The CIIIC is the Creative Industries Immersive Impact Coalition based out of the Netherlands, which will be spending about €200 Million in Public Funding over the next five years. It is a really exciting development in Europe that is promoting the development of Immersive Experiences (which they abbreviate IX). They will be cultivating knowledge and methods of experiential design, developing immersive talent and human capital, cultivating immersive ecosystem and facilities, catalyzing innovation via various projects, and creating an over synergy across all of their efforts. For a comprehensive recap of CIIIC and what they're doing, then also be sure to check out the CIIIC section starting on page 62 of the extensive 121-page IDFA DocLab Think Tank Report that I wrote, which was recently published on April 21, 2026. I provide a bit more context to this report in the intro and outro of this episode, which is an oral history interview with CIIIC Program Director Heleen Rouw at UnitedXR in December. This conversation forms the basis for that section, but also has some additional updates on their various efforts including: Artistic & Design Research for Immersive Experiences (ADRIE) (5 projects) Phase I of Innovation Impact Challenge: IX in Urban Development (17 projects) Phase II Innovation Impact Challenge: IX in Urban Development (10 projects) The "Shared Realities" consortium is part of the initial ADRIE cohort, which includes a collaboration between IDFA DocLab, Amsterdam University of Applied Sciences, MIT Open Documentary Lab, PHI, ARTIS Planetarium, and a number of XR studios based in the Netherlands including POPKRAFT, Polymorf, Studio Biarritz, WeMakeVR, ALLLESSS (Ali Eslami), Ado Ato Pictures (Tamara Shogaolu), and Cassette (Nu:Reality). Be sure to check out episode #1697 to hear more about how the Shared Realities initiative will be facilitating experiential designers and artists collaborating with researchers to see if immersive art can help to revitalize civic society. This interview with Rouw provides an overview of the CIIIC, how they're defining "immersive" to be much broader than any single technology, and why they think immersive will be the next big wave of innovation that can help promote public interest values. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed SXSW XR Experience 2026 curator Blake Kammerdiener about this year's selection, and how immersive artists are using Generative AI in a series of different projects. Below is the selection (ordered from longest to shortest). This year's program runs from 11a to 6p CDT from Sunday, March 15-17, 2026. XR Experience Competition Escape The Internet (Part 1) (50 min) Inter(mediate) Spaces (45 min) Winterover (45 min) Fabula Rasa: Dead Man Talking (30 min) Frustrain: Trainman (30 min) The Forgotten War (30 min) Watsonville (30 min) Fillos do Vento: A Rapa (28 min) Crafting Crimes: The Mona Lisa Heist (20 min) Love Bird (20 min) The Baby Factory is Closed (20 min) Lionia Is Leaving (18 min) Body Proxy (15 min) Cycle (15 min) The Great Dictator: A participatory AI installation about power, rhetoric, and memory (15 min) XR Experience Spotlight The Clouds Are Two Thousand Meters Up (62 min) The Great Orator (50 min) Lesbian Simulator (40 min) A Long Goodbye (35 min) Dark Rooms (35 min) Lacuna (34 min) The Dollhouse (24 min) Reality Looks Back (21 min) Insider Outsider (12 min) loss·y (10 min) Lost Love Hotline (10 min) Out of Nowhere (10 min) Spectacular: The Art of Jonathan Yeo in Augmented Reality (10 min) Ascended Intelligence (9 min) MIT Open Documentary Lab’s AR and Public Space Artist Collective Layers of Place: Austin [90 min total] ORYZA: Healing Ground (15 min) The Founders Pillars (15 min) Open Access Memorial (15 min) Paper Boat (15 min) Humble Monuments (15 min) Moving Memory (15 min) This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

This is the panel discussion of Mission Responsible 3 featuring the winners of the Polys Ombudsperson of the year including: Kent Bye (2020), Avi Bar-Zeev (2021), Brittan Heller (2022), Micaela Mantegna (2023), Ingrid Kopp (2024), and Nonny de la Pena (2025). Introduced by Renard T. Jenkins. The big topic this year was AI, but lots to say about XR as well. Here are some links that I mentioned in the introduction that were referenced within the show: "Freedom of Expression in Next-Generation Computing" by Brittan Heller XR Guild's Principles US sanctioning individual ICC judges for decisions they don't like. The Polys 6th Annual Immersive Awards takes place next weekend on Sunday, March 22, 2026 at SVA Theatre in New York City. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Canada’s Prime Minister Mark Carney gave a rousing speech at the World Economic Forum on January 20, 2026 about the rupture of the rules-based order of the globalized economy, and he emphasized the need to build new coalitions to sustain the pressure coming from the United States' emerging authoritarianism. Carney said, “Great powers have begun using economic integration as weapons, tariffs as leverage, financial infrastructure as coercion, supply chains as vulnerabilities to be exploited. You cannot live within the lie of mutual benefit through integration, when integration becomes the source of your subordination.” Just as globalized, economic integrations are being weaponized by the United States, then Big Tech's integrations woven throughout our lives will continue to become the source of our own subordination, especially as surveillance capitalism heads towards its logical conclusion of an all-pervasive, AI Big Brother, perhaps eventually explicitly tied into authoritarian governments. The AI Big Brother has already started within the context of private companies, but with the outdated Third-Party doctrine of the Fourth Amendment, then any data given to a third party has "no legitimate 'expectation of privacy'." From UNITED STATES v. MILLER (1976): "The Fourth Amendment does not prohibit the obtaining of information revealed to a third party and conveyed by him to Government authorities." So the US government can request almost any data shared with a third party without a warrant, and given Big Tech's cozy relationship to a democratically-backsliding US government, then who knows what kinds of backroom deals are being made to automate data sharing. We're already in an era where almost all data given to a third party is not considered to be private, and you can start to see some early indications for how this can go wrong in Taylor Lorenz's interview with 404 Media's Joe Cox about ICE's surveillance technologies. It seems likely that we are entering into the very early phases of Orwell's worst nightmare of a 1984 surveillance state powered by Big Tech's AI. In this op-ed podcast episode, I connect some dots between Carney’s Davos speech about the hegemonic forces in the geopolitical sphere and the parallels with Big Tech's push towards "contextually aware-AI," which is just an always-on AI that is surveillance capitalism on steroids. Carney's speech provides a lot of insights for how Canada is navigating this new reality where the rules-based order on the International stage seems to be dissolving. One of his deepest insights is to simply name the truth, and to describe precisely what is happening. He refers to a powerful story from Vaclav Havel's The Power of the Powerless where shopkeepers eventually "took their [propaganda] signs down" during communist rule after they were no longer willing to live within a lie. Carney says: "The system's power comes not from its truth, but from everyone's willingness to perform as if it were true, and its fragility comes from the same source. When even one person stops performing, when the greengrocer removes his sign, the illusion begins to crack. Friends, it is time for companies and countries to take their signs down." Taking down metaphoric signs breaks the spell of the collective performative ritual that sustains the power of an authoritarian regime. Taking a sign down is also the embodiment of the first lesson of Timothy Synder's On Tyranny, which is "Do Not Obey in Advance." This lesson is certainly easier said than done, and I've been surprised how pervasive and powerful the chilling effects to remain silent can be. I find myself self-censoring, going dark on social media, and just generally not speaking the full truth as I see it. So this episode is a step in that direction of trying to name things as I see them, but also drawing the parallels between these broader political contexts and how they're collapsing into the technological contexts.

On Wednesday, January 28, 2026, Ian Hamilton announced on Bluesky that "I've been fired from UploadVR." He was the editor in chief at UploadVR, and he wrote a Substack post titled "Ian is Typing" on January 30th detailing how is co-workers were pushing to do a test of a "clearly disclosed AI author for UploadVR," and that he had three specific concerns that it be brief, for the ability for readers to turn off and hide all AI-authored posts, and for human freelancers to have the right of first refusal. Hamilton claims to have tried to raise these concerns in the context of Slack, but that the experiment was going to proceed regardless. He writes, "Unable to shift the direction of my colleagues and out of options to affect what was coming, I stepped out of Slack and sent a final email to them on Wednesday morning with a number of my contacts in the industry copied, raising some of these concerns. Not long after, I was called by my boss and fired." I spoke with Hamilton last Friday after his Substack post in order to get more context that led to his departure. Hamilton claims that UploadVR Editor & Developer David Heaney and UploadVR's Operations Manager Kyle Riesenbeck were behind the push to test this clearly disclosed AI author on UploadVR, and that ultimately the proposed test was a business decision made by Riesenbeck. It was a decision that Hamilton ultimately disagreed with, and he cites it as the primary factor that led to behavior that ultimately led to his firing. (UPDATE Feb 5, 2026: It is worth noting here that UploadVR has yet to run this AI bot author test, but that it was the proposed test that was the catalyst for Hamilton’s behavior). The specific reasons and circumstances around Hamilton's firing are publicly disputed by Heaney, who reacted on Twitter after Hamilton's Substack post went live by saying, "It is indeed only one side of the story. And an incomplete telling of it, with key omissions and wording choices that serve to paint a misleading picture." In another post Heaney says, "I can't get into it more at this point for obvious reasons, but don't believe everything you read, especially a single side of a complex story." I asked Hamilton for his reaction to Heaney's claims that he's being misleading during our interview, and he did provide more context in our conversation that lead up to his firing. Ultimately, it does sounds like the proposed AI bot author test was the primary catalyst for Hamilton, and that this disagreement may have led to other behaviors and reactions that could also be reasonably cited for why he was fired. UploadVR may have a differing opinions as to what happened, but no one from UploadVR has made public comments beyond what Heaney has said on Twitter. I have extended invitations to both Riesenbeck or Heaney to come onto the podcast for a broader discussion about AI, but nothing has been confirmed by the time of publication. My Personal Take on AI: Technically, Philosophically, Legally, and Culturally Public discourse around AI has split into a binary of Pro-AI vs Anti-AI, and while my personal views can not be easily collapsed into one side of the other, I'd usually take the Anti-AI side of a debate if given the opportunity. I do think some form of AI is here to stay, and will be around for a long time, but that right now there is a lot of hype and deluded thinking on the topic. I see AI as a technology that consolidates wealth and power, and so a primary question worth asking is “Whose power and wealth is being consolidated?” Karen Hao's The Empire of AI elaborates on how the past patterns of colonialism are replaying out within the context of data and the field of AI, as well as how scaling with more compute power has been the primary mode of innovation in AI, and that Gary Marcus has been pushing against the "Scale is All You Need" theory for many years now. Technically speaking, I'm more of a skeptic in the short-term around LLMs along the lines of Stocha...

I interviewed Andrew M. Davis about his forthcoming book titled Whitehead's Universe: A Prismatic Introduction on Thursday, December 4, 2025. It's absolutely the best introduction to Alfred North Whitehead's work in Process Philosophy, and I can't recommend it enough. The worst part is that it isn't set to release until sometime next year, but you can get an early look at some drafts if you sign up with some of Davis' upcoming Whitehead's Universe courses that are being offered in January and February 2026. Whitehead's Process Philosophy centers the human experience at the center of it's philosophy, and therefore focuses on the dynamic flux and flow of experience as we inherit past memories, anticipate the future, decide what actions to take moment to moment, and synthesize it all through our feelings which help to solidify our core memories through the peak emotional experiences of our lives. Davis helps us navigate through Whitehead's neologisms, which are attempting to rewire our brain to think about the nature of reality in a completely new and different way. The subject-predicate and noun-emphasized object-oriented structure of the English isn't doing us any favors, but thankfully the immersive experiences that are offered through immersive art and entertainment is very much oriented into the dynamic flux of our experience, through what is theorized as presence theory in virtual reality. I have my own elemental theory of presence, and in this conversation with Davis I discovered that there's a lot of resonance with how Whitehead is reconceptualizing the nature of reality into a more verb-based event ontology. This is my fifth deep dive on Process Philosophy, and so be sure to check out my other conversations here: #965: Primer on Whitehead’s Process Philosophy as a Paradigm Shift & Foundation for Experiential Design #1147: Thirteen Philosophers on the Problem of Opposites: Grant Maxwell’s Integration & Difference Book & Archetypal Approaches to Character #1183: From Kant to an Organic View of Reality: Scaffolding a Process-Relational Paradigm Shift with Whitehead Scholar Matt Segall #1568: A Process-Relational Philosophy View on AI, Intelligence, & Consciousness with Matt Segall #1708: How Process Philosophy Centers Experience. A Prismatic Tour of “Whitehead’s Universe” by Andrew M. Davis This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Karim Ben Khelifa about In 36,000 Ways on Sunday, November 16, 2025 at IDFA DocLab in Amsterdam, Netherlands. Here are the 26 episodes and more than 24 hours of coverage from my IDFA DocLab 2025 coverage: #1682: Preview of IDFA DocLab's Selection of "Perception Art" & Immersive Stories #1683: "Feedback VR Antifuturist Musical" Wins Immersive Non-Fiction Award at IDFA DocLab 2025 #1684: Playable Essay “individualism in the dead-internet age” Recaps Enshittification Against Indie Devs #1685: Immersive Liner Notes of Hip-Hop Album "AÜTO/MÖTOR" Uses three.js & HTML 1.0 Aesthetics #1686: 15 Years of Hand-Written Letters about the Internet in "Life Needs Internet 2010–2025" Installation #1687: Text-Based Adventure Theatrical Performance "MILKMAN ZERO: The First Delivery" #1688: Hacking Gamer Hardware and Stereotypes in "Gamer Keyboard Wall Piece #2" #1689: Making Post-Human Babies in "IVF-X" to Catalyze Philosophical Reflections on Reproduction #1690: Asking Philosophical Questions on AI in "The Oracle: Ritual for the Future" with Poetic Immersive Performance #1691: A Call for Human Friction Over AI Slop in "Deep Soup" Participatory Film Based on "Designing Friction" Manifesto #1692: Playful Remixing of Scanned Animal Body Parts in "We Are Dead Animals" #1693: A Survey of the Indie Immersive Dome Community Trends with "The Rift" Directors & 4Pi Productions #1694: Reimagining Amsterdam's Red Light District in "Unimaginable Red" Open World Game #1695: "Another Place" Takes a Liminal Architectural Stroll into Memories of Another Time and Place #1696: Speculative Architecture Meets the Immersive Dome in Sergey Prokofyev's "Eternal Habitat" #1697: Can Immersive Art Revitalize Civic Engagement? Netherlands CIIIC Funds "Shared Reality" Initiative #1698: Immersive Exhibition Lessons Learned from Undershed's First Year with Amy Rose #1699: Announcing "The Institute of Immersive Perservation" with Avinash Changa & His XR Virtual Machine Wizardry #1700: Update on Co-Creating XR Distribution Field Initiative & Toolkits from MIT Open DocLab #1701: Public Art Installation "Nothing to See Here" Uses Perception Art to Challenge Our Notions of Reality #1702: "Coded Black" Creates Experiential Black History by Combining Horror Genres with Open World Exploration #1703: "Reality Looks Back" Uses Quantum Possibility Metaphors & Gaussian Splats to Challenge Notions of Reality #1704: "Lesbian Simulator" is an Interactive VR Narrative Masterclass Balancing Levity, Pride, & Naming of Homophobic Threats #1705: The Art of Designing Emergent Social Dynamics with Ontroerend Goed's "Handle with Care" #1706: Using Immersive Journalism to Document Genocide in Gaza with "Under the Same Sky" #1707: War Journalist Turns to Immersive Art to Shatter Our Numbness Through Feeling. "In 36,000 Ways" is a Revelatory Embodied Poem by Karim Ben Khelifa This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Khalil Ashawi, Sami Sultan, & Hail Khalaf about Under the Same Sky on Saturday, November 15, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Alexander Devriendt about Handle with Care on Wednesday, December 3, 2025. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Iris van der Meule about Lesbian Simulator on Tuesday, November 18, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Anne Jeppesen & Omid Zarei about Reality Looks Back on Tuesday, November 18, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Maisha Wester about Coded Black on Monday, November 17, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Celine Daemen about Nothing to See Here on Monday, November 17, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Sarah Wolozin, Scarlett Kim, Julia Scott-Stevenson about MIT Open DocLab's Co-Creating XR Distribution Field Initiative on Wednesday, November 19, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Avinash Changa about The Institute of Immersive Perservation on Tuesday, November 18, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Amy Rose about first year of the Undershed at the Watershed on Saturday, November 15, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Martijn de Waal about revitalizing civic engagement through immersive art on Sunday, November 16, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Sergey Prokofyev about Eternal Habitat on Monday, November 17, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Domenico Singha Pedroli about Another Place on Saturday, November 15, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Vitor Freire & Monique Grimord about Unimaginable Red on Wednesday, November 19, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Janire Najera & Matthew Wright from 4PI Productions and CULTVR Lab about The Rift on Monday, November 17, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Maarten Isaak de Heer about We Are Dead Animals on Saturday, November 15, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Luna Maurer & Roel Wouters about Deep Soup on Tuesday, November 18, 2025 at IDFA DocLab in Amsterdam, Netherlands. You can also check out their Designing Friction Manifesto. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Victorine van Alphen about The Oracle: Ritual for the Future on Wednesday, November 19, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Victorine Van Alphen about IVF-X on Saturday, April 8, 2023 at New Images in Paris, France. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Sjef van Beers about Gamer Keyboard Wall Piece #2 on Saturday, November 15, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Matt Romein about MILKMAN ZERO: The First Delivery on Monday, November 17, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Jeroen van Loon about Life Needs Internet 2010–2025 on Wednesday, November 19, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Albert Johnson about A Ü T O / M Ö T O R on Sunday, November 16, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Nathalie Lawhead about individualism in the dead-internet age: an anti-big tech asset flip shovelware r̶a̶n̶t̶ manifesto on Monday, November 17, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Claudix Vanesix, Cocompi & Aaron Medina about Feedback VR, un musical antifuturista on Sunday, November 16, 2025 at IDFA DocLab in Amsterdam, Netherlands. Here are the 26 episodes and more than 24 hours of coverage from my IDFA DocLab 2025 coverage: #1682: Preview of IDFA DocLab's Selection of "Perception Art" & Immersive Stories #1683: "Feedback VR Antifuturist Musical" Wins Immersive Non-Fiction Award at IDFA DocLab 2025 #1684: Playable Essay “individualism in the dead-internet age” Recaps Enshittification Against Indie Devs #1685: Immersive Liner Notes of Hip-Hop Album "AÜTO/MÖTOR" Uses three.js & HTML 1.0 Aesthetics #1686: 15 Years of Hand-Written Letters about the Internet in "Life Needs Internet 2010–2025" Installation #1687: Text-Based Adventure Theatrical Performance "MILKMAN ZERO: The First Delivery" #1688: Hacking Gamer Hardware and Stereotypes in "Gamer Keyboard Wall Piece #2" #1689: Making Post-Human Babies in "IVF-X" to Catalyze Philosophical Reflections on Reproduction #1690: Asking Philosophical Questions on AI in "The Oracle: Ritual for the Future" with Poetic Immersive Performance #1691: A Call for Human Friction Over AI Slop in "Deep Soup" Participatory Film Based on "Designing Friction" Manifesto #1692: Playful Remixing of Scanned Animal Body Parts in "We Are Dead Animals" #1693: A Survey of the Indie Immersive Dome Community Trends with "The Rift" Directors & 4Pi Productions #1694: Reimagining Amsterdam's Red Light District in "Unimaginable Red" Open World Game #1695: "Another Place" Takes a Liminal Architectural Stroll into Memories of Another Time and Place #1696: Speculative Architecture Meets the Immersive Dome in Sergey Prokofyev's "Eternal Habitat" #1697: Can Immersive Art Revitalize Civic Engagement? Netherlands CIIIC Funds "Shared Reality" Initiative #1698: Immersive Exhibition Lessons Learned from Undershed's First Year with Amy Rose #1699: Announcing "The Institute of Immersive Perservation" with Avinash Changa & His XR Virtual Machine Wizardry #1700: Update on Co-Creating XR Distribution Field Initiative & Toolkits from MIT Open DocLab #1701: Public Art Installation "Nothing to See Here" Uses Perception Art to Challenge Our Notions of Reality #1702: "Coded Black" Creates Experiential Black History by Combining Horror Genres with Open World Exploration #1703: "Reality Looks Back" Uses Quantum Possibility Metaphors & Gaussian Splats to Challenge Notions of Reality #1704: "Lesbian Simulator" is an Interactive VR Narrative Masterclass Balancing Levity, Pride, & Naming of Homophobic Threats #1705: The Art of Designing Emergent Social Dynamics with Ontroerend Goed's "Handle with Care" #1706: Using Immersive Journalism to Document Genocide in Gaza with "Under the Same Sky" #1707: War Journalist Turns to Immersive Art to Shatter Our Numbness Through Feeling. "In 36,000 Ways" is a Revelatory Embodied Poem by Karim Ben Khelifa This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

