Inside Sundance Hit ‘SPHERES: Songs of Spacetime’ with Director Eliza McNitt

eliza-mcnittSundance New Frontier had a solid line-up of VR experiences this year with a number of immersive storytelling innovations including SPHERES: Songs of Spacetime, which takes you on a journey into the center of a black hole. It’s a hero’s journey that provides an embodied experience of the evolution of a star from birth to death with a poetic story written and directed by Eliza McNitt, narrated by Jessica Chastain, and produced by Darren Aronofsky’s Protozoa Pictures.

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SPHERES made news for being acquired for a 7-figure deal, and it represents a unique collaboration between science and art. There were a number of scientific collaborators including the National Academy of Sciences and physicists who study black holes, and so the VR producers had to come up with creative interpretations of mathematical descriptions of the edges of spacetime that push the frontiers of our scientific knowledge.

I had a chance to sit down with McNitt at Sundance in order to talk about the inspiration for this project, her journey into creative explorations of science, the challenges of depicting gravitational lensing in Unity, what’s known and not known about black holes, how listening to gravitational waves for the first time inspired the sound design, and crafting an embodied hero’s journey story in collaboration with Protozoa Pictures. The acquisition deal by CityLights was secured on Kaleidoscope’s funding platform, and includes this first chapter shown at Sundance as well as two additional chapters yet to be produced, and will be released later this year by Oculus.

Here’s a promo for SPHERES produced by Sundance:


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VR in the ’90s: Bootstrapping the Commercial VR Industry

OLYMPUS DIGITAL CAMERALinda Jacobson got into VR when she helped organize the 1990 CyberArts International gathering of artists and technologists who were using virtual reality technologies. She edited a compilation of CyberArts essays from that first gathering, and she also documented the Garage Virtual Reality DIY VR maker movement of the early 90s. In 1995, she became a VR evangelist at Silicon Graphics where she helped to sell VR into enterprise VR applications including engineering, architecture, construction, medicine, military training, automotive, aerospace, heavy equipment manufacturers, and oil and gas companies. The enterprise companies and applications of VR during this time period were pretty secretive and proprietary, but Jacobson was on the front lines traveling around the world seeing a huge range of different virtual worlds and use cases for VR.

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Jacobson has continued to work in VR since the 90s ranging from entertainment to medicine to AEC, and has a lot of in insights about the evolution of VR in the enterprise space. I had a chance to talk with her at the Virtual Reality Strategy Conference in October about her last 20+ years in enterprise VR, her mentor Morton Heilig and his Sensorama, VR as a counter-cultural approach to computing, the CyberArts gathering of artists, DIY Garage Virtual Reality, and the major figures and companies who bootstrapped the commercial VR industry.


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Jaron Lanier’s Journey into VR: “Dawn of the New Everything”

jaron-lanierJaron Lanier is a pioneer of the first commercially-available virtual reality systems with his VPL Research Inc startup that was founded in 1984. He has written a memoir called Dawn of the New Everything about his life leading up to and during his transition from a country hippie hacker to a over-stressed Silicon Valley CEO.

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Lanier was inspired by painters like Hieronymus Bosch, musical instruments like the Theramin, mathematics, electronics, Ivan Sutherland’s pioneering work with the first virtual world head mounted displays, and more. He also wanted to transcend his social insecurities and anxieties to connect creating shared social VR spaces. VPL Research pioneered the commercial ‘Eyephone’ virtual reality head mounted display with tracking, haptic gloves, motion capture suits, 3D audio, and a cutting-edge virtual programming language. He was inspired by jazz to create technology that could enable mutual improvisation of communication and expression in what would feel like a shared dream in a waking state.

I had a chance to catch up with Lanier in Seattle, Washington on his book tour for Dawn of the New Everything, where we talked about highlights of his journey into VR, musical instruments as haptic devices, the tongue as an input device, and the body’s ability to embody a variety of different animal avatars.

He also shared some of his thoughts on why he thinks artificial intelligence is a fake construct as long as the focus is on AI as a super intelligent parasitic entity rather than merely a tool for humans. He shared some cautionary reflections on the dangers of the advertising-driven business models of Facebook, Google, and Twitter that are creating “massive behavior modification empires.” Lanier is a super humble guy, and his memoir is an interesting mix of impressionistic memories and reflections mixed in with technical deep dives and fifty-two definitions of virtual reality that explores the range of applications, metaphors, and unique affordances of this new medium.

Dawn of the New Everything is a fascinating story that captures a key turning point in the history of VR, and is packed with some deep insights and visions for what’s possible from someone who is still madly in love and inspired by this new medium.


