Mashable have published some interesting pieces about Virtual Reality Journalism recently.
Misled Memories by Chelsea Stark talks about the unique power VR has to stimulate powerful feelings by placing the viewer in the role of the witness; >‘Virtual reality holds the potential for immense power, the ability to impact — or even manipulate — people’s experiences for days or years after they remove their headsets. As VR simulations become more immersive than ever, these emotional moments will feel more and more like the human perception of memories, like nothing we’ve ever experienced before. It’s a responsibility some creators aren’t taking lightly: They’ll have the power to create something far more real than our dreams, or nightmares’.
Whilst, this article by Chelsea Stark and Adario Strange reviews ‘One Dark Night’, an immersive virtual reality reenactment of the shooting of Trayvon Martin in Florida in 2012. >‘Using the audio files of real 911 calls, architectural drawings of the area and witness testimony from the subsequent trial of Zimmerman, who was found not guilty of second-degree murder in 2013, the VR experience is disturbingly effective in transmitting what being at the scene of the incident might have felt like’.
Chris Thompson at Poynter has been looking at a project by Radiolab, working in conjunction with mobile app Detour (see Radar blog for 10th March 2015). The project creates an historical news based walking tour in Austin, Texas, which recreates the footsteps of what may have been America’s first serial killer, the ‘Servant Girl Annihilator’. The project was presented as a storytelling experiment, at SXSW, the music, film and interactive festival. >‘If it works, media consumers could understand emerging stories in a way they never could before. They could walk around a proposed housing project or oil refinery, for example, stopping at a street corner and pulling up images of what the project might look like, environmental records of the developer, or audio recordings of the history behind the site. But how much time and expense would such projects take, and can media companies really afford to create this new kind of storytelling? When Ellen Horne set out to discover the story of the Servant Girl Annihilator, she also discovered just how complicated such new storytelling could be’.