Ka Chun Yu is the Curator of Space Science at the Denver Museum of Nature and Science. He’s in charge of the digital planetarium there, and has been studying the effectiveness of using immersive dome environments in teaching different astronomical principles.

Ka-Chun-YuHis research has shown that immersive technologies are more effective at teaching certain astronomical principles such as why there are different seasons and how the sun rises and sets in different places throughout the year as well as throughout different places on the planet. That may not be a total surprise, but what was interesting was that the process of transforming and distorting immersive, 3D visualizations in order to work within a 2D projected context may actually be worse than telling people about it without using any visualizations at all. There are certain topics where being able to see objects fly around you are a critical part of understanding how the world works.

Ka Chun also talks about how he’s been using immersive technologies to facilitate group discussions with experts on various ecological issues facing us today. The technology can help provide a holistic picture on topics like the complete water cycle and the limited sources of fresh water. Having data visualizations and immersive experiences can make dry topics more compelling and engaging, and provide a solid foundation and context for having deep discussion around challenging abstract issues that we face as a society. He’s found that using immersive technologies like a digital planetarium can provide an experience to a large audience that is both very effective and compelling.

TOPICS

  • 0:00 – Intro – Curator of space science and working with digital planetariums and studying the effectiveness of using immersive dome technology to teach astronomy and for telling stories about planet earth and regional ecological issues
  • 0:39 – Effectiveness of fully, immersive dome for teaching astronomical principles compared to same visual content that’s projected onto a 2D wall as well as a control group with no visual content at all. For astronomical seasons, the immersive dome students had far superior results and if it’s projected onto a 2D wall, then those students did worse. Showing immersive visuals in a 2D screen, you get distortions and it’s a much inferior experience when compared to immersive visuals.
  • 2:19 – Other astronomical principles better describe in a dome. Seasons requires you to look around and be able to watch the objects move across the sky. Other results are not as straight forward when you don’t need visuals that move around you.
  • 3:06 – Sun rising and setting in different parts of the sky and able to show direction of rising and that it changes during the time of year and depending on where you life. You can even show how the sun rises and sets on Mars. Have the universe in their simulation and can travel through the entire universe and travel through time and at different viewpoints and perspectives to look at various issues, which is more effective
  • 4:38 – Lectures and dialogues about ecological issues on planet earth. Have Google Maps type of capability. Connect people to issues of global change and how to be a part of the solution
  • 5:37 – Other applications. 100% of California is under drought conditions. Help understand about water issues and where fresh water comes from. Fly around and show where water originates. Show them the water cycle process, rainfall and drought data, and connect them to global issues. Easier to show data in immersive dome environments than have someone just tell you about it in an abstract way.
  • 7:38 – Trying to come up with a model so that audiences can have a group discussion with experts talking about these global issues from water conservation to sustainable agriculture. Need to educate the public and do it in a compelling way, and visual storytelling is very powerful and compelling, it looms overhead and is much more effective and immersive. Having these discussions with immersive technologies laying the context and foundation for the discussion is a very power and effective approach.

Theme music: “Fatality” by Tigoolio

Ross Mead studies Human-Robot Interactions to make robots and virtual human non-player characters (NPCs) more realistic to engage with. There’s a lot of overlap between designing body language for physical robots and for NPCs since they use the same principles.

RossMeadNon-verbal communication is a fundamental building block of social interactions, and he talks about principles like spacing, socially-appropriate eye gaze, gestures, using and understanding pointing behaviors, modulating speaking voices to be louder/softer or faster/slower, head nodding, and taking turns when communicating.

He talks about how humans are always broadcasting information with everything that they do whether it’s speaking or not speaking, moving or not moving. Any reaction or lack of reaction communicates some form of meaning of whether or not your interested and engaged or disinterested and not fully connecting.

Body language can tell you the nature of the relationship with someone, and being able to identify open and closed body language cues can add another layer of depth and realism to interactions with NPCs within virtual environments.

Ross says that there a couple of ways to measure how believable your social interactions was either robots or virtual avatars. There are physiological measures that can come from looking at heart rate, galvanic skin responses, respiration rate, and general activity like the speed and frequency of motion. But there are also traditional psychological surveys that can measure how believable or comfortable the interaction was subjectively perceived.

He sees that the top two body language cues to implement with virtual humans would be adaptive positioning and automating co-verbal behaviors of gestures that are coordinated with speech so that it doesn’t feel like a robot or zombie.

Finally, Ross talks about the different cues for open vs. closed body language, the importance of mimicking for building rapport, and some of the ways that these techniques could be applied to provide a safe escape that’s fun and improves people’s lives. Stay tuned for more information about his company named Semio.

TOPICS

  • 0:00 – Intro – Ross studies Human-Robot interaction and presenting work on getting robots to use body language and understanding non-verbal communication that are the building blocks of social interaction like spacing, socially-appropriate eye gaze, gestures, using and understanding pointing behaviors, modulating it’s voices louder/softer, faster/slower, head nods, taking turns when communicating.
  • 1:12 – Applies to both robots and avatars. Robots are physically co-present NPC. Could be applied to virtual worlds to make characters more engaging. Working on making characters more engaging by using body language.
  • 2:04 – Eye gaze can feel weird if implemented in a way that feels natural. It broadcasts info, and tells others what you can observe & connected to privacy and the nature of the relationship. Continued eye contact means “I want to see more.” Too much eye contact violates the amount of intimacy that people are comfortable with. Will compensate by averting our gaze, can get more spacing, change frequency and duration of direct eye gazes or perhaps cross arms, or pacifier behavior of self-touching
  • 3:31 – Measuring psychological impact of implemented body language? Two ways. Use physiological measures like heart rate, galvanic skin responses, respiration rate, general activity and speed of motion. Can use psychological surveys with Likert scales. How intelligent NPC? Was it violating your personal space? Use these to figure out how people react to these
  • 4:43 – Top behaviors to implement with NPCs. Positioning is the first thing to get correct, and will be more engaging you adaptively use positioning. Secondly would be automating co-verbal behaviors of gestures that are coordinated with speech so that it’s not a robot or zombie. Eye gaze. Pointing. Immersive and engaging.
  • 6:26 – Pointing behaviors like pick “that” up or talk “her,” which is a referencing behavior that’s fundamental to human communication
  • 6:58 – Body language for engagement like a forward lean, increased eye contact, increased rate of speech. Opposite with the opposite like leaning back, attention if focused elsewhere. Can’t look at these in isolation, and look for combinations and clusters of behaviors because there’s other reasons
  • 8:12 – Open body language, not arms crossed and reveal front of the body. Open eyes, eyebrows up and a smile. Bitchy resting face when an idle pose scrunch up, and have to consciously counter this. Humans are broadcasting 24/7 and need to be aware of what you’re putting out.
  • 9:34 – Mimicking body language is a fundamental component to building rapport. USC’s ICT is looking at virtual humans.
  • 10:24 – These technologies will make our lives more fun. Seen as an outlet and relief to challenges we face during the day. Safe escape, but also if someone has a disability and want to improve their lives. Focusing in on helping people with special needs and make the world a better place.

