Among a myriad of other definitions, Noor (2016) describes Virtual Reality (VR) as “a computer generated environment that can simulate physical presence in places in the real world or imagined worlds. The user wears a headset and through specialized software and sensors is immersed in 360-degree views of simulated worlds” (p. 34).
Noor, Ahmed. 2016. “The Hololens Revolution.” Mechanical Engineering 138(10):30-35.
Weiss and colleagues wrote that “Virtual reality typically refers to the use of interactive simulations created with computer hardware and software to present users with opportunities to engage in environments that appear to be and feel similar to real-world objects and events”
Weiss, P. L., Rand, D., Katz, N., & Kizony, R. (2004). Video capture virtual reality as a flexible and effective rehabilitation tool. Journal of NeuroEngineering and Rehabilitation, 1(1), 12. https://doi.org/10.1186/1743-0003-1-12
Henderson defined virtual reality as a “computer based, interactive, multisensory environment that occurs in real time”
Rubin, 2018, p. 28. Virtual reality is an 1. artificial environment that’s 2. immersive enough to convince you that you are 3. actually inside it. ”artificialenvironment ” could mean just about anything. The photograph is an artificial environment of video game is an artificial environment a Pixar movie is an artificial environment the only thing that matters is that it’s not where are you physically are. p. 46 “VR is potentially going to become a direct interface to the subconscious”
p. 225 Virtual reality: the illusion of an all-enveloping artificial world, created by wearing an opaque display in front of your eyes.
From: https://blog.stcloudstate.edu/ims/2018/11/07/can-xr-help-students-learn/ : p. 10 “there is not universal agreement on the definitions of these terms or on the scope of these technologies. Also, all of these technologies currently exist in an active marketplace and, as in many rapidly changing markets, there is a tendency for companies to invent neologisms around 3D technology.” p. 11 Virtual reality means that the wearer is completely immersed in a computer simulation.
There is no necessary distinction between AR and VR; indeed, much research
on the subject is based on a conception of a “virtuality continuum” from entirely
real to entirely virtual, where AR lies somewhere between those ends of the
spectrum. Paul Milgram and Fumio Kishino, “A Taxonomy of Mixed Reality Visual Displays,” IEICE Transactions on Information Systems, vol. E77-D, no. 12 (1994); Steve Mann, “Through the Glass, Lightly,” IEEE Technology and Society Magazine 31, no. 3 (2012): 10–14.
++++++++++++++++++++++
Among a myriad of other definitions, Noor (2016) describes Virtual Reality (VR) as “a computer generated environment that can simulate physical presence in places in the real world or imagined worlds. The user wears a headset and through specialized software and sensors is immersed in 360-degree views of simulated worlds” (p. 34). Weiss and colleagues wrote that “Virtual reality typically refers to the use of interactive simulations created with computer hardware and software to present users with opportunities to engage in environments that appear to be and feel similar to real-world objects and events.” Rubin takes a rather broad approach ascribing to VR: 1. artificial environment that’s 2. immersive enough to convince you that you are 3. actually inside it. (p. 28) and further asserts “VR is potentially going to become a direct interface to the subconscious” (p. 46). Most importantly, as Pomeranz (2018) asserts, “there is not universal agreement on the definitions of these terms or on the scope of these technologies. Also, all of these technologies currently exist in an active marketplace and, as in many rapidly changing markets, there is a tendency for companies to invent neologisms.” (p. 10)
Noor, Ahmed. 2016. “The Hololens Revolution.” Mechanical Engineering 138(10):30-35.
Rubin, P. (2018). Future Presence: How Virtual Reality Is Changing Human Connection, Intimacy, and the Limits of Ordinary Life (Illustrated edition). HarperOne.
Weiss, P. L., Rand, D., Katz, N., & Kizony, R. (2004). Video capture virtual reality as a flexible and effective rehabilitation tool. Journal of NeuroEngineering and Rehabilitation, 1(1), 12. https://doi.org/10.1186/1743-0003-1-12
What the metaverse will (and won’t) be, according to 28 experts
metaverse (hopefully) won’t be the virtual world of ‘Snow Crash,’ or ‘Ready Player One.’ It will likely be something more complex, diverse, and wild.
The metaverse concept clearly means very different things to different people. What exists right now is a series of embryonic digital spaces, such as Facebook’s Horizon, Epic Games’ Fortnite, Roblox‘s digital space for gaming and game creation, and the blockchain-based digital world Decentraland–all of which have clear borders, different rules and objectives, and differing rates of growth.
TIFFANY ROLFE
different layers of realities that we can all be experiencing, even in the same environment or physical space. We’re already doing that with our phones to a certain extent—passively in a physical environment while mentally in a digital one. But we’ll see more experiences beyond your phone, where our whole bodies are fully engaged, and that’s where the metaverse starts to get interesting—we genuinely begin to explore and live in these alternate realities simultaneously.
