Mandelaed: What if it never appeared on TV in Flash Gordon in the 21st or Buck Rogers in the 25th century?

Has metal bucket head man “Mandelaed” me?

What if metal bucket head man, as I like to think of him, never actually appeared in the 25th century Buck Rogers black and white TV series in 1950 or 1951, or in 1954 or 1955 in an episode of Flash Gordon from the 21st century?

What if … none of it was real, or at least that there was no metal bucket head man (it’s hard to describe the appearance of the character exactly, but over his head, if he had one, or in lieu of one if he didn’t, appeared to be something reminiscent of one of those upside down old silver metal wash pails or buckets, yet the rest of him looked more humanoid than like a robot, although he didn’t speak in either case), but I remembered him from my childhood as real?

Well, never fear, the explanation may simply be that I was mandelaed and am displaying a classic case of the “Mandela Effect,” as it is called, although in my case it may or may not be a case of being privately mandelaed, rather than the collective misremembering of common events the phenomenon is usually identified with.

“This form of collective misremembering of common events or details first emerged in 2010, when countless people on the internet falsely remembered Nelson Mandela was dead,” notes Neil Dagnall, reader in applied cognitive psychology at Manchester Metropolitan University in England, in a Feb. 12 piece in The Conversation, based in Toronto. “It was widely believed he had died in prison during the 1980s. In reality, Mandela was actually freed in 1990 and passed away in 2013 – despite some people’s claims they remember clips of his funeral on TV.”

Paranormal consultant Fiona Broome, discussing the possibility of alternate memories and alternate realities, was one of the two people who coined the phrase “Mandela Effect” during a conversation in Dragon Con‘s “green room” in late 2009 to explain this collective misremembering, and then “other examples started popping up all over the internet,” Dagnall says. “For instance, it was wrongly recalled that C-3PO from Star Wars was gold, actually one of his legs is silver. Likewise, people often wrongly believe that the Queen in Snow White says, ‘Mirror, mirror on the wall.’ The correct phrase is “magic mirror on the wall.”

In an Oct. 13, 2016 article, BuzzFeed staff writer Christopher Hudspeth, lists 20 examples of the Mandela Effect, ranging from the common misspelling of Oscar Mayer, the famous brand of hot dogs and lunch meat, as Oscar Meyer, to the Monopoly board game mascot, Rich Uncle Pennybags, having a monocle, when he doesn’t.

In a similar vein, as I wrote here in a March 25, 2015 post headlined “If there was a biblical equivalent to a mondegreen, it might well be the famous 45th verse from the fifth chapter of the Gospel of St. Matthew” (https://soundingsjohnbarker.wordpress.com/2015/03/25/if-there-was-a-biblical-equivalent-to-a-mondegreen-it-might-well-be-the-famous-45th-verse-from-the-fifth-chapter-of-the-gospel-of-st-matthew/) when you “mishear the lyrics to a song it is called a mondegreen, which is a sort of aural malapropism. Instead of saying the wrong word, you hear the wrong word. The word mondegreen is generally used for misheard song lyrics, although technically it can apply to any speech. A mondegreen is a mishearing or misinterpretation of a phrase as a result of near-homophony, in a way that gives it a new meaning.” Hudspeth cites the example of “We Are the Champions” by Queen where “many of those familiar with the song remember the final lyrics being ‘No time for losers, ’cause we are the champions … of the world!’ Guess what? There is no ‘of the world!’ The song just ends, and it’s driving people crazy because they feel 100% sure that they’ve heard otherwise in the past.”

Broome explains the Mandela Effect s differences arising from movement between parallel realities (the multiverse). This is based on the theory that within each universe alternative versions of events and objects exist.

“Broome also draws comparisons between existence and the holodeck of the USS Enterprise from Star Trek, writes Dagnall. “The holodeck was a virtual reality system, which created recreational experiences. By her explanation, memory errors are software glitches. This is explained as being similar to the film The Matrix.”

Broome has described the Mandela Effect this way: “The ‘Mandela Effect’ is what happens when someone has a clear, personal memory of something that never happened in this reality.

“Many people – mostly total strangers – seem to remember several of the exact same events with the exact same details. However, those memories are different from what’s in history books, newspaper archives, and so on.”

Other theories propose that the Mandela Effect is evidence of  changes in history caused by time travellers.

The X-Files, appropriately enough, had a fine real-time nod to fake news and the Trumpocalypse, while at the same time staying campy and conspiratorially self-referential in its treatment of the Mandela Effect this year in season 11, episode four, “The Lost Art of Forehead Sweat,” which aired Jan. 24. Writes Brian Tallerico on Vulture, the culture and entertainment site from New York magazine: “We’re introduced to the Mandela effect through the story of Reggie Something, played by Brian Huskey. We meet him in full Deep Throat mode, chewing sunflower seeds in a parking garage, having a clandestine meeting with Mulder. He knows he’s going to seem crazy, so he gives Mulder a very personal example of the Mandela effect, revealing to him that his favorite episode of The Twilight Zone, “The Lost Martian,” doesn’t really exist. Of course, we know it doesn’t, but Mulder is convinced that he saw it when he was a kid. He rummages through his belongings to find it, leading to the great line when Scully suggests it might be a different series: “Confuse The Twilight Zone with The Outer Limits?! Do you even KNOW ME?!?!”

