What if I could present you a story that you would remember with your entire body and not just with your mind?
如果我给你讲一个故事，一个你会用整个身体，而不仅仅是在脑海中记住的故事，怎么样？
My whole life as a journalist, I've really been compelled to try to make stories
我是一个记者，我一直在努力去写一些故事，
that can make a difference and maybe inspire people to care.
可以做出一些改变，也许可以激发人们的同情心。
I've worked in print. I've worked in documentary. I've worked in broadcast.
我在报社工作过，我制作过纪录片，也曾在广播公司供职。
But it really wasn't until I got involved with virtual reality that I started seeing these really intense,
但是，当我接触到虚拟现实的时候，我才真正开始看到人们那些强烈的、
authentic reactions from people that really blew my mind.
真实的反应，从根本上改变了我的看法。
So the deal is that with VR, virtual reality, I can put you on scene in the middle of the story.
那么在虚拟现实中，我可以把你放在一个故事的某个场景中。
By putting on these goggles that track wherever you look, you get this whole-body sensation, like you're actually, like, there.
戴上追踪你视野的眼镜，你的全身感官都会有种身临其境的感觉。
So five years ago was about when I really began to push the envelope with using virtual reality and journalism together.
就在五年前，我真正开始把虚拟现实和记者的工作结合起来。
And I wanted to do a piece about hunger.
我想做一个关于饥饿的作品。
Families in America are going hungry, food banks are overwhelmed, and they're often running out of food.
美国的家庭正在遭受饥饿，食品供给处人满为患，人们经常吃不饱饭。
Now, I knew I couldn't make people feel hungry, but maybe I could figure out a way to get them to feel something physical.
我知道我不能让人们真正感受到饥饿，但也许我可以找到一个方法，让他们在生理上感受到些什么。
So -- again, this is five years ago
于是--重申一下，这是五年前，
so doing journalism and virtual reality together was considered a worse-than-half-baked idea, and I had no funding.
把记者的工作和虚拟现实结合在一起是一个全新的想法，前途未卜，而且我没有任何基金支持。
Believe me, I had a lot of colleagues laughing at me.
相信我，有很多同事都嘲笑我。
And I did, though, have a really great intern, a woman named Michaela Kobsa-Mark.
但是，我有一个很好的实习生，她叫米歇尔·马克。
And together we went out to food banks and started recording audio and photographs.
我们一起去了食品供给处，开始进行录音和拍照。
Until one day she came back to my office and she was bawling, she was just crying.
直到有一天，她来到我的办公室，痛哭不止，泪流满面。
She had been on scene at a long line, where the woman running the line was feeling extremely overwhelmed,
她看到了一条排队领取事物的长队，那里有一个管理队伍的女人情绪崩溃了，
and she was screaming, "There's too many people! There's too many people!"
她在尖叫，“人太多了！人太多了！”
And this man with diabetes doesn't get food in time, his blood sugar drops too low, and he collapses into a coma.
然后有一个得了糖尿病的男人没有及时得到食物，他的血糖降得太低了，昏了过去。
As soon as I heard that audio,
当我听到那个录音的时候，
I knew that this would be the kind of evocative piece that could really describe what was going on at food banks.
我知道这就是那种能够真正反应食品供给处的情况，并引起感情共鸣的作品。
So here's the real line. You can see how long it was, right?
这是现实中的队伍，你可以看见它有多长，对吧？
And again, as I said, we didn't have very much funding,
重申一下，我们没有什么基金资助，
so I had to reproduce it with virtual humans that were donated,
所以我想要重现这些场景，就必须找到一些志愿者，
and people begged and borrowed favors to help me create the models and make things as accurate as we could.
请求他们帮忙制造出各种模型，把场景做得尽可能真实。
And then we tried to convey what happened that day with as much as accuracy as is possible.
之后我们试着尽量真实地展现出那天到底发生了什么。
There's too many people! There's too many people!
有太多人了！有太多人了！
OK, he's having a seizure.
看起来他的癫痫发作了。
We need an ambulance.
我们需要一辆救护车。
So the man on the right, for him, he's walking around the body.
画面右边的那个男人，他正在那个人体旁边走动。
For him, he's in the room with that body. Like, that guy is at his feet.
对于他来说，他和那个人体同在一个房间里。好像那个倒下的男人就在他的脚旁。
And even though, through his peripheral vision, he can see that he's in this lab space,
即使如此，通过外围的视角，他仍然可以看见他是在这个实验室里，
he should be able to see that he's not actually on the street, but he feels like he's there with those people.