Theme music: “Fatality” by Tigoolio

Melissa Carrillo is the Director of New Media Technology for the Smithsonian Latino Center and the Smithsonian Latino Virtual Museum. She’s been a pioneer in using immersive technologies for the Smithsonian.

MELISSA-CARRILLOBecause the Smithsonian Latino Center does not have any physical spaces, then Melissa has had to embrace the digital revolution and start to challenge a lot of the traditional curatorial mindset of institutions like the Smithsonian. She’s been a pioneer in using virtual worlds environments like Second Life to hold virtual cultural heritage events like the Smithsonian Día de los Muertos (Day of the Dead).

She talks about the keys for creating an open and collaborative environment with a virtual world, and how it’s more about creating a transmedia hub for all different types of media to be synthesized and shared in virtual spaces yet also shared back to the outside world through social media channels. She also goes into more details about all of the challenges that the faced along the way including what types of virtual world environments work the the best for cultivating community and sharing cultural identity. They fell into the pitfall that a lot of museum curators and educators do within VR by recreating buildings within virtual worlds that lecture at people and merely show 2D representations of the art within a 3D world.

Audiences want to be able to interact with the world, discover information that they find interesting, and be surprised and delighted through authentic experiences that are backed by curatorial scholarship and integrity.

Finally, Melissa talks about other initiatives where the Smithsonian is embracing the digital revolution, and how she sees the use of immersive technologies like virtual reality will be used by museums in the future.

TOPICS

  • 0:00 – Intro – Director of New Media Technology for the Smithsonian Lation Center. Use virtual worlds, gaming and simulations to reach out to audiences in a new way in order to communicate cultural identity. Smithsonian Día de los Muertos (Day of the Dead) events within Second Life. University of Texas in El Paso is their Second Life partner. They have a town square and cemetery environment that provide different cultural contexts for share cultural heritage experiences within a virtual world environment.
  • 2:05 – Second Life events. Important to have live programming and live streaming within Second Life to help recreate events within virtual worlds through collaborative outreach events. In virtual space, you’re able to create new experiences and not just replicate them.
  • 3:30 – Expressing cultural identity. It’s challenging to represent cultural heritage and identity as authentically as they can. Ensure authenticity the representation and presentation of artifacts, and have rigorous scholarship to do that from a cultural heritage perspective to preserve traditions. Make sure that it reflects the story that they’re trying to tell. It’s a collaboration with the participating community, and allowed the audience visitors to share stories and build altars
  • 6:10 – How to invite collaborators and hold space for that. It was challenging within Second Life since Smithsonian is used to being in complete control. Took a few years of experimentation, and need to figure out what they can and can not do. Used social media in coordination with Twitter, Facebook, Tumblr, Instagram to allow audience to share their Day of the Dead tattoos and food connected to that cultural event. Let audience build their own alters, and they share their creations via social media. Tell their story in one space and spread through the social media channels.
  • 9:35 – Creating rooms and spaces that work best for sharing cultural heritage within Second Life. Fell into the same pitfalls in creating spaces in virtual worlds. Creating building and rooms and creating 2D representations of art, and replicated a museum. The most successful part of their space was their town square and plaza because that’s where people meet and have events. Using Unity3D and looking outside of the box. Simulated an excavation site to get information and clues about the objects that you find where you’re free to explore and learn. You role play an archeology, and you get an immersive experience with different ways of experiencing the objects. Virtual museum is seen as a transmedia hub.
  • 13:00 – Key learnings from working in virtual spaces. The Smithsonian Institution found that people want authentic experiences. Need to be grounded in scholarship and maintain integrity of the work and accurately recreated in 3D space. All of the information that you interact with is coming from the curatorial team to ensure that it’s not being misrepresented and that audience can have an authentic experience.
  • 14:32 – Why do people like to be surprised. People don’t want to be talked down to and told the truth. They want to discover things on their own and have a sense of wonder and awe. Goes against what institutions are used to. Digital revolution put the power of discovery back into the hands of audience. Being to think strategic for what audiences want, and so look to social media to learn about that. Science museums have been creating interactive experiences like this for a long time. Audio tours are old way, create virtual experiences that are more interactive
  • 16:55 – Digital revolution have upset the power structure and previous paradigm of cultural institutions like the Smithsonian. It’s challenged the traditional curatorial practices and traditional storytelling practices. It’s all transformed and changed how they think creatively. A lot of different stakeholders at the table at the same time. Everyone can play a part of telling these stories in collaboration with the public. Virtualization and digitization has shattered the foundation of how these institutions do business and communicate tot heir audiences. Art and culture council want to share their lessons learned. How digital artifacts are used and the permissions around those are new challenges around access. How far is content made available made due to copyright limitations. Can then change, adapt and use it further. It challenges the traditional infrastructure of how these institutions have worked in the past. Audiences are demanding more access.
  • 21:05 – Saw the power of immersive technologies back in 2007. Smithsonian was trying to understand Facebook and how to deal with social media. What will 10 years look like? How about right now? Everything is shifting in 2007 and advocated embracing change. The Latino Smithsonian Center doesn’t have a physical space, and so social media and these virtual world technologies would be crucial for their mandate. Ran for the digital revolution on the underground for the longest time. Met Aaron in 2008 and saw that they needed to collaborate with other technology companies and innovators. Art and Culture summit need to be on the same page with how to tell stories and stay authentic. Audiences want surprise. Audience preferred to go to Wikipedia rather than Smithsonian website, and now collaborating with each other. How physical installations are exploding in virtual spaces.
  • 25:37 – Virtual worlds and creating spaces, and the female-perspective. Audiences use these video games. How they tell their stories, and don’t need to use violence. Need to ensure authenticity and create meaningful experiences and that they’re contributing to these stories. Rely and respond to what the audiences are asking for. Second Life had it’s own subculture and they can’t completely censor their presence from violence and all that happens there. Set security parameters, but can’t completely shield themselves. Need to act responsibility.
  • 28:48 – There’s so much potential. Don’t put it out all there. Balance for how it’s use. The opportunity is enormous. There’s a new layer of storytelling and experience. It’s augmenting that experience. Virtual gaming as a museum collection and embracing the digital revolution.

