A Vest That Can Cure Deafness, and Maybe One Day Give Us Entirely New Senses

David-EaglemanBack in 2015, Neuroscientist David Eagleman gave a TED talk about the potential to expand and create new senses. He showed off a haptic vest prototype that could translate audio input into an array of 32 vibrating motors that could be fed directly into your body. The signals would reach the brain and create a neural input that is indistinguishable from what the cochlea would produce, meaning that it’s possible to turn the torso into an ear. The principle of sensory substitution shows that the brain doesn’t care where the data comes from as long as it’s structured in the right format and correlated to feedback within the environment.

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I had a chance to catch up with Eagleman at the Experiential Technology Conference to talk about Neosensory’s VEST (Versatile Extra-Sensory Transducer), the hard problem of consciousness and how reality is constructed in the mind, expanding and creating new senses, invasive neural interfaces to the brain from Kernel, the philosophical implications of simulation theory, and his metaphors for how he understands the relationship between the mind and the body.

Eagleman co-founded a company called Neosensory that is creating this vibratory VEST, and they’re reaching out to developers to see what kind of applications this could have. He’s particularly curious about whether it’s possible for humans to create entirely new senses by feeding data streams into the body about imperceptible environmental data, or perhaps even abstracted data, like information from the stock market.

Eagleman says that the body is not great at handling redundant data, and so people who are deaf learn to use the VEST a lot faster than someone who can already hear. Learning to understand data from the VEST completely happens on an unconscious level, which they can objectively verify happens by seeing consistent improvements through many repetitions. Eagleman hypothesizes that it is possible to create new senses, and that the expansion of our biological capabilities with technology will expand the range of human sensory experience.

There’s a number of philosophical questions about the nature of consciousness, the philosophy of mind, as well as ethical questions around the extend that this should be used. Just because we can create new senses, should we? What are the emotional and mental health tradeoffs of feeding mentally abstracted data directly into our bodies? There’s also a lot of potential benefits like could this be used to feed emotional and biometric data from other people so that we can cultivate a deeper sense of empathy and connection with other consenting adults.

Sensory replacement and sensory addition is one of the most profound implications of virtual reality technologies, and Eagleman makes the point that the extent of our experiential reality is constrained by our biological limitations. By using this type of technology from Neosensory to expand our range of sensory experiences, then it’s changing and evolving what the dynamic range of the human experience.

Here’s Eagleman’s TED talk from March 2015 talking about the potential to create new senses:


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YouTube VR Wants to Find the Next Billion Dollar Genre That Hasn’t Been Created Yet

Jamie Byrne

At Sundance this year, I had a chance to catch up with a couple of representatives from Google to talk about what’s happening on the YouTube VR platform with 360 videos. I talked with Jamie Byrne, YouTube’s Director of Global Creator & Enterprise Partnerships as well as Julia Hamilton Trost, Google VR’s Business Development & Content Partnerships.

Julia Hamilton Trost

We talked about the YouTube VR application, what they’re doing to do to empower content creators, how they see 360 video as a gateway into higher-end VR, and some of the potential future to add more volumetric and interactive elements to the YouTube platform in the future.

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Here are a number of 360 videos that were mentioned in this interview:

The Unboxing Time Machine – NES 1985

Rhomaleosaurus: Back to Life in Virtual Reality #PreviouslyOnEarth

The Dropper – A Minecraft 360° Video

Meredith Foster giving a 360 tour of her apartment

New York Times is doing a Daily 360 video


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Flying in VR: How Mindride’s Airflow Takes Immersion to the Next Level

mindrideOne of the most immersive VR flying experiences that I’ve had a chance to try so far is Mindride Airflow. I got to experience it last fall at VRLA 2016, and the weightless harness combined with a variety of different wind speeds gave me a deep sense of immersion and presence beyond what I would’ve expected.

I had a chance to catch up with Yehuda Duenyas and Ben Kato to talk about their experiential design process that prioritizes the depth of immersion and quality experience over anything else. We also talk about how Airflow normalized a real-life skydiving adventure for Duenyas, and the different haptic techniques they’ve used to cultivate a deep sense of embodied presence.