他应该能看见自己并不是真正在街上，但他会感觉他正和那些人一起经历这一切。
He's very cautious not to step on this guy who isn't really there, right?
他小心地避免踩到那个人身上，而那个人其实并不存在，对吧？
So that piece ended up going to Sundance in 2012, a kind of amazing thing,
那个作品在2012年进入了圣丹斯系列，很了不起，
and it was the first virtual reality film ever, basically.
这几乎是有史以来第一部虚拟现实作品。
And when we went, I was really terrified.
当我们去那里的时候，我非常忐忑。
I didn't really know how people were going to react and what was going to happen.
我真的不知道人们的反应会是什么，会有什么样的效果。
And we showed up with this duct-taped pair of goggles.
我们带着这些带录像管的眼镜到场。
Oh, you're crying. You're crying. Gina, you're crying.
哦，你在哭，你在哭，吉娜，你在哭。
So you can hear the surprise in my voice, right?
你们可以听到我声音里透出的惊讶，对吧？
And this kind of reaction ended up being the kind of reaction we saw over and over and over:
这就是我们所看到的观众的反应，一次又一次同样的反应：
people down on the ground trying to comfort the seizure victim,
人们跪在地上试图安慰病情发作的患者，
trying to whisper something into his ear or in some way help, even though they couldn't.
试图在他耳边低语，或者提供一些帮助，即使他们完全帮不上。
And I had a lot of people come out of that piece saying,
很多人从这个作品中走出来后都说，
"Oh my God, I was so frustrated. I couldn't help the guy," and take that back into their lives.
“哦，天哪，我太沮丧了，我帮不了那个人。”并把这种感受带回到他们自己的生活中。
So after this piece was made, the dean of the cinema school at USC, the University of Southern California,
在这个作品完成之后，南加利福尼亚大学的电影系的院长，
brought in the head of the World Economic Forum to try "Hunger,"
带来了世界经济论坛主席，来观看这部“饥饿”，
and he took off the goggles, and he commissioned a piece about Syria on the spot.
他摘下了眼镜，随后立即批准了一部关于当时叙利亚的片子。
And I really wanted to do something about Syrian refugee kids,
我真的想为这些叙利亚的难民孩子们做些什么，
because children have been the worst affected by the Syrian civil war.
因为儿童是受到叙利亚的内战影响最严重的。

I sent a team to the border of Iraq to record material at refugee camps,
我派了一个团队去伊拉克边境上的难民营录制材料，
basically an area I wouldn't send a team now, as that's where ISIS is really operating.
但目前因为ISIS正在控制那个地区，我无法再往那里派遣团队了。
And then we also recreated a street scene in which a young girl is singing and a bomb goes off.
随后我们还重建了一个街景，是一个年轻的女孩在唱歌，然后一个炸弹爆炸了。
Now, when you're in the middle of that scene and you hear those sounds,
现在，当你在那个场景中央，听到那些声音，
and you see the injured around you, it's an incredibly scary and real feeling.
还看到那些受伤的人就在你的身边，你会有一种难以置信的可怕而又真实的感受。
I've had individuals who have been involved in real bombings tell me that it evokes the same kind of fear.
我认识一些经历过真正的炸弹爆炸的人，他们告诉我这会唤起和那时一样恐惧的感受。
We were then invited to take the piece to the Victoria and Albert Museum in London. And it wasn't advertised.
我们被邀请带着这个作品去伦敦的维多利亚和阿尔伯塔博物馆。没有进行任何宣传。
And we were put in this tapestry room. There was no press about it,
我们被安排在这间织锦室。没有关于这件事的任何新闻报道，
so anybody who happened to walk into the museum to visit it that day would see us with these crazy lights.
所以那天任何碰巧走进这家博物馆游览的人会在这些炫目的灯光下看见我们。
You know, maybe they would want to see the old storytelling of the tapestries.
他们也许本想看这些壁毯讲述的古老的故事。
They were confronted by our virtual reality cameras.
但他们“遭遇”了我们的虚拟现实的摄像机。
But a lot of people tried it, and over a five-day run we ended up with 54 pages of guest book comments,
很多人尝试了这个虚拟现实的体验，经过五天的播放，我们得到了54页的观看评论，
and we were told by the curators there that they'd never seen such an outpouring.