It will have legacy parts that look and feel like the web today, but it will have new nodes and capabilities that will look and feel like the Ready Player One Oasis (amazing gaming worlds), immersion leaking into our world (like my Magicverse concept), and every imaginable permutation of these. I feel that the Xverse will have gradients of sentience and autonomy, and we will have the emergence of synthetic life (things Sun and Thunder is working on) and a multitude of amazing worlds to explore. Building a world will become something everyone can do (like building a webpage or a blog) and people will be able to share richer parts of their external and inner lives at incredibly high-speed across the planet.
YAT SIU, COFOUNDER AND EXECUTIVE CHAIRMAN OF GAMING AND BLOCKCHAIN COMPANY ANIMOCA BRANDS
Reality will exist on a spectrum ranging from physical to virtual (VR), but a significant chunk of our time will be spent somewhere between those extremes, in some form of augmented reality (AR). Augmented reality will be a normal part of daily life. Virtual companions will provide information, commentary, updates and advice on matters relevant to you at that point in time, including your assets and activities, in both virtual and real spaces.
TIMONI WEST, VP OF AUGMENTED AND VIRTUAL REALITY, UNITY:
I think we can all agree our initial dreams of a fully immersive, separate digital world is not only unrealistic, but maybe not what we actually want. So I’ve started defining the metaverse differently to capture the zeitgeist: we’re entering an era where every computer we interact with, big or small, is increasingly world-aware. They can recognize faces, voices, hands, relative and absolute position, velocity, and they can react to this data in a useful way. These contextually aware computers are the path to unlocking ambient computing: where computers fade from the foreground to the background of everyday, useful tools. The metaverse is less of a ‘thing’ and more of a computing era. Contextual computing enables a multitude of new types of interactions and apps: VR sculpting tools and social hangouts, self-driving cars, robotics, smart homes.
as carbon is to the organic world, AI will be both the matrix that provides the necessary structural support and the material from which digital representation will be made. Of all the ways in which AI will shape the form of the metaverse, perhaps most essential is the role it will play in the physical-digital interface. Translating human actions into digital input–language, eye movement, hand gestures, locomotion–these are all actions which AI companies and researchers have already made tremendous progress on.
Qualcomm views the metaverse as an ever-present spatial internet complete with personalized digital experiences that spans the physical and virtual worlds, where everything and everyone can communicate and interact seamlessly.
As an active researcher in the security and forensics of VR systems, should the metaverse come into existence, we should explore and hypothesize the ways it will be misused.
CHITRA RAGAVAN, CHIEF STRATEGY OFFICER AT BLOCKCHAIN DATA ANALYTICS COMPANY ELEMENTUS
I picture [the metaverse] almost like The Truman Show. Only, instead of walking into a television set, you walk into the internet and can explore any number of different realities
We imagine the metaverse as reality made better, a world infused with magic, stories, and functionality at the intersection of the digital and physical worlds.
CAROLINA ARGUELLES NAVAS, GLOBAL PRODUCT MARKETING, AUGMENTED REALITY, SNAP
Rather than building the “metaverse,” a separate and fully virtual reality that is disconnected from the physical world, we are focused on augmenting reality, not replacing it. We believe AR–or computing overlaid on the world around us–has a smoother path to mass adoption, but will also be better for the world than a fully virtual world.
URHO KONTTORI, COFOUNDER AND CTO OF AR/VR HEADSET MAKER VARJO
In the reality-based metaverse, we will be able to more effectively design products of the future, meet and collaborate with our colleagues far away, and experience any remote place in real-time.
ATHERINE ALLEN, CEO OF IMMERSIVE TECH RESEARCH CONSULTANCY LIMINA IMMERSIVE
I prefer to think of the metaverse as simply bringing our bodies into the internet.
The metaverse isn’t just VR! Those spaces will connect to AR glasses and to 2D spaces like Instagram. And most importantly, there will be a real sense of continuity where the things you buy are always available to you.
At its core will be a self-contained economy that allows individuals and businesses to create, own or invest in a range of activities and experiences.
NANDI NOBELL, SENIOR ASSOCIATE AT GLOBAL ARCHITECTURE AND DESIGN FIRM CALLISONRTKL
the metaverse experience can be altered from the individual’s point of view and shaped or curated by any number of agents—whether human or A.I. In that sense, the metaverse does not have an objective look beyond its backend. In essence, the metaverse, together with our physical locations, forms a spatial continuum.
NICK CHERUKURI, CEO AND FOUNDER OF MIXED REALITY GLASSES MAKER THIRDEYE
The AR applications of the metaverse are limitless and it really can become the next great version of the internet.
SAM TABAR, CHIEF STRATEGY OFFICER, BITCOIN MINING COMPANY BIT DIGITAL
It seems fair to predict that the actual aesthetic of any given metaverse will be determined by user demand. If users want to exist in a gamified world populated by outrageous avatars and fantastic landscapes then the metaverse will respond to that demand. Like all things in this world the metaverse will be market driven
For the purpose of this chapter, Cross Reality or XR refers to technologies and applications that involve combinations of mixed reality (MR), augmented reality (AR), virtual reality (VR), and virtual worlds (VWs). These are technologies that connect computer technology (such as informational overlays) to the physical world for the purposes of augmenting or extending experiences beyond the real. Especially relevant to the definition of XR is the fact that this term encompasses a wide range of options for delivering learning experiences, from minimal technology and episodic experiences to deep immersion and persistent platforms. The preponderance of different terms for slightly different technologies indicate that this is a growth area within the field. Here we provide a few definitions of these technologies.
