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      "body": "Congratulations @scifiannemarie! You received a personal award!\n\n<table><tr><td>https://steemitimages.com/70x70/http://steemitboard.com/@scifiannemarie/birthday2.png</td><td>Happy Birthday! - You are on the Steem blockchain for 2 years!</td></tr></table>\n\n<sub>_You can view [your badges on your Steem Board](https://steemitboard.com/@scifiannemarie) and compare to others on the [Steem Ranking](https://steemitboard.com/ranking/index.php?name=scifiannemarie)_</sub>\n\n\n**Do not miss the last post from @steemitboard:**\n<table><tr><td><a href=\"https://steemit.com/steemitboard/@steemitboard/use-your-witness-votes-and-get-the-community-badge\"><img src=\"https://steemitimages.com/64x128/https://cdn.steemitimages.com/DQmTugCUsoXX762vg1CuHRrpnPbfnjPogp8iCGv7F2kSVuj/image.png\"></a></td><td><a href=\"https://steemit.com/steemitboard/@steemitboard/use-your-witness-votes-and-get-the-community-badge\">Use your witness votes and get the Community Badge</a></td></tr></table>\n\n###### [Vote for @Steemitboard as a witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1) to get one more award and increased upvotes!",
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      "body": "Congratulations @scifiannemarie! You received a personal award!\n\n<table><tr><td>https://steemitimages.com/70x70/http://steemitboard.com/@scifiannemarie/birthday1.png</td><td>Happy Birthday! - You are on the Steem blockchain for 1 year!</td></tr></table>\n\n<sub>_[Click here to view your Board](https://steemitboard.com/@scifiannemarie)_</sub>\n\n\n**Do not miss the last post from @steemitboard:**\n<table><tr><td><a href=\"https://steemit.com/carnival/@steemitboard/carnival-2019\"><img src=\"https://steemitimages.com/64x128/http://i.cubeupload.com/rltzHT.png\"></a></td><td><a href=\"https://steemit.com/carnival/@steemitboard/carnival-2019\">Carnival Challenge - Collect badge and win 5 STEEM</a></td></tr></table>\n\n###### [Vote for @Steemitboard as a witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1) and get one more award and increased upvotes!",
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      "body": "<center> (https://cdn.steemitimages.com/DQmbYgd8M9tQzFZTiswAWzyzibsSLpnqEYdSprCf6T6ptEm/image.png)</center>\n\n<center> WELCOME TO THE FUTURE </center>\n<center> A (WTTF) Sunday Series </center>\n\n<center> –Short Story Time– </center>\n\nTimeline: Andy, sometime during elementary school. \n\n–\n\n“She shoots, she scores!!” cries Jessica.\n\n“Is that it?” asks Andy, skeptical of this pro. gamer phenomena.\n\nHe just finds it impossible to believe that his friend is into the idea of making a career in… gaming! Especially this type of first person shooter game that involves not only repeatedly knocking off members of the other teams, but also intense mental obstacles for level-ups and upgrades. It’s a matter of moving furiously from check-point to point, and once there, guarding a teammate as they crack code or solve algorithms across the game’s multiverse.\n\n“It’s do or die out there man,” says Jess, her arms now up in the air and controllers on the floor as she takes a fatal hit.\n\n“I’m still not sure if I really get it,” says Andy.\n\n“Why don’t you give it a go?” says Jess, “I’ve got another headset over there,” she says, and points left, “time to get your game face on.”\n\nAndy grumbles something that means okay, and with his hands, makes a mini-pistol, aims and fires at Jessica a few times.\n\n“Saw that!” says Jess, “better watch your back out there!”\n\nAndy’s face flushes, he’s only used these game specific headsets a few times, and forgot that they have really high end specs for mixed-reality viewing with the pass through cameras. The HMDs he uses are primarily for 3-D modeling and design. He likes to disappear into his virtual studio, especially during class time if he can manage to hack through the server configurations.\n\nIt’s tough to hide his minute hand gestures that draw across the digital canvas with micro-motion trackers that he implanted ages ago despite the absolute “NO!” from his parents, but he’s yet to be caught. If anything, his teachers just think he’s a very antsy child, but he’s not the only one in the class who does this. It’s an unspoken agreement that no one dare tell, or else… digital warfare.\n\n“You in yet?” says Jess. Obviously she can see that he isn’t ready yet, so it’s really a subtle cue for him to hurry up.\n\n“So how does this work?” he asks.\n\n“Oh come on,” she says, “just give it a shot and you’ll see it’s exactly as you’ve always done anything, just a million times better.”\n\nOkay, he says to himself, and he reaches out with the highly accurate leap motion tracking to press on the option to join game. The familiar tactile mid-air touch combined with his avatar-self that he now embodies draws him back to his comfort zone.\n\nNow in the game, he begins to look around.\n\n“Run!” screams Jess, and he’s blasted into reality.\n\n“Man down,” he yells back, and waits to reboot. Okay, he’s got this now, and he leans right, left, forward, back, and turns around to run the opposite way. By the end of the game, he’s wired from adrenaline and the thrill of coding under pressure. They’d done it, and he’d helped Jess’s team to up to a new level.\n\n“Welcome to the team,” says Jess, and it’s official, he’s in.\n\n“GG,” says Jess as they take off their HMDs and high five.\n\n“GG?” says Andy.\n\n“It means good game,” she replies, and they say goodbye as her family says it’s time for homework.\n\nOn his way back, Andy thinks about his gaming experience. It makes sense now. He’s always enjoyed being on his computer or in VR at home, but he’s never really explored MMOs before.\n\nAlthough he’d stubbornly have loved to prove Jessica right that his virtual art studio was better, there was something really neat about being a part of the team today, not to mention that he’d put his coding skills to test, successfully. He made a mental note to check challenges in the game and see where his coding skills would have to be improved.\n\nAlmost back now, Andy walks briskly through the streets, deep in thought about life, gamification, and technology. He wonders, could he bring the concept of MMOs to art? Could he challenge other artists will skill tests and invite them to “artathons”?* He’s got a relatively open ended term project for art class that he might just fully embrace, and open source too.\n\nNow grade that! thinks Andy.\n\n<center> –end– </center>\n\n<center> A (W.T2.F.) Series </center>\n\n<center> by  @scifiannemarie </center>\n\n \n\n*HMDs- Head Mounted Devices (headsets)\n\n*MMOs- Massive multi-player online games\n\n*artathons- like hackathon",
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      "body": "@@ -1,12 +1,125 @@\n+%3Ccenter%3E !%5B%5D(https://cdn.steemitimages.com/DQmQRkopaNodkDzAi6snacM8yZ9TbNHrNEcY7kC2adGcydK/image.png) %3C/center%3E%0A%0A\n **The Medium\n",