IDFA DocLab is the immersive selection of non-fiction digital and immersive stories that is a part of the International Documentary Film Festival Amsterdam (IDFA), and they're having their 19th selection this year. DocLab founder Caspar Sonnen has been doing an amazing job of tracking the frontiers of new forms of digital, interactive, and immersive storytelling since 2007, and he joined me along with his co-curator Nina van Doren to talk about the ten pieces within the DocLab Competition for Immersive Non-Fiction as well as the nine pieces within the DocLab Competition for Digital Storytelling as well as portions of their DocLab Spotlight as well as the DocLab at the Planetarium: Down to Earth program, DocLab Playroom prototype sessions as well as the DocLab R&D Summit. In trying to describe the types of immersive art and storytelling works that DocLab curates, then they have started to use the term "Perception Art" in order to describe the types of pieces and work that they're featuring. This year's theme is "Off the Internet," which speaks to both the types of works that critique and analyze the impacts of online culture on our lives, but also taking projects that were born on the Internet and giving them an IRL physical installation art context to view them. I'll be on site seeing the selection of works and also be interviewing various artists who are on the frontiers of experimentation for these new forms of "perception art." UPDATE: December 6, 2025. Here's all of my coverage from IDFA DocLab 2025: #1682: Preview of IDFA DocLab's Selection of "Perception Art" & Immersive Stories #1683: "Feedback VR Antifuturist Musical" Wins Immersive Non-Fiction Award at IDFA DocLab 2025 #1684: Playable Essay “individualism in the dead-internet age” Recaps Enshittification Against Indie Devs #1685: Immersive Liner Notes of Hip-Hop Album "AÜTO/MÖTOR" Uses three.js & HTML 1.0 Aesthetics #1686: 15 Years of Hand-Written Letters about the Internet in "Life Needs Internet 2010–2025" Installation #1687: Text-Based Adventure Theatrical Performance "MILKMAN ZERO: The First Delivery" #1688: Hacking Gamer Hardware and Stereotypes in "Gamer Keyboard Wall Piece #2" #1689: Making Post-Human Babies in "IVF-X" to Catalyze Philosophical Reflections on Reproduction #1690: Asking Philosophical Questions on AI in "The Oracle: Ritual for the Future" with Poetic Immersive Performance #1691: A Call for Human Friction Over AI Slop in "Deep Soup" Participatory Film Based on "Designing Friction" Manifesto #1692: Playful Remixing of Scanned Animal Body Parts in "We Are Dead Animals" #1693: A Survey of the Indie Immersive Dome Community Trends with "The Rift" Directors & 4Pi Productions #1694: Reimagining Amsterdam's Red Light District in "Unimaginable Red" Open World Game #1695: "Another Place" Takes a Liminal Architectural Stroll into Memories of Another Time and Place #1696: Speculative Architecture Meets the Immersive Dome in Sergey Prokofyev's "Eternal Habitat" #1697: Can Immersive Art Revitalize Civic Engagement? Netherlands CIIIC Funds "Shared Reality" Initiative #1698: Immersive Exhibition Lessons Learned from Undershed's First Year with Amy Rose #1699: Announcing "The Institute of Immersive Perservation" with Avinash Changa & His XR Virtual Machine Wizardry #1700: Update on Co-Creating XR Distribution Field Initiative & Toolkits from MIT Open DocLab #1701: Public Art Installation "Nothing to See Here" Uses Perception Art to Challenge Our Notions of Reality #1702: "Coded Black" Creates Experiential Black History by Combining Horror Genres with Open World Exploration #1703: "Reality Looks Back" Uses Quantum Possibility Metaphors & Gaussian Splats to Challenge Notions of Reality #1704: "Lesbian Simulator" is an Interactive VR Narrative Masterclass Balancing Levity, Pride, & Naming of Homophobic Threats #1705: The Art of Designing Emergent Social Dynamics with Ontroerend...

The VRChat worlds by DrMorro are truly incredible. They're vast landscapes made of surreal mash-ups of various architecture styles and symbols that feels like you're walking through a waking dream. His Organism Trilogy (Organism, Epilogue 1, and Epilogue 2) is a true masterpiece of VR worldbuilding. And his latest Ritual is one of the biggest and most impressive single worlds on VRChat that feels walking through a fever dream, and probably the closest thing to Meow Wolf's style of immersive art. And his Raindance Immersive award-winning Olympia was his truly first vast world, and they've been getting bigger and bigger and more impressive ever since. He's got a keen ear for sound design and a sound track that will help set the eerie mood of his sometimes unsettling and liminal worlds. In short, the experience of spending 4-5 hours going through one of DrMorro's worlds is a completely unique and singular experience, as he's in a class of his own when it comes to VRChat world building. https://www.youtube.com/watch?v=L4AfYsmHQB8 I have long wanted to conduct an interview with DrMorro doing a comprehensive retrospective of his works, but he's an anonymous Russian artist who doesn't speak English. He's only done one other interview with Russian Del'Arte Magazine, but otherwise he's a pretty mysterious and cryptic figure. I managed to got ahold of him through a mutual friend, and he suggested that we do a "19th-century-style written correspondence" where I would send questions over text chat over the course of a week. He would use an AI translator to translate what I said into Russian, and then he would then translate his Russian response back into English. For this podcast, I used the open source Boson AI Higgs Audio with Russian actor Yul Brynner's voice to bring DrMorro's personality to life, but the full transcript of our edited chat is down below if you prefer to read it as I had experienced it. You can support DrMorro's work through Boosty, and you can support the Voices of VR podcast through Patreon. Kent Bye: Alright! Can you go ahead and introduce yourself and what you do in the realm of VR? DrMorro: Hello! The name's DrMorro – or well, that's my alias, to be precise. That's the name I'm known by as the creator of all those strange worlds in VRChat. For now, that's my only real achievement in the VR sphere. Other than that, I'm a 2D and 3D artist, which is my main profession. Kent Bye: Awesome. Well, this is my first interview that I’ve done via text. Can you give a bit more context for why you prefer to do the interview in this way? DrMorro: Honestly, I'm a pretty closed-off person, and it's easier for me to write than to talk. It’s just a character trait. Especially since I can't even imagine communicating through a voice translator. When I write, I can at least somehow control the translation. I don't know spoken English, but I manage fine in writing. So, no conspiracy theories. It's just how I'm used to communicating. Though it's strange because by nature, I'm a staunch introvert and I make worlds about total solitude. In ORGANISM, how many entities did you even find there besides the hat-wearing figure? And then suddenly, this popularity falls on me, and constant communication becomes the norm. Aaaahhh! Kent Bye: Well, I very much appreciate you taking the time to do what you describe as a “19th-century-style written correspondence” with me over the next week or so. And it makes sense that you could have a little bit more control in how you can express yourself via written text through a translator. Alight. So I always like to hear what type of design disciplines folks are bringing into VR, and so can you provide a bit more context about your background and journey into working with VR? DrMorro: To put it briefly, my journey is that I essentially work in architectural visualization. But that's more of a day job to keep myself afloat and pay the bills. My main interest,

Charles Melcher's new book "The Future of Storytelling: How Immersive Experiences Are Transforming Our World" was released on November 4, 2025, and I had a chance to take an early look and interview Melcher. The book is broken up into six main chapters where Melcher argues that the future of storytelling is agentic, immersive, embodied, responsive, social, and transformative. Melcher covers over fifty different "living stories" across different genres including virtual reality stories, location-based entertainment, immersive stories, immersive theatre, immersive art, experiential brand activations, and interactive experiences. He told me that he's had a chance to experience around 80 to 85% of the experiences that he features in his book, which most of them are site-specific and many times time-limited, immersive exhibitions that are not always easy to get into. He's been traveling to different locations around the world with his Future of Storytelling Explorer's Club to see many of these experiences, as well as engage with the creators behind the experiences. In his book, he shares some brief trip reports on over 50 different experiences, as well as some very high-quality, official photo documentation of these projects. It serves to provide some documentation of many of these ephemeral projects, but also tie together some of the common elements that helps to define and elucidate what exactly is meant by "immersive." Melcher and I also talk about the founding of The Future of Storytelling Summit back on October 2012, as well as the start of his Future of Storytelling podcast on March 2020 that has published over 120 interviews since it started during the pandemic. Around 20% of the projects and creators that have appeared on his podcast are featured in his book as what he considers to be a canon of work that exemplifies these deeper trends of immersive storytelling and living stories. While the book does provide a lot of valuable documentation, one complaint that I have is that it is not always easy to tell where Melcher is sourcing his quotes from project creators. The majority of quotations are coming from either private interviews that he personally conducted or from public conversations that he's featured on his podcast. But sometimes he uses quotes of creators from other publications without full attribution. So if there's a second edition, then I hope to see a more detailed set of footnotes and perhaps an index to make it an even more useful piece of documentation. The way that Melcher is breaking down the different foundational qualities of immersive experiences also closely mirrors my own elemental approach, but with some slight deviations or different categorizations. His agentic qualities are equivalent to what I call active presence, his embodied is the same as my embodied presence, and his social is the same as my social presence. I also have emotional presence and environmental presence, which he classifies as emotional and physical subsets of immersive qualities. Melcher also has a participatory subset under immersive qualities, which I consider to just be a part of active presence and what he is already classifying as agentic. For me "immersive" is more of an umbrella term that includes all of the various qualities of presence, and Melcher proposes a sort of rating system judging the degree of immersiveness rated across the different physical, emotional, and participatory dimensions. But Melcher doesn't list social as it's own vector of immersiveness as he told me that he considers social to be a subsection of emotions, but I consider social qualities to be distinct from emotional ones. Melcher also highlights the "responsive" qualities of a piece of work, which I see as both connected to ways of amplifying agency, but also something that contributes to Slater's Plausibility Illusion of an experience or a suspension of disbelief, which I classify under mental presence.

The Matrix at Cosm in LA opened on June 6th, 2025, which leverages Cosm's 87-foot, 12K+ LED immersive dome to show this classic film within a 16x9 frame while the additional space beyond the frame was filled with over 50 different scenes thereby expanding the worldbuilding beyond the frame. I finally had a chance to see it last month, and was really impressed with how much this additional space was able to increase the level of immersion, to amplify key emotional beats within the film, and create some truly awe-inspiring moments. I had a chance to speak with Alexis Scalice, Cosm’s vice president of business development and entertainment, about Cosm's collaboration with Little Cinema, MakeMake, and Warner Brothers to launch their inaugural "Cinematic Shared Reality" immersive experience. The Matrix has a few more weeks of screenings before their second film Willy Wonka and the Chocolate Factory (1971) opens on November 21, 2025. You can also hear more context from in Noah Nelson's No Proscencium podcast interview with Little Cinema's Jay Rinsky conducted ahead of the world premiere. And I also share some impressions of the two enhanced cinema productions of The Black Phone and M3GAN within Blumhouse Enhanced Cinema Quest App. These films have some similarities to what The Matrix at Cosm is doing, but at a much smaller scale and not nearly as effective as the expanded immersive worldbuilding in one of the greatest science fiction films of all time. The Matrix at Cosm is setting a quality high bar for this type of format that is going to be difficult to match. You can see more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I had a chance to catch up with Wevr's CEO and co-founder Neville Spiteri, which has been making location-based VR experiences for the last decade in what he calls a "New Cinema." See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Joe Darko, Global Head of Developer Relations at Snap, at Snap's Developer Conference of Lensfest. See more context in the rough transcript below. You can also check out all 11 episodes in this Snap Lensfest series here: #1667: Kickoff of Snap Lensfest 2025 Coverage & SnapOS 2.0 Announcements #1668: Snap Co-Founders Community Q&A about Specs 2026 Launch Plan #1669: Snap's Resh Sidhu on the Future of AR Commerce & Developer-Centered Innovation #1670: Snapchat's Embodied Gaming Innovations with AR Developer Relations Head #1671: Reflecting on Snap's AR Platform & Developer Tools Past and Future with Terek Judi #1672: Niantic Spatial's Project Jade Demo Shows Latest Location-Aware, AI Tour Guide Innovations #1673: Snap Lensfest Announcement Reflections from AR Gaming Studio DB Creations #1674: 3rd Place Spectacles Lensathon Team: Fireside Tales Collaborative Storytelling with GenAI #1675: 2nd Place Spectacles Lensathon Team: CartDB Barcode-Scanning Nutrition App #1676: 1st Place Spectacles Lensathon Team: Decisionator Object-Detection AI Decision-Maker #1677: Snap's AR Developer Relations Plan for 2026 Specs Consumer Launch with Joe Darko Here are some concluding deep thoughts that I just posted in a LinkedIn post. Reflections on Snap Lensfest XR & AI Trends Covered in Latest Voices of VR Podcast Series Snap brought me down to LA to cover their Lensfest developer conference where they made a lot of AR developer platform announcements, had a hackathon featuring those new capabilities, and are gearing up for their 2026 consumer launch of Specs, their fully 6-DoF, hand-tracked enabled, AR Glasses. It’s been a full year since their Spectacles dev kit was announced and made available to developers, and I feel like Snap is on the bleeding edge of where the overall XR industry may be headed. These latest 11 Voices of VR podcast episodes spanning nearly 7 hours dig into these deeper trends that go beyond the headline announcements from Snap Lensfest. I recorded five interviews with various Snap employees, and I had a chance to catch up with some of the leading AR developers in the space, including Niantic Spatial’s latest VPS guided tour experience on the Spectacles with an AI virtual being. I also served as a preliminary hackathon judge where I got hands-on experiences with all of the AR experiences exploring what’s possible with the latest Snap Cloud announcements, and I’m featuring interviews with the top three Lensathon teams from the Spectacles track. Snap's Latest AR Developer Platform Announcements Snap is gearing up for a 2026 launch of Specs for what will likely be nearly two full years of the Spectacles dev kits having been made available. So this Lensfest marks a half-way point towards a consumer release, and the product team has been busy rapidly iterating on their bespoke, AR app production pipeline. Dedicated AR glasses are very resource constrained, and so Snap has been continuing to evolve their Lens Studio developer tool and optimizing their SnapOS platform for Spectacles. Snap didn't share any news on their target specifications for the Specs, but they released eight significant releases of their development tools over the past year with some of the biggest announcements being shared as the primary focus at Lensfest. Snap is launching Snap Cloud, based upon a Supabase deployment of their open source, PostgreSQL hosted solution. This will allow developers to dynamically load assets, call edge functions, and more easily set up database backends. This will hopefully help to enable Spectacles AR lenses to go beyond some byte-sized entertainment and rapidly prototyped experiments into more fully-featured applications that also leverage cutting-edge AI models and computer-vision enabled applications. Spectacles developers have been limited by 25MB lens size limits, but the Snap Cloud announcements makes it so that larger assets can be dynami...