MR—Mixed reality refers to a blend of technologies used to influence the human perception of an experience. Motion sensors, body tracking, and eye tracking interplay with overlaid technology to give a rich and full version of reality displayed to the user. For example, technology could add sound or additional graphics to an experience in real time. Examples include the Magic Leap One and Microsoft HoloLens 2.0. MR and XR are often used interchangeably.
AR—Augmented reality refers to technology systems that overlay information onto the real world, but the technology might not allow for real-time feedback. As such, AR experiences can move or animate, but they might not interact with changes in depth of view or external light conditions. Currently, AR is considered the first generation of the newer and more interactive MR experiences.
VR—Virtual reality, as a technological product, traces its history to approximately 1960 and tends to encompass user experiences that are visually and auditorily different from the real world. Indeed, the real world is often blocked from interacting with the virtual one. Headsets, headphones, haptics, and haptic clothing might purposely cut off all input except that which is virtual. In general, VR is a widely recognizable term, often found in gaming and workplace training, where learners need to be transported to a different time and place. VR experiences in STEM often consist of virtual labs or short virtual field trips.
VW—Virtual worlds are frequently considered a subset of VR with the difference that VWs are inherently social and collaborative; VWs frequently contain multiple simultaneous users, while VRs are often solo experiences. Another discrimination between virtual reality and virtual worlds is the persistence of the virtual space. VR tends to be episodic, with the learner in the virtual experience for a few minutes and the reality created within the experience ends when the learner experience ends. VWs are persistent in that the worlds continue to exist on computer servers whether or not there are active avatars within the virtual space (Bell 2008). This discrimination between VR and VW, however, is dissolving. VR experiences can be created to exist for days, and some users have been known to wear headsets for extended periods of time. Additionally, more and more VR experiences are being designed to be for game play, socialization, or mental relaxation. The IEEE VR 2020 online conference and the Educators in VR International Summit 2020 offered participants opportunities to experience conference presentations in virtual rooms as avatars while interacting with presenters and conference attendees (see Sect. 2.5 for more information).
CVEs—Collaborative virtual environments are communication systems in which multiple interactants share the same three-dimensional digital space despite occupying remote physical locations (Yee and Bailenson 2006).
Embodiment—Embodiment is defined by Lindgren and Johnson-Glenberg (2013) as the enactment of knowledge and concepts through the activity of our bodies within an MR (mixed reality) and physical environment
Human-Centered Design philosophy that involves putting human needs, capabilities, and behavior first (Jerald 2018: 15). XR provides the opportunity to experience just-in-time immersive, experiential learning that uses concrete yet exploratory experiences involving senses that result in lasting memories. Here we discuss opportunities for social applications with XR.
XR learner activities are usually created for individual use, which may or may not need to be simultaneously experienced as a class together at the same time or place with the instructor. Activities can be designed into instruction with VR headsets, high-resolution screens, smartphones, or other solo technological devices for use inside and outside of the classroom.
Do we address the challenges in the grant proposal?
some learners will be held back from full XR activity by visual, physical, and social abilities such as stroke, vertigo, epilepsy, or age-related reaction time. It should also be noted that the encompassing nature of VR headsets might create some discomfort or danger for any learners as they can no longer fully see and control their body and body space.
360-degree video https://en.wikipedia.org/wiki/360-degree_video 360-degree videos, also known as immersive videos[1] or spherical videos,[2] are video recordings where a view in every direction is recorded at the same time, shot using an omnidirectional camera or a collection of cameras. During playback on normal flat display the viewer has control of the viewing direction like a panorama. It can also be played on a displays or projectors arranged in a sphere or some part of a sphere.360 Degree Video is an immersive video format consisting of a video – or series of images – mapped to a portion of a sphere that allows viewing in multiple directions from a fixed central point.
The mapping is usually carried out using equirectangular projection, where the horizontal coordinate is simply longitude, and the vertical coordinate is simply latitude, with no transformation or scaling applied. Other possible projections are Cube Map (that uses the six faces of a cube as the map shape), Equi-Angular Cubemap – EAC (detailed by Google in 2017 to distribute pixels as evenly as possible across the sphere so that the density of information is consistent, regardless of which direction the viewer is looking), and Pyramid (defined by Facebook in 2016).