Theme music: “Fatality” by Tigoolio

Bryan Carter has been using virtual worlds for education since 1997, and he talks about the lessons learned from his Virtual Harlem project to immerse students into the literature and music from the 1920s. He talks about some of the resistance that he received from his peers in Africana studies, and how his students are already immersed in technology and that using virtual worlds is a way to create more engaging and potent learning experiences.

Bryan-CarterHarlem in the 1920s was improvisational and edgy, and Bryan is attempting to recreate this feeling with his virtual recreation. It was one of the first extended recreated environments for African Americans and so it attracted role playing, entertainment, live performances, lectures, poetry slams, and DJ performances, and businesses, educators and a range of different classes being taught within Virtual Harlem.

He talks about diversifying his presence from Second Life to OpenSim as well as some of his future plans with Unity and experiencing Virtual Harlem within fully immersive virtual reality with the Oculus Rift.

TOPICS

  • 0:00 – Intro. African American literature of 20th Century and Digital Humanities. Virtual Harlem as existed by 1920s jazz age. Wanted students to experience some of the literature from the 1990
  • 1:05 – Started into VR in 1997. Some of the Silicon Graphics and CAVE technology used back then
  • 2:04 – Used Quake for lower-cost multi-player networking, then VRML, and then eventually Second Life
  • 2:54 – Virtual Harlem is focused on African American Life and culture. Attracted role playing, entertainment, live performances, lectures, poetry slams, and DJ performances, and businesses, educators and classes being taught. Then other platforms opened. Linden Labs briefly eliminated non-profit pricing, which
  • 4:05 – Educational lessons from Virtual Harlem. Have a short-term, medium-term, and long-term plan. How to teach in these environments. Other African American scholars have more of a wait-and-see mindset, and there’s a resistance towards things that new and technological, and to games and virtual worlds. Engagement and success will help convince others of it’s worth.
  • 6:27 – Bringing diversity to Second Life. Field of Africana studies came from activist roots, and some question why work with something that’s not real when there’s so much other “real” problems happening. Some don’t see relevance of virtual worlds. Perceived as a distraction, hobby or a toy.
  • 7:23 – Create an educational period piece and collaborating with businesses. Cities have diversity from education, commerce, entertainment and other media as well. OpenSim, Second Life and Unity.
  • 8:23 – Immersing people into the music of the time. Jazz was edgy and improvisational. Immerse them within the environment.
  • 9:23 – Be prepared for your technology to fail. There are different levels of Internet connectivity. You don’t have control over the entire ecosystem. Tech failures can frustrate students.
  • 10:32 – Change in discount pricing in Second Life. Migrating towards open source OpenSim version of Virtual Harlem. Funding is more difficult, but the community is in Second Life. Hopes to have a presence in a number of different diverse places.
  • 11:42 – Future of the metaverse. Working with Virtual World Web company, and they’re creating Curio. WebGL is also a possibility. Open communication channels up between these worlds.
  • 13:28 – Using fully immersive VR within Virtual Harlem.
  • 14:37 – Future of education with immersive technologies. Many new tools in this new toolkit, and they all need to work more seamlessly together and connect to these disparate worlds.

Theme music: “Fatality” by Tigoolio

Aaron Walsh talks about his journey into virtual reality, and how Jaron Lanier and the Lawnmower Man eventually led him to starting the Immersive Education Initiative. He taught the first college course that took place within a virtual world back in 1995, and has been exploring how to use immersive technologies within an educational context ever since.

Walsh_Aaron_AvatarHe held the first Immersive Education Summit in 2006, and at this year’s Immersion 2014 they’ve expanded beyond education to include business and entertainment speakers as well. They offer a number of different iED certifications and resources to help show how immersive technologies could be used across the human experience.

In this interview, Aaron talks a bit about some of the strengths of immersive education, some principles of what to do and not to do when designing an immersive educational experience as well as how to cultivate serendipity and surprise to keep students engaged and excited to participate.

I was able to conduct 21 interviews at Immersion 2014, and I’ll be releasing these over the next three weeks here on the Voices of VR podcast. Here’s a preview of some of the upcoming topics:

  • Aaron Walsh – Best practices for Immersive Education
  • Richard Gilbert – Psychological connections to virtual world avatars
  • Melissa Carrillo – Smithsonian’s approach to sharing cultural heritage through virtual worlds
  • Morris May – The movement of Hollywood special effects into VR
  • Saadia Khan – Power of Avatars in Educational Virtual Worlds
  • Ross Mead – Body language for virtual avatars
  • Jackie Morie – History of VR & USC’s Institute for Creative Technologies
  • Bryan Carter – Immersing Learners in Harlem, NY during the 1920s Renaissance/Jazz Age
  • John Dionisio – Wearable Computing and the Reversal of Virtual Reality
  • Isabel Meyer – Smithsonian’s digital asset management & future of public domain access to digital artifacts
  • Kieran Nolan – Using virtual worlds for education
  • Mike Arevalo – VR Typing Trainer – Game Jam winner for Educational VR Hackathon
  • Daniel Green – Using Minecraft & other immersive software for education
  • Jane Crayton – Fully Immersive Dome Entertainment
  • Ryan Pulliam – VR for marketing
  • Ivan Blaustein – Orange County VR Meetup
  • Inarra Saarinen – Ballet Pixelle virtual world dance company
  • Philip Lunn – Nurulize’s approach to new forms of immersive entertainment in VR
  • Michael Licht – Immersive Journalism
  • Ka Chun Yu – “Full Dome” Video Virtual Reality (VR) Theaters: Exploiting Extreme Fields of View for The Benefit of Students
  • Terry Beaubois – Architecture in VR & Preparing for the Golden Age of Immersion

More details about the interview with Aaron are down below.

Reddit discussion here.