At Snap's Developer Conference of Lensfest, I did an interview with 1st place team in the Snap Spectacles Lensathon named Decisionator including Candice Branchereau, Marcin Polakowski, Volodymyr Kurbatov, and Inna Horobchuk. I also summarize the other 10 Spectacles Lensathon projects after serving as a preliminary judge for the competition. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

At Snap's Developer Conference of Lensfest, I did an interview with 2nd place team in the Snap Spectacles Lensathon named CartdB including Guillaume Dagens, Nigel Hartman, and Uttam Grandhi (the other team member Nicholas Ross had some prior commitments). See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

At Snap's Developer Conference of Lensfest, I did an interview with 3rd place team in the Snap Spectacles Lensathon named Fireside Tales including Stijn Spanhove, Pavlo Tkachenko, and Yegor Ryabtsov. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with DB Creations co-founders Dustin Kochensparger and Blake Gross at Snap's Developer Conference of Lensfest. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Alicia Berry, Executive Producer at Niantic Spatial, and Asim Ahmed, Head of Product Marketing at Niantic Spatial, at Snap's Developer Conference of Lensfest about their latest Project Jade Spectacles demo. See more context in the rough transcript below. https://twitter.com/tweetsfromasim/status/1981830288771887606 This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

At Snap's Developer Conference of Lensfest, I did an interview with Terek Judi who is working on Spectacles Product at Snap focusing on SnapOS, Platform, and Developer Tools. See more context in the rough transcript below, and if you'd like to check out the two interviews with Matt Hargett that I reference in the intro, then be sure to check out epsiode #1311 and episode #1660. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Raag Harshavat, AR Developer Relations at Snapchat, at Snap's Developer Conference of Lensfest. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Resh Sidhu, Senior Director of Innovation of Specs and Developer Marketing at Snap, at Snap's Developer Conference of Lensfest. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

The snap co-founders of CEO Evan Spiegel and CTO Bobby Murphy typically have a community-driven Q&A after their Lensfest Keynote where they field over a dozen questions from Lensfest attendees. I'm including this in my coverage again this year as it's a really great set of questions about their consumer release of Specs AR glasses next year, some of their thinking about the role of AI at Snap, and reflections of their 10 years of working with AR lenses going back to the vomiting rainbows facial filter released in 2015. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

This interview with Spectacles Community Manager Jesse McCulloch kicks off my coverage of Snap's Developer Conference called Lensfest. Snap is gearing up for a consumer release of their Snap Specs AR glasses some time next year, and they've been busy frequently updating their underlying operating system and platform tools like Lens Studio. There were no new announcements or reveals about the details of the Snap Specs that have been shared yet, but I did cover the biggest announcements at Lensfest throughout this series and in this interview with McCulloch. I also had a chance to interview five different Snap employees exploring different aspects of their AR strategy, and I also interviewed some AR developers in from the Snap ecosystem. Snap brought me down to also cover the 25-hour Lensathon, and I had a chance to be a judge for the 10 different Spectacles-based hackathon projects, and so I'll be featuring the top 3 finalists in the series. I also interviewed the AR game developers from DB Creations, as well as the latest AI assistant, guided tour demo from Niantic Spatial. Here is a list of the 11 episodes and nearly 7 hours of coverage from Snap's Lensfest: #1667: Kickoff of Snap Lensfest 2025 Coverage & SnapOS 2.0 Announcements #1668: Snap Co-Founders Community Q&A about Specs 2026 Launch Plan #1669: Snap's Resh Sidhu on the Future of AR Commerce & Developer-Centered Innovation #1670: Snapchat's Embodied Gaming Innovations with AR Developer Relations Head #1671: Reflecting on Snap's AR Platform & Developer Tools Past and Future with Terek Judi #1672: Niantic Spatial's Project Jade Demo Shows Latest Location-Aware, AI Tour Guide Innovations #1673: Snap Lensfest Announcement Reflections from AR Gaming Studio DB Creations #1674: 3rd Place Spectacles Lensathon Team: Fireside Tales Collaborative Storytelling with GenAI #1675: 2nd Place Spectacles Lensathon Team: CartDB Barcode-Scanning Nutrition App #1676: 1st Place Spectacles Lensathon Team: Decisionator Object-Detection AI Decision-Maker #1677: Snap's AR Developer Relations Plan for 2026 Specs Consumer Launch with Joe Darko This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with VRChat co-founder and CEO Graham Gaylor at Meta Connect 2025 where we talk about the various different monetization strategies that VRChat has been exploring with their user-generated content platform. VRChat announced layoffs for 30% of their employees back on June 12, 2024, and so this is the first time I've had a chance to interview any of the VRChat executives since then. I used to have a pretty consistent streak of interviewing either VRChat leaders or employees at various VR conferences running from 2014, 2015, 2016, 2017, 2018, and 2019, but after the pandemic they were not giving as many public interviews. I did however recently cover the VRChat Avatar Marketplace as well as a conversation with VRChat's new Trust and Safety lead Jun Young Ro about his plans to overhaul and modernize VRChat's Trust and Safety processes, especially as users like Harry X were pointing out some gaps in their moderation processes. I had a chance to chat with Gaylor about some of the early decisions in VRChat for making custom avatars easily uploadable since version 0.3.5 on March 16, 2014 when co-founder Jesse Joudrey made his first public contributions to the project. Joudrey elaborated on his vision of what he considered to be "one of the corner stones of virtual reality and any cyberpunk offshoot... Customization. I don't want any limit on who or what I can be in virtual reality." I had dug up these dates and posts in the write up for episode #1408 where I went down a deep rabbit hole of tracing down some of the origin story for VRChat. Gaylor had actually passed along some early emails and documentation of the early days of VRChat for that write-up. The decision to make avatars completely customizable has been part of the magic and success of VRChat. But centralized and controlled identity has traditionally been one of the core pathways for monetization. In a conversation with VRChat community members after the June 2024 layoffs, qDot told me, "You cannot put the asset genie back in the bottle for VRChat. They can't just come up with an asset system that works this sort of centrally-regulated way now. Everyone is used to throwing these assets around, selling them on Gumroad, selling them on Booth." So I had a chance to talk with Gaylor about his paradox of customizable identity being both the secret sauce of VRChat, but also the clearest traditional path for monetization. You can see more context in the rough transcript below. This also happens to wrap up my coverage of Meta Connect 2025, and here's a recap of the different stories and coverage if you'd like to dig into more details of other things that were announced this year. #1652: Kick-off of Meta Connect Coverage with Meta Ray-Ban Display Glasses Insights from Norm Chan #1653: XR Analyst Anshel Sag on Meta's AI Glasses Strategy #1654: CNET's Scott Stein's Reflections on Meta Ray-Ban Display Glasses Implications #1655: Meta Horizon Studio News and Virtual Fashion with Paige Dansinger #1656: Kiira Benz Part 1: "Runnin'" Large-Scale Volumetric Music Video (2019) #1657: Kiira Benz Part 2: "Finding Pandora X" Bringing Immersive Theatre to VRChat (2020) #1658: Kiira Benz Part 3: Immersive Storytelling Career Retrospective (2025) #1659: VR Gaming Career Retrospective of Chicken Waffle's Finn Staber #1660: Enabling JavaScript-Based Native App XR Pipelines with NativeScript, React Native, and Node API with Matt Hargett #1661: State of VR Gaming with Jasmine Uniza's Impact Realities and Flat2VR Studios #1662: Meta Connect Highlights & Meta Horizon News with JDun and JoyReign #1663: ShapesXR Updates & Neural Band Design Implications of Transforming Your Hand into a Mouse #1664: Resolution Games CEO on Apple Vision Pro Launch + Gaze & Pinch HCI Mechanic in Game Room (2024) #1665: Resolution Games' "Battlemarked" Blends Mixed Reality Social Features with Demeo and D&D Gameplay

I did an interview with Gustav Stenmark at Meta Connect 2025 talking about their latest game Demeo x Dungeons & Dragons: Battlemarked, which enables some pretty interested co-located mixed reality social features, but also enables individual players to have their own mixed reality or VR POV. You can cee more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Resolution Games CEO Tommy Palm soon after the Apple Vision Pro launch last year where we talk the in the Game Room game commissioned by Apple as well as the exploration of the relatively new gaze and pinch mechanic that's enabled with the eye-tracking of the Apple Vision Pro. After seeing the Neural Band at Meta Connect, then I'm reminded about how ultimately the gaze and pinch mechanic is a lot more efficient and more optimized for quickly selecting items in a fully volumetric context. Meta's Neural Band announced at Meta Connect in the context of the Meta Ray-Ban Display glasses is only within a 2D context in a head-lock HUD display screen, and so operating the Neural Band feels a lot like what it feels like to navigate TV menus with a TV controller, but rather than a controller, then your thumb and side of your index finger are being transformed into a two-axis D-pad. Again, the ultimate form factor is likely going to come back to gaze and pinch, but that will require shipping with eye tracking. And so this unpublished conversation with Tommy Palm takes on a new context as we reflect upon the latest HCI innovations that were announced at Meta Connect and where the ultimate form factor may be headed. Resolution Games also has quite a history of launching games on newly XR devices, and so this conversation with Palm is also within that spirit, and we'll be diving into Battlemarked within the next conversation You can also see more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Michael Markman at Meta Connect 2025 talking about all of the latest updates to the VR design and prototyping tool of ShapesXR, and then we start to dive into some of his hot takes after getting a chance to try out the Meta Ray-Ban Display glasses and associated Neural Band. He sees that the neural band is essentially transforming your hand into a mouse that is providing a simplified navigation system (probably closer to a D-pad on a TV remote), but the index-finger-to-thumb serves as a functional left click and middle-finger-to-thumb serves as a functional right click, which has been enough to build the foundation of most modern HCI for computer software for the last 57 years since The Mother of All Demos debuted the mouse in 1968. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with JoyReign and JDun talking about all of the latest announcements from Meta Connect 2025 focusing a lot on the biggest news from Meta Horizon including their new Studio and Engine. We also talk a bit about the other VR demos that were being shown at Meta Connect, and what they're the most excited about coming out of Meta Connect 2025. JoyReign also talks about developing the VR game Crystal Frenzy within Horizon Worlds, and which parts of GenAI she found to be the most helpful. They also won the Amplifier Award at the Meta Horizon Creator Summit that was being held ahead of Connect. We also chat a bit about how Meta was also promoting different mobile phone games on their Horizon platform including Super Strike, Battle Kin, Shovel Up, Smash Golf early access, and Bumble Dudes. You can also see more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Jasmine Uniza at Meta Connect 2025 where we talk about her journey from being a robotics engineer for the Mars Rover to doing a career pivot into the VR games industry with the founding of Impact Reality marketing firm for games as well as Flat2VR Studios that is porting popular 2D games into VR. We also reflect upon the current state of VR gaming with Meta and their store curation strategies and emphasis on free-to-play games, while focusing on premium VR games. You can see more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Rebecker Specialties' founder Matt Hargett at Meta Connect 2025 about alternative open source and open standards, JavaScript-based pipelines for developing XR applications that he's been working on including React Native for VisionOS, as well as working with NativeScript for VisionOS, and also working to bringing Node API support for React Native. Also be sure to check out his git visualizer Factotum, which is an app that is using some of these alternative production pipelines. Hargett also mentions a couple of recent React Universe Conf talks covering this work including Hermes + Node API: A Match Made in Heaven and Bringing Node-API to React Native. You can also see more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Finn Staber at Meta Connect 2025 reflecting about on his journey into VR from co-founding The Wave VR to then forming Chicken Waffle to developing the games of Baby Hands, Cowbots and Aliens, Shadow of Valhalla, Blazer League, and MarsXR. We also reflect on the current state of VR gaming with Meta, and some of the feedback he's been providing to them from the perspective of an independent, third-party game developer. You can see more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here is my third and final interview of a trilogy of interviews with Kiira Benz. This was conducted at Meta Connect 2025, and serves as a sort of career retrospective of Benz's journey into immersive storytelling. You can check out our previous conversations with our interview about Runnin' from Sundance New Frontier 2019, our interview about Love Seat from Venice Immersive 2020, and then our interview about Finding Pandora X from Venice Immersive 2020. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Kiira Benz and Joanna Popper during my remote coverage of Venice Immersive 2020, where her Finding Pandora X project won the Best VR Immersive User Experience award. This is a second in a trilogy of interviews with Benz, and you can check out our conversation about Runnin' and our latest interview conducted at Meta Connect 2025 where we do a bit of career retrospective of her journey into the realm of immersive storytelling. In this conversation, we talk about her immersive theatre production called Finding Pandora X, which she brought into VRChat during the pandemic. Be sure to check out her "The Making of Finding Pandora X Documentary - Virtual Theater" to get even more details on it. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I'm featuring a trilogy of interviews with Kiira Benz (formerly known as Kiira Benzing) with this first part covering her Runnin' music video piece that showed at Sundance 2019 and won the top prize at SXSW 2019. I'll follow up with an interview about her immersive theatre piece that won a prize at Venice Immersive 2019 called Finding Pandora X. And the final I did with her at Meta Connect 2025 doing a bit of a career retrospective, including some work she did in Horizon Worlds and her latest piece focusing on accessibility and dance performance. Also be sure to check out the second recorded interview that I did in 2019 about her hybrid theater and VR piece Love Seat, which showed at Venice 2019. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with prolific Horizon world builder Paige Dansinger at Meta Connect about the latest Meta Horizon news including the new Meta Horizon Studio as well as Meta Horizon Engine. She also was wearing some custom, hand-made pants that were inspired by virtual pants that she designed for her MetaversePaige avatar. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Scott Stein at Meta Connect 2025 reflecting on the biggest news of the Meta Ray-Ban Display glasses and the associated Neural Band. Stein has been covering the XR industry since 2012, and always has some deep thoughts on the broader implications of the latest news. You can check out his hands-on first impressions in his CNET video here, and his interview with Meta CTO Andrew Bosworth here. Stein and I had a chance to catch up after the day 1 Meta Connect keynote announcements, and also speculate on the future of the ecosystem in around the Meta Ray-Ban Display Glasses. The Meta Wearables Device Access Toolkit wasn't announced until the following day at the end of the developer keynote at Meta Connect, but there still hasn't been any announcement about if or when third-party developers will get access to develop apps for it as Meta seems content to focus on their own first-party apps at the launch of the device today. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Moor Insights and Strategy principle XR Analyst Anshel Sag at Meta Connect to hear some of this latest thoughts on the biggest announcements, but also a broader reflection of how Meta is focusing on how these new AI glasses wearables like the Meta Ray-Ban Display Glasses as well as upgraded Ray-Ban Meta Gen 2 and Oakley-branded AI glasses will provide a platform for Meta's AI products. You can see more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I did an interview with Norm Chan at Meta Connect about the Meta Ray-Ban Display Glasses and Meta Neural Band. Be sure to watch Chan's full 58-minute Tested.com report including an interview with Meta CTO Andrew "Boz" Bosworth as his hands-on impressions of the biggest announcement at Meta Connect 2025. You can also see more context in the rough transcript below. This kicks off my Meta Connect 2025 coverage, and I'll be including about a dozen interviews that I did on site that will also be unpacking different news and reactions to Meta's emphasis of AI-driven wearables, and what's happening within the broader XR industry and VR gaming ecosystem. Here's links to all of the interviews that are a part of my Meta Connect 2025 coverage: #1652: Kick-off of Meta Connect Coverage with Meta Ray-Ban Display Glasses Insights from Norm Chan #1653: XR Analyst Anshel Sag on Meta's AI Glasses Strategy #1654: CNET's Scott Stein's Reflections on Meta Ray-Ban Display Glasses Implications #1655: Meta Horizon Studio News and Virtual Fashion with Paige Dansinger #1656: Kiira Benz Part 1: "Runnin'" Large-Scale Volumetric Music Video (2019) #1657: Kiira Benz Part 2: "Finding Pandora X" Bringing Immersive Theatre to VRChat (2020) #1658: Kiira Benz Part 3: Immersive Storytelling Career Retrospective (2025) #1659: VR Gaming Career Retrospective of Chicken Waffle's Finn Staber #1660: Enabling JavaScript-Based Native App XR Pipelines with NativeScript, React Native, and Node API with Matt Hargett #1661: State of VR Gaming with Jasmine Uniza's Impact Realities and Flat2VR Studios #1662: Meta Connect Highlights & Meta Horizon News with JDun and JoyReign #1663: ShapesXR Updates & Neural Band Design Implications of Transforming Your Hand into a Mouse #1664: Resolution Games CEO on Apple Vision Pro Launch + Gaze & Pinch HCI Mechanic in Game Room (2024) #1665: Resolution Games' "Battlemarked" Blends Mixed Reality Social Features with Demeo and D&D Gameplay #1666: VRChat CEO Graham Gaylor on Exploring Various UGC Monetization Strategies This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

