživot.
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i ponijelo to sa sobom u svakodnevne
živote.
04:28
So after this piecekomad was madenapravljen,
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Nakon što smo napravili ovaj film,
04:32
the deanDekan of the cinemakino schoolškola at USCUSK,
the UniversitySveučilište of SouthernJužni CaliforniaCalifornia,
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dekan filmske škole na USC-u,
Sveučilište Južna Kalifornija,
04:36
broughtdonio in the headglava of the WorldSvijet
EconomicEkonomski ForumForum to try "HungerGlad,"
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je doveo šefa Svjetskog ekonomskog
foruma da pogleda "Glad",
04:40
and he tookuzeo off the goggleszaštitne naočale,
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i kad je skinio naočale,
04:41
and he commissionedNaručio
a piecekomad about SyriaSirija on the spotmjesto.
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naručio je film o Siriji istog trenutka.
04:44
And I really wanted to do something
about SyrianSirijski refugeeizbjeglica kidsdjeca,
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Željela sam naoraviti nešto za
djecu izbjeglice iz Sirije,
04:47
because childrendjeca have been the worstnajgori
affectedpogođeni by the SyrianSirijski civilgrađanski warrat.
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jer su djeca najviše pogođena
sirijskim građanskim ratom.
04:52
I sentposlao a teamtim to the bordergranica of IraqIrak
to recordsnimiti materialmaterijal at refugeeizbjeglica campskampovi,
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Poslala sam tim na granicu Iraka da
snimi materijal u izbjegličkim kampovima,
04:56
basicallyu osnovi an areapodručje I wouldn'tne bi
sendposlati a teamtim now,
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u područje gdje ne bih slala tim sada,
04:59
as that's where ISISISIS is really operatingradni.
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jer ondje ISIS ima sjedište.
05:02
And then we alsotakođer recreatedponovno a streetulica scenescena
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Rekreirali smo scenu na ulici
05:05
in whichkoji a youngmladi girldjevojka is singingpjevanje
and a bombbomba goeside off.
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u kojoj mala djevojčica pjeva
i bomba eksplodira.
05:09
Now, when you're
in the middlesrednji of that scenescena
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Kad ste u središtu takve scene
05:11
and you hearčuti those soundszvukovi,
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i čujete te zvukove,
05:14
and you see the injuredozlijeđen around you,
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i vidite ozlijeđene ljude oko sebe,
05:16
it's an incrediblynevjerojatno scaryplašljiv and realstvaran feelingosjećaj.
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nevjerojatno je strašno i stvarno.
05:19
I've had individualspojedinci who have been
involvedumiješan in realstvaran bombingsnapadi tell me
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Pojedinci koji su iskusili stvarno
bombardiranje su mi rekli
05:23
that it evokespriziva the sameisti kindljubazan of fearstrah.
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da pobuđuje sličan osjećaj straha.
05:28
[The civilgrađanski warrat in SyriaSirija maysvibanj seemčiniti se fardaleko away]
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[Građanski rat u Siriji se čini udaljen]
05:34
[untildo you experienceiskustvo it yourselfsami.]
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[dok ga ne iskusite osobno.]
05:41
(GirlDjevojka singingpjevanje)
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(Djevojčica pjeva)
05:48
(ExplosionEksplozija)
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(Eksplozija)
05:50
[ProjectProjekt SyriaSirija]
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[Projekt Sirija]
05:55
[A virtualvirtualan realitystvarnost experienceiskustvo]
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[Iskustvo virtualne stvarnosti]
05:58
NPNP: We were then invitedpozvan to take the piecekomad
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NP: Onda su nas pozvali da donesemo film
06:00
to the VictoriaVictoria and AlbertAlbert
MuseumMuzej in LondonLondon.
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u Victoria i Albert muzej u Londonu.
06:02
And it wasn'tnije advertisedreklamirao.
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Nismo ga reklamirali.
06:04
And we were put in this tapestrytapiserija roomsoba.
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Stavili su nas u sobu s tapiserijama.
06:06
There was no presstisak about it,
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Nije bilo vijesti o tome,
06:07
so anybodyiko who happeneddogodilo to walkhodati
into the museummuzej to visitposjetiti it that day
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tako da nas je svatko tko se našao u
muzeju taj dan
06:11
would see us with these crazylud lightssvjetla.
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mogao vidjeti sa tim ludim svjetlima.
06:13
You know, maybe they would want to see
the oldstar storytellingpričanje priče of the tapestriestapiserije.