TOPICS

  • 0:00 – Immersive Education Initiative. Learned how to program, and students were interested in the game developer in classroom. Wanted to create virtual worlds and virtual scenes. Wanted to share experiences from Boston with his family in Colorado. In 1989, saw Jaron Lanier speak about VR at the Institute of Contemporary Art. He was a showed a working VR system where he was a lobster. Realized that VR could be the mechanism for sharing experiences with his family. Wrote down all of the software and hardware that he needed to learn in order to build a VR system. Succeeded in building an actual VR prototype system. Saw Lawnmower Man, and realized that experiencing information is much more powerful than reading and started him on the path towards immersive education. Got involved with VRML standards committee. Around 1995-1997, got tired of coming onto campus for teaching. Pitched to his dean to teach a class in a virtual world, and go permission to start the first immersive education class in a virtual world at Boston College. The first Immersive Educational Summit started in 2006.
  • 8:36 – Strengths of Immersive Education. Lots of different technologies. Virtual Worlds, VR, AR, immersive learning games. Depends on technology and what you’re trying to teach. Have the ability to visit places either in a group context or individually in an immersive environment where there is a lot higher level of engagement and participation. Much better than lecturing
  • 11:35 – Moving away from the broadcast lecturing model of learning, and more towards self-driven interactive learning. Put best of self into an immersive experience, and that could be more effective than the authentic version. Recorded an authentic presentation the first year, and second year he played back a pre-recorded version of the lectures. There’s a psychological barrier about what’s really authentic and what’s a real experience.
  • 14:39 – Most powerful immersive educational experiences. Charlie was a war veteran who experienced a lot of trauma and had doubts about participating in a virtual world classroom environment. Charlie was fully mobile and was more engaged than in the physical place. No physical indications of severe damage. Only needed his voice. He would have been lost in the traditional educational system.
  • 16:55 – Design principles of what to do and not to do. Don’t make a classroom or physical location. Pick a comfortable environment where everyone is happy to be there. Reconsider the setting of your education. Be comfortable to navigate and talk within a virtual world. Takes time and experience. Immersive Educational Initiative has a number of different certifications. Don’t just stand there. Keep moving around the virtual world. Learn to walk backwards and lead students through journeys.
  • 19:39 – Other locations for teaching? No standard ones. Important thing is to change locations for every class. Use rolling environments to build excitement and anticipation, and they want to come and be there. Explore them and share your favorites. Let them choose.
  • 21:38 – Every class is a field trip. How to cultivate serendipity and surprise? Happens naturally in synthetic environments if there are objects to interact with. You can make your gatherings open and public as well. You can script and let them happen. Construct environments specific to the lessons like space travel. Virtual watershed and entire ecosystem.
  • 23:29 – Initiative is a non-profit collaboration to show business, teachers, educators, entertainers — and a public training initiative that includes anyone who is interested in investigating how to immersive technologies could be used across the human experience. Broader range of target demographics, and starting to have more specific summit gatherings designed for academics for research and teaching techniques, arts and culture to preserve culture and convey culture, business and entertainment. There’s a lot of free resources.
  • 25:48 – Immersive education tools moving into the mainstream. When the dotcom bubble burst, then a lot the VR initiatives evaporated. Thought that around 98-99 that it was going to happen. Development has continued. Kickstarter help re-catalyzed the excitement from the 90s. Technology, computers, graphics techniques make graphics much better as well as a mobile technology and broadband network infrastructure that delivers the data. It didn’t disappear, it just went underground. Same visions and concepts, and the technology caught up.
  • 29:30 – New tools for game development and comparing the new to the old. Technology happens in generations and is a continuum. Their time will come and go. Traditional VR will be less and less, and then new consumer round will come around. Eventually the current VR tech will be phased out by the next generation of tech — most likely involving neural implants.
  • 31:46 – Potential of VR is all about human connection. Shorten the distance between people you care about and people you’re about to meet. Technologies will help us connect deeper and in ways that you can’t do today.

Theme music: “Fatality” by Tigoolio

Kevin-Williams2Kevin Williams has recently published a book on The Out-of-Home Immersive Entertainment Frontier: Expanding Interactive Boundaries in Leisure Facilities.

In this extensive interview, Kevin gives a comprehensive overview of the Digital Out-of-Home Entertainment (DOE) sector and what VR developers can learn from amusement parks and what type of opportunities there are to provide immersive experiences to large groups of people.

Kevin also provides a lot of insight into the history of how AR and VR developed out of military simulations and applied into what he sees are three different types of immersive entertainment experiences: Ones that are designed for audiences and shared group experiences, individual experiences, and finally educational applications and experiences.

Here’s the Venn diagram that’s discussed at the end of the show that maps out the DOE landscape.

Venn-6-Operating-Digital-Out-of-Home-Entertainment

It’s a rich interview filled with a lot of unique and interesting insights, and a more detailed listing can shown down below.

If you have any questions for Kevin, then feel free to reach out to him at: kwp@thestingerreport.com

Reddit discussion here.