PHI Studio sponsored today's episode to highlight that they are expanding their location-based entertainment distribution network to the United States with their EXP Rosemont location in the greater Chicago, IL area that is opening to the public on September 26, 2025. They will be launching with a couple of Excurio pieces including The Horizon of Khufu and Life Chronicles that feature large-scale, free-roaming VR guided tours that I've covered previously in episodes #1430, #1431, and #1588. Both Excurio and PHI Studio are interested in collaborating with creators who are interested in creating large-scale LBE experiences that could draw 100-150 people per hour, and you can reach out to Fabian Barati and/or Julie Tremblay on LinkedIn. Excurio will be making their tools and SDK available to third party developers to expand the number content producers creating this type of large-scale work, and PHI Studio continues to do co-productions across a wide range of formats and throughput scales. I'm excited to see PHI Studio continue to build out their independent distribution network across Canada and North America as they continue to produce and distribute their own experiences as well as distribute the best of large-scale, free roaming experience from Excurio. EXP Rosemont will be launching with a couple of Excurio pieces, but I expect them to eventually distribute some of their own large-scale VR and non-VR, immersive works as well. PHI Studio continues to build out their own independent distribution networks, which will provide new outlets and opportunities for immersive stories that have featured on the festival circuit to have a home beyond this more insular XR industry exhibition network. Not all projects will be a good fit for this high-throughput format, but the revenue generated will help support their other more experimental efforts that are helping to push the boundaries of the medium. Look for my more in-depth coverage of Blur coming out here within the next couple of weeks, which was my personal favorite from Venice Immersive and one of the hottest tickets at this years festival. Thanks again to PHI Studio for sponsoring this episode, and keep an eye on this new location in the greater Chicago area (and apparently only a 10-minute ride from O'Hare Airport if you happen to have an extended layover). I'll be diving more into more 30+ hours of coverage from Venice Immersive within the next couple of weeks, likely after I return from Meta Connect. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Venice Immersive curators Liz Rosenthal & Michel Reilhac about sneak peak of their 2025 selection, which is their largest selection yet. See more context in the rough transcript below. Here's an Venice Immersive Program Cheat Sheet by Voices of VR podcast (PDF), which has an overview of the four categories of immersive experiences ordered by longest booking times to shortest (amount of time required for scheduling purposes) as well as the actual runtime, the number of people who can see it per slot, and then the number of people who can see it per day. This should hopefully help for your scheduling process. I typically book experiences to roughly corresponding to hours. The Biennale scheduling website will open up on Thursday, August 21st, and it will not let you double book yourself. So I personally find it easier to book the longer experiences first, and then fill out my schedule with shorter experiences, and then experiences that generally have higher capacity. Note that Ancestors (capacity of 48 people), and L'Ombre (capacity of 50 people), and each of the VRChat sessions only have one booking time per day, and so these are also worth prioritizing if you want to see them and they should have lots of capacity throughout the week. The One the Other Earth may be one of the more logistically difficult experiences to see as you'll need to make a trek up to the main Venice island. I'd recommend trying to keep your schedule clear for at least an hour before and afterwards. Here's a Venice Immersive Schedule Helper that I put together to help navigate the schedule. Here's a placeholder for my other coverage of Venice Immersive 2025 to be updated after the festival. Venice Airport to Lido Island The best way to get to Lido from the Venice airport is either via the Red or Blue Line of the Alilaguna Public Transport water taxi, which you can get tickets either after you come out of customs or you can go to the water taxi dock at the Venice airport, and there's a booth there.  Picking up badge at Palazzo del Casinò I usually pick up my badge at the bottom of the Palazzo del Casinò, which is at Lungomare Guglielmo Marconi, 1861, 30126 Lido VE, Italy Venezia 2000 to the VR Island (Lazzaretto Vecchio) The best way to get to the VR Island of Lazzaretto Vecchio from the docks is the bus. The buses leave every 15-20 minutes, and it's a 3 minute ride, and another 5 minute walk to the island. Here is a link to the bus route and the addresses. I believe it is either the A, N, or C or CE routes. I believe the bus stop names are S.Maria Elisabetta and then I get off at the Gallo Sant'Antonio stop. The address of the VR island is Isola del Lazzaretto Vecchio, Lazzaretto Vecchio, 30100 Venezia VE, Italy There is a water taxi that you can find the pick-up spot by looking at the google map and get directions there. It takes 1 minute of a ride, but there is only one taxi that can be a 10-15 minute wait depending on how busy it is. Also be sure to check out XR Must's interview with Liz and Michel, which I found a lot of helpful info in. Some of the artist statement videos are starting to get posted onto the BiennaleChannel YouTube page. Here's a list Best of Experiences and Best of Worlds from VRChat that are already available if you'd like to get a head start on this year's program. Already Released - BEST OF EXPERIENCES The Midnight Walk Ghost Town One True Path, Part 1 Wall Town Wonders D-Day: The Camera Soldier - Apple Vision Pro Submerged - Apple Vision Pro Adventure: Ice Dive - Apple Vision Pro Already Released - BEST OF WORLDS - VRChat links included vent. by Premium² What is Virtual Art – Volume 1 by Jessien FLASHING WARNING by xlxxl Flat Earth by Niko Lang Neuron by Juice… Powdergame by Pema Malling [NOT REPLAYABLE YET] FZMZ Pointzero by ReeeznD [VR_SMEJ] よるとうげ -Yorutouge- by mikkabouzu / Kikuo [VR_SMEJ]

I spoke with TrainingFangs & TehArbitter about Raindance Immersive Closing Night music and VR performance (now available as a replayable event in the Moon Pool VRChat World) as a part of my Raindance Immersive 2025 coverage. (Photo by Kaerun). See more context in the rough transcript below. Here's a recap of my Raindance Immersive 2025 & VRChat coverage: #1566: Raindance Immersive Curators on the 2025 Selection of Immersive Art on Social VR Platforms [VRChat Story] - #1634: User Claims Potential Gaps in VRChat's Moderation of NSFW Avatars [VRChat Story] - #1635: VRChat's Avatar Marketplace is Targeting Demographic of New Users [VRChat Story] - #1636: Planned Improvements of VRChat's Trust & Safety from New Lead Jun Young Ro #1637: VRChat Doc "The Architect Across Realities" Features MR Design Innovations in Japan #1638: Virtual Photographer Kaerun's Japanese Friendships Featured in Documentary at Raindance #1639: Playing Live Jazz in VRChat with EMN Records enabled by Yamaha SYNCROOM in Japan #1640: "Tonevok" features Real-Time Audioreactive MIDI Visualizations in VRChat #1641: "Siholette of Memories" Cinematic VR Concert Experience Features Live Choreography #1642: "Cathedral of Witches" Performance Explores Trans & Queer Spirituality in VRChat #1643: Studio Penrose's "Our Precious Autumn" Short Film Shot in VRChat Wins Raindance Award #1644: Julianna Loh on Creating Immersive Art in VR and AR #1645: "Hommage" Adventure Inspired by Moebius' Art Collaboratively Built in Resonite #1646: "The Continuous Present" Combines Poetry, Music, & Giant Immersive Sculptures to Win Raindance Immersive's Best Art Experience #1647: Virtual Art Exhibition Innovations in Jessien's "What is Virtual Art?" VRChat World #1648: Vast Hand-Painted "Natura's Queendom" Wins Raindance Immersive's Best Art World #1649: Fangs & Arbi Close Out Raindance with a Breathtaking Music and VJ Show at the Moon Pool This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Anders Fray (aka Ders) & Starheart about Natura's Queendom as a part of my Raindance Immersive 2025 coverage. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Jessien about his Virtual Museum of Virtual Art as well as his latest What is Virtual Art? VRChat World exhibition as a part of my Raindance Immersive 2025 coverage. We also talk about his previous Raindance award-winning world Thickness Of Calligraphy. See more context in the rough transcript below. https://www.youtube.com/watch?v=9xOZhfAMORw This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with ReVerse Butcher & Kylie Supski about The Continuous Present as a part of my Raindance Immersive 2025 coverage. See more context in the rough transcript below. https://www.youtube.com/watch?v=DL_2L0jzUhA This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Nanotopia & Rixx about Hommage as a part of my Raindance Immersive 2025 coverage. See more context in the rough transcript below. https://www.youtube.com/watch?v=SqOjHRWRAfM This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Juliana Loh about creating immersive art in VR and AR as a part of my Raindance Immersive 2025 coverage. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Khang Lu, Quinn Heptig, & Eliza Zhang about their short film shot in VRChat called Our Precious Autumn as a part of my Raindance Immersive 2025 coverage. See more context in the rough transcript below. https://www.youtube.com/watch?v=oxrbWg5vYdk This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with hexe.exe, T_Braun, Shadowwulf82, RingSystem, Casperillion, Venixia, LadybugVR, & Starheart about Cathedral of Witches as a part of my Raindance Immersive 2025 coverage. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with HoneyWeeWee, Sandi_, Humi, Quinnster, & Kiashi_GL about Silhouette of Memories as a part of my Raindance Immersive 2025 coverage. See more context in the rough transcript below. https://www.youtube.com/watch?v=QsgZm4u8UsU This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with VoxelKei and R_Tone with RIKU_VR as the Japanese translator about Tonevok: Sonic Sky Journey as a part of my Raindance Immersive 2025 coverage. See more context in the rough transcript below. https://www.youtube.com/watch?v=9aS7eZWK6oI This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Alpaka, Emnyeca, Sheena_baobab, & tktk about playing live jazz in VRChat in Blue Rondo: Stratus as a part of my Raindance Immersive 2025 coverage. You can join the EMN Records VRChat Group if you'd like to check out one of their shows. See more context in the rough transcript below. https://www.youtube.com/watch?v=3IjGhiINz5A This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Kaerun about being featured in Madame Kana's documentary about him called a Dutchman in Virtual Japan | A VRChat documentary as a part of my Raindance Immersive 2025 coverage. Kana also previosly made a short doc about Kaerun's VR photography called Kaerun, event photographer on #vrchat. See more context in the rough transcript below. https://www.youtube.com/watch?v=hR--zc4MOVk This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Jiyue Human about VRChat Doc The Architect Across Realities as a part of my Raindance Immersive 2025 coverage. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Jun Young Ro about planned improvements of VRChat's Trust & Safety processes. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Kaki Navarre & Aev about the launch of VRChat's Avatar Marketplace. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Harry X about potential gaps in VRChat's moderation of NSFW avatars that he details in a series of articles here: The Dark Reality of VRChat: How Public Sexual Avatars Are Slipping Through the Cracks (2025, April 29) VRChat's Dangerous Oversight: A Breeding Ground for Public NSFW Avatars (2025, May 4) VRChat's Complete Failure in Avatar Moderation – Over 300 TOS-Violating Avatars Reported, Zero Action Taken (2025, May 10) I did have a chance to follow up with VRChat's new trust and safety lead in a subsequent interview to go into more details for how VRChat is responding to these potential gaps. You can see more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Navid Khonsari about Fire Escape at the Vancouver International Film Festival 2018. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Navid Khonsari, Vassiliki Khonsari, & Brooks Brown about Hero at Sundance 2018. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Navid Khonsari about the GDC Narrative Innovations Showcase Highlights at GDC 2017. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Keiichi Matsuda, Designer and Director of Liquid City, that was conducted on Thursday, June 12, 2025 at Augmented World Expo in Long Beach, CA. In the introduction, I read through Matsuda's essay titled "Gods" (also uploaded here) where he explores the idea that AI should be more like pets and polytheistic and animistic familiars rather than the more monotheistic approach where there's one true AI God represented by one of Big Tech's omniscient and all-powerful AI systems. This approach has lead Matsuda to developing a system of what he calls "parabrains" that is an interface for AI agents that goes beyond the narrative scripting capabilities that he was exploring in inworld.ai with his project MeetWol that I covered previously at AWE 2023. A lot of Matsuda's ideas were also explored in the speculative fiction short film called Agents that was produced in collaboration with what was a the time Niantic Labs and is now Niantic Spatial (check out my interview with Niantic Spatial at AWE 2025 for more on how they're using Matsuda's Parabrains system). And you can also see more context in the rough transcript below. This is episode #41 of 41 of my AWE Past and Present series totaling 24.5 hours. You can see a list of all of the interviews down below: #1590: AWE Past and Present: Ori Inbar on the Founding of Augmented World Expo to Cultivate the XR Community (2023) #1591: Sonya Haskins' Journey to Head of Programming at Augmented World Expo (2023) #1592: Highlights of AWE 2025 from Head of Programming Sonya Haskins (2025) #1593: From Military to Enterprise VR Training with Mass Virtual on Spatial Learning (2025) #1594: Part 1: Rylan Pozniak-Daniels' Journey into XR Development (2019) #1595: Part 2: Rylan Pozniak-Daniels' Journey into XR Development (2025) #1596: Engage XR's Virtual Concert as Experiential Advertising for their Immersive Learning Platform (2023) #1597: Educator Vasilisa Glauser on Using VR for Twice Exceptional Students (2025) #1598: Part 1: Immersive Data Visualization with BadVR's Suzanne Borders (2018) #1599: Part 2: Immersive Data Visualization with BadVR's Suzanne Borders (2021) #1600: Part 1: Jason Marsh on Telling Data Stories with Flow Immersive (2018) #1601: Part 2: Jason Marsh on Telling Data Stories with Flow Immersive (2019) #1602: Part 3: Jason Marsh on Telling Data Stories with Flow Immersive (2025) #1603: Spatial Analytics with Cognitive3D's Tony Bevilacqua (2023) #1604: Investing in Female Founders with WXR Fund's Amy LaMeyer + Immersive Music Highlights (2019) #1605: Rapid Prototyping in VR with ShapesXR + 2021 Launch with CEO Inga Petryaevskaya (2021) #1606: Weekly Meetups in VR with XR Women Founder Karen Alexander (2025) #1607: 2023 XR Women Innovation Award Winner Deirdre V. Lyons on Immersive Theater (2025) #1608: AWE Hall of Famer Brenda Laurel on "Computers as Theater" Book, Ethics, and VR for Ecological Thinking (2019) #1609: Framework for Personalized, Responsive XR Stories with Narrative Futurist Joshua Rubin (2025) #1610: Scouting XR & AI Infrastructure Trends with Nokia's Leslie Shannon (2025) #1611: Socratic Debate on Future of AI & XR from AWE Panel (2025) #1612: AWE Hall of Famer Gregory Panos' Journey into VR: Identity, Body Capture, and Virtual Immortalization (2025) #1613: VR Content Creator Matteo311 on the State of VR Gaming (2025) #1614: Story Behind "Escape Artist" 2024 Polys WebXR Awards Winner (2024) #1615: Viverse's WebXR Plublishing Strategy with James C. Kane & "In Tirol" Game (2025) #1616: Founding Story of Two Bit Circus Micro-Amusement Park with Brent Bushnell & Eric Gradman (2018) #1617: Dream Park: Using MR in Public Spaces to Create Downloadable Theme Parks with Brent Bushnell & Aidan Wolf (2025) #1618: Producing Live Sports for Cosm's Immersive Dome with Ryan Cole (2025) #1619: Deploying Snap Spectacles in Verse Immersive AR LBE with Enklu's Ray...

Here's my interview with Alicia Berry (Executive Producer at Niantic Spatial) & Asim Ahmed (Head of Product Marketing at Niantic Spatial) that was conducted on Thursday, June 12, 2025 at Augmented World Expo in Long Beach, CA. Check out their announcement blog posts including "Niantic Spatial and Snap's Multi-Year Strategic Partnership to Build AI-Powered Map" as well as "Niantic Spatial Joins Khronos Group to Advance Geospatial AI and 3D Standards" (mentioned in my latest interview with Neil Trevett, as well as "Meow Wolf and Niantic Spatial Announce Plans to Explore an Expansion of the Meow Wolf Universe". Also be sure to check out my interview with Keiichi Matsuda about Liquid City's Parabrains system that Niantic Spatial was using in their VPS guided tour demo they were showing at AWE. And you can also see more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Caitlin Krause, Founder of Mindwise, that was conducted on Wednesday, June 11, 2025 at Augmented World Expo in Long Beach, CA. This is part 2 of 2 of my conversations with Krause, you can see part 1 from 2019 here. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Caitlin Krause, Founder of Mindwise, Writer, Speaker, Programmer, Educator, & Curator of Experiences, that was conducted on Wednesday, September 25, 2019 at Oculus Connect in San Jose, CA. This is part 1 of 2 of my conversations with Krause, you can see part 2 from 2025 here. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Neil Trevett, President of the Khronos Group talking about the new OpenXR Extension of Spatial Entities that has been in development for two years including PICO, Collabora, Godot Engine, Google, Meta, Unity, and Varjo, Microsoft, and ByteDance. You can see statements from many of these companies at the end of the blog announcement titled "OpenXR Spatial Entities Extensions Released for Developer Feedback." My interview with Trevett was conducted on Tuesday, June 10, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Tom Emrich, founder and editor-in-chief of Remix Reality, XR Product leader, Community Builder, Journalist, & Investor, that was conducted on Wednesday, June 11, 2025 at Augmented World Expo in Long Beach, CA. This is part 2 of 2 of my conversations with Emrich, you can see part 1 from 2018 here. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Tom Emrich from June 17, 2018 when he was still a partner of Super Ventures, co-producer of Augmented World Expo. This is part 1 of 2 of my conversations with Emrich, you can see part 2 from 2025 here. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Ziad Asghar, Qualcomm's Senior Vice President & General Manager of XR & Spatial Computing, that was conducted on Wednesday, June 11, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Brian Vogelsang from June 1, 2023 at Augmented World Expo when he was still Qualcomm's Senior Director of Product Management for Snapdragon Spaces and Developer Ecosystem. We cover a lot of Qualcomm's announcements from AWE 2023, including the dual-render fusion features for tethering the touch-screen interfaces to AR experiences that could be seen on different head-mounted glasses form factors. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Karl Guttag of the KGOnTech Blog as well as independent analyst for consumer XR display devices and systems that was conducted on Thursday, June 1, 2023 at Augmented World Expo in Santa Clara, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Scott Myers, Vice President of Hardware Engineering at Snap and Snapchat Spectacles, that was conducted on Tuesday, June 10, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Ray Kallmeyer, Founder and CEO of Enklu and their 22 Verse Immersive AR LBE locations, that was conducted on Tuesday, June 10, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below.