This type of video content is typically viewable through a head-mounted display, mobile device, or personal computer and allows for three degrees of freedom (see section 4.2 for an explanation of the concept of degrees of freedom). https://xrsi.org/definition/360-degree-video
360 Degree Video is Not Virtual Reality https://www.theprimacy.com/blog/360-degree-video-is-not-virtual-reality/
“In layman’s terms, 360 means it surrounds you. 3D means it has depth, like looking at a landscape, you’ll notice that there are objects closer to you, and objects that are further away. An image can be 360 and not 3D, or 3D and not 360, but keep in mind the distinction.”
for more advanced definition of 360-degree videos and in conjunction with virtual experience (VX) and immersive reality in
what do blockchain technology and NFTs have to do with Metaverse?
it is already possible to identify some of the characteristics of Web 3.0 such as the focus on the user (and not on companies), the massive use of artificial intelligence (as a powerful tool to provide the best analysis and the best result to people), as well as distributed networks (we will no longer depend on the gigantic centralized data servers). Moreover, Web 3.0 content will be more graphical with more videos and 3D images. Also, in Web 3.0, augmented reality (AR) and virtual reality (VR) will be commonplace, bringing more realistic graphics to applications and games
NFTs are the representation of a nonfungible asset in digital media. In a more technical definition, an NFT is a piece of software code that verifies that you hold ownership of a nonfungible digital asset, or the digital representation of the nonfungible physical asset in digital media.
It’s important to notice that NFTs existed before the first blockchain, but blockchain technology has transformed NFT markets by solving the double-spending problem and conferring scarcity, uniqueness and authenticity to a nonfungible token.
The terms ‘extended reality’ or ‘cross reality’ refer to “technologies and applications that involve combinations of mixed reality (MR), augmented reality (AR), virtual reality (VR), and virtual worlds (VWs)” (Ziker, Truman, & Dodds, 2021, p. 56). Immersive learning definitions draw from Milgram and Kishino’s key taxonomy (1994) emphasizing the continuum of experiences that range from where a computer adds to a learner’s reality with overlays of information, or a computer experientially transports a learner to a different place and time by manipulating sight and sound.
VR Design Model
three different design models (see Figure 3): the ADDIE Design Model (Branson, 1978), Design Thinking (Brown & Wyatt, 2010) from user experience (UX), and the 3D Learning Experience Design Model (Kapp & O’Driscoll, 2009).
Serrat (2008) defines storytelling as “the vivid description of ideas, beliefs, personal experiences, and life-lessons through stories or narratives that evoke powerful emotions and insights” (p.1).
The foundational theory for most XR experiences is experiential learning theory. In cases where users create within XR, constructivist learning theory also applies.
XR experiences can include a story arc (See Appendix D), a tutorial of user affordances, intentional user actions, and place the user into first or third person experiences (Spillers, 2020).
tech cycle definition:
A tech cycle is usually a 30-35 year-long period that begins with the early commercialization of a group of technologies and ends with the mass adoption and daily use of the technologies by consumers, businesses and organizations.
Predictions For the XR Tech Space
Some predict the rise of AR glasses, leading to the death of smartphones. Others dream of a future where VR replaces the need to go to a physical office, with most meetings taking place in virtual environments. AI will come to life with AI-controlled avatars participating in VR worlds and advising as our own AR advisors and consultants.
We are still in the early innings of this tech cycle, we are looking at the beginning of the adoption of AR, VR, and AI (mass adoption is quite a few years out). This inevitable future has been accelerated by COVID-19, as many have turned to virtual reality and augmented reality as ways to socialize while keeping a social distance.
Since 1992 I have been teaching a course on how to write electronics section. My students include freshman, writing majors, and media lab graduate students.
As I watch the yearly growth in ingenuity among my students, I find myself anticipating a new kind of storyteller, one who is half hacker, half bard. The spirit of the hacker is one of the great creative wellspring Safari time, causing the in animate circuits to sync with ever more individualized and quirky voices; the spirit of the bard is eternal and irreplaceable, telling us what we are doing here in about we mean to one another.
Set 600 years from now, describes a society that science has dehumanized by eliminating love, parenthood, and the family in favor of generating engineering, test tube delivery, and state indoctrination. Books are banned, and science has come up with a substitute form of storytelling to delete the masses.
p. 20 Ray Bradbury Fahrenheit 451
p. 22 this accounts of a digital dystopia but eroticize and demonize the computer. Cyberpunks surfers are like Cowboys on the new frontier motorcycle hoodlums with a joystick in their hand instead of a motorcycle between their legs. They are outlaw pirates on an endless voyage of exploration throughout the virtual world riding and plundering among the invisible data hoards of the world in many states by the stronger pirate parents who reach in and reprogram their minds.
p. 22 William Gibson Neurmancer
p. 28 The Harbinger on the the Holodeck
The technical in economic cultivation of this freestyle new medium of communication has led to several new varieties of narrative entertainment. This new storytelling formats very from the shoot them up video game in the virtual dungeons of Internet role-playing games to the post modern literary hypertext. This wide range of narrative art holds the promise of a new medium of expression that is S varied SD printed book or the movie picture.
Books printed before 1501 or cold incunabula; the word is derived from the Latin for swaddling clothes and is used to indicate that this books are the work of a technology still in its infancy.