TOPICS

  • 0:00 – Intro KWP Consultancy that focuses on Digital Out-of-Home Entertainment. Founding chairman of DNA Association. Co-author of The Out-of-Home Immersive Entertainment Frontier: Expanding Interactive Boundaries in Leisure Facilities
  • 1:00 – Comprehensive overview of Digital Out-of-Home Entertainment. Held first conference in 2011. Created an association. Tired of explaining the market to others, and got a lot of industry leaders to participate. What it has to offer.
  • 2:55 – How Digital Out-of-Home Entertainment is relevant to VR. Arcade golden age from 80s-90s, but then became placid and compliant. Public and audience moved on. From 90s onward would visit out-of-home entertainment facilities. Arcade companies. Crossover for VR. Where VR first hit consumers with Virtuality and Alternative Worlds was the arcade machine. VR continued in simulation and military applications, but had floundered up until Palmer Luckey came along with Oculus VR. It’ll be a second dawn for VR and DOE
  • 6:31 – DOE used to be a bridge from research to the mainstream. Mobile, PC, and fully immersive room as 3 tiers of VR. Future of VR arcades and location-based entertainment. VR is in it’s 4th phase. 1st Ivan Sutherland in 1968. 2nd VPL took NASA tech and created disposable tech. 3rd Virtuality and ended with Virtual Boy. 4th was Oculus VR and resurgence of consumer VR. Used to be beating swords into plowshares — taking military tech and making it available to consumers. It’s been a bit of a reversal of roles with VR coming from mobile technology. Focused on immersive entertainment with DOE and DNA.
  • 10:53 – History of military’s involvement with VR. Translating military technology and make it available to consumers. Simulations were huge in 70s and 80s for defense purposes. Couldn’t build as many tanks as needed, and so train people via simulation. Flight and commercial jet training simulations in VR. Do 80% of training before doing it for real. Simulation industry is real and VR is used by military, law enforcement, railroads, transportation, etc. Was able to try out $2-4 million VR flight simulators. VR came to it’s fruition with simulation. Detailed simulation needed for the apache simulator, and so it required a head-mounted display and move beyond the CAVE screen projection. Apache Helicopter tech lead to AR and VR.
  • 16:51 – Head-tracking. Difficult to nail down from 1968-1990 for how VR was used in the military. Synthetic visual worlds being represented to military pilots. Now create immersive synthetic environments that are believable, immersive and entertaining.
  • 18:07 – History of VR from 1968 to 1990. Big VR developments happening within the military. Military simulators have had a lot of money from US, UK and Israel defense agencies.
  • 19:13 – Car simulation. VR and simulation are viable. There’s no difference between VR and simulation. Speed boat and professional racing drivers learn the tracks through simulation. Professional simulators are made available for consumers.
  • 21:21 – Connection between amusement parks and innovations for digital out-of-home entertainment. Large audiences looking for immersive entertainment experiences. Star Tours was one of the first immersive experiences for amusement parks. Theme parks look for the next big high, and immersive entertainment provides that. Disney Quest built in 1998, and is still open today. It’s the longest-running VR entertainment experience. Aladdin magic carpet ride and Ride the Comix, a comic book sword fighting application. Had hundreds of thousands of people experience VR. Spent over $90 million dollars to develop it. Consumer is cost-effective and immersive, and throw as much possible money as possible to make compelling immersive experiences that encourage repeat visits.
  • 25:12 Use of mobile and tablet tech at Amusement Parks and future of VR/AR HMDs in public spaces at Amusement Parks. Augmented Reality devices are personal, but DOE wants to control the device and provide special devices that are more unique. Three tiers of Amusement Park experiences: 1.) Pay price and experience the theme park attractions in meat space. 2.) Do augmented reality experiences while at the park. 3.) Participate remotely with others via virtual reality.
  • 28:24 – Museums and Libraries and Edutainment applications with AR/VR – Facilities using AR viewing stations and show additional info. If the weather is bad, then show best view. Boosting the experience. AR tablets that superimpose additional info about objects in a museum. At a gallery, tablets will show specific aspects of pieces of art. Taking military situational awareness simulation technology and recontextualizing it for consumers. Education will be a huge part of AR and VR. In the leisure sector, there’s the gamification of exercise
  • 32:36 – Developers could create their own AR experiences at amusement parks. Big corporations are doing this. MagiQuest at Pigeon Forge, TN combination of VR, AR and immersive technology where people role-play being a magician. Doesn’t get a lot attention from the media.
  • 34:53 – Augmenting Laser Tag – Laser Tag is military technology for combat simulations. Laser tag has gone through different waves of popularity. Seeing next-gen laser tag with digital natives who are used to mobile phones and console gaming. Using AR HMDs within laser tag environments as well as digital projection mapping within the environments.
  • 38:08 – 4DX theater opened within US. Porting experiences to incorporate 4DX theater. Cinemas started at amusement parks. Then Lumière brothers thought to project film projecting into walls. But films emerged from amusement parks. Passive film experiences and increasing the immersive experience with physical effects. Drive towards interactivity and 7D films by Triotech where audience can interact and compete with each other. Dark Ride experiences where you shoot at the screen. Transition from passive to interactive narratives. DOE likes to deal with audiences because of economies of scale. Immersive Dome experiences
  • 43:26 – Opportunities for independent VR developers to port content into DOE experiences. Looking for new opportunities to apply their skills
  • 44:45 – Marketing applications of immersive technologies. Promotional and marketing impacts of DOE. Initially thought they’d take over billboards with digital billboards, but realized that they need to create interactive narrative to draw people in. AR bus shelter done by Pepsi. Marketing industry wants to draw people into experiences to build brands. Creating a VR fashion events and virtual fashion show. Dreamworks Teach your own Dragon and using VR experiences to promote movie, and Game of Thrones using VR to promote the show.
  • 49:20 – ImmersiON announces strategic fusion with VRelia. TDVision has done a lot of military simulations. Decided to take on VR HMDs, and used for simulation and training sector. Dedicated system that’s off-the-shelf system for training, simulation, research and development, but also be able to be used in ruggedized and placed into public spaces for the Digital Out-Of-Home Entertainment sector, and have access to the latest technologies.
  • 51:35 – Going towards the Holodeck. NASA and JPL using autonomous astronaut machines. JPL demonstrations using CAVEs to recreate another world. Content source for augmented reality, and used for VR content. Sony Project Morpheus had Mars Rover data. Simulation has been a huge part of space exploration. For every hour of moonwalk, there was 8 hours of simulation. Quad drones using data for virtual tourism. GoPros on submarines, space ships and perhaps even on the Mars rover.
  • 55:45 Venn Diagram that maps out the landscape of Digital Out-Of-Home Entertainment. Amusement and pay-for play sector, theme park sector, retail and hospitality sector, and edutainment & leisure sector. They overlap, but there are two digital gambling and video games are different and self-contained industries.
  • 59:50 – Potential of VR. Experiential technology using forced feedback to make it feel like you’re on Mars or microscopic entity or another person. Three levels of immersive entertainment. Three types of immersive entertainment experiences: Audiences and shared group experiences. Individual experiences. Educational applications and experiences.
  • 1:02:30 – Contact Kevin via kwp@thestingerreport.com

Theme music: “Fatality” by Tigoolio

Sam Watts is a producer at Tammeka Games, and they’re producing a futuristic arcade racing game called Radial-G that’s built for VR but also playable on a 2D screen. They’re currently running a Kickstarter campaign that is about 1/3 of the way complete and about 1/5th of the way towards raising their £50,000 goal.

sam-wattsRadial-G has received a lot of positive buzz from the VR community and has the potential to catch momentum towards their goal, and Sam Watts talks about their current strategy of moving beyond the VR gaming community and trying to appeal to 2D gamers as well. He talks about some of the challenges of countering the VR stigma, and talks about how there doesn’t seem to be any advantage or disadvantage of playing in VR vs. on a 2D screen.

They have implemented a lot of unique VR game play elements of being able to around to see the upcoming turns on the 3D, tubular track. And Sam talks about some of their plans for experimenting with other game play elements that the DK2′s positional tracking would introduce.

Radial-G is set in a sci-fi, cyberpunk environment and has some extremely fast-moving game play that most VR gamers would expect would give them simulator sickness, but most are surprised to find that it’s extremely comfortable. Sam talks about all of the design elements and decisions that they’ve made in order to reduce sim sickness including setting it in a sci-fi, fantasy world helps tell the brain it’s not real. Placing the perspective within cockpit with a consistent frame of reference, but also having a track in front of you that you can focus on. They deliberately do slow acceleration and deceleration with graphical tricks to minimize inertial changes. There are a lot of objects off in the distance that help with orientation including a hexagonal dome surrounding the environment, and there’s no obvious up or down or solid ground plane. For multiplayer, they’re trying to decided to keep a phasing through other vehicles or implement a collision-model which could cause simulator sickness.