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Des Moines Register and PBS’ Frontline use Virtual Reality (VR) in news stories as journalism moves beyond Augmented Reality (AR) to fully ‘immersive’ storytelling

A year ago, I posted a piece here on newspapers beginning to embrace Augmented Reality (AR), technology making use of the camera and sensor in your smartphone or tablet to add layers of digital information – videos, photos, and sounds – directly on top of items in your newspaper.

Vancouver-based GVIC Communications Corp., which operates as the Glacier Media Group and owns the Thompson Citizen and Nickel Belt News here in Northern Manitoba, launched Augmented Reality for editorial and advertisements throughout its Lower Mainland media properties in British Columbia in February 2013, teaming up with Dutch businessman Quintin Schevernels’ innovative Layar application, which can be downloaded on your iOS or Android smartphone or tablet. The Winnipeg Free Press also launched its own Augmented Reality (AR) in September 2014 with Blippar, a British first image-recognition smartphone app.

Revisiting the scene a year later, journalism is moving beyond Augmented Reality (AR) and finally to true immersive or Virtual Reality (VR), a tantalizing dream of sci-fi aficionados since the 1950s at least. Remember Virtual Reality (VR), the computer-simulated environment that can simulate physical presence in places in the real world or imagined worlds? Sure you do. Or at least one derivation of it known as simulated reality, as long your virtual memory goes back as far as Sept. 28, 1987 and “Encounter at Farpoint,” the pilot episode for Star Trek: The Next Generation, written by D.C. Fontana and Gene Roddenberry, and the first appearance of the Holographic Environment Simulator, better known simply as the “holodeck.”

Data, who was fond of Sherlock Holmes, loved it and in later episodes would often play the 221B Baker Street detective in holodeck programs, often accompanied by Geordi La Forge in the role of Dr. Watson. Prior to the late 24th century, Federation starships were not equipped with holodecks. In 2151, the Starfleet vessel Enterprise NX-01 encountered a vessel belonging to an alien race known as Xyrillians, who had advanced holographic technology in the form of a holographic chamber similar to the holodeck, which Starfleet developed two centuries later. A holo-chamber was also later installed aboard a Klingon battle cruiser, given to the Klingons by the Xyrillians in exchange for their lives.

Here in the 21st century, most current virtual reality environments are primarily visual experiences, displayed either on a computer screen or through special stereoscopic displays, but some simulations include additional sensory information, such as sound through speakers or headphones.

Some advanced, haptic systems now include tactile information, generally known as force feedback, in medical and gaming applications. As for the origin of the term “virtual reality,” it can be traced back to the French playwright, poet, actor, and director Antonin Artaud and his 1938 book The Theatre and Its Double, where he described theatre as “la réalité virtuelle.”

While newspapers have added a lot of bells and whistles to our various online “platforms” in recent years, they’re not quite at the Holographic Environment Simulator or holodeck reality. Yet. But consider this. In its first Virtual Reality documentary last May, PBS’ Frontline, in an 11-minute immersive effort by filmmaker Dan Edge, took its viewers to the spot under a tree in West Africa, believed to be where the world’s most recent Ebola virus outbreak began in late 2013. The film launched on Google Cardboard, a virtual-reality system that requires an Android smartphone and a simple cardboard viewer. The hand-held box holds a smartphone before the viewer’s eyes. An app presents 360-degree environments, explored as viewers move eyes and heads to explore their surroundings. Frontline collaborated with Secret Location and the Tow Center for Digital Journalism at Columbia University to produce Ebola Outbreak.

Meanwhile,in Santa Monica, California, Nonny de la Peña and her company Emblematic Group are working on a Virtual Reality project for the Formula 1 Singapore Grand Prix car race in which not only one, but two “players can experience what it’s like to be in the pit crew and race each other.

De la Peña’s been dubbed the “godmother of Virtual Reality.” She began her journalism career in print and was a correspondent for Newsweek in the late 1980s and early 1990s, but left the news magazine because it didn’t allow her to use the visuals she imagined for a story. For a time, she worked as a documentary filmmaker.

She discovered Virtual Reality through a pair of VR goggles during a trip to Barcelona. “Once I saw that experience, I couldn’t put people out there again,” she told Andreana Young, an editorial assistant at Editor & Publisher magazine, for an Oct. 1 story. “I want to bring them inside the story.” de la Peña said.

Her first Virtual Reality project, called “Hunger in Los Angeles,” illustrated what it’s like to go hungry in Los Angeles, and premiered at the 2012 Sundance Film Festival.

She worked on the project with Palmer Luckey, creator of the Oculus Rift headset. Last year, Luckey sold his Virtual Reality platform to Facebook for $2 billion.

Young put on a pair of Emblematic’s VR goggles for her story for a scene from Kiya, a collaborative story between Emblematic Group and Al-Jazeera America. “I stood near a woman on the phone with 911, who was telling the operator her sister, Kiya, was inside the house with her ex-boyfriend. He wouldn’t let her leave and he had a gun,” Young wrote.