The garish video games in tangled websites of the current digital environment or part of a similar period of technical evolution, part of a similar struggle for the conventions of coherent communication.
p. 29 now, in the incunabular days of the narrative computer. We can see how 20th century novels, films, and please have been steadily pushing against the boundaries of linear storytelling. We therefore have to start our survey of the harbingers of the holiday back with a look at multiform stories, that is, linear narrative straining against the boundary of pre-digital media like a two dimensional picture trying to burst of its frame.
p. 30 The multiform story
Frank Capra’s It’s a wonderful life
p. 34 Robert Zemeskis Back to the Future
p. 35 Harold Ramis’s Groundhog Day
Multi forms stories often reflect different points of view of the same event. p. 37 Kurosawa Rashomon, the same crime is narrated by four different people: a rape victim; her husband, who is murdered; the bandit who attacked them; and a bystander.
p. 37 Milorad Pavic’s Dictionary of the Khazars
p. 37 Multi form narrative attempts to give a simultaneous form to this possibilities, to allow us to hold in our minds at the same time multiple contradictory alternatives.
p. 38 active audience
When the writer expands the story to include multiple possibilities, the reader assumes a more active role.
p. 40 although television viewers have long been accused of being less active engaged in readers or theatergoers, research on thin culture provides considerable evidence that viewers actively appropriate the stories of their favorite series. In addition to sharing critical commentary and gossip, fans create their own stories by taking characters and situations from the series and developing them in ways closer to their own concerns.
p. 42 role playing games or theatrical in a non-traditional but thrilling way. Players are both actors and audience for one another, and events the purple tree often have the media seat of personal experience.
p. 43 Live theater has been incorporating the same qualities of spontaneity and audience involvement for some time.
p. 43 MUDs have allowed distant players on the Internet to share a common virtual space in which they can chat with one another in real time. A the social psychologist Sherry Turkle has persuasively demonstrated, mods are intensely “evocative” environments for fantasy play that allow people to create and sustain elaborate fictional personas.
p. 44 movies three dimensions
p. 51 dramatic storytelling in electronic games
p. 55 story webs
p. 59 computer scientist as storytellers
p. 65 Chapter 3 From Additive to Expressive Form
beyond multimedia
Sept 28, 1895 Arrival of the Train at La Ciotat Station
p. 66 photoplays
p. 67 one of the lessons we can learn from the history of film is that additive formulations like photo play or the contemporary catshall ‘multimedia” or a sign that the medium is in an early stage of development and it is still depending on the format derived from earlier technologies instead of exploiting its own expressive power. Today the derivative mindset is apparent in the conception of cyber space is the place to view “pages” of print or “clips” of moving video end of cedar rooms is offering “extended books.”
p. 60 ELIZA, 1966 Joseph Weizenbaum
p. 71 the four essential properties of digital environments
Digital environments are procedural
Digital environments are participatory
Digital environments are spacial
Digital environments are encyclopedic
p. 90 Digital structures of complexity
p. 95 part to the aesthetics of the medium
chapter 4 immersion
definition
The experience of being transported to an elaborate please simulator please it’s pleasurable in itself regarding of the fantasy contact. we Refer to this experience as immersion. Immersion is a metaphorical term derived from the physical experience of being submerged in water. We seek the same feeling from a psychologically immersive experience that we do from a plunge in the ocean or swimming pool: the sensation of being surrounded by a completely other reality, as different is water is from air, that takes over all of our attention, our whole perceptual apparatus.
p/ 99 entering the enchanted place
my note: ghost in the machine The computer itself, even without any fantasy content, is an enchanted object. Sometimes it can act like an autonomous, animate being, sensing it’s environment in carrying out internally generated processes, yet it can also seem like an extension of our own consciousness, capturing our words through the keyboard in displaying them on the screen as fast as we can thank them.
p. 110 the active creation of belief
In digital environments we have new opportunities to practice this active creation of belief. For instance, in an interactive video program set in Paris that may research group designed in the 1980s for language learners, we included a working telephone, represented by a photograph of a phone who’s keypad could be clicked on .
p. 112 structuring participation with a mask .
p. 119 regulating arousal According to Winnicott, “the pleasurable element in playing Carris whit eight employee Kasian that the instructional a razzle is not excessive”; that is, the object of the imaginary world should not be too enticing, scary, or real let the immersive trance be broken. This is true in any medium. If a horror movie is too frightening, we cover our eyes or turn away from the screen.
p. 126 chapter Agency
Agency is the satisfying power to take meaningful action and see the results of our decisions and choices. We expect to feel agency on the computer when we double click on a file and seat open before us or when we enter numbers in a spreadsheet and see the totals readjust. However, we do not usually expect to experience agency within a narrative environment.
p. 129 the pleasures of navigation
One form of agency not dependent on the game structure yet characteristic of digital environment is spatial navigation. The ability to move through virtual landscapes can be pleasurable in itself, independent of the content of the spaces.
p. 130 the story of the maze
the adventure maze embodies a classic fair-tale narrative of danger and salvation. as a format for electronic narrative, the maze is a more active version of the immersive visit (chapter 4).
p. 134 Giving Shape to Anxiety
p. 137 The Journey Story and the Pleasure of Problem Solving
Ternier, S., Klemke, R., Kalz, M., Van Ulzen, P., & Specht, M. (in press). ARLearn: augmented reality meets augmented virtuality [Special issue]. Journal of Universal Computer Science – Technolgy for learning across physical and virtual spaces.