Sam talks about a lot of the game play and level design features that they’ll be adding, including multi-player, elimination modes, weapons, and time attack, and potentially third person perspectives. There is a global leaderboard where there are currently two other people, Koshinator & Terminator001, who have tied the level designer’s best time of 1:22. The level is different every time, and so it’ll be interesting to see if anyone can top that time.

He talks about his team’s workflow and previous experience in virtual reality simulator development, and how that helped prepare them to create this VR experience. He was surprised to see that there weren’t any major blockers and their previous experience in the 3D gaming pipeline proved to translate over very well, and very pleased that others seem to really be enjoying the VR experience that they’ve created.

Finally, he talks about some of the games that are similar to Radial-G including F-Zero and Wipeout. He talks about their Kickstarter strategy moving forward, and is excited to potentially be a part of the resurgence of VR as it moves into the mainstream. He’d like to see Radial-G be a part of the VR generation’s set of games that are available both for the Oculus Rift and Sony Morpheus. If you enjoyed their demo, then be sure to support their Radial-G Kickstarter and help spread the word.

Reddit discussion here.

TOPICS

  • 0:00 – Intro – Game producer at Tammeka Games, producing Radial-G, which is a futuristic arcade racing game primarily for VR but playable on a 2D screen. Running a Kickstarter to make it a fully-fledged VR game
  • 0:56 – Techniques to prevent motion sickness. Have serious VR background and have a lot of experience reducing simulator sickness. In a sci-fi fantasy world helps tell the brain it’s not real. You’re in the cockpit. You can focus on the track in front of you. Slow acceleration and deceleration helps. Having objects off in the distance. There’s no obvious up or down. There’s no solid ground plane, and will see how that works on other tracks.
  • 3:50 – Pipe serve as horizon line and role of objects at the distance. Hexagon dome around the world also helps that as well. Less than 10 out of 1000 had issues.
  • 4:54 – Framerate optimization. Optimized models and have 4K models. 60fps at 1080p. Seen people reach 175fps. Have a highly-optimized world.
  • 5:50 – Level design of a 3D track. Will have other tubes. In-play testing and lots of experience. Progression of learning and tradeoffs that were introduced for getting the fastest time.
  • 7:46 – Level designer’s top time is 1:22. Integrating the leaderboard. It’s different every time, and can’t have a perfect racing line.
  • 9:50 – Replayability. Single-player right now, but expanded to multi-player. Still working on it. Talk to tools providers at Unity, and there were some new tools for streamlining and optimizing multiplayer code and looking into that. Have other people on the track. Phasing through vs. adding collisions. Sony Street Luge implemented collisions, but reverted back to phasing due to simulator sickness implications.
  • 12:00 – VR gameplay of looking ahead. Other VR elements to implement. Turn head to left or right to see other cars. They try to overtake at the sides. Flesh out more options and choices to implement. Time attack. Elimination. Racing. Weapons.
  • 13:44 – Positional tracking implementation ideas with DK2. Opens up some new gameplay opportunities, but need to try it out first
  • 15:05 – Leaning vs. using the controller and buttons. See people lean anyway, and they do that more in the VR headset. Could be great for some players, but bad for others. But don’t want to encourage rapid physical body movements that may cause injury.
  • 16:43 – Third person perspective. Working to find right height and angle. Some like it. Others don’t. Issues with clipping with tunnels. Implications for immersion, but needs additional processing power to handle correctly.
  • 17:58 – VR team at Tammeka Games. A straightforward pipeline from concept to 3D to code. Design, Draw pictures. Implement in 3D. Code it. Promote it. Have a lot of experience with both AAA games, but also a lot professional VR experience. Every does game play and feedback.
  • 19:08 – Twenty years of VR simulator experience. More expensive hardware with high stability and quality of image requirements with high resolutions, multi-channel displays and being G-locked over the network.
  • 20:14 – Strong team. 1/5 way through the Kickstarting fundraising goal. Large gamer community who tune out once they see that it’s VR. Once they see VR support, they think it only supports VR. Use 2D shots for promotional work. Targeting non-VR gamers.
  • 21:43 – Other video games that have 3D tracks. F-Zero. And fill the gap after Wipeout. Other similar games. But fairly unique approach.
  • 23:06 – Expand with VR community, but need to go beyond VR. What to do to help out. Spread the word that it works without VR. No advantage or disadvantage whether you’re using VR or not.
  • 25:03 – How long been working on this demo. Off and on since January. 45-50 man days of effort put into it.
  • 25:18 – Timeline and targets. Mid-Sept. and late November for the full game with lots of new options. With updates with each following month.
  • 26:15 – Timing to do Kickstarter around the DK2 release. DK2 will end up being a default gaming system for a while.
  • 27:15 – Surprises about VR development. That it was easier than expected. No huge blockers. And others really enjoy the end product.
  • 28:15 – Potential for VR. What we make of it. It’s still got a stigma around it and seen s as nerdy tech for boys. But say all genders appreciate it. It’ll go through an awkward phase of being accepted by the mass market. Price point matters. Still not atheistically pleasing for others to see box strapped to your face that has room for improvement. We’re closer to the cyber reality world of meeting with 4D metaverse space with full immersion that are beautifully rendered and highly realistic, believable and immersive.
  • 29:58 – Very excited about VR’s potential. Support the Kickstarter. Excited to be hopefully there with the emergence into the mainstream VR generation. Shuhei Yoshida from Sony played the game and was very impressed. Waiting to see at the moment. Will know after August 2nd what they can and cannot do.

Theme music: “Fatality” by Tigoolio

Karl Krantz is one of the co-founders of the Silicon Valley Virtual Reality Meet-up and conference, and he’s been strategically moving towards a full-time career within virtual reality for over 15 years. It started for him with exploring imaginal virtual worlds through Dungeons and Dragons, and he’s been trying to manifest those worlds through the medium of VR ever since.

karl-almost-smile-269x200He talks about the collaborative nature of this new consumer VR movement as a part of the current Internet culture, and sees that as a key component as to why VR is being more successful now than in the previous VR hype peak in the early 90s. The technology wasn’t also there, but the culture of openly sharing knowledge has been a key to the momentum that VR is seeing — starting with the collaborative funding of the Oculus Rift.