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Znate, možda su htjeli vidjeti
staro pripovjedanje tapiserija.
06:17
They were confrontedsuočeni
by our virtualvirtualan realitystvarnost cameraskamere.
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Ali su bili suočeni sa našim
kamerama virtualne stvarnosti.
06:20
But a lot of people triedpokušala it,
and over a five-daypet dana runtrčanje
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No, mnogo ljudi ih je isprobalo i
nakon pet dana
06:23
we endedzavršeno up with 54 pagesstranica
of guestNaši bookrezervirati commentskomentari,
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smo imali 54 stranice komentara u
knjizi posjetilaca,
06:28
and we were told by the curatorskustosi there
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a tamošnji kustosi su nam rekli
06:30
that they'doni bi never seenvidio suchtakav an outpouringizlijevanje.
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da nikad nisu vidjeli toliki priljev
gostiju.
06:33
Things like, "It's so realstvaran,"
"AbsolutelyApsolutno believableuvjerljivi,"
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Stvari kao, "Tako je stvarno,"
"Apsolutno uvjerljivo,"
06:37
or, of coursenaravno, the one
that I was exciteduzbuđen about,
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ili, naravno, jedan koji me najviše
uzbudio,
06:40
"A realstvaran feelingosjećaj as if you were
in the middlesrednji of something
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"Stvarni osjećaj kao da ste usred nečega
06:43
that you normallynormalno see on the TVTV newsvijesti."
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što najčešće vidite na TV-u u vijestima."
06:46
So, it worksdjela, right? This stuffstvari worksdjela.
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Tako da radi, zar ne? Ova stvar radi.
06:50
And it doesn't really matterstvar
where you're from or what agedob you are --
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I nije bitno odakle ste ili
koliko godina imate --
06:54
it's really evocativekoji podsjeća.
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Zaista je moćno.
06:56
Now, don't get me wrongpogrešno -- I'm not sayingizreka
that when you're in a piecekomad
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Nemojte me krivo shvatiti -- ne govorim da
dok ste tamo
07:00
you forgetzaboraviti that you're here.
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zaboravljate da ste ovdje.
07:03
But it turnsokreti out we can feel
like we're in two placesmjesta at oncejednom.
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Ali ispada da se možemo osjećati kao
da smo na dva mjesta odjednom.
07:06
We can have what I call
this dualitydvojnost of presenceprisutnost,
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Možemo iskusiti ono što ja zovem
dvojnost prisustva,
07:09
and I think that's what allowsomogućuje me
to tapslavina into these feelingsosjećaji of empathysuosjecanje.
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i mislim da je to ono što mi omogućava da
zagazimo u osjećaje empatije.
07:14
Right?
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Zar ne?
07:16
So that meanssredstva, of coursenaravno,
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To znači, naravno,
07:19
that I have to be very cautiousoprezan
about creatingstvaranje these pieceskomada.
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da moram biti veoma oprezna pri
stvaranju ovih filmova.
07:24
I have to really followslijediti
bestnajbolje journalisticnovinarski practicesprakse
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Moram stvarno pratiti najbolje
novinarske vještine
07:28
and make sure that these powerfulsnažan storiespriče
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i osigurati da ove moćne priče
07:30
are builtizgrađen with integrityintegritet.
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budu stvorene s integritetom.
07:32
If we don't captureuhvatiti
the materialmaterijal ourselvessebe,
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Ako ne sami ne snimimo materijal,
07:34
we have to be extremelykrajnje exactingzahtjevan
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moramo biti ekstremno strogi
07:39
about figuringfiguring out the provenanceprovenijencije
and where did this stuffstvari come from
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pri saznavanju podrijetla i
odakle su te stvari došle
07:42
and is it authenticautentičan?
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i jesu li autentične?
07:44
Let me give you an exampleprimjer.
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Dat ću vam primjer.
07:45
With this TrayvonTrayvon MartinMartin casespis,
this is a guy, a kiddijete,
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Slučaj Trayvona Martina,
ovo je tip, dečko,
07:48
who was 17 yearsgodina oldstar and he boughtkupio
sodasoda and a candybombon at a storedućan,
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koji je imao 17 godina i kupio sok
i slatkiš u trgovini,
07:52
and on his way home he was trackedprati
by a neighborhoodsusjedstvo watchmančuvar
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i na putu prema kući ga je pratio
čuvar susjedstva
07:56
namedpod nazivom GeorgeGeorge ZimmermanZimmerman
who endedzavršeno up shootingpucanje and killingubijanje him.