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‘#Archery’ Takes VR’s Bow & Arrow Mechanics to the Logical Extreme

vr-unicornsShooting a bow and arrow in VR is a satisfying game mechanic. It uses both hands in a 6-DoF interaction that couldn’t work with a traditional game controller. VR Unicorns’ new game #Archery takes this bow and arrow shooting mechanic to the logical extreme in a quirky fashion that’s similar to their game #SelfieTennis. Now available on early access, I had a chance to talk with #Archery developers Jakob Johansson and Max Nilsson at GDC where they talked about their game jamming and rapid prototyping process that’s motivated driven by novelty and getting bored easily.

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There are a lot of mini-games interspersed throughout these different shooting experiences that range from shooting newspapers into mailboxes, ingredients onto pizzas, boxes from conveyor belts, moving targets on the top of a roof, and even ice cream cones onto the heads of children. Check out the Early Access trailer heading this article.

There’s an interesting tablet interface available at any moment to navigate between the different environments and games, and there’s a range of mechanics ranging from impossibly difficult to casually destructive to training your brain to switch contexts and pay attention to many rapidly changing variables. Overall, #Archery is a lot of fun, and you can expect that the developers will continue to rapidly prototype and develop new and quirky game ways to shoot things with a bow and arrow.


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​Viveport President on HTC’s New VR Subscription Service

Rikard-SteiberApril 4th was the one-year anniversary of the HTC Vive, and HTC released the subscription service for Viveport for $7/month to try out five new VR applications per month. I had a chance to catch up with Viveport president Rikard Steiber at GDC to talk about the genre differences between Viveport and Steam, future support of VR headsets beyond the Vive, their support for delivering content to China, as well as some of their arcade licensing options.

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Viveport is the first subscription service for high-end and room-scale virtual reality, and HTC has a chance to leapfrog other content companies like Amazon, Netflix, Facebook, and Google’s YouTube to bring the subscription business model to VR content. Time will tell whether or not HTC will get into producing original content like other film subscription services have, as well as how much new and high-quality content Viveport is going to introduce to the platform each month. But for now, paying $7 to try out five new VR experiences a month is a great deal worth considering.


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Sundance’s Shari Frilot on the Power of VR Storytelling to See Ourselves in a New Way

Shari-FrilotShari Frilot started the New Frontier program at Sundance in 2007, and produced the festival’s first VR experience in 2012 with Nonny de la Peña’s Hunger in LA using an early Rift prototype made by Oculus founder Palmer Luckey. Frilot has since programmed around 75 VR experiences since 2014 that explore storytelling, empathy, and emotional presence, but she sees that it’s going beyond empathy. She says that being in VR gives us “the ability to see ourselves in a way that we could never do alone,” and that VR embodiment may allow us to overcome our unconscious biases. In speaking about embodying a number of different creatures in The Life of Us she says, “you can watch yourself tap these primitive instinctual responses and you watch yourself go into another place of being able to socially engage with somebody” beyond the normal labels of white dude or a black lesbian.

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I had a chance to catch up with Frilot at Sundance this year where we talked about the power of story to change someone’s reality, the role of Sundance in the modern history of consumer VR, interdisciplinary insights into storytelling from over 10 years of New Frontier, how VR could change how we see and understand our underlying value systems, and how VR could help us reconnect the body to the brain in a new way.

Here’s the short documentary video that Frilot references in the podcast about “Scientists Have Found a Way to Make Paraplegics Move Again”:

Here’s the keynote that Nonny de la Peña’s gave at SVVR where she talks about Hunger in LA and some of her early pieces that premiered at Sundance:


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SVVR Keynote: Historical Context of VR + Elemental Theory of Presence

KentBye-Avatar-2016I had the chance to give the keynote at the Silicon Valley Virtual Reality Conference where I provide some historical context for virtual reality tracing the evolution of communications mediums in order to contextualize my elemental theory of presence. It traces the history of the science and philosophy, and shows how VR is providing a direct experience of how much of our reality is subjectively constructed with our entire bodies. Hopefully this talk will help contextualize where we’ve been and where we’re going with VR, as well as a holistic framework to doing experiential design.

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Here’s the video of the talk:


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SVVR Keynote: Historical Context of VR + Elemental Theory of Presence

KentBye-Avatar-2016I had the chance to give the keynote at the Silicon Valley Virtual Reality Conference where I provide some historical context for virtual reality tracing the evolution of communications mediums in order to contextualize my elemental theory of presence. It traces the history of the science and philosophy, and shows how VR is providing a direct experience of how much of our reality is subjectively constructed with our entire bodies. Hopefully this talk will help contextualize where we’ve been and where we’re going with VR, as well as a holistic framework to doing experiential design.