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      "body": "**The Medium is the Message***\n\nImmersive media (VR and AR) has a visible effect on its consumers, and therefore, on those who ‘consume’ the message. However, until a brand can deliver immersive experiences that can truly connect with their audience, the benefits of this medium are out of reach.\n\nThat’s why VR is the modern day space race for advertising and creative agencies, said Andy Jones, CTO at PSYOP. Like any other agency PSYOP like to say yes to all projects, and this means working in new media with immersive technology. Last week, I caught up with the team at PSYOP to learn about their move from PSYOP.TV to a PSYOP that stands out notably in its ability to produce modular and effective immersive brand experiences.\n\n**Lift Off**\n\nEntry into a new field is not without its challenges. While brands are looking for VR/AR experiences, PSYOP is also actively looking for new ways to innovate and build the creative possibilities for XR*, said Matthew Seymour, Executive Producer at PSYOP.\n\nWhen a brand approaches PSYOP with a pitch, the company works closely with them so that they understand what the technological capabilities are, said Seymour. Although, when a client asks for a specific project, this can also catalyze the creative process that leads PSYOP to innovate new ways to create and deliver content, he said.\n\nIn terms of where we are now for XR experiences, in the quest to colonize Mars, we are only in the outer atmosphere of Earth, said Jones. With the projected economic impact of VR/AR technologies by 2020 (medium adoption) estimated at US$15.6bn, it’s critical that agencies wanting to thrive in the new era must continue to experiment and create content in new media.\n\nPSYOP have worked with a number of their repeat clients to create the latest XR experiences, and are introducing the idea to new clients. The more they work with a client in XR content production, the more their clients are aware of the technical dimensions of this new format, and of what they can expect from an XR experience.\n\n**The Realities Of An XR Audience**\n\nAdvertising is expensive. Developing 360° video can cost tens of thousands of dollars, and a fully interactive ad costs upwards of US $500 000. Brands need to make a return on this investment, and this means reaching the greatest number of eyes.\n\nThis is why PSYOP is very interested in AR, as everyone has a mobile device, said Seymour. The integration of an AR experience is easy, he said, using the example of Eminem’s show at Coachella. For this experience, the audience used Eminem’s app, although with advances in phone camera hardware, users will soon no longer have to go through a third party app to view an AR experience.\n\n![](https://cdn.steemitimages.com/DQmWsBBF8pY91KAQyKCEAz4fxHe8M76YfHJuKiJFQZTiomv/image.png)\n\nOn the other hand, the issue with virtual reality is that HMDs (head mounted displays, or headsets), which are required for the experience, are not widely used by consumers so it’s not a great way to get a return on investment for our clients, explained Seymour.\n\nHe gives their CTO Jones credit for teaching Oculus how to do live render VR so that it can be streamed through other platforms such as YouTube, Vimeo, Facebook and other viewing channels available on mobile devices that are currently PSYOP’s primary focus.\n\nAt the end of the day, it’s brands that face the challenge of distribution in this medium, so PSYOP must consider any technical limitations that XR may pose to their clients’ ability to reach viewers. Different publication streams for VR include the Oculus store, Viveport, Steam VR, and then in 2D format on Facebook, YouTube and Vimeo.\n\nWhen asked about LBE* Seymour said that this has yet to show the same return on investment as these other formats. Usually, LBEs are costly projects that are one-off experiences.\n\n**Adapting XR To The Real World Of Viewers**\n\nOther than reaching eyes, XR content creators have many considerations when it comes to this new medium and understanding how it is experienced by viewers across platforms. For example, a live rendered scene can by played in VR, but then must be comprehensible in 2-D as well, such as on YouTube and Facebook.\n\nhttps://youtu.be/1PaIPN9EHAE\n\nThe transition between 2-D and 3-D presents a variety of challenges when it comes to 360° versus 2-D narrative. For example, character gestures that may be used to guide the narrative in 360°, may not make sense when exported to 2-D. Sound is also key to 360° narrative, but the effect of these storytelling aids must be thoroughly tested for transitioning across platforms.\n\n**Building Another Reality**\n\nAside from creating narrative, agencies are also responsible for bringing stories to life, and this takes top talent. To make one of these experiences is more than vision, it takes a keen knowledge of new technology and an understanding of human psychology.\n\nAs a part of their operations, PSYOP partnered with BLACKLIST, as sister company and a collective of curated artists who they can reach out to for specific projects, said Amanda Miller, Executive Producer at PSYOP.\n\nHowever, despite the numerous freelancers and curated artists, it’s still a challenge for PSYOP to find talent in software such as the popular Unreal Engine that supports cinematic and real time animation.\n\nPSYOP leans towards this type of real time animation that uses a motion capture system to puppet a 3D character live (in real time). This means that the motions are rendered fast enough that the user can move around in or react to their environment in real time. This saves resources down the line as they have movements sequenced and characters they can re-use for later experiences.\n\nOne of PSYOP’s primary partners for motion capture is Xsens who I had the chance to meet at VRLA this year, as well as earlier this week for a demo of their motion capture suits. These innovative motion capture suits allow PSYOP to create the majority of their content in house.\n\nhttps://youtu.be/-0hSQFbt67U\n\n\n**New Dimensions Overall**\n\nIt was over the last few weeks that I noticed PSYOP changed their site from PSYOP.TV to PSYOP. They are seeing a greater range of requests from TV to 3D and VR/AR. Not only is there new media, but project demands see more in breadth and scope from dimension, reality, time (duration) and type of experience (interactive, gamified, single/ multiple person audience).\n\nMiller, who works in television, often identifies gamified versions of a storyline intended for TV that can be developed into an immersive experience. This tactic encourages an audience to revisit the experience in new formats.\n\n\n**Why New Media?**\n\nRegardless of how much effort is put into content creation, if no one sees it, no value is created. VR is one of the most powerful experiences that brands can offer, but the space race is not without turbulence.*\n\nAs agencies and brands experiment in different media, there’s always that question, why VR?