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‘AUTO’: A Realistic Look at the Human Impact of Near-future Technology

steven_schardtAUTO is a 360-video and morality tale available on Jaunt that takes a near-future look at the human impact of automation and emerging technology. It’s not a grotesque satire in the vein of Black Mirror, but it’s done in a more of a future realistic style that could be happening within the next 1–3 years—if not already.

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Auto is a story that stuck with me given it’s authentic portrayal by non-trained actors who were Ethopian immigrants, and how automation could impact their lives. The video premiered at Tribeca Film Festival in April, and I had a chance to talk to director Steven Schardt about the emerging grammar of directing attention in VR storytelling, the struggles of funding and distribution for independent VR storytellers (this was recorded before Jaunt picked it up for distribution), and insights on the evolution of new communications mediums from the Tom Gunning’s Cinema of Attractions and Marshall McLuhan’s media theories.


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Houston Fire Department on VR’s Potential to Enhance Firefighter Training

patrick-haganPatrick Hagan is a technical specialist for the Houston Fire Department who had an opportunity to try out a VR demo by HTX Labs featuring an active shooter critical response training scenario. This demo inspired him to start collaborating with HTX Labs to see how virtual reality could be used train new firefighters, but also create atypical training scenarios for teams of firefighters.

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I talked with Hagan at the Immersive Technology Conference in Houston Texas about some of the training needs of first responders, and how he envisions the role of augmented and reality technologies to help provide proper training so they’re better prepared to help them go home at night to their families.

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Designing the Future Through Sci-Fi World Building

VR represents a shift from telling stories to building story worlds that people experience and interact with. There is a process of world building and experiential design that first creates the conditions of the environment, and then the full context of that world helps to drive the narrative design of the stories that can be told within it. This process of building futuristic, sci-fi worlds requires a holistic understanding the co-evolution of technology and culture that takes a lot of imagination to visualize solutions to intractable problems embedded within the fabric of this new world, and then to imagine what new and even more complicated problems will have been created in that future. Monika Bielskyte of All Future Everything is a digital nomad who travels the world searching for the latest technological and cultural innovations so that she can build these sci-fi worlds imagining the cultural and technological context of the near-future for the entertainment industry, technology companies, and even urban planners and politicians from governments and cities.

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monika-bielskyte

Bielskyte is critical of a lot of the status quo of Hollywood sci-fi blockbusters who tend to be self-referential to other movies and media rather than curating the latest innovations in tech and culture that is already happening around the world at small scales. She has a vision of the future culture that is post-race, post-gender, post-nationalities, but also has more holistic representations of diversity, a regenerative relationship with the environment, robust expressions of cultural creativity and hacking reality, an accurate representation of youth culture and fashion, moving beyond mid-20th century gender, family, and sexuality stereotypes, and imagining how the values of our culture can evolve beyond passive consumption to participatory experiences with spatial computing.

A lot of the existing sci-fi worlds builders have not thought about all of these dimensions of potential future iterations of culture, but rather resort to the lowest-common denominator: dystopic visions of ecological disaster and tyrannical thought control.

Technology and culture are in a continual process of evolution, and as a world builder Bielskyte finds an endless stream of inspiration and innovation that is happening in the real world. She cites artists like Yijala Yala, FKA Twigs, Sevdaliza, Solange, Alma Harel, and M.I.A. as being more progressive or innovative than representations of the future culture in blockbuster sci-fi films like Blade Runner 2049. Part of being a sci-fi world builder means curating innovative technologies or ideas that are happening at small scales, and then projecting out the implications of these cultural currents at larger scales.

I caught up with Bielskyte after she posted a tweet storm critiquing the regressive and dystopic future depicted in Blade Runner 2049. We talked about her work and process of designing the future, and the ethical responsibilities of world builders for putting awe-inspiring representations of the future into the world.

She notes the cultural differences of how people from the West tend to think individualistically about the future, and how the hero’s journey, monomyth narrative design tends to reflect a similar arc of the expression of individual agency. But part of the unique affordance of VR is that it can start to explore at the complex interconnected aspects of our reality through the process of sci-fi world building, and start to put more of an emphasis on the collective journey of the community coming together to solve these huge problems. She sees VR as a “possibility space” that can be used to actually design the futures that we want to live into.


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‘Dark Corner’ Creates a New Distribution Channel for Immersive Horror

The Dark Corner app is creating a new distribution channel for immersive horror experiences and 360-degree videos. Guy Shelmerdine and Teal Greyhavens are hoping that fans of the horror genre will be enthusiastic enough about the potential of VR to achieve new depths of terror that audiences will be willing to pay for 360 video experiences. Shelmerdine is featuring Dark Corner’s own creations including Catatonic and their latest nightmare-inspired Night Night, but also opening up a new marketplace for creators of horror content to sell and distribute their content.

