James: Like the feature film, the virtual reality project is narrated by John using his original audio diaries, but, unlike the feature film, it's not a dramatized experience – the central point is the exploration of sensations and perception. It's six chapters, which explore the awakening of what John describes as his development of what he calls “acoustic space,” so how multi-layered patterns of sound bring shape and depth and detail to his environment. The experience uses binaural sound, which kind of mimics how we as humans hear, so it's like a three-dimensional sonic environment, and it also generates three-dimensional animation at the same time, which takes different chapters from John's diaries. One, which is also in the feature film, explores the sound of rainfall, and brings the world into three dimensions again. There's one about wind, and how it brings the leaves and trees back to life, and how thunder might put a roof over your head. There's one in a park that describes how this panorama of sound develops. So it's a much more meditative experience, it's one where you feel like you're in a spatial environment, and John guides you through these different sonic environments. We're really interested in it as a different entry point to John's account, and how whether you experience the feature and then the VR or vice versa, there's different ways into his descriptions of blindness. That's been the aim all the way through, they premiered side by side at Sundance in January, as well as in the UK at Sheffield Doc Fest.