\n\nIn this case, VR doesn’t bring the most eyes or value to a piece itself, but it is able to generate value with deliverables across platforms. At the end of the day, there is no other medium that is capable of delivering the experiences made possible with VR, not to mention the higher levels of audience engagement, longer view-through rates, and a greater likelihood that the experience will be shared afterwards via word of mouth.\n\nWhen it comes to VR, we don’t always have to use the latest and greatest in hardware to have a good experience. There’s a steep price associated with headsets, but Google cardboards are a non-sophisticated way to experience VR, with numerous style options available.\n\nStill, it’s the gaming industry that leads the field in VR, and gamers will continue to fuel the demand for VR content. It’s likely they will soon begin to see greater brand presence during their VR gaming experiences.\n\n \n\n<center> By @scifiannemarie </center>\n<center> twitter: https://twitter.com/scifiannemarie?lang=en  </center>\n\n \n\n* “The medium is the message” is a phrase coined by Marshall McLuhan meaning that the form of a medium embeds itself in any message it would transmit or convey, creating a symbiotic relationship by which the medium influences how the message is perceived.\n\n*XR- mixed reality, including virtual and augmented reality\n\n* LBE- Location based entertainment\n\n*Turbulence: while there is no turbulence in space as we know it on Earth, solar winds and electromagnetic interaction creates space’s equivalent as ‘solar wind turbulence’.",
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      "body": "https://youtu.be/0J0rH70y4Ks\n\n**The Human Vision Of “Artificial Imagination.”**\n\nThis week in Paris sees the last few days of the exhibit Artists and Robots at Le Grand Palais.\n\nDescribed on site as, “an opportunity to experience works of art produced with the help of increasingly sophisticated robots,” it’s a unique display en masse that pushes the question of what is considered as “art” when robots are involved, and to what effect if any, this collaboration with robots has on the production of art.\n\n\n<center>![screenfox.png](https://cdn.steemitimages.com/DQmdW1yfeHM2t73Lusjpq5bNLj1wF1eGmNykDfQNqnmuPdw/screenfox.png)</center>\n\n<center>*Human Study #2.d, La Frande Vanite au corbeau et au renard by Patrick Tresset*</center>\n\nThis particular exhibit pictured above with the fox and crow, and one of the first that I walk by, I remember throughout the experience. You cannot see it in this image, however, the robot arm moves to tirelessly draw what it sees ahead through a single “eye” or camera, that rotates back and forth between the display and its desk.\n\nOne interpretation, that is of the display comment, is that it is “…une sorte de commentaire sur la futilite de l’existence humaine,” or in English, that this is a commentary on the futility of human existence. Another interpretation, or my own, is that this really speaks to how we should interpret the capabilities of AI and robots.\n\nThe data used for machine learning and for programming AI is all data collected from our human input, and based on our understanding of the world. While there remains a certain fear that robots and AI will put people out of work and take over the planet, this is a good example of the fact that AI cannot think for its own, and that they way robots perform is a direct reflection of our input. Any future developments, will be carefully thought out by none other than ourselves.\n\nFor example, it is not the robots that imagine these pieces of art. Rather, they are a part of it. Each display is intrinsically tied to the creativity of the human artist as they explore the human vision of “artificial imagination.”\n\nAs of now, this exhibit reflects our imagination and ability, and not that of the AI or robot’s, to create art. Needless to say, this could change. Can we create an input that produces a new output, one that is understood by computers (programmed) but not by ourselves? Would this new code be a new interpretation of the world that we could eventually decode? What would it mean? Until this interesting input/output is possible, or until consciousness is created, it will continue to be the artists and not the robots who are featured in each title by the display.\n\n**A Human Contrast**\n\nFollowing this exhibit Artists and Robots, is a ticket option to the Kupka gallery. Kupka was a surrealist painter in the Rennaissance. His early works were realistic with the perfectionism reflected in the art of the Renaissance, but then, we begin to see change. Slowly Kupka’s art transforms from perfectionism, to surrealism, and then to mathematically abstract art.\n\n<center>![](https://cdn.steemitimages.com/DQmX9U5ucJWRSzM89b7NKTjk151TmtSATvfBZPGujgBgwCJ/image.png)</center>\n\nFor Kupka, the idea of surrealism formed as he began to draft the outline of a river, a boat, swimmers, the shoreline, and then he realized that this is a new way to view the world. Not exactly as it is, but open for interpretation as a place for imagination and creativity.\n\nIn later years, Kupka’s art turns from surrealism to geometric shapes and patterns. All with mathematical inclinations, similar if I may say, to that of the robot artists we see today in the exhibit of Artists and Robots.\n\nIs this a reversal of what we will see as we continue to advance in our studies of code, artificial intelligence and robotics? Or do we only have one way of viewing the world, like that of the robots that endlessly draw what they see through their one “eye” that views the fox and raven?\n\n\n<center>![screenshot1.png](https://cdn.steemitimages.com/DQmX4N5eCqkTjzDUPrsadzdCkZah41wtJqA2u4b3pi96wex/screenshot1.png)</center>\n<center>*Reflexao #2 by Raquel Kogan*</center>\n<center>“Their palette is a canvas with numbers in unlimited combinations.”- Display at Le Grand Palais </center>\n\nIn this image above, we see series of numbers that move across the mirrored floors and walls, and even across our bodies as we walk through this immersive piece that continues forever in the infinitum of reflections. Does this correlate to the infinite of possibilities that we can numerically enter in code to create an infinite of art via AI and robots? Or could it be interpreted as a limitation to our language and therefore in the way that we can describe our view of the world in computer programming, machine learning and artificial intelligence? As we come up with new computer languages, how will this describe the world in software, and therefore, alter the output that we see in interactions with AI? Can we create what looks like artificial imagination?\n\n**On Artists and Robots**\n\nQuite literally, this exhibit offers a gateway to an immersive and interactive digital world where we can ponder on our questions of what is art and culture, and how will our world change with AI and robots.