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Here’s the video of the talk:


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Oculus’ VR Privacy Policy Serves the Needs of Facebook, Not Users

nate-mitchell
Nate Mitchell, Head of Rift at Oculus

I had a chance to catch up with Oculus’ Nate Mitchell at GDC where I asked him about privacy in VR. Oculus has delegated the design and maintenance of their privacy policy to their parent company of Facebook so that Oculus can focus on providing the best VR experiences and growing the VR ecosystem. Mitchell acknowledges that there are “a lot of potential pitfalls over the future of VR and AR around user privacy” because VR has a “double-edged sword” of providing incredibly compelling immersive experiences, but that “used in the wrong way or in the wrong hands, you can be tracked probably more than you would normally expect to be.”

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I learned more about the relationship dynamic between Oculus and Facebook in that Oculus isn’t thinking too much about how to use the data gathered from VR for advertising purposes, but the language in Oculus’ privacy policy is being shaped and directed by Facebook who is much more interested in using data gathered from virtual reality for advertising purposes. Mitchell claims that privacy is a top priority for Oculus, but a close reading of their privacy policy indicates it serves the needs of Facebook over consumers.

Mitchell and I also talked about Oculus’ announcement of lowering the price of the Rift + Touch by $200, their twelve new games premiering at GDC, as well as a number of important issues concerning the future of virtual reality. There are a lot of exciting new possibilities that could come from Oculus’ support for WebVR and the Khronos Group’s OpenXR initiative, but we also had a chance to talk about some of the challenges that Oculus has faced this year including some of their tracking regressions and some of the limitations of front-facing camera set ups when it comes to abstractions of embodiment.

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Privacy in VR Is Complicated and It'll Take the Entire VR Community to Figure It Out

There are a lot of complicated issues surrounding privacy in VR, and Oculus has delegated the design and maintenance of their privacy policy to their parent company of Facebook. In Oculus’ letter to Al Franken, they say, “We also take advantage of Facebook’s expertise in other areas, including its large team of privacy and security professionals to help design and maintain privacy and security in our products. These collaborations allow Oculus to focus on what we do best: delivering the absolute best VR products and experiences.”

When I asked Mitchell about Oculus’ stance on privacy in VR. He said, “We are committed to really protecting user privacy. That’s one of our #1 focuses, which is why we have a super detailed privacy policy. And it goes hand-in-hand with that we are committed to being really transparent with users about what generally is being collected, and anything we’re doing with that. So that’s part of the reason why I think we have such a rich privacy policy to begin with. Also being part of Facebook, obviously, helps with that. They have an incredible team dedicated to user privacy, and they’re on the bleeding edge of that. And so that’s been great for us.”

I have to disagree in Mitchell’s assessment that privacy has been one of Oculus’ top priorities. Oculus’ top priority has been to deliver amazing VR experiences, and having a “rich privacy policy” that specifies everything that can be captured and recorded just means that it reflects the values and interests of Facebook. Facebook wants to collect and store as much data as they can, and tie back to a singular identity so they can sell advertising.

On January 11, I sent an email to privacy@oculus.com to “access data associated” with my account, but I never heard anything back from them after two and a half months. If it really was a top priority for Oculus, then I would have expected to have received a response, and that there would be more systems in place for the type of transparency and accountability that is promised within the “Data Access and Deletion” section of their privacy policy.

Oculus is mostly taking a passive approach to privacy in VR where they’re prioritizing the needs and concerns of Facebook, which is reflected in how much data sharing rights are being provided to Facebook. The following is a sampling of data that when combined together could allow Facebook to determine personal identifiable information about you: including your IP address, certain device identifiers that may be unique to your device, your mobile “device’s precise location, which is derived from sources such as the device’s GPS signal and information about nearby WiFi networks and cell towers,” “information about your physical movements,” and “information about your interactions with our Services.” Facebook will know that it’s your VR headset, where you’re located, and different actions that you’re taking from capturing everything you’re doing in VR and correlating it with your identity even if you’re anonymously interacting within the context of a VR experience. Once eye tracking and other technologies that can determine facial expressions are added, there will be even more biometric data that could be able definitively identify you or whomever is using your VR headset.