He talks about the differences between Old VR and New VR, and how the consumer VR movement has a different quality of energy and vitality that seems to be lacking in the legacy VR populations. SVVR is definitely more focused on cultivating and supporting this new, consumer VR movement while incorporating the wisdom and lessons from “Old VR.”

Karl then discusses some the lessons that the VR community can learn from Second Life, including how we treat identity and governance in virtual worlds. He also is optimistic about High Fidelity’s approach and questions whether or not Second Life will have to restart from scratch. Again, this interview was conducted a few days before Second Life announced that they were indeed starting from scratch and rebuilding they system from the ground up to have a stronger foundation for integrating with a lot of the innovations of this consumer VR revolution.

Finally, he talks about what he sees as an exciting next couple of decades as VR develops. He sees VR as being potentially more important than the written language, and allowing people to do nearly anything and be any one. There are good and bad manifestations of VR, but that in the end it’ll prove to be less abstract than the written language and eventually be no higher level than VR and that it be the “Final Platform” as Michael Abrash called it.

Reddit discussion here.

TOPICS
0:00 – Intro. Silicon Valley Virtual Reality Meet-up and conference. SVVR created a year ago b/c consumer VR was a thing, and wanted to cultivate community to share learnings. Want to foster an diverse ecosystem
1:13 – Strong of collaboration this time around to foster a movement. Tech wasn’t there the first time around. People were competitive before and didn’t share their learnings. There’s an Internet sharing culture, and collaborative nature of crowd-sourcing.
2:43 – Passion of VR. Intrinsically motivation
3:18 – Strategic decisions to be involved in VR. First got involved into virtual worlds via Dungeons and Dragons. Entranced with potential of virtual worlds. Got into sci-fi and cyberpunk, and Jaron Lanier was a big influence as well. Got involved in telepresence professionally. User of Second Life. Always planned to get back into VR. Was going to join the local VR meet-up in Silicon Valley, and was shocked that he needed to create it with Cymatic Bruce
6:36 – Stealth start-ups that are in attendance. Ones that they know of like Sixense Entertainment. Jaunt was in attendance for a long time, and couldn’t talk about what they were doing for a long time.
8:12 – How many people at each event. 100 people. Decide to do bigger monthly events? Or stay small.
8:45 – Balance of new people and experienced people at user groups. Hard to get too technical in that environment. Start conversations. Quickly explain what they’re doing and talk more tech details offline. Get to try it out.
10:25 – What SVVRCon meant and what was accomplished. Perfect size and energy was amazing. Great sense of community and enthusiastic vibe. Can they scale that to a full conference? Yes. The more diversity, the better.
11:51 – Split between Old VR and New VR. SVVRCon is the essence of New VR and the consumer space. Future focus on consumer and New VR energy. Lots to learn from legacy VR pioneers. It’s not affordable and accessible. VR is now affordable, and that’s a success milestone. R&D demos can be interesting, but not as relevant if people can’t take it home. Take VR home and hack it. Different worldview between old and new VR. SVVR is skewed towards New VR
15:18 – Consumer VR. Second Life is kind of bridge between old and new VR. Spent a lot of time in Second Life. It’s a magical place. Open metaverse that’s more open than a game. Lots of garbage content, but also a lot of beautiful creations. Thriving economy. Second Life was always designed with VR in mind. They’ve pioneered so many things. What do people do in Second Life? They do what they’ll do in VR. Hang out in night clubs. Build a house. Have a boat. They’re in the best advantage of VR. There a ton of communities. Requires some fundamental changes to make the jump to VR. Can’t do that in an incremental way. Second Life may need to restart
19:21 – High Fidelity and open protocol approach. Provide services around an open protocol. Allows to have speciality companies like Mixamo for avatar creation.
20:25 – Why Second Lifers need to be involved with VR now more than over. Privacy. Identity and Governance. Cut to the core of the framework of a society. Agree with High Fidelity’s direction. Choose to reveal your identity when you want. As an owner of a space you can choose whether you want anonymous or authenticated. Early days of Second Life, they talked about being a citizen of a new world. Need a say in governance, and if you don’t have a say, then you’re not going to have a say. Need representation and governance to feel welcomed. Successful ones will have a say.
23:52 – Next steps for getting involved with VR. VR launchpad to switch between VR demos without getting out of VR. Intrigued with how do you find and sample VR experiences and virtual world locations. Hard to find and navigate these VR locations.
25:25 – Kite & Lightning’s portal into one reality into another reality. Taste test environments to feel what’s it like to be inside of it.
26:45 – Potential for VR. VR will be a serious step in the development of mankind. More important than the written language. Less abstract than written language and a new medium. No higher level than VR. Can do anything and be anyone. Good and Bad. It’ll be interesting next couple decades
28:20 – As significant as the Gutenberg Press to contain and share human experiences. VR encapsulates all experiences. VR as the final platform.
29:10 – Include neural implants as the final platform. Direct put images into your optic nerve with a screen.

Theme music: “Fatality” by Tigoolio

Scott Phillips was making 3D scans of people at the Silicon Valley Virtual Reality Conference and part of his toll was to listen to his pitch about his shoe-based, locomotion idea called the the VR Walker.

scott-phillipsI decided to record the pitch in this interview, and it turned out to be one of the most interesting surprises of the conference that ranged from VR locomotion, early inspirations from one of the first famous VR experiences, and ended up at occult applications of the VR walker for psychological explorations into the human condition.

The VR Walker was still in an early iteration phase that doesn’t quite have a working prototype just yet. But Scott shared his vision of what could be a shoe-based design that would allow locomotion within VR without actually moving in real life. Eventually, he sees that this idea could evolve to the point where it could be integrated into wearable shoes, but it’s an ambitious project that is definitely thinking outside of the box when it comes to VR locomotion.

vrwalkerScott shared his early inspirations from the famous Dactyl Nightmare VR experience but also his insights into tapping into the creative potential of your unconscious mind through the work of surrealist painter Salvador Dalí and through esoteric traditions like the Tarot and Kabbalah.

This is when I decided to dive into the occult Rabbit Hole since I’ve published nearly 150 interviews through my Esoteric Voices podcast, and am working on a VR experience that will eventually be able to create customized archetypal experiences based upon someone’s astrological theory of their personality, but also how that changes and evolves over time.

Scott’s big insight for me is that there is something mysterious and magical about the power of our unconscious mind, and the process of shuffling a Tarot deck is a way to connect your unconscious mind to the symbols. His theory is that the process of walking is an unconscious act, and that through walking within VR that we may be able to tap into our unconscious creative potential or eventually be able to take unconscious body language cues or use occult traditions to be able to do inner self-exploration to learn more about ourselves and our human condition.