\n\n<center>*“Art at its most significant is a Distant Early Warning System that can always be relied on to tell the old culture what is beginning to happen to it.” – Marshall McLuhan*</center>\n\nFrom other exhibits in Artists and Robots that reflect visualizations of data, to computer graphics that play with our conception of space, to more sophisticated attempts at surrealist artist and robot collaborations as seem in “Portrait on the Fly” by Christa Sommerer and Laurent Mignonneau, the exhibit of Artists and Robots suggested interesting answers to its questions of:\n\n<center>*What can a robot do that an artist cannot?”*</center>\n\n\n<center>*If it has an artificial intelligence, does a robot have an imagination?*</center>\n\n\n<center>*Who decides: the artists, the engineer, the robot, the spectators or everyone all together?*</center>\n\n\n<center>*What is a work of art?*</center>\n\n\n<center>*Should we fear robots? Artists? Artist- robots?*</center>\n\nIn combination with the Kupka exhibit it’s clear to me that there is a long way to go before we have anything quite like artificial imagination as such, or further, artist-robots that consciously create art.\n\nThe mathematically produced art of the artists and robots was a far cry in comparison to the more comprehensible Renaissance, surreal, and then even the abstract art of Kupka. Something beneath the layers of paint, perhaps in the movement of the brush, suggested familiarity and humanism.\n\nLike many demos, or even conventions that I’ve attended such as VRLA, this exhibit echoed with a the cool edginess of smooth white walls, foreboding sound effects and shiny gadgets. It’s all a sign that we are still in the “medieval ages” of technology as a foreign concept to our world. Until we create a new computer languages, or algorithms that accurately reflect the world around us with room for the many exceptions that exist in our world, it will not be easy to have “true” collaboration between humans and robot artists.\n\nWhen I walk into a robot artist gallery and feel at ease with the familiar brush strokes or patterns like that of Kupka, or, until my mind (not likely in my lifetime!) is able to better decipher the mathematic patterns and art of robots programmed by artists, AI and humans will continue to effectively speak two different languages; one human, and one rudimentary human (artificial humanism) that is based on mathematics.\n\n<center> By @scifiannemarie </center>\n\n<center>https://youtu.be/AxXESPzSqn4</center>",
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      "body": "<center>![](https://cdn.steemitimages.com/DQmQWMYjZub1zVQxNtBunYqJUenRAa11VTBTYTCpA49URPx/image.png)</center>\n\n\nAndy takes a deep breath of warm air, rich with the earthy scent of the redwood forest. Dawn light beams gently through the ancient branches that ladder up towards a sun that is nearly invisible through the canopy of leaves.\n\nThis is Andy’s favorite time to visit the redwoods. Just as the sun begins to fade, the forest stirs and comes to life.\n\n<center>![](https://cdn.steemitimages.com/DQmXosE2SJc1MbeSEeVKKPArRtZtRazPhDrmHZBYJkZBFpp/image.png)</center>\n\nWhile IRL it’s not necessary that he save this moment for evening, it suited his circadian rhythm to immerse in content of a time scale similar to that of his natural environment. This consistency made subtle the cues to his brain that any change of presence really had occurred. Gradual change was key to a successful non-transitional transition between realities.\n\nTonight, as Andy strolls through his private land in the Apollo Metaverse, he decides to illuminate the creatures of the forest with the bioluminescence of the critters that live in the deepest and darkest depths of the ocean, thousands of feet below the surface.\n\nHis eyes still now as his thoughts wander to the fantastic creatures of the sea, and he gently extends his thoughts to the cloud chip, linked closely to his mind and memory through a series of organic neurolace implants.\n\n<center>![](https://cdn.steemitimages.com/DQmZKoGVXPGdgg5hW3nRAJY1b4PAA99XRLdnEvtUmWYsueg/image.png)</center>\n\nIn the cloud, Andy accesses images of these glowing creatures. He gathers data for the graphics system to process that relate to the exact texture, shadow, depth, and breadth of this new light source in his world.\n\nThe data processes instantly in an external CPU, then, his thoughts return to the present. In the moment he was in the cloud, the sun in the metaverse fell beyond the horizon, and the forest became a pitch black. If not for the scent, the texture of the earth under his feet from special haptic shoes, or for the sound of the insects, Andy would have no concept of this other place.\n\nFor a second he listens, then, he activates the forest in night vision. His virtual assistant grabs all digital life forms and compares their current luminescence to the data input of the bioluminescent sea creatures. When Andy approves the modifications, the redwood forest illuminates with a new glow of rainbow neon. This light adds shadows and depth to the newest of his darkscapes.\n\n<center>![](https://cdn.steemitimages.com/DQma6JUjB7jv9wK3h4dr7ksKNcZLNE377pmkeeRv7wVcxvx/image.png)</center>\n\nWhile unlike any place on earth, the photo-realistic merger of real life data has created this new and plausible place that others will one day be able to visit.\n\nWhen Andy opens his property on the Apollo Metaverse for public access, it will be a property of art, and each avatar that moves to cross his borders will be notified of the nominal “landscaping” fee that will cover the countless hours he’s spent adding creatures, textures, lighting, scent and other properties that make stepping from his home office to this place just like opening the back door IRL to a magical wonderland.\n\nNot all meta land owners can list their property as artworks. Curated by the council of artists that represent the Apollo Metaverse, only licensed individuals can enable this option. It allows them to freely create features that will attract Residents of the Metaverse to the Apollo portal.\n\nIf Andy’s property is the first a new Resident accesses, he will receive extra perks. As an artist however, he also considered the effect this shared space would have on the ownership of his digital art. Not to worry he was ensured, this would all be tracked on the blockchain.\n\nThere were other conditions he had to accept for use and monetization of the space, such as for data constructs to appear on his property that would guide a Resident across this particular Metaverse, to encourage their stay, and even permanent residency in this space. This was achieved as a user purchased or rented meta land, or, they could gain membership based on their skill sets, and therefore contributions to the world.\n\n<center>![](https://cdn.steemitimages.com/DQmS6ijyYGHrXVuYGo7PKHmgXmS7CoSKVEjabVXzgiaTQAQ/image.png)</center>\n\nAfter all, the metaverse wasn’t driven purely by the commercialism of digital spaces, but also with an awareness that in order to make this relatively new universe a positive and beautiful space, there would always have to be a sense of close community with incentives for digital growth and care, and, a set of basic rules\n\nOnce again, Andy accesses the cloud to check the status of the Apollo Metaverse. He notes a stable growth rate and a consistent increase in engagement. Just like old country nations, this slow increase in residency was seen as a sustainable growth rate. Satisfied, Andy lets his cloud link shift from this third party data cloud he’s subscribed to, back to his immediate surroundings in the metaverse. He cracks his back with a twist of his arms, and puts his thoughts together.\n\nTime to get creative.\n\n<center>By @scifiannemarie</center>\n \n\nThis story was inspired by the announcement that High Fidelity has raised $35M in a new round of investment. What will the metaverse look like in the future?\n\nOther concepts: metaverse, cloud computing, neurolace, digital art, jobs of the future, embodiment in VR. \n\n<center>“Everything you can imagine is real”. – Pablo Picasso</center>",