Augmented reality (AR) and AR games offer a unique opportunity to
implement this core idea in linking real world situations and problems with learning
support. The theory of situated learning [Lave & Wenger, 90] is grounded on the
assumption that learners do not learn via the plain acquisition of knowledge but they
learn via the active participation in frameworks and social contexts with a specific
social engagement structure. Kolb’s learning cycle [Kolb, 84] and the concept of
experiential learning discusses
de Freitas stresses the importance of linking the
experiences made in a game, simulation or micro world with their application in real
world practices [de Freitas, 06]. [Brown & Cairns, 04] describe game immersion as a
continuum from engagement over engrossment to total immersion.
Despite the huge potential of immersive games to overcome the gap between the real
world and the educational context and the rising market for electronic games [PWC,
10], the use of technology-enhanced immersive games in education is still quite low.
The reasons for this are manyfold:
● high game development costs meet limited educational budgets [Westera et
al., 08]
● predefined games are hard to be integrated in the educational process
[Klopfer, Osterweil & Salen, 09]
● learner support in online games does not easily scale [Van Rosmalen et al.,
08]
● furthermore, game platforms up to now could not easily be integrated with
real world environments.
augmented reality browsers like Layar and Wikitude
first mashups for Google StreetView (called StreetLearn) and for mobile
devices which use the Android Google Maps API (called ARLearn). StreetLearn is
intended to provide an augmented virtuality environment on a Desktop, while mobile
devices are provided with an augmented reality experience through ARLearn. By
creating scripts, adding interactive elements and by introducing gamification
elements, we believe that we can increase the learner’s motivation and provide a
richer learning experience linking mobile augmented reality and augmented virtuality.
freely available tools and offers an open REST API. From the enduser
point of view, playing games is easy for users and requires no special knowledge.
Creating scripts requires no programming skills but does impose still technical
background as scripts are to be edited either in JSON or XML.
P 4. But all that “disruption,” as people love to collect, is over looking the thing that’s the most disruptive of them all call on the way we relate to each other will never be the same. That’s because of something called presence.
Presence is the absolute foundation of virtual reality, and in VR, it’s the absolute foundation of connection-connection with yourself, with an idea, with another human, even connection with artificial intelligence.
p. 28 VR definition
Virtual reality is an 1. artificial environment that’s 2. immersive enough to convince you that you are 3. actually inside it.
1. ” artificial environment ” could mean just about anything. The photograph is an artificial environment of video game is an artificial environment a Pixar movie is an artificial environment the only thing that matters is that it’s not where are you physically are
p. 44 VR: putting the “it” in “meditation” my note: it seems Rubin sees the 21st century VR as the equivalent of the drug experimentation in the 1960s US: p. 46 “VR is potentially going to become a direct interface to the subconscious”
p. 74 serious games, Carrie Heeter. p. 49
The default network in the brain in today’s society is the wandering mind. We are ruminating about the past, and we are worrying about the future, or maybe even planning for the future; there is some productive thinking. But in general, a wandering mind is an unhappy mind. And that is where we spent all of our week in time: not being aware of everything that we are experiencing in the moment.
Hester’s Open meditation had already let her to design apps and studies that investigated mediate meditations ability to calm that wandering mind
p. 51 Something called interoception. It is a term that is gaining ground in psychologist circles in recent years and basically means awareness of battle associations-like my noticing the fact that I was sitting awkwardly or that keeping my elbows on the cheers armrests was making my shoulders hunched slightly. Not surprisingly, mindfulness meditation seems to heighten interoception. And that is exactly how Heeter and Allbritton Strep throat the meditation I am doing on Costa Del sole. First, I connect with the environment; then with my body; Dan I combined the two. The combination of the VR and interception leads to what she describes as “embodied presence”: not only do you feel like you are in the VR environment, but because you have consciously work to integrate your bodily Sensations into VR, it is a fuller, more vivid version of presents.
p. 52 guided meditation VR GMVR
p. 56 VVVR visual voice virtual reality
p. 57
Just as the ill-fated google glass immediately stigmatized all its wearers as “glassholes”- a.k.a. “techier-than-thou douche bags who dropped $1500 to see an email notification appear in front of their face”-so to do some VR headset still look like face TVs for another it’s
p. 61 Hedgehog Love
engineering feelings with social presence. p.64 remember presents? This is the beginning of social presence. Mindfulness is cool, but making eye contact with Henry is the first step into the future.
p.65 back in 1992, our friend Carrie heeter posited that presence-the sensation did you are really there in VR-head treat day mentions. There was personal presents, environmental presents, and social presents, which she basically defined is being around other people who register your existence.