It’s a radical and interesting idea, and something that made me give another look at the power of physical locomotion within VR and how that could give us more of a sense of presence, but also have other esoteric and occult applications that we don’t yet understand or really even fully know how to tap into.

Reddit discussion here.

TOPICS

  • 0:00 – Shoe-based VR locomotion device. Move in VR, but not in real life. Sensor at the center of gravity. Looks at orientation of shoe modules, and change the direction of the VR walker wheels. Intended to be able to ship with a game console
  • 2:12 – How it’s powered and operated with motors. Doesn’t require a lot energy, but the prototype is powered
  • 2:52 – Do you have a working prototype? Not yet, and working towards that.
  • 3:16 – Putting wheels on the feet and simplicity of the design. Part of the wearable computing trend, eventually be like normal shoes.
  • 4:00 – External cameras that are needed. Need to sense center of gravity relative to ground plane and the orientation of the shoe modules.
  • 4:47 – Dactyl Nightmare was the inspiration for this. First experiences in 1994, and was blown away. But he was upset that he couldn’t walk around.
  • 6:43 – Been tracking VR since Dactyl Nightmare and had a number of iteration of VR walker ideas since then.
  • 8:05 – Could be a part of a remote android control system
  • 8:48 – First heard about Oculus Rift was Eureka, and that it’s finally been done.
  • 9:32 – Fan of surrealist Salvador Dalí and rendering your unconscious in artist medium. Wants to become the Salvador Dalí of VR in that he wants to be a part of a community of people who are building tools to empower people’s creativity and communicate their inner essence
  • 10:40 – Jung and Freud on the unconscious and subconscious playing out in VR. VR the occult and Kaballah, and the Tarot and a symbolic map of the human condition, and VR has an interesting role to play for humans understanding themselves on an esoteric level.
  • 11:52 – Esoteric applications of VR as a tool for self-exploration and providing customized archetypal experiences to people based upon esoteric traditions like archetypal astrology.
  • 13:05 – The act of shuffling Tarot cards connects your unconscious to the deck, and you have the potential with VR to achieve something similar because your unconscious mind controls acts like walking. VR Walker is a tool to integrate your unconscious mind into VR.
  • 14:14 – Walking motion is an unconscious act. Shuffling a card deck connects our unconscious mind to a deck, and things like the VR Walker would connect your unconscious to a VR experience from an occult perspective. Thinks that one of the most interesting applications of VR would be to have an experience that teaches you about yourself.

Theme music: “Fatality” by Tigoolio

Max Geiger works at Wemo Lab, which is a content studio in LA that exploring gaming and simulation in VR, but also exploring panoramic VR capture and the software to make that happen. Wemo Lab is located in LA, and they have a number of award-winning special effects artists on staff for creating who are helping create various VR experiences.

max-geigerThey’re focused on bringing emotional investment into VR, and Max talks about the spectrum of cinematic VR storytelling ranging from computer-generated to captured material, as well as differing levels of interactivity within each of those. He says that we’re still inventing the language of VR, and that the most surprising applications and interactions for VR haven’t been discovered yet.

Max could neither confirm nor deny that they were collaborating with any specific directors, but being so near to Hollywood it would not be surprising if they were getting interest from the film industry. He also talked about how close-up magic, immersive theater experiences and haunted houses have lessons to teach VR in terms of how to direct and misdirect attention.

Finally, he talks about he doesn’t like to do too much speculation about VR either in the short or long-term because of Amara’s Law, which states that “We tend to overestimate the effect of a technology in the short run and underestimate the effect in the long run.” While there’s a lot of VR hype train overestimation in the short-term, we tend to underestimating the long-term impacts because so many of the changes are so unpredictable.

Reddit discussion here.

TOPICS

  • 0:00 – Intro. Wemo Lab content studio in LA. Showing an immersive ocean simulator called Blue.
  • 0:35 – The Blue was an open platform to contribute fish to various environments.
  • 1:48 – Exploring gaming and simulation in VR, but also exploring panoramic VR capture.
  • 2:15 – Interested in writing software to make it easier for other people to make captured
  • 2:36 – Using off-the-shelf solutions at the moment, and investigating other proprietary solutions as well.
  • 2:52 – Looking at 360Heroes rig with Go Pros, Wemo Lab’s Dennis Blakey is a pioneer of stereoscopic video who created a rig with 84 cameras.
  • 3:50 – Presence is the real selling point of VR, and so Frontrow VR can help provide that sense of presence. Getting fooled by close-up magic within VR.
  • 4:50 – Tradeoff vs recreating it in 3D to be more efficient vs video capture. It’s getting easier to store and manipulate large quantities of data.
  • 5:57 – When would it be better to recreate vs. when would you need to create? You know how much a camera will bias things, and an editor can weave a story out of individual moments. Interested to see what Peter Watkins would do with VR, who used documentary format to explore fictional stories. Explores film create a world and expectation and biases the viewer towards certain things. The map of a film is the territory of the subject
  • 7:50 – Different interactions within VR and approaches to storytelling. 6-7 different levels of experiences spectrum between completely computer-generated vs. filmed and captured experiences. And adding interactivity to captured experiences. Still inventing the language. The most surprising applications and interactions for VR haven’t been discovered yet.
  • 9:00 – Getting interest from Hollywood directors at Wemo Lab? Neither confirm or deny working with any Hollywood directors.
  • 9:40 – What is Wemo Lab trying to do in VR? World Emotion is the goal. Bringing emotional investment to VR experiences. Combine emotions with physical interactions in VR.
  • 10:30 – Directing attention in VR experiences. Look at first-person games and how they direct attention, but also look at other arts of directing attention like how magicians will direct and misdirect attention. Breaking down the fourth wall in theater has lessons to teach us as well.
  • 11:54 – Sleep No More immersive theater experience is a high-brow, but there’s also a haunted house or a dark ride and there’s lessons to be learned from them all.
  • 12:38 – 3D audio. Not a lot of great solutions at the moment, but there’s a renaissance in that realm not. Binaural audio is a capture technique, and 3D positional audio is the post-production and mixing process involved.
  • 13:12 – Ultimate potential for VR – Tries not to do too much speculation, and refers to Amara’s Law of “We tend to overestimate the effect of a technology in the short run and underestimate the effect in the long run.” Hype train overestimation in the short-term , but underestimating the long-term impacts.

Theme music: “Fatality” by Tigoolio