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      "body": "<center> ![](https://cdn.steemitimages.com/DQmPzHZCTgMxhyikN3kUyfAA4aR21QjT9v2MGxAedwRtY87/image.png)</center>\n\nIt was not until I listened to the BBC In Our Time podcast on The Mabinogion, or the eleven stories of Celtic mythology and Arthurian romance, that I considered oral tradition and its surprising insights into the complexities of storytelling for virtual reality.\n\nWhile perhaps the furthest form of storytelling from any digital medium, the crossovers (but not necessarily the similarities) between the two are undeniable.\n\nEvidently, TST* follows a very logical structure in everything from the introduction of characters to the addition of facts that contribute to foreshadowing. It’s easy to follow, and moves along in a way where as any questions arise, the next event is already active, and this obliges the audience to accept the facts as they are. Without time for questions, the audience’s attention is captivated as the story continues to unfold.\n\nAlternatively in VR, the time, place, settings and characters are often introduced simultaneously as a participant enters the narrative. As events continue to unfold in this way, it can be challenging to capture the many rich details available.\n\nInherently, our minds are conditioned to believe that we are fully in a space, so as we are suddenly introduced to new information in VR, it can be difficult to gain a comprehensive understanding of the landscape and story that proceeds to generate as our senses adapt.\n\nTo add to the confusion, VR stories must account for a POV with a 360 degree swerve and generally a 120 degree intake. These various accounts of a 360 degree environment through a rotating 120 degree intake inevitably leads to the emergence of unique experiences of story intake, and also of micro-stories in the case of non-linear narratives.\n\n<center> ![](https://cdn.steemitimages.com/DQmQeEPAcc1hf2HXQsfMxC95HqLH3WTjVJwF9hTG1GMWfNF/image.png) </center>\n\nIt’s been known for a TST* to use visual or audio tools to enhance the performance by engaging the senses of the listeners. These queues can be used to add certain elements of symbolism that are prevalent at various points of reference in the story. While hearing or experiencing a story for the first time, symbolism can engage key dynamics of storytelling such as empathy and perspective.\n\nIn more complex mediums of storytelling such as VR, I’d be interested to see a greater use of symbolism alongside hints of foreshadowing.\n\nWhat I find so fascinating about TST is its ability for narratives to have complex plots, adaptability (of the narration), the presence of protagonists and antagonists with strong attributes, and multiple settings and time periods- all with a common trait of simplicity or relativity that contributes to an audience’s ability to understand the story.\n\nWhile these traits are also found in modern storytelling, it’s my observation that immersive forms of MST* have a tendency to move quickly (not to mention multiple sub-plots in blockbuster movies that lead to spin-offs*). From TST, to slow black and white films, to modern films, the pace of story dynamics has increased significantly.\n\nThese are only a few notes on TST and MST in virtual reality.\n\nCan the application of lessons from traditional storytelling resolve some of the challenges faced today in the creation of  virtual narratives?\n\nWhat are you thoughts?\n\n<center> ![](https://cdn.steemitimages.com/DQmbtKt9rhigAq9ZvFUCv7MnNG7YbEaUxQDVsB13WLFC2qJ/image.png) <center>\n\n\n*TST- traditional story telling (oral tradition)\n\n*Micro stories- events are driven in a non-linear, non-deterministic fashion, lending unpredictability\n\n*MST- modern story telling\n\n*a thought re spin-offs: will we see a greater occurrence of branching narratives in blockbusters as VR becomes mainstream?",
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      "body": "<center>![](https://cdn.steemitimages.com/DQmWVkDQVYZcWk9pK4MRuZxLVco9bovrHU4wxBvGpZ1Cxmy/image.png)</center>\n\nA few weeks ago at VRLA I caught up with Sean Voltaire, co-founder of Omega. While this article is a re-post from my blog, Omega is a fascinating project I'd like to have covered here on steemit. \n\nAt it’s base Omega is a VR engine for world building, but it’s also the first VR engine that can do everything in one place. As far as VR programs currently run, one takes care of gaming, another is for art, another for world building and on it goes.\n\nIn Omega, a user can build a world, and also open a game while still in Omega. They can open a picture as a point of reference while creating a work of art, open a separate screen for their email, browse social media, open a web browser… anything you can think to do on a regular desktop without leaving the Omega engine.\n\nThe way I like to think of Omega is as an operating system like Windows, Mac or Linux. So via Omega, users can access sites such as Gmail, YouTube, Steam, Facebook and WordPress as well as run applications such as Photoshop, Chrome and Skype.\n\nhttps://youtu.be/SeOupARSsJE\n\nThis sounds like an endeavor that all big companies would want to pursue, but Voltaire says none of the giants have taken on this task. When Omega is first released on kickstarter as early as next year, Voltaire wants it to be released as an engine that competes with the best, and as is, outstrips them all in terms of functionality. Not to mention, that with the right investors Omega has the potential to be released as an open sourced platform. Nonetheless, Omega will facilitate the creation of software and content development by its users.\n\nNow, as I begin to comprehend exactly what is Omega, I begin to understand the implications of such a platform. I never thought I’d chance to meet the people behind what may very well be the future of the internet.\n\nVoltaire’s interest in programming and design began in grade school from an avid interest in gaming. He worked as a programmer and software engineer after dropping out of college and surprised employers with his talent for design in VR.  