Their privacy policy contains an open-ended statement about recording communications that could potentially allow Facebook to record and store all VoIP conversations: “When you post, share or communicate with other Oculus users on our Services, we receive and store those communications and information associated with them, such as the date a post was created.” Oculus denies in their letter to Al Franken that they’re recording conversations by saying, “VoIP communications are not being recorded. We do not store the content of these communications beyond the temporary caching necessary to deliver these communications to people who could be in different parts of the world.” But it’s unclear as to whether or not the privacy policy as it’s written would prevent Facebook from starting to record conversations at any time.

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Now on Rift: How Harmonix Turned ‘Rock Band VR’ Into a Brand New Gameplay Experience

jonathan-pardoThe developers at Harmonix didn’t set out to create an open-ended music creativity tool with Rock Band VR, but once they realized how compelling it was to simulate the feeling of being a rock star on stage in VR, then they completely pivoted the production of their game. They discovered that it wasn’t as gripping in VR to force users to focus on any single gameplay mechanic, and so they focused on allowing users to look around to cultivate deep feelings of immersion and stage presence.

Now available on the Oculus Rift and Touch, Rock Band VR brings players into their rockstar fantasy by using the Rock Band VR adapter to attach a Touch controller to make the guitar part of the VR world, and then puts players in the spotlight. But, unlike prior Rock Band games, the playing mechanics are focused on freedom of creation rather than a prescribed track of notes:

Rather than rewarding precision of playing the perfect studio session, they wanted to recreate what it felt like to give a live musical performance that allowed users a lot of agency in expressing their own musical creativity and giving an entertaining embodied performance. I had a chance to catch up with Jonathan Pardo, QA Audio Lead for Rock Band VR, to talk about their design process of how they were able to incrementally teach players how to play their game as well as some of the fundamental components of music theory for what chord combinations tend to work well within their set of 60 different songs.

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One of the most impressive things about Rock Band VR is that they’ve actually recorded live guitar sounds of every chord type and rhythm with the proper guitar sounds for all 60 of their songs. This means that you can push a few buttons while strumming and have it sound like you’re playing the proper chords within the context of playing within a band. There are seven different chords with the following finger combinations: Single notes (1), Muted Power Chord (1,2), Bar Chord (1,2,3), Power Chord (1,3), Muted Arpeggio (1,2,4), Arpeggio (1,3,4), & Octave (1,4).

Harmonix realized that the most immersive experience would be to not have any artificial gameplay visualization, but this mode would be virtually impossible for anyone to organically figure out how to play the game if they weren’t a game developer or professional musician. So the created a Performance Mode with more instructions and guidelines. The Virtuoso Mode can be unlocked after a tutorial, and provides more explicit chord following to help train your muscle memory and understand some of what chord combinations work well together. Then the goal is to eventually be able to play the Monster Mode, which is the most immersive since there isn’t any gameplay visualizations happening but you have to know all of the music theory and listen to the band and follow along, much like a real musician would have to do in a live performance.

Fans of the original Rock Band gameplay will be happy to hear that they’ve also included a Classic Mode that can be played in VR:

Harmonix has a lot of musicians who have played a lot of live shows, and so they’ve created 15 different environments in order to simulate what it feels like to play on stage in front of a wide range of audience sizes and contexts. They change how it sounds in each environment and have different pedals to modulate the sound that are activated by looking at the pedal and using your whammy bar.

Even if you don’t want to learn and play all of the different chord combinations, Pardo says that there are other things that you can do in order to earn points by doing an embodied performance that cultivates your sense of stage presence that include things like turning the guitar upright, getting on your knees, doing a head bang, or jumping up and down.

Adding more social features is a top priority for Harmonix, but there are various network latency challenges that will make it difficult to synchronize live performances. Pardo says that they often will hold back on features if they know that it’ll make a worse networked gameplay experience, and that there are some features like live streaming of the audio that previous console versions of Rock Band disable due to sync problems due to latency. They’re actively exploring network workaround solutions as well as how to track other instruments, but these challenges explain why Rock Band VR is only launching with single-player guitar support.

While Harmonix didn’t originally set out to create a live performance simulator emulating what it feels like to be a rock star, the unique affordances of VR slowly led them down this path. Pardo says they kind of accidentally created a music creativity tool, and that it was more about designing a game to be fully embodied and present in the moment on stage rather than the type of precision that you’d want if you were in the recording studio. The game play is not easy, but neither is being able to play music. Musicians should have an advantage in learning to play Rock Band VR, and it will be exciting to how games like Rock Band VR will help train and inspire gamers into learning how to play actual instruments.

You can learn more about the release of Rock Band VR and the compatible guitar controllers in this Oculus blog post.


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