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I had a chance to catch up with Shelmerdine and Greyhavens to talk about their journey from comedy into VR horror, how VR horror experiences have gone viral because of reaction videos, the new distribution channel they’re creating, and the storytelling components that make up a great horror experience.

 

Here’s an example of a reaction video that helps these types of experiences spread virally.

The horror genre also inspires people to look at their deepest fears, and to face their own mortality in a safe context. I believe that there are unknown thresholds of where an experience has been taken too far, and that it’s possible that VR experiences could generate new trauma in people. Shelmerdine and Greyhavens said that they haven’t seen this happen yet, but they’re also showing their experiences within a context where the reactions of other people make it clear what they might be getting into. There are ethical considerations of disclosing to someone the nature of content before they immerse themselves into a horror experience, and so receiving full consent is a responsibility for VR enthusiasts who are sharing this content with each other.

The depth of visceral emotions and embodied reactions from a VR horror experience go beyond what’s possible in any other medium. I’ve seen how these experiences that push the boundaries have inspired people to recreate traumatic experiences they’ve been through in order to find new ways of coping and generating new narratives about their trauma, which has yielded some surprising therapeutic and cathartic results.

While I’m personally more interested in the pro-social applications of VR, I can see how exploring darkness, mortality, and your deepest fears in VR can not only be wildly entertaining for some people, but also perhaps the most vital types of experiences that they need on a deeper level. There are deep risks to flooding your body and psyche with nightmare imagery, but it’s also possible to have radical breakthroughs that would’ve never been possible before.

You can download the Dark Corner app is available on Gear VR, Oculus Rift, Daydream, Android and iOS.


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Being in Two Worlds at Once with ‘UTURN’ – Parallel Stories & Quad Binaural Audio Mix

UTURN is a 360-degree video that seamlessly blends together two 180-degree hemisphere worlds containing parallel storylines of two different perspectives at a tech start up. One perspective is from a male founder’s point of view and the other perspective is from a woman coder who is crunching to finish a demo for investors. The crossfades from the quad binaural audio design by Shaun Farley helps to dynamically mix the conversations together in a way that really sells the experience of walking between two different worlds. Usually a 360-video doesn’t have reactive edits of the visuals, but UTURN proves that there is a lot of latitude in creating an immersive and interactive audio experience that feels reactive to your gaze.

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UTURN explores themes of gender discrimination, and uses the 360-degree medium to capture group dynamics and unconscious bias within the workplace. I had a chance to catch up with NativeVR’s reative director and UTURN executive producer Nathalie Mathe to talk about the themes of sexism and gender discrimination covered in the piece, the technical storytelling innovations, the innovative sound design, the challenges of telling parallel stories, and some of the funding challenges involved in bootstrapping an independent production.

UTURN is one of the more technically accomplished 360-videos that makes use of a number of storytelling innovations to create the feeling of an interactive experience of seamlessly turning between different worlds, and it addresses important themes of sexism within the tech industry VR in a new way. Mathe is looking for educational opportunities at colleges and corporations to share UTURN as a catalyst for facilitating group discussions about what people experienced while watching it. UTURN currently does not have any distribution yet, but I’ll update this post if it becomes available to check out as I think it has a lot of important lessons for the future of storytelling in VR.

You can watch a trailer for UTURN here.


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Samsung’s VR Strategy with Tom Harding, Director of Immersive Products

Without explicitly announcing a new specific product, Samsung quietly implied that they may be developing a new standalone mobile VR HMD during a session during their developer conference last month. While there were no major VR announcements during the main keynote at SDC, in a session titled What’s on The Horizon: A Look at the Future of VR at Samsung, Tae Yong Kim, Samsung Electronics’ VP, Head of Graphics R&D, showed a graphic with a question mark in between a Gear VR mobile VR headset and a Samsung Odyssey Windows Mixed Reality HMD. Kim said that the Gear VR is “fully mobile, quickly attaches via a cell phone, and affordable” while the Odyssey offers a “premium experience coming from the positional tracking of the headset and the controllers, and the computing power of the PC.” He said, “The question is ‘How do we combine the benefits of those two technologies together for our next VR system?'”

Kim then showed a slide saying the next steps for Samsung’s mobile VR include inside-out tracking and 6 degree-of-freedom controllers, and he said, “We are partnering with global partners like Intel to bring inside-out technology to our next mobile product portfolio.” Neither Intel nor Samsung had any further comment about this quiet announcement of a “next VR system” and “next mobile product” in Samsung’s portfolio, which seems more significant than merely adding positional tracking and 6-DoF controllers to existing Gear VR devices.