Other than for a short introduction in college, Voltaire is self taught, especially when it comes to VR. He also works from home, primarily independently.\n\nIt was when Oculus first appeared on Kickstarter that Voltaire finally saw the opportunity to begin work on this idea of an engine that can do everything, and he began to take the project seriously. Now, it’s been four years since he began to work on Omega, and a year and a half since he’s worked on it full time.\n\nRather than sell Omega at it’s early stages, Voltaire and his team have survived  by engaging in business contracts that put Omega to work by creating VR software that meets the needs of employers in very much the same way that others will eventually use Omega to create applications, experiences, and content when the platform is released to the public.\n\nSlowly, the Omega team has evolved into a group of 10 who work in different areas of Omega. They have just six programmers, and the others work on the business and social side of the endeavor.\n\nVoltaire and I also talk about how VR has yet to become a common household item. There’s the price, but there’s also the functionality. Voltaire says there’s yet to be a killer app on VR. There’s no practicality outside of gaming, and for the avid gamers, the games just aren’t good enough.\n\n![](https://cdn.steemitimages.com/DQmVi5BV7xUHoTo8JPD561PiYfPjdAQqjcQWJEwcmU7GTQS/image.png)\n\nIf Omega is to be the future of the internet, it will have to become something that everyone uses. I ask Voltaire what he thinks about a-non tech savvy individual’s potential to learn and use Omega and his reply brings simplicity to the complex concept. He says that so far technology that we use, like the pen, the typewriter, then the mouse and keyboard, are all based on what we have in the physical world and that’s why it’s easy to use, and, interactions in virtual reality are even closer to real life interaction than anything before. It should seem intuitive even to those who have only a basic comprehension of VR and tech in general. So, Omega can be used in its simplest form as a virtual space to browse the web or check mail, to enormous potentials in the housing of new software developments.\n\nAs I consider the uses of Omega, it dawns on me that Omega is really the first true virtual world. It’s a metaverse, an online world that is persistent and used by many, many people. It’s a place where users have no need to leave (other than to eat and a few other necessities of course!). Everything that can be done IRL* can be done in Omega. It brings a closer truth to the term virtual reality.\n\n“Have you heard of Ready Player One?” asks Voltaire.\n\n“Yes,” I reply, having read the book about a year ago, and he describes how this will be the first major film that brings VR to mainstream. If you’ve read Ready Player One, then you’ll recognize Omega as the first platform that has the potential to create The Oasis, the virtual metaverse that exists in the fictional world imagined by author Ernest Cline- Earth in the year 2045. If Omega is to take off, I’d like to think that I can’t possibly imagine what Earth will be like in the year 2045… if bureaucracy and the big companies don’t turn this into a political concern or as a passing profit opportunity, Omega could be the next big breakthrough we are waiting for.\n\n![](https://cdn.steemitimages.com/DQmZp84d5HTq3duAkDTBt7NSwLMdZCbngJvr1nTJE44jBnz/image.png)\n\n“Why did you call it Omega?” I ask Voltaire, and this is the first time he actually breaks out of his calm with an eager smile. Omega will be the final evolution of human and computer interaction until we can upload via neurolace, he explains.\n\nI’ll have to admit into looking this up after, as I didn’t know about the meaning of Omega. Turns out it’s the last letter of the Greek alphabet- the last, or the end of the alphabet.\n\nBefore I leave I experience a second demo of Omega (I first bumped into the team a few weeks ago at a VR demo at UPLOAD, LA). After a little exploration, it’s not long before I recognize something that wasn’t in this particular VR world the last time I was here. It’s a painting hanging in midair that has caught my attention: The Garden of Earthly Delights. I find myself frozen in wonder for several seconds when I do some research later in the day. In VR, I pulled the painting close to take a look at it’s depictions of heaven and hell. With interpretation open to imagination, I find the painting very thought provoking. Not just for Omega, but for all the inevitable changes technology will bring in our future.\n\nOnce again, I also ask Voltaire for one of his business cards to get another look at their logo, a custom designed Omega symbol. On the other side of the card are the words “create anything, change everything.” Surrounding these words is a list in a layout that reminds me of the code in The Matrix of just some of the industry applications of Omega. The card is small, but the list is mind opening and quite possibly infinite if the card extended forever. After all, as I often think and as my blog is named, that creativity is infinite- I see Omega as another tool for infinite creativity. Or as Voltaire says, as a platform for your imagination. \n\nAs I leave, I feel a new excitement. I don’t see Omega as an end, but as a new beginning. Could it be my generation that witnesses the next era of the internet?\n\n<center> -Ω- </center>\n\n \n\n<center> By @scifiannemarie  </center>\n\n*Date of original post: Oct. 2017",
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      "body": "![](https://cdn.steemitimages.com/DQmNNWbvYJe6myLfReTvdv4uiu9tEPf3rCYHvJTAKRu9HRt/image.png)\n\n<center> WELCOME TO THE FUTURE </center> \n<center> A (W.T2.F.) Sunday Series </center> \n\n<center>–Short Story Time– </center> \n\nLooking out at downtown Los Angeles, Andy calmly observes the rare rain that streams down the windows of his auto car, and the thick fog that has made the city center resemble one of the many bleak landscapes of Blade Runner 2049.\n\nThis Monday night, traffic’s slow during the early hours of the morning. Occasionally a few cars zip by, but for the most part the roads are clear as Los Angelenos enjoy the advantages of their IOVs*.\n\nA city known for its collection of luxury vehicles, it’s usually only these roadsters that zip by over the speed limit, autopilot disabled as the over zealous drivers enjoy the thrill of a turbo engine.\n\nOf course there are exceptions to this class of speedy driver, as Andy observes an old truck zoom past. He doesn’t recognize the insignia, and chances are it’s one of the old HOV only vehicles that is just as rare a sighting as a rainy day in the city of angels.\n\nHis mind on this now, Andy considers these recent transformations in transportation. It was about 20 odd years ago that car dealerships partnered with tech companies to help owners refurbish HOVs with an add-on IOV system. As a full conversion ratio was absolutely ideal to safely integrate driverless roadways, it was only after a short period of time that the conversion process was heavily discounted, or offered with the option of interest free monthly payment plans.