p. 66 the idea that emotion can be not a cause, as sweet so often assumed, but a result of it of behavior
p. 72 in chapter 1, we explain the difference between Mobile VR and PC driven PR. The former is cheaper and easier; all you do is drop your smart phone into a headset, and it provides just about everything can eat. Dedicated VR headsets rely on the stronger processors of desktop PCs and game consoles,So they can provide a more robust sense of presence-usually at the cost of being hit Earth to your computer with cables. (it’s the cost of actual money: dedicated headset systems from hundreds of dollars, while mobile headsets like Samsung’s deer VR or Google’s DayDream View can be had for mere tens of dollars.) There is one other fundamental distinction between mobile VR and high-end VR, though, and that is what you do with your hands-how you input your desires. When VR reemerged in the early 2010s, however, the question of input was open to debate. Actually, more than one debate. p. 73 video game controllers are basically metaphors. Some, like steering wheels or pilot flight sticks, might look like that think they’re supposed to be, but at their essence they are all just collections of buttons. p. 77 HTC sales small wearable truckers that you can affix to any object, or anybody part, to break it into the Vive’s VR.
p. 78 wait a second – you were talking about storytelling.
p. 79 Every Hollywood studio you can imagine-21st Century Fox, Paramount, Warner Bross.-Has already invested in virtual reality. They have made VR experiences based on their own movies, like interstellar or ghost in the Shell, and they have invested in other VR companies. Hollywood directors like Doug Liman (Edge of Tomorrow) and Robert Stromberg (Maleficent) have taken VR project. And the progress is exhilarating. Alejandro GOnzalez Inarritu, a 4-Time Oscar winner for best director 2014 movie Birdman, won best picture, received this special achievement Academy award in 2017 for a VR Schwartz he made. Yet Carne Y Arena, which puts viewers insight a harrowing journey from Mexico to the United States, is nothing like a movie, or even a video game.
When you premiered at the Cannes film Festival in early 2017, it was housed in an airplane hangar; viewers were a shirt, barefoot, into a room with a sand-covert floor, where they could watch and interact with other people trying to make it over the border. Arrests, detention centers, dehydration-the extremity of the human condition happening all around you. India announcement, the Academy of motion picture arts and sciences called the peas “deeply emotional and physically immersive”
p. 83 empathy versus intimacy. Why good stories need someone else
p. 85 empathy vs intimacy: appreciation vs emotion
Both of these words are fuzzy, to say the least. Both have decades of study behind him, but both have also appeared and more magazine covers in just about any words, other than possibly “abs”
Empathy: dear Do it to do identify with and understand dollars, particularly on an emotional level. It involves imagining yourself in the place of another and, therefore, appreciating how do you feel.
Intimacy: a complex sphere of ‘inmost’ relationships with self and others that are not usually minor or incidental (though they may be a transitory) and which usually touch the personal world very deeply. They are our closest relationships with friends, family, children, lovers, but they are also the deep into important experiences we have with self
Empathy necessarily needs to involve other people; intimacy doesn’t. Empathy involves emotional understanding; intimacy involves emotion itself. Empathy, at its base, isn’t act of getting outside yourself: you’re protecting yourself into someone’s else experience, which means that in some ways you are leaving your own experience behind, other than as a reference point. Intimacy, on the other hand, is at its base act of feeling: you might be connecting quit someone or something Else, but you are doing so on the basis of the emotions you feel. p 86. Any type of VR experience perfectly illustrates the surprising gap between empathy and intimacy: life action VR. p. 87 unlike CGI-based storytelling, which full somewhere in between game in movie, live action VR feels much more like the conventional video forms that we are used to from television and movies. Like those media, people have been using VR to shoot everything from narrative fiction to documentary the sports.
p. 92 every single story has only one goal at its base: to make you care. This holds true whether it is a tale told around a campfire at night, one related to a sequence of panels in the comic book, or dialogue-heavy narrative of a television show. The story might be trying to make you laugh, or just scare you, or to make you feel sad or happy on behalf of one of the characters, but those are all just forms of caring, right? Your emotional investment-the fact that what kept us in this tale matters to you-is the fundamental aim of the storyteller.
Storytelling, than, has evolved to find ways to draw you out of yourself, to make you forget that what you are hearing or seeing or reading isn’t real. It’s only at that point, after all, that our natural capacity for empathy can kick in. p. 93 meanwhile, technology continues to evolve to detaches from those stories. For one, the frame itself continues to get smaller. Strangers still, this distraction has happened well stories continue to become more and more complex. Narratively, at least, stories are more intricate then the have ever been. p. 94. Now, with VR storytelling, the distracting power of multiple screens his met it’s match.
p. 101 experiencing our lives- together
What videos two cannot do, though, he’s bringing people together insights VR, the way re-McClure’s sinking-multicoloredat-blogs-at-each-other tag-team project is VVVR does. That’s why even V are filmmaking powerhouses like Within ( https://www.with.in/get-the-app) are moving beyond mere documentary and narrative and trying to turn storytelling into a shared experience.
Make no mistake: storytelling has always been a shirt experience. Being conscripted into the story, or even being the story.
p. 103 like so many VR experiences, life of us defies many of the ways we describe a story to each other. For one, it feels at fonts shorter and longer than its actual seven-minutes runtime; although it’s seems to be over in a flash, flash contains so many details that in retrospect it is as full and vivid is a two-our movie.