Here's my interview with Ryan Cole, Vice President of Video Technology at Cosm, that was conducted on Wednesday, June 11, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with the co-founders of Dream Park, Brent Bushnell & Aidan Wolf, that was conducted on Wednesday, June 11, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with the co-founders of at Two Bit Circus, Brent Bushnell & Eric Gradman, that was conducted on Thursday, October 11, 2018 at site visit to Two Bit Circus in Los Angeles, CA just over a month from their grand opening September 5th, 2018. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview about Viverse's Open Metaverse Strategy built on WebXR frameworks as well as the new WebXR game by James C. Kane called In Tirol. Kane is a Director in Emerging Technologies with a Focus on Immersive Tech, AR/VR, & WebXR, and this interview was conducted on Wednesday, June 11, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview about the WebXR experience called Escape Artist with James C. Kane (who at the time was Technical Director at Paradowski), Andy Wise (Vice President of Creative Technology at Paradowski), & Ayushman Johri (3D Artist at Paradowski) that was conducted via Zoom on Tuesday, March 12, 2024. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Matteo311, VR Content Creator, that was conducted on Tuesday, June 10, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my biographical oral history interview with Gregory Panos, 2025 Inductee into the Augmented World Expo Hall of Fame, talking about his journey from the early days of computer graphics to becoming a virtual reality evangelist and consultant, community builder via SIGGRAPH, as well as his long-time fascination with identity, volumetric capture of people, memorialization, and his ideas around a celebratory process of virtual immortalization as elaborated in his 1994 paper "Using Virtual Reality to Document Human Existence." Thursday, June 12, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's the panel discussion of Socratic Dialogue on the Future of AI and Immersive Technology with Alvin Wang Graylin, Kent Bye, Louis Rosenberg, Leslie Shannon that was recorded on the main stage of Augmented World Expo on Thursday, June 12, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below, and you can watch the original video here. Here's some other relevant episodes that I've done recently in preparation for this debate on AI: #1563: Deconstructing AI Hype with “The AI Con” Authors Emily M. Bender and Alex Hanna #1568: A Process-Relational Philosophy View on AI, Intelligence, & Consciousness with Matt Segall #1585: Debating AI Project and a Curating Taiwanese LBE VR Exhibition at Museum of Moving Image #1609: Framework for Personalized, Responsive XR Stories with Narrative Futurist Joshua Rubin #1610: Scouting XR & AI Infrastructure Trends with Nokia’s Leslie Shannon #1629: Niantic Spatial is Building an AI-Powered Map with Snap for AR Glasses & AI Agents #1630: Keiichi Matsuda on Metaphors for AI Agents in XR User Experience: From Omniscient Gods to Animistic Familiars #1611: Socratic Debate on Future of AI & XR from AWE 2025 Panel https://www.youtube.com/watch?v=91E_ffrW9u4 This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Leslie Shannon, Nokia's Head of Trend and Innovation Scouting, that was conducted on Tuesday, June 10, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Joshua Rubin, Interactive Emmy-Winning Narrative Director, Immersive Storyteller, and Narrative Futurist, that was conducted on Tuesday, June 10, 2025 at Augmented World Expo in Long Beach, CA. We talked about his talk at SXSW 2025 titled Building the Personalized, Responsive XR of the Future: Lessons we can learn from immersive theater and gaming See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Brenda Laurel, Board of Virtual World Society, VR Artist, Theorist, Writer, Speaker, Designer, author of five books including Computers as Theatre, that was conducted on Wednesday, May 29, 2019 at Augmented World Expo in Santa Clara, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Deirdre V. Lyons, Founder of Ferryman Collective and winner of the 2023 Women in XR Innovation Award, that was conducted on Thursday, June 1, 2023 at Augmented World Expo in Santa Clara, CA. See my conversation with the XR Women Real World Impact Award recipient Paige Dansinger in episode #1308 and as well as XR Women The Trailblazer Award winner Athena Demos in episode #1192. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Karen Alexander, one of the co-founders of XR Women, Consultant, & Executive Director of Academy of Immersive Arts & Sciences, that was conducted on Wednesday, June 11, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Inga Petryaevskaya, Founder, CEO, ShapesXR, that was conducted on Wednesday, November 10, 2021 at Augmented World Expo in Santa Clara, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Amy LaMeyer, Managing Partner of The WXR Fund and Angel Investor in VR, AR, AI space, that was conducted on Thursday, May 30, 2019 at Augmented World Expo in Santa Clara, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Tony Bevilacqua, Founder and CEO of Cognitive3D, that was conducted on Friday, June 2, 2023 at Augmented World Expo in Santa Clara, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Jason Marsh, Founder and CEO of Flow Immersive, that was conducted on Thursday, June 12, 2025 at Augmented World Expo in Long Beach, CA. This is part 3 of 3 of my conversations with Marsh, you can see part 1 from 2018 here and part 2 from 2019 here. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Jason Marsh, CEO and Founder of Flow Immersive, that was conducted on Wednesday, October 16, 2019 at Virtual Reality Strategy Conference in San Francisco, CA. This is part 2 of 3 of my conversations with Marsh, you can see part 1 from 2018 here and part 3 from 2025 here. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Jason Marsh, CEO and Founder of Flow Immersive, that was conducted on Tuesday, October 16, 2018 at Virtual Reality Strategy Conference in San Francisco, CA. This is part 1 of 3 of my conversations with Marsh, you can see part 2 from 2019 here and part 3 from 2025 here. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Suzanne Borders, CEO and Co-Founder of BadVR, that was conducted on Thursday, November 11, 2021 at Augmented World Expo in Santa Clara, CA. This is part 2 of my conversation with Borders, see part 1 here. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Suzanne Borders, CEO and Co-Founder of BadVR, that was conducted on Wednesday, October 10, 2018 at Magic Leap's LEAPCON in Los Angeles, CA. This is part 1 of my conversation with Borders, see part 2 here. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Vasilisa Glauser, educator specializing in twice exceptionality, that was conducted on Wednesday, June 11, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with ENGAGE's David Whelan, CEO of Engage PLC, that was conducted on Thursday, June 1, 2023 at Augmented World Expo in Santa Clara, CA. Be sure to check out my previous episode #1215: Fatboy Slim’s Groundbreaking & Trippy VR Concert on EngageXR that was released a few days before this follow-up conversation with Whelan. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Rylan Pozniak-Daniels, XR Developer and Futurist, that was conducted on Tuesday, June 10, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Rylan Pozniak Daniels, Futurist and AR/VR Developer, that was conducted on Wednesday, May 29, 2019 at Augmented World Expo in Santa Clara, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Michael Peeler, Business Development Manager at Mass Virtual, that was conducted on Thursday, June 12, 2025 at Augmented World Expo in Long Beach, CA. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Sonia Haskins, Head of Programming at Augmented World Expo, that was conducted on Wednesday, June 11, 2025 at Augmented World Expo in Long Beach, CA. This is part 2 of 2 of my conversations with Haskins, you can see part 1 from 2023 here. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Sonya Haskins, Head of Programming at Augmented World Expo, that was conducted on Friday, June 2, 2023 at Augmented World Expo in Santa Clara, CA. This is part 1 of 2 of my conversations with Haskins, you can see part 2 from 2025 here. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Here's my interview with Ori Inbar, co-founder at Super Ventures and Augmented World Expo, that was conducted on Friday, June 2, 2023 at Augmented World Expo in Santa Clara, CA. See more context in the rough transcript below. This AWE Past and Present series represents 41 interviews and 24.5 hours of coverage from AWE 2025 as well as past enterprise XR conferences gatherings from 2018-2025 and should hopefully give a good overview of some of the current trends and discussions happening within the industry. #1590: AWE Past and Present: Ori Inbar on the Founding of Augmented World Expo to Cultivate the XR Community (2023) #1591: Sonya Haskins' Journey to Head of Programming at Augmented World Expo (2023) #1592: Highlights of AWE 2025 from Head of Programming Sonya Haskins (2025) #1593: From Military to Enterprise VR Training with Mass Virtual on Spatial Learning (2025) #1594: Part 1: Rylan Pozniak-Daniels' Journey into XR Development (2019) #1595: Part 2: Rylan Pozniak-Daniels' Journey into XR Development (2025) #1596: Engage XR's Virtual Concert as Experiential Advertising for their Immersive Learning Platform (2023) #1597: Educator Vasilisa Glauser on Using VR for Twice Exceptional Students (2025) #1598: Part 1: Immersive Data Visualization with BadVR's Suzanne Borders (2018) #1599: Part 2: Immersive Data Visualization with BadVR's Suzanne Borders (2021) #1600: Part 1: Jason Marsh on Telling Data Stories with Flow Immersive (2018) #1601: Part 2: Jason Marsh on Telling Data Stories with Flow Immersive (2019) #1602: Part 3: Jason Marsh on Telling Data Stories with Flow Immersive (2025) #1603: Spatial Analytics with Cognitive3D's Tony Bevilacqua (2023) #1604: Investing in Female Founders with WXR Fund's Amy LaMeyer + Immersive Music Highlights (2019) #1605: Rapid Prototyping in VR with ShapesXR + 2021 Launch with CEO Inga Petryaevskaya (2021) #1606: Weekly Meetups in VR with XR Women Founder Karen Alexander (2025) #1607: 2023 XR Women Innovation Award Winner Deirdre V. Lyons on Immersive Theater (2025) #1608: AWE Hall of Famer Brenda Laurel on "Computers as Theater" Book, Ethics, and VR for Ecological Thinking (2019) #1609: Framework for Personalized, Responsive XR Stories with Narrative Futurist Joshua Rubin (2025) #1610: Scouting XR & AI Infrastructure Trends with Nokia's Leslie Shannon (2025) #1611: Socratic Debate on Future of AI & XR from AWE Panel (2025) #1612: AWE Hall of Famer Gregory Panos' Journey into VR: Identity, Body Capture, and Virtual Immortalization (2025) #1613: VR Content Creator Matteo311 on the State of VR Gaming (2025) #1614: Story Behind "Escape Artist" 2024 Polys WebXR Awards Winner (2024) #1615: Viverse's WebXR Plublishing Strategy with James C. Kane & "In Tirol" Game (2025) #1616: Founding Story of Two Bit Circus Micro-Amusement Park with Brent Bushnell & Eric Gradman (2018) #1617: Dream Park: Using MR in Public Spaces to Create Downloadable Theme Parks with Brent Bushnell & Aidan Wolf (2025) #1618: Producing Live Sports for Cosm's Immersive Dome with Ryan Cole (2025) #1619: Deploying Snap Spectacles in Verse Immersive AR LBE with Enklu's Ray Kallmeyer (2025) #1620: Snap's Head of Hardware Scott Myers on Spectacles Announcements & Ecosystem Update (2025) #1621: Karl Guttag's Technical Deep-Dive and Analysis of Consumer XR Displays and LCoS (2023) #1622: Qualcomm's 2023 AWE Announcements for Snapdragon Spaces Ecosystem (2023) #1623: Qualcomm's 2025 AWE Announcements and Android XR Partnerships with Ziad Asghar (2025) #1624: Tom Emrich's State of AR in 2018 (2018) #1625: Tom Emrich's "The Next Dimension" Book on AR for Marketing & Business Growth (2018) #1626: New Spatial Entities OpenXR Extension to Scan, Detect, & Track Planes with Khronos Group President Neil Trevett (2025) #1627: Part 1: Caitlin Krause on Bringing Mindfulness Practices into VR (2019)

I talk with Excurio co-founder and CEO Fabien Barati & Jules Rimbaud, business development manager for the US territory, about expanding Excurio to 22 locations worldwide, and now with a focus of expanding into North America. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Todd Little & Erik Horn about Space-Time Adventure Tour in Central Park during Tribeca Immersive 2025. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Philippe Bedard about States of Immersion Across Media: Bodies, Techniques, Practices at Tribeca Immersive 2023. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Michaela Ternasky Holland about her project The Gr(ai)t Debate at Onassis ONX Summer Showcase 2025 as well as the Portals of Solitude: Virtual Realities from Taiwan show she curated at the Museum of Moving Image. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke to Michaela Ternasky-Holland at the New Images Festival 2023 about the white paper titled "Deepening Engagement and Learning Impact through Virtual Reality Activations: Case Study Project: On the Morning You Wake (to the End of the World." See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Michaela Ternasky-Holland at the Immersive Design Summit 2019 about her entry into the immersive space, some of her early immersive storytelling projects, and working with at the Museum of Ice Cream as a creative assistant to the founder. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I talk with pop culture scholar Shawn Taylor about fandom at the Immersive Design Summit 2019, and be sure to check out his post "We the Fans: How Our Powers Can Change the World" for more on his thoughts on fandom. We also talk about Edward T. Hall's concept of Monochronic vs Polychronic time. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Reese Antoinette & MaryAnn Talavera about The ORIXA Project at Onassis ONX Summer Showcase 2023. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Graham Sack about Neuro-Cinema: From Synapse to Montage at Onassis ONX Summer Showcase 2025. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with the (now former) head of creative partnerships at ONX Vallejo Gantner at the Onassis ONX Summer Showcase 2023. We talked about the origin story of ONYX Studios as well the the Onassis Foundation's support for XR art and innovation. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with producer Rayne Zukerman & lead programmer Luke Ruminski about The Dollhouse as a part of my remote coverage of Cannes Immersive 2025. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Maartje Wegdam & Nienke Huitenga Broeren about Lacuna as a part of my remote coverage of Cannes Immersive 2025. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Eloise Singer & Lesley Paterson about Trailblazer with Daisy Ridley as a part of my remote coverage of Cannes Immersive 2025. See more context in the rough transcript below. Cannes Immersive Competition Lacuna -- #1577: Architecting a Multi-Threaded Narrative of Recovered Traumatic Memories in “Lacuna” – Voices of VR Podcast In the Current of Being -- #1531: In the Current of Being Uses Immersive Haptics to Tell the Story of Electroshock Conversation Therapy – Voices of VR Podcast From Dust -- #1494: Innovative VR Opera “From Dust” Combines GenAI Prompts, Digital Serenading, & Personality Branching – Voices of VR Podcast The Dollhouse -- #1578: Poetic Exploration of the Transmission of Class Power Dynamics in “The Dollhouse” – Voices of VR Podcast Beyond the Vivid Unknown -- #1333: AI Remix of 1982 Documentary “Koyaanisqatsi” with “The Vivid Unknown” Interactive Video Installation – Voices of VR Podcast LILI Taxi The Exploding Girl VR Windmills: A Rapa Out of Competition Trailblazer -- #1576: How Singer Studios Uses VR to Kickstart New Film, TV, Podcast, & Graphic Novel IP with “Trailblazer with Daisy Ridley” + Cannes Immersive 2025 Coverage – Voices of VR Podcast Trailblazer -- #1128: Combining Puzzle Mechanics with Environmental Storytelling in “Mrs. Benz” At my house Cannes Immersive Selection -- Focus Battlefield -- #1426: “Champ De Bataille” Uses Cinematic VR to Explore the Horrors and Emotion of World War I – Voices of VR Podcast This Is My Heart -- #1425: Immersive Art Installation “Ceci Est Mon Cœur” Uses the Poetry of Light to Explore Childhood Trauma – Voices of VR Podcast Floating with spirits -- #1290: “Floating with Spirits” Explores the Day of the Dead, Indigenous Transmissions, & Elemental Animism – Voices of VR Podcast Oto's Planet -- #1555: Award-Winning Tabletop Animation “Oto’s Planet” Uses Unique Interactive Mechanic to Chose Perspective – Voices of VR Podcast Ito Meikyu This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Rashin Fahandej about A Father's Lullaby at Tribeca Immersive 2025. See more context in the rough transcript below. (Photo by Mikhail Mishin courtesy of Onassis ONX) This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Rashin Fahandej about A Father's Lullaby at Tribeca Immersive 2023 when it was still a work-in-progress. See more context in the rough transcript below. (Photo by Mikhail Mishin courtesy of Onassis ONX) This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Yusuf Siddiquee, Abbas Rattani, & Shimul Chowdhury about New Maqam City at Tribeca Immersive 2025. See more context in the rough transcript below. (Photo by Mikhail Mishin courtesy of Onassis ONX) This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Ryat Yezbick & Milo Talwani about The Innocence of Unknowing at Tribeca Immersive 2025. See more context in the rough transcript below. (Photo by Mikhail Mishin courtesy of Onassis ONX) This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Kidus Hailesilassie about Uncharted VR at Tribeca Immersive 2025. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Meghna Singh about The Founders Pillars and The Power Loom at Tribeca Immersive 2025. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Michèle Stephenson, Joe Brewster, & idris brewster about There Goes Nikki at Tribeca Immersive 2025. See more context in the rough transcript below. (Photo by Mikhail Mishin courtesy of Onassis ONX) Tribeca Immersive 2025 Selection #1567: Tribeca Immersive Curators on the 2025 Selection of Impact Projects Curated by Onassis ONX, Agog, & Tribeca #1569: Family of Storytellers Creates an AR Memorial of Black Poet Nikki Giovanni with Epic Organic Garden Installation #1570: "The Founders Pillars and The Power Loom" Uses AR to Recontextualize Wall Street History Through African Textiles and Myths #1571: "Uncharted VR" Explores the Spatialization of African Languages and Knowledge through Immersive Architecture and Adowa Dance #1572: "The Innocence of Unknowing" Uses Socratic Dialogue with AI & Video Essay to Deconstruct Root Cases of Gun Violence #1573: Muslim Futurist "New Maqam City" Invites Users to Play with Mystic Sufi Beats to Imagine States of Flourishing #1574: Part 1: Co-Creation with XR for Building Community with "A Father's Lullaby" (2023) #1575: Part 2: Co-Creation with XR for Building Community with "A Father's Lullaby" (2025) Boreal Dreams Scent Onassis ONX Summer Showcase & Other Interviews #1579: The Backstory of ONX Studios and the Onassis Foundation's Support for XR Art & Innovation #1580: "Neuro-Cinema: From Synapse to Montage" Explores Bioethics Moral Dilemmas & BCI-Controlled Editing & Robotics #1581: The Story Behind "The Orixa Project" Series of XR Experiences #1582: Shawn Taylor on Fandom for Social Change, Polychronic Time, Worldbuilding & Future Dreaming #1583: From XR Storytelling to Museum to Ice Cream to AI: Michaela Ternasky-Holland's Entry into Immersive #1584: White Paper on XR for Impact Campaign Activation for "On the Morning You Wake to the End of the World" #1585: Debating AI Project and a Curating Taiwanese LBE VR Exhibition at Museum of Moving Image #1586: Academic Research on Immersive Storytelling with Philippe Bedard, co-editor of "States of Immersion Across Media: Bodies, Techniques, Practices" book #1587: "Space-Time Adventure Tour" AR Guided Tour to NYC Central Park Monuments #1588: Excurio on Bringing their High-Throughput, XR LBE Theaters to North America #1589: Using VR to Paint Dreams for Active Imagination, Collaborative Dreamwork, and Symbolic Contemplation This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I've spoken to Whitehead scholar Matt Segall a couple of times before, and I was really keen to catch up with him to hear his process-relational and process philosophical takes on AI, intelligence and consciousness. I was responding to a piece he recently wrote titled " A Process-Relational Philosophy of Artificial Intelligence" (full citation below), and it's helped me to ground the conversation about AI that sometimes feels like it easily gets untethered from reality, or just collapses the complexity of humans down into computational machines. There's a lot of more pernicious metaphors that reductive materialists have about humans are, and so this conversation helps to recenter the AI Hyped conversations into a much more process-relational context. Segall, M.D. (2025). The Philosophical Implications of Artificial Intelligence. In: Hoffmann, C.H., Bansal, D. (eds) AI Ethics in Practice. Integrated Science, vol 35. Springer, Cham. https://doi.org/10.1007/978-3-031-87023-1_8