那里的馆长告诉我们他们从来没看到过这么多的真情流露。
Things like, "It's so real," "Absolutely believable," or, of course, the one that I was excited about,
留言中有“太真实了”，“绝对可信，”当然了，还有一条最让我兴奋的，
"A real feeling as if you were in the middle of something that you normally see on the TV news."
“这是一种真实的感觉，就好像身处电视新闻中的场景。”
So, it works, right? This stuff works.
虚拟现实的效果很明显，对吧？效果很震撼。
And it doesn't really matter where you're from or what age you are -- it's really evocative.
它跟你来自哪里，多大年龄完全无关--它真的能让人感同身受。
Now, don't get me wrong -- I'm not saying that when you're in a piece you forget that you're here.
别误会--我不是说当你在那个作品中时，你会忘了你在哪里。
But it turns out we can feel like we're in two places at once.
而是我们能够感觉到我们同处于两个地方。
We can have what I call this duality of presence, and I think that's what allows me to tap into these feelings of empathy. Right?
我称其为二重存在，我认为就是它使我能够完全地感同身受。对吧？
So that means, of course, that I have to be very cautious about creating these pieces.
所以，这也就意味着，创作这些作品必须非常谨慎。
I have to really follow best journalistic practices and make sure that these powerful stories are built with integrity.
我必须遵循最好的新闻实践，并且确保用诚信去打造这些强大的故事。
If we don't capture the material ourselves,
如果我们不自己捕捉故事素材，
we have to be extremely exacting about figuring out the provenance and where did this stuff come from and is it authentic?
我们就必须彻底弄清楚这些故事的出处，以及它们是否真实可信。
Let me give you an example. With this Trayvon Martin case,
再来举个例子。用特雷文·马丁的例子，
this is a guy, a kid, who was 17 years old and he bought soda and a candy at a store,
他是一个十七岁的小男孩，他从商店买了苏打和糖果，
and on his way home he was tracked by a neighborhood watchman named George Zimmerman who ended up shooting and killing him.
在他回家的路上，他被一个邻居跟踪，这个名叫乔治·齐默曼的人随后将他枪杀了。
To make that piece, we got the architectural drawings of the entire complex,
为了做这个作品，我们得到了整个建筑群的建筑草图，
and we rebuilt the entire scene inside and out, based on those drawings.
并基于这些草图，重建了整个室内和室外的场景。
All of the action is informed by the real 911 recorded calls to the police.
真实的911报警电话录音告诉了我们事情的经过。
And interestingly, we broke some news with this story.
有趣的是，在这个故事里我们发现了一些新闻。
The forensic house that did the audio reconstruction, Primeau Productions,
进行音频重建的普里默制作公司声称，
they say that they would testify that George Zimmerman, when he got out of the car,
他们可以作证当乔治·齐默曼从车里出来后，
he cocked his gun before he went to give chase to Martin.
在追赶马丁之前就把枪上了膛。
So you can see that the basic tenets of journalism, they don't really change here, right?
所以你们可以看到，身为记者的基本原则在这里并没有发生改变，不是吗？
We're still following the same principles that we would always.
我们始终都在遵循着原则。
What is different is the sense of being on scene,
不同的是真正处在这个场景中的感受，
whether you're watching a guy collapse from hunger or feeling like you're in the middle of a bomb scene.
不管你是在观察一个饥饿难耐、瘫倒街头的人，还是感觉你处在一个爆炸现场。
And this is kind of what has driven me forward with these pieces, and thinking about how to make them.
这就是驱使我一直做这些作品和思考如何制作它们的原因。
We're trying to make this, obviously, beyond the headset, more available.
很显然，我们正在努力去让这些作品脱离头戴式耳机，更方便观看。
We're creating mobile pieces like the Trayvon Martin piece.
我们正在制作移动设备上可观看的作品，比如特雷文·马丁的作品。
And these things have had impact.
这些作品已经造成了一定影响。
I've had Americans tell me that they've donated, direct deductions from their bank account, money to go to Syrian children refugees.
有些美国人告诉我他们已经直接将自己银行账户中的一部分钱，捐献给了叙利亚儿童难民。
And "Hunger in LA," well, it's helped start a new form of doing journalism
另外，“洛杉矶饥荒”开创了一种新的做新闻的形式，
that I think is going to join all the other normal platforms in the future. Thank you.
我认为这种形式在未来将会和其他任何普通平台融合。谢谢。