\n\nNot only did the fair price appeal to consumers, but it saved manufacturers many legal battles and headaches down the road. The cross-over of HOVs and IOVs made too complex an arena for the IOV systems to operate without frequent accidents. \n\nJust as Andy is about to reminisce to back in the days of good old stick shift, or to the near future of flying cars in mass production, a sudden screech interrupts the Max Richter melody that plays loud through the PorschAI stereos.\n\nThank goodness this is one of the rare times Andy obeyed the seat-belt regulations, as he’s thrown towards the front of the car.\n\nWhat in the world?!\n\nThe air knocked out of his lungs, Andy staggers deep breaths and gathers his senses. “Open door” he pants, when he can finally breath again.\n\nOutside, Andy sees that his car had swerved to dodge the lanes ahead that are entirely blocked in a three car accident. One, the speeding luxury Impala IOV, two the sleek red IOV that had dashed behind in what must have been some ego driven race, and three, the old HOV van.\n\nThe luxury vehicles must have slowed down in a stare off for the old HOV to have gotten anywhere near their tails, thinks Andy.\n\nWhen the air ambulance and cops arrive (they had all taken to the sky pre-IOVs), they clumsily rush to tend to the other drivers. Now, the third rarity of the day has officially occurred- a car crash with a fatality.\n\nLater, the cops fill in the details of the confusing scene. Apparently, a group of several pedestrians had run across the freeway ahead without looking for oncoming cars. The sports car drivers were alerted by the car AI and they slowed to a crawl as the hurtling HOV then crashed into them at top speed, unprepared for the hold up.\n\nLuckily, the driver of the HOV had survived, but the driver of the speedy Impala was crushed as his car was plowed into the side rail. The Impala’s AI would have been aware of the oncoming vehicle, but with the pedestrians on the road ahead, it was unable to pull away and out of danger.\n\nAt the end of the day, it was the car AI that sealed the fate of the luxury car driver. In a tricky situation such as this, the system had run its code of ones and zeros, and came to the conclusion that the risk of impact, rather than plowing through the small group of pedestrians, was the most logical output action.\n\nBut what would the driver’s family say about this? What about the public, or the software developers? Andy wonders how the case will be resolved.\n\nAs another version of the Trolley Dilemma, there’s no doubt that unanimity would be a challenge. \n\n<center>–end– </center>\n\n<center> A (W.T2.F.) Series </center>\n\n<center> by  @infinitebyannemarie </center>\n\n*IOV: Intelligently Operated Vehicle- as opposed to a HOV, or human operated vehicle. These signs (HOV +2) line the roadways in Los Angeles so that carpoolers can take advantage of an exclusive lane, while vehicles with single occupants line bumper to bumper in the alternative lanes during rush hours.",
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      "body": "![](https://cdn.steemitimages.com/DQmNNWbvYJe6myLfReTvdv4uiu9tEPf3rCYHvJTAKRu9HRt/image.png)\n\n<center> WELCOME TO THE FUTURE </center> \n<center> A (W.T2.F.) Sunday Series </center> \n\n<center>–Short Story Time– </center> \n\nLooking out at downtown Los Angeles, Andy calmly observes the rare rain that streams down the windows of his auto car, and the thick fog that has made the city center resemble one of the many bleak landscapes of Blade Runner 2049.\n\nThis Monday night, traffic’s slow during the early hours of the morning. Occasionally a few cars zip by, but for the most part the roads are clear as Los Angelenos enjoy the advantages of their IOVs*.\n\nA city known for its collection of luxury vehicles, it’s usually only these roadsters that zip by over the speed limit, autopilot disabled as the over zealous drivers enjoy the thrill of a turbo engine.\n\nOf course there are exceptions to this class of speedy driver, as Andy observes an old truck zoom past. He doesn’t recognize the insignia, and chances are it’s one of the old HOV only vehicles that is just as rare a sighting as a rainy day in the city of angels.\n\nHis mind on this now, Andy considers these recent transformations in transportation. It was about 20 odd years ago that car dealerships partnered with tech companies to help owners refurbish HOVs with an add-on IOV system. As a full conversion ratio was absolutely ideal to safely integrate driverless roadways, it was only after a short period of time that the conversion process was heavily discounted, or offered with the option of interest free monthly payment plans.\n\nNot only did the fair price appeal to consumers, but it saved manufacturers many legal battles and headaches down the road. The cross-over of HOVs and IOVs made too complex an arena for the IOV systems to operate without frequent accidents. \n\nJust as Andy is about to reminisce to back in the days of good old stick shift, or to the near future of flying cars in mass production, a sudden screech interrupts the Max Richter melody that plays loud through the PorschAI stereos.\n\nThank goodness this is one of the rare times Andy obeyed the seat-belt regulations, as he’s thrown towards the front of the car.\n\nWhat in the world?!\n\nThe air knocked out of his lungs, Andy staggers deep breaths and gathers his senses. “Open door” he pants, when he can finally breath again.\n\nOutside, Andy sees that his car had swerved to dodge the lanes ahead that are entirely blocked in a three car accident. One, the speeding luxury Impala IOV, two the sleek red IOV that had dashed behind in what must have been some ego driven race, and three, the old HOV van.\n\nThe luxury vehicles must have slowed down in a stare off for the old HOV to have gotten anywhere near their tails, thinks Andy.\n\nWhen the air ambulance and cops arrive (they had all taken to the sky pre-IOVs), they clumsily rush to tend to the other drivers. Now, the third rarity of the day has officially occurred- a car crash with a fatality.\n\nLater, the cops fill in the details of the confusing scene. Apparently, a group of several pedestrians had run across the freeway ahead without looking for oncoming cars. The sports car drivers were alerted by the car AI and they slowed to a crawl as the hurtling HOV then crashed into them at top speed, unprepared for the hold up.\n\nLuckily, the driver of the HOV had survived, but the driver of the speedy Impala was crushed as his car was plowed into the side rail. The Impala’s AI would have been aware of the oncoming vehicle, but with the pedestrians on the road ahead, it was unable to pull away and out of danger.\n\nAt the end of the day, it was the car AI that sealed the fate of the luxury car driver. In a tricky situation such as this, the system had run its code of ones and zeros, and came to the conclusion that the risk of impact, rather than plowing through the small group of pedestrians, was the most logical output action.\n\nBut what would the driver’s family say about this? What about the public, or the software developers? Andy wonders how the case will be resolved.\n\nAs another version of the Trolley Dilemma, there’s no doubt that unanimity would be a challenge. \n\n<center>–end– </center>\n\n<center> A (W.T2.F.) Series </center>\n\n<center> by  @infinitebyannemarie </center>\n\n*IOV: Intelligently Operated Vehicle- as opposed to a HOV, or human operated vehicle. These signs (HOV +2) line the roadways in Los Angeles so that carpoolers can take advantage of an exclusive lane, while vehicles with single occupants line bumper to bumper in the alternative lanes during rush hours.",