I spoke with the curators of Tribeca Immersive 2025 Jazia Hammoudi and Casey Baltes to unpack the 11 impact project that are being feature in this year's selection. We also talk about Tribeca's new collaboration with Onassis ONX and Agog, how the selection process has changed over the years Tribeca Immersive 2025 Selection #1567: Tribeca Immersive Curators on the 2025 Selection of Impact Projects Curated by Onassis ONX, Agog, & Tribeca #1569: Family of Storytellers Creates an AR Memorial of Black Poet Nikki Giovanni with Epic Organic Garden Installation #1570: "The Founders Pillars and The Power Loom" Uses AR to Recontextualize Wall Street History Through African Textiles and Myths #1571: "Uncharted VR" Explores the Spatialization of African Languages and Knowledge through Immersive Architecture and Adowa Dance #1572: "The Innocence of Unknowing" Uses Socratic Dialogue with AI & Video Essay to Deconstruct Root Cases of Gun Violence #1573: Muslim Futurist "New Maqam City" Invites Users to Play with Mystic Sufi Beats to Imagine States of Flourishing #1574: Part 1: Co-Creation with XR for Building Community with "A Father's Lullaby" (2023) #1575: Part 2: Co-Creation with XR for Building Community with "A Father's Lullaby" (2025) Boreal Dreams Scent Onassis ONX Summer Showcase & Other Interviews #1579: The Backstory of ONX Studios and the Onassis Foundation's Support for XR Art & Innovation #1580: "Neuro-Cinema: From Synapse to Montage" Explores Bioethics Moral Dilemmas & BCI-Controlled Editing & Robotics #1581: The Story Behind "The Orixa Project" Series of XR Experiences #1582: Shawn Taylor on Fandom for Social Change, Polychronic Time, Worldbuilding & Future Dreaming #1583: From XR Storytelling to Museum to Ice Cream to AI: Michaela Ternasky-Holland's Entry into Immersive #1584: White Paper on XR for Impact Campaign Activation for "On the Morning You Wake to the End of the World" #1585: Debating AI Project and a Curating Taiwanese LBE VR Exhibition at Museum of Moving Image #1586: Academic Research on Immersive Storytelling with Philippe Bedard, co-editor of "States of Immersion Across Media: Bodies, Techniques, Practices" book #1587: "Space-Time Adventure Tour" AR Guided Tour to NYC Central Park Monuments #1588: Excurio on Bringing their High-Throughput, XR LBE Theaters to North America #1589: Using VR to Paint Dreams for Active Imagination, Collaborative Dreamwork, and Symbolic Contemplation This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with Raindance Immersive curators Mária Rakušanová, Joe Hunting, Fangs about the 2025 selection of projects across 8 different categories. Tune in to get all of the latest tips from this year's selection that is mostly happening on social VR platforms including VRChat, Resonite, and Orion Drift. UPDATE August 17, 2025. I've now posted all of my Raindance Immersive 2025 coverage, which can be found down below: #1566: Raindance Immersive Curators on the 2025 Selection of Immersive Art on Social VR Platforms [VRChat Story] - #1634: User Claims Potential Gaps in VRChat's Moderation of NSFW Avatars [VRChat Story] - #1635: VRChat's Avatar Marketplace is Targeting Demographic of New Users [VRChat Story] - #1636: Planned Improvements of VRChat's Trust & Safety from New Lead Jun Young Ro #1637: VRChat Doc "The Architect Across Realities" Features MR Design Innovations in Japan #1638: Virtual Photographer Kaerun's Japanese Friendships Featured in Documentary at Raindance #1639: Playing Live Jazz in VRChat with EMN Records enabled by Yamaha SYNCROOM in Japan #1640: "Tonevok" features Real-Time Audioreactive MIDI Visualizations in VRChat #1641: "Siholette of Memories" Cinematic VR Concert Experience Features Live Choreography #1642: "Cathedral of Witches" Performance Explores Trans & Queer Spirituality in VRChat #1643: Studio Penrose's "Our Precious Autumn" Short Film Shot in VRChat Wins Raindance Award #1644: Julianna Loh on Creating Immersive Art in VR and AR #1645: "Hommage" Adventure Inspired by Moebius' Art Collaboratively Built in Resonite #1646: "The Continuous Present" Combines Poetry, Music, & Giant Immersive Sculptures to Win Raindance Immersive's Best Art Experience #1647: Virtual Art Exhibition Innovations in Jessien's "What is Virtual Art?" VRChat World #1648: Vast Hand-Painted "Natura's Queendom" Wins Raindance Immersive's Best Art World #1649: Fangs & Arbi Close Out Raindance with a Breathtaking Music and VJ Show at the Moon Pool This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I spoke with producer Victor Agulhon of Targo Stories about their collaboration with TIME Studios to produce D-Day: The Camera Soldier, which he calls the most technologically advance immersive documentary produced up to this point. They took footage from D-Day and spatialized it in a number of different ways, and really pushed the frontiers of innovation for spatial storytelling. It released on the Apple Vision Pro last Tuesday, and it's definitely a project that you should check out if you have access to an AVP. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

The Portland Art Museum Center for an Untold Tomorrow (PAM CUT) has acquired the Tomorrow Theater in South East Portland, and is curating 25 unique events a month and over 250 unique events a year. Most of the experiences are grounded within the cinematic tradition, but there are usually ways that they are adding more levels of participation, community-building, and immersion. Portland Art Museum will be expanding in November to add even more immersive art and immersive storytelling programming as a part of their Plus Plus month-long festival, and the Tomorrow Theater is serving to onboard Portland audiences into the beginning steps of more immersive, experiential, participatory, and social types of entertainment. I had a chance to speak with director Amy Dotson to get a lot more context of how PAM CUT came about, and their vision for where they want to take it in the future. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

We are in the middle of a hype cycle peak around AI as there are a lot of hyperbolic claims being made about the capabilities and performance of large-language models (LLMs). Computational Linguist Emily M. Bender and Sociologist Alex Hanna have been writing academic papers about the limitations of LLMs, as well as some of the more pernicious aspects of benchmark culture in machine learning, as well as documenting some of the many environmental, labor, and human rights harms from both the creation and deployment of these LLMs. Their book The AI Con: How to Fight Big Tech’s Hype and Create the Future We Want comprehensively deconstructs the many of the false promises of AI, the playbook for AI Hype, and the underlying dynamics of how AI is an automation technology designed to consolidate power. Their book unpacks so many vital parts of the Science and Technology Studies narrative around AI including: How big technology companies have been using AI as a marketing term to describe disparate technologies that have many limitations How we anthropomorphize AI tech from our concepts of intelligence How AI Boosting companies are devaluing what it means to be human in order to promote AI technology How AI Boosters and AI Doomers are two sides of the same coin of assuming that AI is all-powerful and completely inevitable How many of the harms and costs associated with the technology are often out-of-sight and out-of-mind. This book takes a critical look at these so-called AI technologies, deconstructs the language that we use as we talk about these automating technologies, breaks down the hype playbook of Big Tech, restores the relational quality of human intelligence that is often collapsed by AI. It also provides some really helpful questions to ask in order to interrogate the hyperbolic claims that we're hearing from AI boosters. We talk about all of this and more on today's episode, and I have a feeling that this is an episode that I'll be referring back to often. This is also the 100th Voices of VR podcast episode that explores the intersection of AI within the context of XR, and I expect to continue to cover how folks in the XR industry are using AI. Being in right relationship to every aspect of the economic, ethical & moral, social, labor, legal, and property rights dimensions of AI technologies is still an aspirational position. It's not impossible, but it is also not easy. But this conversation helps to frame a lot of the deeper questions that I will continue to have about AI. And Bender and Hanna also provide a lot of clues to the red flags of AI Hype, but also some of the core questions to ask that help to orient around these deeper ethical questions around AI. I've also been editing unpublished and vaulted episodes of the Voices of AI that I did with AI researchers at the International Joint Conference of Artificial Intelligence that I did back in 2016 and 2018 (as well as a couple of other conferences), and I'm hoping to relaunch the Voices of AI later this summer to look back at what researchers were saying about AI 7-9 years ago to give some important historical context that's often collapsed within the current days of AI Hype (SPOILER ALERT: this is not the first nor the last hype cycle that AI will have). I'll also be engaging within a Socratic Style Debate (see update below and recording of it here) where I'll be mostly arguing critically against AI on the last day of AWE (Thursday, June 12th, 2:45p) after the Expo has closed down, and before the final session. So come check out a live debate with a couple of AI Boosters and an AI Doomer. Also look for an interview that I just recorded with Process Philosopher Matt Segall diving more into a Process-Relational Philosophy perspective on AI, intelligence, and consciousness coming here soon. Segall and I are going to explore an elemental approach to intelligence, which is based upon concepts that I explore in my elemental theory of pr...

The Creature label features a lot of really innovative VR and MR games with rich and innovative gameplay mechanics, and they just featured three new games, a new DLC pack, and lots of updates about the games in a half-hour Creature Feature gaming showcase hosted on IGN. I had a chance to catch up with Creature CEO and Creative Director Doug North Cook to unpack all of the different announcements as well as do a bit of vibe check on the state of the VR industry (and responds a bit to Chris Pruett's GDC talk on Meta and the shifting gaming ecosystem). Announcement of Adepts Arena game Laser Dance update of entering into Early Access in Fall Thrasher is coming to Steam Deck New The Light Brigade mixed reality trailer Neat Corp recap with Budget Cuts Ultimate Neat Corp recap Garden of the Sea on Switch and Steam Deck Announcement of Crossings with a Steam Next Fest demo on June 9th Wordbound Teaser Prison Boss Prohibition launches on July 10, 2025 Compass shout out at the end of the Creature Feature of Trebuchet Announcement of Maestro DLC of Duel of the Fates from Star Wars Episode #1 New Starship Home accolades trailer Equip soundtrack for Starship Home coming to 100% Electronica label Creature Feature Bundle launches today with a 30% discount featuring Maestro, The Light Brigade, Fujii, Budget Cuts Ultimate, Garden of the Sea and Prison Boss VR Horseshoes Hotdogs and Hand Grenades developer Anton Hand says, "It's tough finishing stuff." No additional context, but could the full release of H3VR 1.0 be coming soon? And/or a future Creature collaboration? Sidequest Indie Spotlight Summer 2025 launches on YouTube We Are One shout out. Announcement of Deadly Delivery entering a closed beta period Here is the Creature Feature 2025 Summer Showcase that premiered on the IGN YouTube channel today at 9a: https://www.youtube.com/live/OEnj5u_Wht0?t=1765s This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

NOTE: This sponsored episode was produced by Kent Bye in partnership with PHI and participation from Agog: Immersive Media Institute and immersive artist Peter Burr. PHI and Agog: Immersive Media Institute are collaborating on the PHI Immersive: XR for Impact residency program that will be running for four weeks from March 2 to 27, 2026 in Montreal, Canada. It was first announced on March 6th, and it's open to "artists, groups, or collectives residing in North America (including Canada, the United States, Mexico, Greenland, Saint-Pierre and Miquelon, and Bermuda)." The submission deadline is June 24th, 2025 (11:59 EDT), and there are a couple of information sessions coming up next week on Tuesday, May 13th (French) and Thursday, May 15th (English), and you can find the Zoom links on the application page (or video recordings if it's after May 15th). I think this is a very unique opportunity that will be of interest to the Voices of VR podcast audience since the selected artist(s) will be invited to spend a month collaborating with PHI Studio over four weeks towards developing an initial prototype. Here's how they describe it: Focusing specifically on the development phase of a project over the course of four weeks, the selected artist(s), group, or collective will collaborate with PHI Studio experts to conceptualize, plan, and prototype an immersive artwork. The program provides the selected project with personalized support, workspace, the possibility to connect with a community partner and targeted resources to refine the concept, create prototypes, and prepare for potential production. I had a chance to catch up with Myriam Archard, Chief New Media Partnership and PR at PHI, Amy Seidenwurm, Chief of Programs and Strategy at Agog, as well as Peter Burr, who was the immersive artist selected for the 2025 edition of the PHI Immersive residency. We talk about the collaboration between PHI and Agog, which is bringing a specific impact focus on "transforming narratives through activism, contemporary challenges, and social good." We elaborate a bit more about what it means to use XR technologies and immersive storytelling to empower changemakers. We also talk about best practices and things to avoid in a pitch (be sure to read closely what the submission guidelines are), and a lot of general advice for aspiring immersive artists navigating how to inspire change and provide opportunities to make a positive difference on the many different challenges facing us today. We also cover a lot of other logistics of the PHI Immersive: XR for Impact residency, including Burr's personal reflections on what the experience was like. Agog also is interested in supporting other immersive residencies, and perhaps starting some of their own residency programs, and so this collaboration with PHI may be an indication for the types of future work that they are looking to support. Again, the deadline is June 24th, 2025 (11:59p EDT), and be sure to check out the information session on May 13th at 11am EDT for French speakers, and May 15th at 11am EDT for English speakers. You can tune in to the podcast or check out the transcript down below for more details.

Walkabout Mini Golf is really an incredible accomplishment of VR design with its fusion of worldbuilding, compelling physics-based gameplay, the unique social dynamics and community it's able to cultivate, and over 4 1/2 years of consistent DLC courses every 8 weeks or so. They have launched 33 total courses, and just recently announced that they're bumping the price by $10 and adding 6 DLC courses into the base game so that is now 14 courses for $24.99. It's still an incredible deal, especially considering that there are still 19 DLC courses available, which has helped earn the #20 spot on Meta's best-selling Quest apps of all time. During my trip to SXSW, I had a chance to speak with the original solo developer of Walkabout Mini Golf, Lucas Martell, who has since grown the Mighty Coconut Studio team to 35 people. We talk about how their design process for courses starts with worldbuilding, but also how his script-writing background has helped to inform how they tell the story of each of these worlds through the evolution of game mechanics and shape language that each course is exploring. After I had a chance to interview Martell, I was given access to all 33 of the courses, which I have played through over the past week in order to provide a bit more context on what they've been able to accomplish with Walkabout Mini Golf. It's certainly an achievement within VR design that combines the best part of immersive worldbuilding, convincing gameplay, and compelling social dynamics that keeps players coming back again and again.Be sure to check out the table below which lists the timeline of the release of the 33 different courses that are now available. OrderCourse NameRelease DateCategory1.1Tourist TrapSep 24, 2020Classic1.1Cherry BlossomSep 24, 2020Classic1.1Seagull stacksSep 24, 2020Classic1.1Arizona ModernSep 24, 2020Classic5Original GothicNov 8, 2020Classic6Tethys StationMar 3, 2021Classic7Bogey's BonanzaJun 10, 2021Classic8Quixote ValleyOct 7, 2021Classic9Gardens of BabylonNov 18, 2021Lost Cities10Shangri-La (Added to Base Game)Dec 16, 2021Lost Cities11Sweetopia (Added to Base Game)Feb 17, 2022DLC12El DoradoJun 2, 2022Lost Cities13LabyrinthJul 28, 2022Licensed IP1420,000 Leagues Under the Sea (Added to Base Game)Sep 29, 2022Jules Verne15MystNov 15, 2022Licensed IP16AtlantisJan 26, 2023Lost Cities17Upside Town (Added to Base Game)Mar 9, 2023DLC18Temple at ZerzuraApr 20, 2023Lost Cities19Journey to the Center of the EarthJun 8, 2023Jules Verne20Laser Lair (Added to Base Game)Jul 20, 2023Evil Lair21Alfheim (Added to Base Game)Sep 7, 2023DLC22Widow’s WalkaboutOct 19, 2023DLC23Meow WolfDec 7, 2023Licensed IP24Around the World in 80 DaysJan 18, 2024Jules Verne25Ice LairMar 7, 2024Evil Lair26VeniceApril 25, 2024DLC27Wallace & GromitJul 25, 2024Licensed IP28Mars GardensSep 10, 2024Original IP298-Bit LairOct 24, 2024Evil Lair30Holiday HideawayDec 5, 2024DLC31Viva Las ElvisJan 16, 2025Licensed IP32Mount OlympusMar 6, 2025DLC33Raptor CliffsMay 1, 2025DLC This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

asses.masses is a unique, 7-hour, live performance that uses video game logic to expand the narrative possibilities and social dramaturgy of experimental theater. With a single video game controller at the front of a movie theater with lights up so everyone can see each other, the audience must negotiate amongst themselves who will step up to play the next section of a narrative game that spans a wide range of different genres from 8-bit pixel art RPG representing the hyperreal to high-res, 3D open world walking simulators representing a fantasy idealized realm. The audience also has to negotiate how to make hundreds of collective decisions that come up in the game from dialogue tree options to which direction to to go to deciding which set of metaphoric political platform issues that should be prioritized for the ensemble cast of socialist Marxist donkeys. They lean upon the binge-watching culture to split the 7 to 8-hour run time into 10 total episodes split into 2-episode chunks that are broken up by 4 different intermissions where snacks and dinner are provided. Here's a description of the story that's told in this long-form format: The unemployed donkeys have one demand: the humans must surrender their machines and give all donkeys their jobs back. But revolution is never easy! asses.masses is a custom-made video game about labour, technophobia, and sharing the load of revolution, designed to be played from beginning to end in a live theatre. This is gaming as performance, an immersive, cheeky, and highly original work. Brave spectators take turns at the controller to lead the herd through a post-Industrial society, where asses are valued more for their hides than their potential. Confronting automation-driven job loss, nostalgia as a barrier to progress, and the role of technology in adaptation, we are encouraged to find space between the work that defines us and the play that frees us. asses.masses is Animal Farm meets Pokémon meets Final Fantasy, as exciting in form as it is in content. No previous gaming (or donkey) experience required. asses.masses is one of the more unique immersive experiences that I've had a chance to have, especially when it comes to mashing up social behaviors that stem from video game culture, but set within a live theatrical context. I saw asses.masses at PAM CUT (Portland Art Museum's Center for an Untold Tomorrow) here in Portland, OR on March 29th, and I had a chance to remotely catch up with the co-creators Patrick Blenkarn and Milton Lim to unpack their journey of blending video games into how stories are told in a live theatrical performance. We also explore how they're exploring new modes of social dramaturgy that leverage insights from couch co-op, live Twitch streams, and video game logic where part of the performance is automated through the video game itself, but it's augmented by the emergent social dynamics of the audience that end up reflecting main narrative themes of managing flows of power, community-building, collective decision-making, and in the case of our screening some actual revolt against an theater nerd/gamer audience member turned heel. Overall, the experience allowed the audience to exercise some muscles of social imagination beyond the Capitalist Realism baseline as elaborated by Mark Fisher's work, and there was a turn-taking between the more cathartic mode of Aristotelian drama and breaking the fourth wall of Brecht's distancing effect / alienation effect. The narrative was initially developed to serve a wide range of game-play mechanics in a live theater context, but the spaciousness of the extended run-time allowed them to explore many deeper philosophical, political, and economic topics that most stories do not have the time to get into. The ensemble cast of archetypal characters each have their own arc, and I found that the ending and epilogue really landed and stuck with me. If you have an opportunity to catch an upcoming scre...