There is another think, though, that sets life of us apart from so many other stories-it is the fact that not only was I in the story, but someone else was in there with me. In that someone wasn’t a field character talking to a camera that they some calling about it, or a video game creature that was programmed to look in ‘my’ direction, but a real person-a person who saw what I saw, a person who was present for each of those moments and who know is inextricably part of my old, shard-Like memory of them.
p. 107 what to do and what to do it with . How social VR is reinventing everything from game night to online harassment.
p. 110 VR isn’t given Romo’s first bet on the future. When he was finishing up his masters degree in mechanical engineering, a professor emailed him on behalf of two men who were recruiting for a rocket company there were starting. One of those man was a Elon musk, which is how Romo became the 13th employee at space X. Eventually, she started the company focusing go solar energy, but when the bottom fell out of the industry, she shut down the company and looked for his next opportunity. Romo spent the next year and a half researching the technology and thinking about what kind of company might make sense in the new VR enabled world. He had read Snow crash, but he oh soon you get our hopes for DVR future could very well end up like gay themed flying car: defined-and limited-bite an expectation that might not match perfectly which what we actually want.
p. 116 back in the day, trolling just trim forward to pursuing a provocative argument for kicks. Today, the word used to describe the actions of anonymous mobs like the one that, for instance, Rolf actor Leslie Jones off Twitter with an onslaught of racist and sexist abuse. Harassment has become one of the defining characteristics of the Internet is for use it today. But with the emergernce of VR, our social networks have become, quite literally, embodied.
p. 142 increasing memory function by moving from being a voyeur to physically participating in the virtual activity. embodied presence – bringing not just your head into your hands, but your body into VR-strengthens memories in the number of ways.
p. 143 at the beginning of 2017, Facebook fit published some of its. New Ron’s in internal research about the potential of social VR. Neurons INc. The agency measured eye movements, Brain activity, and pools of volunteers who were watching streaming video on smart phones and ultimately discovered that buffering and lag were significantly more stressful than waiting can line it a store, and even slightly more stressful than watching a horror movie.
p. 145 after the VR experience, more than 80% of introverts — is identified by a short survey participants took before hand-wanted to become friends with the person they had chatted with, as opposed to less than 60% of extroverts
p. 149 Rec Room Confidential: the anatomy in evolution of VR friendships
p. 165 reach out and touch someone; haptics, tactile presence and making VR physical.
p. 171 Zhao laid out two different criteria. The first was whether or not to people are actually in the same place-basically, are they or their stand-ins physically close enough to be able to communicate without any other tools? To people, she wrote, can either have “physical proximity” or “electronic proximity” the latter being some sort of networked connection. The second criterion was whether each person is corporeally there; in other words, is it their actual flesh-and-blood body? The second condition can have three outcomes: both people can be there corporeally; neither can be there corporeally , instead using some sort of stand in like an avatar or a robot; or just one of them can be there corporeally, with the other using case stent in
“virtual copresence” is when a flesh and blood person interacts physically with a representative of a human; if that sounds confusing, 80 good example is using an ATM call mom where are the ATM is a stent in for a bank teller
p. 172 “hypervirtual copresence,” which involves nonhuman devices that are interacting in the same physical space in a humanlike fashion. social VR does not quite fit into any of this category. Zhao refers to this sort of hybrid as a “synthetic environment” and claims that it is a combination of corporeal https://www.waze.com/telecopresence (like Skyping) and virtual telecopresence(like Waze directions )
p. 172 haptic tactics for tactile aptness
Of the five human senses, a VR headset ca currently stimulates only to: vision and hearing. That leaves treat others-and while smell and taste me come some day.
P. 174; https://en.wikipedia.org/wiki/Aldous_Huxley Brave New World. tactile “feelies”
p. 195 XXX-chnage program: turning porn back into people
p. 221 where we are going, we don’t need headsets. lets get speculative
p. 225 Magic Leap. p. 227 Magic Leap calls its technology “mixed reality,” claiming that the three dimensional virtual objects it brings into your world are far more advanced than the flat, static overlays of augmented reality. In reality, there is no longer any distinction between the two; in fact, the air are by now so many terms being accused in various ways by various companies that it’s probably worth a quick clarification.
definitions
Virtual reality: the illusion of an all-enveloping artificial world, created by wearing an opaque display in front of your eyes.
augmented reality: Bringing artificial objects into the real world-these can be as simple as a ” heads-up display,” like a speedometer project it onto your car’s windshield, or as complex as seen to be virtual creature woke across your real world leaving room, casting a realistic shadow on the floor
mixed reality: generally speaking, this is synonymous with AR, or eight at least with the part of AR that brings virtual objects into the real world. However, some people prefer “mixed” because they think “augmented” implies that reality isn’t enough.
extended or synthetic reality (XR or SR): all of the above! this are bought catch old terms that encompass the full spectrum of virtual elements individual settings.
p. 231 in ten years, we won’t even have smartphone anymore.
p. 229 Eve VR is these come blink toddler, though, AR/MR is a third-trimester fetus: eat may be fully formed book eat is not quite ready to be out in the world yet. The headsets or large, the equipment is far more expensive than VR Anthony in many cases we don’t even know what a consumer product looks like.
p. 235 when 2020 is hindsight: what life in 2028 might actually look like.