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It looks like we’ll have to wait until CES this year to learn if this is more than a positional tracking and 6-DoF tracking update to Gear VR, and whether Samsung is developing their own standalone headsets independent of Facebook’s Oculus Go. It’s unclear what software would be running on Samsung’s new headsets as it appears as though Samsung has a non-exclusive agreement with Oculus since the Samsung S8, S8+, and Note 8 are both Daydream and Gear VR-enabled, but it doesn’t appear that Facebook has a non-exclusive agreement with Samsung. Or if Facebook is able to expand to any OEMs beyond Samsung, then appears as though they have not done so yet. It could be that Facebook is planning a walled-garden hardware ecosystem similar to Apple, and will be focusing their energy on the control that comes with building their standalone headsets.

It’s unclear how healthy and sustainable the current partnership between Facebook and Samsung is. It appears as though Facebook mostly handles the software while Samsung handles the hardware, and while there’s obviously overlap between the two, it’s possible that these next HMDs will indicate whether Facebook takes more control over the hardware and Samsung takes more control over the software.

tom-hardingI had a chance to talk with Samsung’s Tom Harding, who is the Director of Immersive Products in charge of product strategy and bringing VR to the market. We talked about the Gear VR, marketing VR, Samsung Internet VR, Gear 360 and Round cameras, the 3-DoF Gear VR controller, as well as the the collaborations Google with Daydream and ARCore and with Facebook/Oculus on Gear VR.

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I challenged Samsung for not investing many resources within the VR content ecosystem or attending very many community VR events over the past couple of years. Harding says that Samsung’s focus has been on scale and making VR solutions available to all, and that they’ve been primarily focusing on driving adoption. But I wonder how much you can drive adoption of VR technologies without also investing in the content that will ultimately drive grassroots word of mouth and adoption.

A number of independent video creators expressed frustration that Samsung has not been doing more to support the needs of content creators, including how Samsung has not created any marketplace for immersive content creators to sell their work. One creator told me that Samsung did not not offer them any licensing fees to feature their work in the Samsung VR app, and a survey of content creators whose work was featured at Sumsung’s Evening of 360 show revealed that there was not any payment offered for featuring their work.

A lot of the content curation and marketplace development has been offloaded to Oculus since they serve as the primary point of contact with the VR development community, and so Samsung has been really disconnected from the needs of content creators. Samsung is in a financial position to invest a lot more within the future of the VR medium, but it appears as though that they have not been taking a holistic approach to supporting the VR content ecosystem or more directly engage the grassroots of the VR community. I hope to see Samsung a lot more in the year to come, and that they take the initiative to engage, listen, and help serve some of the larger needs of the VR community.


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Consciousness Hacking & VR: Immersive Tech’s Capacity to Drive Addictions or Transcend Compulsions

There is a growing backlash against technology being catalyzed by some of the architects of the persuasive habit-forming techniques. The Guardian does a survey of user experience designers and engineers who are taking drastic actions to curtail their personal technology addiction behaviors, and asking some deeper questions about the ethical responsibility of major companies in Silicon Valley to be socially-responsible guardians of the attention economy. Tristan Harris is one of these former persuasive designers who has formed a non-profit called Time Well Spent focused on gathering quantified data for how happy people are using different mobile apps, and Harris shared some data on Sam Harris’ podcast that people are happy with 1/3 of the time they’ve spent on the most popular apps, but that they’re unhappy with or regret how they’re spending 2/3 of their time.

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julia-mossbridgeMost companies are optimizing for duration on their websites, but it’s difficult for them to measure the first-person phenomenological experience of that time spent on their site. There are more and more people who feel like they are being manipulated and hooked into forming habits on apps that are designed to reward compulsive behaviors. There’s a growing counter movement of consciousness hackers who are trying to take a more mindful and purposeful approach to how they use technology. They’re using biosensors to get feedback and insights on their behaviors, and are trying to cultivate more flourishing, well-being, connection, compassion, mental health, and sanity in their lives.

mikey-siegelAt the Institute of Noetic Science Conference in July, I had a chance to sit down with the founder of Consciousness Hacking Mikey Seagul as well as with Julia Mossbridge, who is the director of the Innovation Lab at the Institute of Noetic Sciences. We talk about transcendence technology, quantified self applications designed for transformation, designing human-aware artificial intelligence optimized for emotional intelligence and cultivating compassion, the matching problem, and the insights of neurophenomenology for combining first person and third person data.


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