Charlotte Mikkelborg is the series director of the Adventure series on Apple TV, which is shot on Apple Immersive Video and co-produced by Atlantic Studios (formerly Atlantic Productions) and Apple. I think it has the strongest storytelling released by Apple so far, and it also has some of the most innovative and cutting edge shots that really show the power of the 180-degree format of Apple Immersive Video. In this conversation, we cover Mikkelborg's 10-year journey into working with immersive formats starting with 360-degree video, multi-sensory VR, and most recently 180-degree video. We also talk about the emerging grammar of 180-degree filmmaking, and the introduction of close ups, which I feel like work sometimes and other times feels almost too close or can feel a bit uncanny or jarring when changing scales or results in warping or other distortions. We also talk about some of the behind-the-scenes insights about the Adventure series. One concerning thing that I noticed after watching all of the Apple Immersive Videos released so far is that many of these videos do not contain any credits for who worked on these projects. I did an audit of all 22 of the published Apple Immersive Videos, and I found that 14 of the 22 don't have any credits at all,. Most of these are by Apple Sentity LLC productions, which is presumably Apple's in-house production team. I found that 5 out of the 22 have partial credits, including the four episodes of the Adventure series as well as Man vs. Beast, which features DGA director Ryan Booth. And there are 3 out of the 22 Apple Immersive Videos that have full and complete credits including Submerged that features DGA director Edward Berger, and the Prehistoric Planet Immersive series, which is a co-production with Fairview Portals. See the table below for more information: It is deeply concerning to me that only 3 out of the 22 Apple Immersive Videos seemingly have full and complete credits. Apple did not provide any comment about why this is or why some of these pieces have no credits, why some have partial credits, and why some have full credits. It is nice to see at least some credits on the Adventure series, which is a co-production between Apple and Atlantic Studios (formerly Atlantic Productions), but they're only listing the director, executive producer, and key talent while all of the other key creative talent are not being credited. Atlantic Productions did not provide any official comment about why there are only partial credits, while a few other productions have full credits and many other productions have no credits. You can see find a partial a list of some of the Adventure series creative talent on IMDB, and episode 3 protagonist Ant Williams posted a partial list of credits on his Instagram announcement post. I was able to get some additional context from Mikkelborg about the credits situation, and it does sounds like the co-productions likely have a bit more leeway in dictating what types of credits are shown. While the Prehistoric Planet Immersive series co-produced by Fairview Portals series has full and complete credits, and the Adventure series by Atlantic Studios only has partial credits. The two Apple Sentity LLC productions that do have credits also happen to be directed by directors who are a part of the Director's Guild of America (DGA). The DGA has specific credits requirements, "For feature films, the Director’s screen credit must be accorded on a separate card, which shall be the last title card appearing prior to principal photography. This credit shall be no less than 50% of the size of the displayed title of the motion picture, or of the largest size in which credit is accorded to any other person, whichever is greater." The rules may be different for immersive productions or emerging media projects, but the director credits for Submerged and Man vs Beast seem to both meet DGA's credits requirements for film.

Ant Williams is a freediving athlete featured in the third episode of The Adventure Series titled "Ice Dive" that's co-produced by Apple and Atlantic Studios (formerly Atlantic Productions). In the episode, Williams attempts to swim a world record distance 182 meters under ice, and I wanted to get some additional behind-the-scenes context on his experience as well as what it was like to have the most intense month of his life condensed down into a 15-minute Apple Immersive Video. Williams is a sports psychologist who wanted to put his theories into practice by taking what he calls "positive, calculated risk-taking challenges" that allow him to deal with overwhelming anxiety, and overcome his fears, uncertainty, and self-doubt. I also wanted to get some additional context on the production of the episode as Apple has otherwise been pretty tight-lipped about the series, launched with which launched with "Highlining" on the same day as the Apple Vision Pro launch on February 2, 2024. Apple Immersive Video is a different format than spatial video. Apple says "spatial videos are captured in 1080p at 30 frames per second in standard dynamic range," and these are what can be captured by either an iPhone or Apple Vision Pro, and they are displayed in a windowed frame where you see the stereoscopic effects. Apple describes Apple Immersive Video as "a remarkable storytelling format that leverages 3D video recorded in 8K with a 180-degree field of view and Spatial Audio to transport viewers to the center of the action." Apple Immersive Video is much closer to what we've seen from the XR industry and VR 180 filmmakers from the past decade, and Apple's technology is likely derived from their 2020 acquisition of NextVR. NextVR focused on live stereoscopic broadcasts of sports events on VR headsets starting with the Samsung Gear VR and Oculus Rift in 2014. A lot of the technical specifications of the Apple Immersive Video format have not been officially confirmed by Apple, but there are a couple of breadcrumbs that give us some more details. Thanks to iFixIt's breakdown of the Apple Vision Pro on February 7, 2024, then we know the microOLED display size is reported as "the lit area totals 3660 px by 3200 px." 360 Labs' Mike Rowell wrote a post on March 19, 2024 saying, "Apple Vision Pro’s screens are a whopping 3660 x 3200 pixels per eye. Although they haven’t made any official claims as to the FOV of the headset, 3rd party developers claim that it looks to be around 100° horizontal. With each screen having 3,660 horizontal pixels, this would mean that a 180° immersive experience would need about 6,000 x 6,000 pixels per eye to saturate the display. Apple’s own immersive experiences have been reported at being 4320x4320 per eye at 90fps and in HDR10." The reporting of Apple's immersive experiences was detailed by Mike Swanson, who announced a spatial video tool on March 7, 2024 that leverages the Apple's AVFoundation to properly encode video into the "multiview extensions of the HEVC codec, known as MV-HEVC" format. Swanson says in his post, "I receive multiple messages and files every day from people who are trying to find the limits of what the Apple Vision Pro is capable of playing. You can start with the 4320×4320 per-eye 90fps content that Apple is producing and go up from there. I’ve personally played up to “12K” (11520×5760) per eye 360-degree stereo video at 30fps." Another clue can be found in the Blackmagic URSA Cine Immersive camera that was announced on June 10, 2024, which says, "The sensor delivers 8160 x 7200 resolution per eye with pixel level synchronization and an incredible 16 stops of dynamic range, so cinematographers can shoot 90fps stereoscopic 3D immersive cinema content to a single file." Incidentally, Currents director Jake Oleson told me that he used Swanson's tool to create his immersive film after shooting it in 8k on the Canon EOS R5 Camera Body with Canon's Dual Fisheye lens.

CURRENTS is a stunning debut from Jake Oleson as it pushes the grammar of 180 filmmaking to new heights. Oleson comes from the world of advertising and music videos, and he went through a rigorous pre-production process where he had actually already edited the entire piece before shooting any production footage by using still stereoscopic test photos and videos. The insights from this pre-production animatic are evident, as there are some of the most stylized movements I’ve seen, and he managed to not trigger any of the common motion sickness triggers. There are some really powerful cuts that seamlessly juxtapose different environmental contexts for dramatic effect. CURRENTS tells the story of a young woman who leaves her Vietnam rural countryside home to the city seeking more economic opportunity. Aside from a short exchange with her mother at the beginning, the rest of the entire story is told through spatial storytelling, driving electronic music that was also composed by Oleson, and a shader-filled point-cloud scene with some animated motion capture. It's really quite a beautiful piece that gave me a glimpse of the next phase of cinematic immersive filmmaking. It's also worth mentioning CURRENTS in the context of other musical experiences since Oleson is both a musician who has a background in music video production. The music was specifically composed to serve the narrative in this instance, but it will be interesting to see more and more immersive music videos start to crop up now that the Apple Immersive video format is starting to get licensed out to folks like Vimeo, who commissioned this piece. Apple's push for 180-degree immersive video has brought up some broader discussions about the merits and downsides to 360-degree films. From a creator's point of view, 180-degree filmmaking is a lot easier to do logistically as it is closer to existing production pipelines, which is brilliantly demonstrated in CURRENTS. It's also worth noting that CURRENTS has a point-cloud scene that shows up in the middle of their cinematic 180-degree immersive video that represents a key turning point in the story and journey of the main protagonist. There's also some really poetic shaders that are translating the static scenes into even more of a dynamic visual representation of the business and chaos of the city. It has quite a narrative impact when juxtaposed against the photorealistic footage and custom-written and driving musical score. Even though the Apple Vision Pro has been out for over a year now, SXSW is still an opportunity for folks to check out the Apple Vision Pro for the first time. It was probably easiest to check out on CURRENTS who had six different headsets and was using the Sandwich Vision Theater app in Kiosk mode to seamlessly jump into the experience bypassing the time-consuming eye tracking calibration step. I was also particularly interested in Olson's production pipeline, the camera gear and kit costing less than $5k (Canon EOS R5 Camera Body, RF5.2mm F2.8 L Dual Fisheye, & DJI Ronin-SC Gimbal Stabilizer), Topaz Video AI Enhancer upscaling tools to go from 8k to 16k, and all of the due diligence that he did to understand and mitigate motion sickness triggers. The end result feels like a music video that tells a timeless story of the tension between rural and urban homes and what is lost in the pursuit of career opportunities. Below are links to of all of my SXSW 2025 coverage by the Voices of VR podcast. And be sure to check out this Linked article: Recap of All SXSW XR Experiences Including Voices of VR Podcast Interviews with Every Artist. SXSW XR Experience Competition [Overview of all of the SXSW 2025 XR Experience Program] - #1529: SXSW 2025 XR Experience Selection Sneak Peak with Programmer Blake Kammerdiener 1906 Atlanta Race Massacre - #1548: 1906 Atlanta Race Massacre Uses Phone-Based AR to Volumetrically Tell a Forgotten History

OTO'S PLANET was being exhibited on the Quest at SXSW, but I had a chance to check out the Apple Pro Version ahead of the SXSW festival and I felt like I much preferred it. OTO'S PLANET picked up the second place prize at Venice Immersive, but I missed being able to interview the director Gwenael Francois there. I did manage to catch up with Francois at SXSW to talk more about the development of this beautiful interactive narrative that uses table top-scale animation, and requires the user to rotate a tiny planet around in order to follow the story of Oto, his pet, and the story of a colonizing intruder who arrives. I found that the interactions were much smoother and immersive on the Apple Vision Pro than the Quest, and the higher resolution also popped a lot more. The Apple Vision Pro version defaults to mixed reality while there is an opportunity to see it in fully immersive VR on the Quest. I normally would prefer the Quest version, but having the better quality mixed reality cameras and overall much higher resolution in the Apple Vision Pro. Apple also featured Oto's Planet, and DPT CEO Nicholas Roy shares in this interview that they've actually received more purchases on Apple devices than Meta's ecosystem. Meta’s storefront has been flooded by Meta's own first-party Horizon world as well as App Lab apps, and so it’s very telling and reflective of the current state of distribution to have more sales for the Apple Vision Pro than Meta Quest. It is promising to see Apple get more serious at immersive storytelling as there was a session titled "Create Interactive Stories for Apple Vision Pro" on Tuesday morning featuring three representatives from Apple. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Another Apple Vision Pro piece at SXSW 2025 was COSMOS IN FOCUS by Atlantic Studios (recently rebranded from Atlantic Productions). This was a short and sweet educational experience that allowed you to explore the imagery of the James Webb telescope, but it's both spatially contextualized in the night sky planetarium style. It is also fused together with other deep space satellite images at different scales of resolution creating this really cool zoom effect that's like a mash-up of the film POWERS OF TEN with Google Maps tiles, but in the context of space imagery. It's also an experience that demonstrates the power of collaborating with scientific researchers and subject matter experts as they're able to translate contextless 2D jpgs into an incredibly powerful immersive experience that not only preserves the original context, but leverages the immersive medium to provide many more learning opportunities. Many immersive stories on the festival circuit will shy away from more explicit didactic content or learning experiences, but this piece leans into it by reducing the choices a user can make streamlining the user journey. I also really enjoyed my conversation with Aditi Rajagopal, who led this project after transitioning from R&D and AR storytelling at Meta to immersive storytelling at Atlantic Studios. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

There was an projection-based immersive experience called ORIGINS - LIFE'S EPIC JOURNEY that was originally formatted for a digital art museum in Germany called Kunstkraftwerk Leipzig, but it was translated into a three-channel video installation that was showing in a small conference room at SXSW. I only saw the video version at SXSW, and so I have not experienced the piece within its originally-intended, fully-immersive context. But it's collaboration between digital artists Markos Kay, Martin Salfity, Thomas Vanz, Davy Evans, Gokhan Tekin, Susi Sie, Teun van der Zalm and Roman Hill to tell the story of the evolution of life from the smallest quantum to biological to galactic scales, each using different visual techniques to create these 25 different chapters. I had a chance to chat with Paolo Loeffler to get a bit more context on the evolution of Kunstkraftwerk Leipzig, and how ORIGINS was developed and commissioned to play in these projection-based immersive exhibition spaces. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

FLY TO YOU tells the story of Kang Songjeol who was separated from her childhood friends in the aftermath of the 1950 split between North and South Korea. Oral history interviews were captured in 360 video, and her childhood memories were recreated with point scans derived from Leici BLK360 LiDAR scans combined with Azure Kinect volumetric captures. The experience manages to virtually fly over the restricted demilitarized zone into North Korea, which is something that is illegal from them to do physically but serves as a symbolic gesture towards reunification. There are still thousands of families hoping for an opportunity to be reunited, and there's a beautiful spatial memorial that brings home that point at the end of this piece. I had a chance to unpack it all with co-directors Sngmoon Lee and Youngyun Song This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

SYMPHONI is a brand new hand-tracked rhythm game that was inspired by the mechanics of conducting a symphony. It was directed by Ingram Mao and developed by a number of undergrads and graduates of the USC Games program. This game also goes from mixed reality into fully immersive VR as you progress through each of the stages, but it's a really fresh take within the rhythm game genre as I found myself playing for over an hour on my first playthroughs. Mao comes from an interior design and architecture background, but also thinks very deeply about the game mechanics and innumerable tradeoffs to be navigated through the game design process, and so it was a real pleasure to have a chance to dig into the weeds of the process of developing this experience. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

ECHOVISION is the latest experience from multi-disciplinary artist Jiabao Li that has three major parts. The first part is a mobile-phone based mixed reality experience that does a metaphoric translation of echolocation by using LiDAR to detect your immediate physical surroundings, and then reveals it with a rippling shader that is voice activated. The second part is a video that poetically visualizes different bat calls that have been identified by AI into different contextual domains, and there's a really awesome haptic couch experience that goes along with it. The last part is a field trip to the Congress Street bridge to watch the emergence of hundreds of thousands of bats come out at night as they go to eat. I caught up Li to hear more about all of her interdisciplinary and interspecies collaborations on this piece. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

There were a number of pieces at SXSW that were centered around embodied interactions including HONEY FUNGUS, which is a series of interactive embodied experiments telling a broader story of cultivating intimacy with ecology. This piece leans more into embodied dream logic rather than clearly articulating a narrative journey, and I had a fascinating conversation with Jonah King who decoded the underlying symbolism. King’s first step of his creative process was to go down a rabbit hole researching queer ecology and the latest research on fungi, and he wrote an essay titled "Unfathomable Intimacies" that lays out his original inspirations. One thing that really stuck with me from the experience was this intriguing AI mash-up of Smithsonian Field Research and amateur erotica designed in order to cultivate a new form of ecological intimacy with the world around us. I appreciated this experience a lot more after having a chance to learn more about additional context provided on the website as well as insights gained from my conversation with King. To me the dream logic in this piece leans a little bit more into personal symbols that need some decoding rather than more universal archetypes that are easier to project the intended meaning upon. But I always love learning more about Fungi since they represent so many paradigm-shattering insights. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