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imena George Zimmerman koji ga je
naposljetku upucao i ubio.
07:59
To make that piecekomad,
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Da bi napravili ovaj film,
08:00
we got the architecturalarhitektonski drawingscrteži
of the entirečitav complexkompleks,
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nabavili smo arhitektonske crteže
cijelog kompleksa,
08:04
and we rebuiltobnovljena the entirečitav scenescena
insideiznutra and out, basedzasnovan on those drawingscrteži.
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i ponovo sagradili cijelu scenu
izvana i iznutra, na temelju tih crteža.
08:09
All of the actionakcijski
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Cijeli događaj
08:10
is informedinformiran by the realstvaran 911
recordedzabilježena callspozivi to the policepolicija.
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je popraćen stvarnim snimljenim pozivima
policiji.
08:16
And interestinglyzanimljivo, we brokerazbio
some newsvijesti with this storypriča.
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Zanimljivo, sa ovom pričom smo
došli do novih saznanja.
08:19
The forensicsudski housekuća that did the audiozvučni
reconstructionrekonstrukcija, PrimeauPrimeau ProductionsProdukcija,
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Forenzička kuća koja je radila audio
rekonstrukciju, Primeau Productions,
08:23
they say that they would testifysvjedočiti
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je rekla da će svjedočiti
08:25
that GeorgeGeorge ZimmermanZimmerman,
when he got out of the carautomobil,
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da je George Zimmerman,
kad je izašao iz vozila,
08:27
he cockednapet his gunpuška before he wentotišao
to give chaseChase to MartinMartin.
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da je napeo pištolj prije potjere za
Martinom.
08:32
So you can see that
the basicosnovni tenetsnačela of journalismnovinarstvo,
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Možete vidjeti da se temeljni prinicipi
novinarstva,
08:35
they don't really changepromijeniti here, right?
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ne mijenjaju puno ovdje, zar ne?
08:37
We're still followingsljedeći the sameisti principlesprincipi
that we would always.
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Mi i dalje pratimo ista načela kao
uvijek.
08:40
What is differentdrugačiji is the senseosjećaj
of beingbiće on scenescena,
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Ono što je drukčije je
osjećaj da smo na poprištu,
08:44
whetherda li you're watchinggledanje
a guy collapsekolaps from hungerglad
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bilo da gledate čovjeka koji se
ruši od gladi
08:46
or feelingosjećaj like you're
in the middlesrednji of a bombbomba scenescena.
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ili osjećate kao da ste usred
bombaškog napada.
08:48
And this is kindljubazan of what has drivenupravljan me
forwardnaprijed with these pieceskomada,
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To je ono što me tjera naprijed sa ovim
filmovima,
08:53
and thinkingmišljenje about how to make them.
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i razmišljanju kako da ih napravim.
08:55
We're tryingtežak to make this, obviouslyočito,
beyondIznad the headsetslušalice, more availabledostupno.
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Pokušavamo ovo napraviti, očito,
mogućim i bez slušalica, dostupnije.
08:59
We're creatingstvaranje mobilemobilni pieceskomada
like the TrayvonTrayvon MartinMartin piecekomad.
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Pravimo mobilne komade
kao što je Trayvon Martin film.
09:02
And these things have had impactudar.
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Ove stvari su imale utjecaja.
09:06
I've had AmericansAmerikanci tell me
that they'vešto ga do donateddonirao,
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Neki Amerikanci su mi rekli da su
donirali,
09:09
directdirektno deductionsolakšice from theirnjihov bankbanka accountračun,
moneynovac to go to SyrianSirijski childrendjeca refugeesizbjeglice.
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direktnim skidanjem s bankovnog računa,
novac koji će ići djeci izbjeglicama iz Sirije.
09:13
And "HungerGlad in LALA," well,
it's helpedpomogao startpočetak
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A "Glad u LA-u" je pomogao
pokrenuti
09:15
a newnovi formoblik of doing journalismnovinarstvo
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novi oblik novinarstva
09:18
that I think is going to joinpridružiti
all the other normalnormalan platformsplatforme
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koji će se, ja mislim, pridružiti
svim ostalim normalnim platformama
09:21
in the futurebudućnost.
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u budućnosti.
09:22
Thank you.
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Hvala vam.
09:23
(ApplausePljesak)
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(Pljesak)
Translated by Sonja Zaric
Reviewed by Ivan Stamenkovic

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ABOUT THE SPEAKER
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.

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 speaker
Nonny de la Peña | Speaker | TED.com