“I was able to turn 360-degrees … observing the neighborhood around me. The scene changed, and I was suddenly standing inside the house where Kiya was being held hostage by her ex-boyfriend. I searched the home with my eyes; when I turned around images of baby furniture and a “Family Forever” decal hanging on the wall struck me as I listened to Kiya’s sisters begging her to leave with them.”

Kiya relied heavily on real-life audio recordings obtained from the scene, including 911 calls, and cellphone audio and video recordings and recordings from interviews that provided accounts of what took place.

Virtual Reality creates what developers call a “duality of presence” allowing the viewer to feel like they’re right there in the story, and that can have a greater impact than simply watching video or reading words on a page.

Devices such as Google Cardboard and the Samsung Gear VR have created opportunities for anyone with a smartphone to experience Virtual Reality. By placing a phone with a downloaded VR app onto the front of the device, viewers can watch Virtual Reality content right on their smartphone. On Amazon.com, a Google Cardboard kit costs less than $20. Even a 360-degree Ricoh Theta camera can be purchased for $400.

In September 2014, the Des Moines Register was one of the first newspapers to incorporate Virtual Reality into one of their news stories with its “Harvest of Change” project illustrating the life of today’s American farmer using satellite map imagery, photographs of the farm, the Unity 3D gaming engine, 360-degree video, coders and game designers.

The Associated Press recently announced a new Virtual Reality project called “The Suite Life,” an immersive experience through the Samsung Gear VR headset in which viewers can explore luxury hotel suites.

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Newspapers turn to Augmented Reality (AR)

Remember Virtual Reality (VR), the computer-simulated environment that can simulate physical presence in places in the real world or imagined worlds? Sure you do. Or at least one derivation of it known as simulated reality, as long your virtual memory goes back as far as Sept. 28, 1987 and “Encounter at Farpoint,” the pilot episode for Star Trek: The Next Generation, written by D.C. Fontana and Gene Roddenberry, and the first appearance of the Holographic Environment Simulator, better known simply as the “holodeck.”

Data, who was fond of Sherlock Holmes, loved it and in later episodes would often play the 221B Baker Street detective in holodeck programs, often accompanied by Geordi La Forge in the role of Dr. Watson. Prior to the late 24th century, Federation starships were not equipped with holodecks. In 2151, the Starfleet vessel Enterprise NX-01 encountered a vessel belonging to an alien race known as Xyrillians, who had advanced holographic technology in the form of a holographic chamber similar to the holodeck, which Starfleet developed two centuries later. A holo-chamber was also later installed aboard a Klingon battle cruiser, given to the Klingons by the Xyrillians in exchange for their lives.

Here in the 21st century, most current virtual reality environments are primarily visual experiences, displayed either on a computer screen or through special stereoscopic displays, but some simulations include additional sensory information, such as sound through speakers or headphones.

Some advanced, haptic systems now include tactile information, generally known as force feedback, in medical and gaming applications. As for the origin of the term “virtual reality,” it can be traced back to the French playwright, poet, actor, and director Antonin Artaud and his 1938 book The Theatre and Its Double, where he described theatre as “la réalité virtuelle.”

While newspapers have added a lot of bells and whistles to our various online “platforms” in recent years, they’re not quite at the Holographic Environment Simulator or holodeck reality. Yet. But they do have something new now called Augmented Reality (AR). And it’s not science fiction. The technology makes use of the camera and sensor in your smartphone or tablet to add layers of digital information – videos, photos, and sounds – directly on top of items in your newspaper.

Vancouver-based GVIC Communications Corp., which operates as the Glacier Media Group and owns the Thompson Citizen and Nickel Belt News here in Northern Manitoba, launched Augmented Reality for editorial and advertisements throughout its Lower Mainland media properties in British Columbia in February 2013, year, teaming up with Dutch businessman Quintin Schevernels’ innovative Layar application, which can be downloaded on your iOS or Android smartphone or tablet. The Winnipeg Free Press also launched its own Augmented Reality (AR) last September with Blippar, a British first image-recognition smartphone app.

“Western Canada’s  largest local media company is pleased to announce the enterprise wide launch of augmented reality throughout its Lower Mainland, British Columbia properties,” Glacier said on Feb. 7, 2013, adding it was the “First company worldwide to build augmented reality into its digital sales platform.”

Layar, with over 35 million downloads worldwide, is the world’s most downloaded AR app, and continues to grow at an average of almost a million downloads per month. It operates as image recognition software invisibly tagging images, logos and icons with codes to allow the augmented reality components to appear instantly on a reader’s smartphone or tablet while scanning the AR content.

The Toronto Star and Bermuda Sun are among other publishers and newspaper using Layar.

Rather than a Quick Response Code (QR) matrix barcode in print, Layar provides the ability to link to multiple assets; watch video/listen to audio/share the content on social networks and even buy a product – right from the page, eliminating the gap between print and digital.

Maybe we won’t have to wait until the late 24th century after all for the Holographic Environment Simulator.