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      "title": "AI Trolley Dilemma",
      "body": "<center> ![Dilemma.jpg](https://cdn.steemitimages.com/DQmYY45bx3GDTEDTwev8rnooBSDQiBTt59ni89LeeYJMaLv/Dilemma.jpg) </center>\n\nA common misunderstanding of artificial intelligence is that it has its own source of intelligence. AI is software that is controlled by a series of logical reasoning set out in code.\n\nProgrammed by us and provided with data it analyzes via machine learning, AI makes deductions based on consuming these data inputs. It processes this info based on a prescribed set of logical reasoning, and then creates an output followed by actions based on these deductions.\n\nSo, at the end of the day, we are responsible for the actions carried out by AI. Its code, after all, is a reflection of the way we think and reason.\n\nBut what happens when AI encounters an inconsistency or an inconclusive data input?\n\nLet’s take a look at the age old trolley dilemma described by Philippa Foot in 1976:\n\n*“There is a runaway trolley barreling down the railway tracks. Ahead, on the tracks, there are five people tied up and unable to move. The trolley is headed straight for them. You are standing some distance off in the train yard, next to a lever. If you pull this lever, the trolley will switch to a different set of tracks. However, you notice that there is one person tied up on the side track. You have two options:*\n\n*Do nothing, and the trolley kills five people on the main track.\nPull the lever, diverting the trolley onto the side track where it will kill one person.\nWhich is the most ethical choice?”*\n\nWhen there are ethical dilemmas such as the above, what are our obligations to enforcing code to deal with such situations? And who must make these decisions? The programmers, the companies that program the AI, the government, or is it our vote?\n\nAll in all, it’s not necessary for an AI to understand us. AI is a program, but an AI trained on human emotion could provide some interesting insight into us. Can we solve the trolley dilemma once and for all?\n\nThe issue is that we can’t agree. Many similar dilemmas we have are outlined by the legal system. As our technology, and specifically action oriented AI, becomes more sophisticated, will the legal system rule on cases that determine the future code to deal with ethical dilemmas such as this?\n\nFor example, as we integrate driverless vehicles on the road along with human operated vehicles, it becomes complex for the two systems to interact. I can think of many such examples where ethical decision making may arise (see short story to follow).\n\nOften we criticize technology for its potential negative affect on us, but we must remember that it is us who create technology. What does our technology say about humanity?\n\nWhat is your take on the trolley dilemma?",
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      "title": "VR is Getting Physical",
      "body": "![XSens1.jpg](https://steemitimages.com/DQmVQv16D6sTkC6bvtv69Yv64Ww1usqEepdR9uLpsL93ocM/XSens1.jpg)\n</b>\n<center> *-From the VRLA Convention (Virtual Reality Los Angeles) –*</center>\n\nWhat is a real experiences? Is what we experience in VR real? While virtual reality immerses us into constructed worlds, we begin to have memories of places that ‘do not exist’ as our senses are stimulated to have real connections to these virtual places.\n\nEspecially as we begin to explore mixed reality, that switches between the virtual and physical world, is it so important to differentiate between the two?\n\nEven in Ready Player One, haptic* suits involved some kind of connection to a suspension system for impressive swings and direction changes, but our movements in the physical and virtual world don’t have to be so literal. Why not fly like Spiderman between buildings with the flick of a wrist rather than an attempted 10 foot leap while attached to some serious suspension?\n\nMotion capture technology is not new on the block, but it is making new impressions in VR.\n\nLast weekend at VRLA (Virtual Reality Los Angeles) I had the opportunity to check out the Xsens lycra motion capture suit.\n</b>\n![irl.png](https://steemitimages.com/DQmduQzhFQtSTUEuTei9y8By7ozvBKrsyFjqKGrykRdRYFK/irl.png)\n\nYou can also check out their release video here:\n\n<iframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/-0hSQFbt67U\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen></iframe>\n\n</b>\n\nThese suits are used for real time 3D animation, graphs, data streaming and video. The 3D output includes joint angels, segment kinematics, segment global positions, body center of mass and sensor data.\n\nSimply put, this means that capturing your movements IRL* to IVR* no longer results in spaghetti limbs.\n\n\n\nJust the same as expensive VR headsets, these motion capture suits are unlikely to make it into the homes of the masses anytime soon, but it does mean that live events can be brought to consumers in VR with incredible accuracy. From characters dancing (as seen above) to those wrist flicks that will allow Spiderman like movement, what we can do in VR is about to become next level.\n\nFrom attending live events streamed in VR such as music festivals to magic shows, or sports events and theater, accuracy of movement, and therefore of the subtle cues of behavior that is integral to communication, are captured to create a more realistic connection to a virtual environment.\n\nOf course, not all VR environments are intended to come across as IRL, however, recognizing human behavior in a digital avatar is one step closer to creating an emotional experience and therefore emotional connections to virtual spaces.\n\nAs VR becomes better equipped to satisfy all senses, these truly immersive experiences will continue to push the boundaries of what memories belong to the physical or virtual world.\n\n \n\n<center> *By @infinitebyannemarie* </center>\n\n \n\nPs. Did you know that Xsens MVN animation technology was used to capture Disney’s Black Panther on screen?\n\n \n\n*Haptics: recreates the sense of touch by applying forces, vibrations, or motions to the user\n\n*IRL- In real life\n\n*IVR- In virtual reality",
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