1906 ATLANTA RACE MASSACRE is a phone-based AR experience directed by Nonny de la Peña that digs into the forgotten history of the violent attacks on the black community by white mobs incited by race-baiting politicians and newspapers. The arc of the story is told through the lens of black journalist Max Barber, who was chronicling the events as they were unfolding. We see a series of volumetrically captured monologues by Barber (played by actor Bryonn Bain). As the massacre unfolds, we travel to different key locations around Atlanta represented by spatial facades and Quill illustrations. There's also a series of 2D AI animations ranging from white politicians in newspapers to black activists who are in picture frames. I spoke with de la Peña around some of the constraints and limitations of working with mobile phones that are not completely optimized for XR experiences like this just yet, but it's much more accessible form factor that the executive producer of the National Center for Civil and Human Rights is interested getting into schools. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

THE CHOICE returns to SXSW with the latest Chapters 2 and 3, and continues to capture intimate testimonials of women and couples who make the choice to abort their pregnancies. Chapters 1 and 2 take place in Texas where abortion is now nearly totally banned in all but a few situations. The legal specificity of these exceptions is ambiguous enough that doctors often avoid providing reproductive health care for abortions because they're afraid of being prosecuted or losing their license. This means that it is legal for doctors to lie to patients, which is what happens in Chapter 1 causing the protagonist to nearly die. Chapter 2 features a pregnancy clinic that turned out to be run by an anti-abortion religious group who tried to pressure her to not have an abortion. And Chapter 3 features an older Canadian couple who started to have some doubts, but ultimately decided to not carry the pregnancy to term. THE CHOICE features some really stereoscopic video effects combined with depth information to create a really realistic face-to-face conversation. As the viewer, you have the ability to subtly guide the conversation by choosing which questions to ask. But overall, it's a really powerful example of how these types of simulated conversations creates an engaged way for people to hear the details of someone's situation where they may actually change their opinion about abortion. Joanne Popinska and Tom C. Hall tell me that they have experienced being able to change minds with their first chapter, and they're looking forward to continuing to spread the word with their 2nd and 3rd chapters that premiered at SXSW. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

WAYS OF KNOWING: A NAVAJO NUCLEAR HISTORY tells the story of the impact of uranium mining on the Navajo community. This film is a unique collaboration between a Navajo storyteller Sunny Dooley and nuclear nonproliferation expert Lovely Umayam where the story of US nuclear history is told through an indigenous lens. This means telling the story of how nuclear policy has impacted Navajo land, but also on the intergenerational impact on the Navajo people. The fully immersive quality of 360 video allows Dooley to preserve the full context of how she would tell the story to her community. This was my favorite interview from SXSW 2025 as it is another great example of how the immersive quality of VR is able to capture and transmit indigenous ways of knowing, and how this indigenous perspective is also changing how nuclear nonproliferation experts are thinking about these nuclear policy issues. This film would also not be able to be told the same way if it was only 180 degrees, and it is a prescient example of the affordances of VR to be able to tell the story of a place with its full relational context. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

SHELTER is a 360 video documentary telling the story of civilians in Ukraine seeking protection in bomb shelters. The film poetically transports you the many different ways Ukrainians are sheltering from small cramped basements to parking garages to hospitals. It also contrasts these underground spaces to the aftermath of war from bombed out buildings to funerals for Ukrainian soldiers. The experience always documents how the dream lives of Ukrainians are impacted by the war as they also overlay these dream sequences over billboarded videos of drone strikes. Overall, it's a meditative and powerful journey of cinéma vérité, observational durational takes that are juxtaposed together to tell a much larger story of the human impact of war. . Check out my deep dive with director Sjors Swierstra and producer Justin Karten for more insights in how they put this piece together. Apple's push for 180-degree immersive video has brought up some broader discussions about the merits and downsides to 360-degree films. From a creator's point of view, 180-degree filmmaking is a lot easier to do logistically as it is closer to existing production pipelines, which is brilliantly demonstrated in CURRENTS. The main downside is that it is difficult to control where people are looking, but the main benefit is that you're able to preserve the full context of a place. SHELTER was one of two films that really leaned into being able to be fully transported to a place without having to worry about selecting a constrained frame or point of focus.  This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

TRACES: THE GRIEF PROCESSOR is a multi-user interactive VR experience where four people are invited to poetically explore and learn more about their grief. Created by documentary filmmaker Vali Fugulin, it features didactic conversations about grief with ritualist Stéphane Crête who leans upon Francis Weller's Five Gates of Grief. Fugulin resists describing her piece as a grief ritual with any therapeutic intent, and she sees it more as a catalyst for thinking about or having conversations about your grief rather than facilitating deep emotional catharsis. The experience takes you through a series of different interactive exercises where you play with different externalized, symbolic, spatial representations of your grief. The experience culminates with an asynchronous sharing of your story of grief based upon a minute-long audio recording that you're asked to record while looking at an image representing your grief you're asked to upload before the experience begins. There were a number of aspects about this experience that did not quite work for me, and it’s hard to know if it’s due to my own peculiarities of VR-induced social anxiety or if there could be changes in flow of the recording and decisions around consent. I’d prefer to see examples of other recordings before being asked to record anything, and I’d also prefer to make decisions on whether I’d like to share my recording with others in the moment after having a chance to record (and possibly re-record) something. These privacy decisions were put up front without the full context of how something you might do in an experience might be shared, and with no options to change your mind later. This meant that I regretted my decision, and there was no way to stop my failed recording from being shared with others in the experience. I did have the opportunity to retract my data at the end, but I would have preferred to be able to make that decision in the moment. Again, this could come down to my unique position of having a really recognizable voice within a small community. I do believe that there are a lot of great opportunities for developing new types of grief rituals within social VR spaces, but at the same time there are still a lot of missing body language cues that can open doors for some and close doors for others.  This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

There were a number of projects exploring social dynamics within immersive pieces, including the special jury prize winner for the XR competition PROOF AS IF PROOF WERE NEEDED. This was a projection-based video project that featured video feeds from four different rooms in a home where a couple is searching for different objects. There are five audience members who are walking between rooms represented by a top-down blueprint of the home, and there's a computer vision system that's detecting where the most people are located and then showing the feed from that room. There are six speakers providing an ongoing Foley-based spatial audio narrative of sounds coming from different locations giving the audience a clue as to where they should investigate to puzzle together the cryptic narrative. The core mechanics felt SLEEP NO MORE-inspired where you move between different rooms to see different threads of a multi-threaded story, and you use your body to edit the experience. But instead of a single POV, it's abstracted into a collective social experiment where you have to collaborate with four other people in order to vote on what room video feed to watch. In the end, there's a lot of the story that remained a complete mystery to me until I had the symbolic dream logic decoded in my interview with co-director Ting Tong Chang and Blast Theory representative Anne Rupert. Here's the jury statement about this piece, "Spoiler Alert! The Special Jury Award Winner made us feel lost, frustrated and disconnected from each other. What started as a slow burn, turned into an unexpected connection and dance between space, story, technology and human behavior." This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

The final AI-related piece this year was THE LAST PRACTICE, which I unfortunately have not had a chance to see yet because there were a number of technical glitches that prevented me from seeing it on site. I did however have a chance to remotely catch up with director Phil McCarty to talk more about the story and mechanics of the experience. Part of the synopsis says, "In a world beset with algorithmic careers and generative push-button-creativity in the name of "AI", what is the role of art, and inspiration any more?" After a number of monologues from virtual band members, then you are asked to create a mash-up song from different genres by choosing different album covers. McCarty may be making some critical reflections on AI within his story, but he's also simultaneously a big user of AI tools to facilitate his own creative process in producing this piece. We talk about this paradox in our conversation, but also his journey into the XR industry as a writer, musician, filmmaker, and as a writer on WHAT IF…? – AN IMMERSIVE STORY (previously covered in episodes #1391 & #1437). This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Another AI-based project at SXSW this year was SWEET! by Dutch designer and artist René van Engelenburg of DROPSTUFF MEDIA. This is a projection-mapped physical installation designed to facilitate a very brief conversation with an OpenAI LLM-driven virtual being about the parallels between how sugar is added to all of our food and how AI is currently being added to all of our technologies. The virtual being uses a sort of Socratic method of questioning to solicit your opinion in four leading questions that are making an argument about the commonalities between sugar and AI. It's a short five-minute experience, and so I did the piece three different times to understand the underlying mechanics of how it's built. It never felt like a true conversation as there's a superficial acknowledgement of my responses, but always immediately progresses onto the pre-set monologue that is pre-written within the series of prompts without having what I see seemingly impact the substance of the conversation beyond some prompted images that are projected onto the white set of a candy store. So instead of a truly, open-ended Socratic dialogue, this experience feels more like a Socratic monologue where questions are only driving a superficial sentiment analysis before moving onto the delivery of the next random fact or story beat. We still have a long way to go before these LLM-based experiences can balance a convincing conversation while also telling a compelling story, but this feels like the type of XR immersive installation providing a holographic embodiment of the virtual being is a compelling form factor that I can see being further developed in the future. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Curating archives was a theme that I also explored in a conversation with Tamara Shogaolu about her piece ORYZA: HEALING GROUND that premiered at DocLab 2024. She was at SXSW showing the interactive AR story game ANOUSCHKA exploring the memories of her grandmother through various cultural artifacts (see Shogaolu interview with her about ANOUSCHKA from its world premiere at DocLab 2023). ORYZA wasn't showing at SXSW, but I had a chance to catch up with Shogaolu to unpack how she's working with archives to document cultural artifacts enslaved people, and then expand it into speculative art with a consistent aesthetic using a custom-built AI system that is centered on Black histories. Shogaolu details her experiences of instances where large-language model AI systems have erased Black people, and how she's had to hack existing AI systems in order to get the outputs she wants. But she’s also training entirely new models using materials from archives that are not included within existing models. We explore the paradox of desiring cultural representation in these AI systems while also avoiding the negative side effects of extractive cultural appropriation, and this new trend of training custom AI models as a form of artistic expression leading of future dreaming to unique mash-up of speculative futures and historical archives. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

The SXSW XR Competition jury prize winner REFLECTIONS OF LITTLE RED DOT had some really innovative mixed reality integrations, and was also a part of a new trend of cultivating an archive of material as an artistic practice. This piece by director Chloé Lee featured about 3 hours of documentary interview footage shot in Singapore starting in 2015 exploring a variety of different themes. Originally started with the intent to create a documentary to learn more about her mother's homeland, Lee turned to mixed reality to create sets of themes featuring looping clips from interviews she conducted to tell the story of Singapore. The experience creates a sense of wandering that you get when exploring a new place, and allows you to dip in and out of different flows of thought. You can navigate these different themes by placing a physical photo slide into a retro slide projector that only takes one slide at a time. Once you pop it in, then you immediately see a mixed reality light creating a holographic Singaporean table where you can sit down and navigate 5-6 different clips. It's one of the more compelling uses of mixed reality I've seen that creates a holographic illusion that you use your body to edit between these different interview clips. The jury statement reads, "Deceptively humble and delightful, this open-world documentary invites us to freely explore a country in transition. Guided by a daring new talent in XR storytelling, it confronts us with the vulnerability of everyday life, evoking a universal sense of place." This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

THE SECRET LIFE OF MONSTERS: THE GATEWAY EXPERIENCE is a mixed reality puzzle game created by Wallrus Creative Technologies as an immersive demo in order to feature the unique tracking technology they've created in order to better facilitate LBE mixed reality experiences on the Quest. They built a tracking system hidden within their custom tiling in order to have all of the Quest HMDs know where true north is located, and avoiding some of the more annoying and time-consuming calibration steps involved with mixed reality experiences. The experience itself featured a seamless transition between floating mixed portals and immersive worlds where you have to find and scan corrupting monsters in the parallel realities. I get the full story of how the project developed from Emile Arragon and JP Desjardins, and it's interesting to note that Arragon is really sensitive to motion sickness from virtual locomotion in VR, but mixed reality experiences where you only move when your body moves are a lot more comfortable for him. And the experience does demonstrate their elegant solution for a mixed reality calibration and orientation solution that could open up a number of new mixed reality experiences within different LBE contexts. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Andrew Schneider’s "NOWISWHENWEARE (the stars)" absolutely blew me away, and it was a story-driven, immersive art exhibit at the University of Texas Performing Arts Center that opened at the end of SXSW. It uses a cube of 4000 LED lights in a dark theater space to create a visual spectacle, but also to hide an incredible magic trick. There was an array of 392 speakers hidden on three different walls creating one of the most complex and nuanced spatial audio storytelling experiences that I've ever heard. I was profoundly moved by the themes of grief, loss, and our place in the cosmos as he uses the low-bit visual experience to amplify the richness of the audio storytelling featuring beautiful biomimicry moments, large movements of abstract shapes, as well as allusions to stars and constellations. It's an experience that transcends my ability to fully communicate how incredible it was, but I did have a chance to have an in-depth chat with Schneider to talk about his journey in creating it. From theatre-maker to NYU ITP, Schneider does a brilliant job of mashing up data inputs with novel outputs, but all serving the larger journey he's taking us on as a master storyteller. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Wayne Powell is the Global Artist Relations Manager for d&b audiotechnik, and he's been getting more and more interested in how independent artists and musicians are using spatial audio. He was in Austin, Texas with an array of 13 speakers enabling a spatial audio mix for Roman Rappak's annual Ristband mixed reality live performance. I had a chance to catch up with Powell to learn more about his journey into the immersive audio realm, why spatial audio storytelling experiences are currently capturing his attention, and some of the other trends, exciting immersive artists, and immersive audio hotspots around the world. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

On the last day of immersive exhibitions, I saw Roman Rappak's latest RISTBAND mixed reality live performance experiment, which now has a 4-year streak going at SXSW. This year he added an array of 13 d&b audiotechnik speakers that used wave field synthesis to create a spatial audio mix that was added to his mixed reality performance. I have Rappak recount the evolution of this MR live performance (not using Pico HMDs), and see my interviews about unpacking previous live performances from 2022, 2023, and 2024. Rappak shares that adding immersive art to a live musical performance leaves audiences searching for a story, and if he didn't provide one then people would make one up. He's been adding voice-over narration to more deliberately guide the story he's telling, but also experimenting with spatial audio mixes using high-end speakers. I had a chance to catch up with both Rappak and d&b artist relations manager Wayne Powell (in episode #1536) about his latest spatial audio innovations. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

The Polyphonic Spree band founder Tim Delaughter was looking for innovative ways to get people to listen to the entirety of his latest album called Salvage Enterprise. He was driving around a lot of speakers in his van and setting up pop-up listening parties around his home town when he thought there should be a better way to coax people into listening to his entire album, which is something that's a lot more rare in today's fragmented media ecosystem. He worked with Scott Berman as his long-time collaborator on visuals to recruit a number of different animators and filmmakers to create a dome version featuring his entire album called RESOLUTION: A CINEPHONIC RHAPSODY FOR THE SOUL. It's the first time SXSW has been able to curate a dome experience (which showed on the main showroom floor), and it was one of the experiences that was able to quickly fill up their 20 available slots per hour across their six showings a day. It ended up taking home the Audience Award for the XR Experience Spotlight, and was one of the hotter tickets of the exhibition with people rushing to sign up as soon as the doors opened. I had a chance to speak with Director Scott Berman, Polyphonic Spree Founder Tim Delaughter, and Producer Ryan Hartsell about the process of putting this dome experience together. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Web developer Pete Adams created seven different really cool WebXR worlds for his songs featured in the A NUMBER FROM THE GHOST experience. His music was really great to listen to as I explored his abstract open worlds that were being modulated by different three.js effects. It's tough going to make it as an independent musician today, and so Adams was thrilled to take part in SXSW to feature his intersection between art and technology. These experiences also led to him being commissioned by HTC's VIVERSE to continue to develop these WebXR musical immersive experiences for their platform. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Tenderclaws debuted their first piece in competition at SXSW with a short called FACE JUMPING, which was a surreal, seemingly open world experience with a number of interactive experiments leveraging eye tracking in novel ways. Tenderclaws has consistently pushed the edges of locomotion in everyone of their interactive narratives, and FACE JUMPING is no exception. If you lock eyes with another character for long enough, and you'll have an opportunity to swap perspectives with them, which allows you to progress through various different vignettes. There's a deeply poetic story that's unfolding, but I found that I needed a lot of decoding of the dream logic, metaphors, and allegories within my conversation with Samantha Gorman and Danny Cannizzaro. But it's the type of experience that I wanted to play again and again to continue to explore this world, and all of the novel eye tracking experiments that I missed. FACE JUMPING was my second favorite piece of the festival, and it ended up winning the Audience Award for the SXSW XR Experience Competition, and it was also one of the hottest tickets during the festival. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

IN THE CURRENT OF BEING is a powerfully-told story about electroshock conversion therapy using haptics, mixed reality, and a free-flowing dream logic structure paired with a documentary interview of a survivor. It was a deeply moving experience, and won the new Agog Social Impact Award at SXSW (more on that below). The director is BODY OF MINE's Cameron Kostopolous, who continues exploring embodied storytelling about a very timely topic. There were a handful of politically-themed pieces this year, and this was particularly prescient considering that the Supreme Court announced during SXSW that it would hear arguments about Chiles v. Salazar that challenges the constitutionality of Colorado’s ban on conversion therapy. Kostopolous is telling the story of trauma from conversion therapy, and hopes to be a part of an impact campaign that bans conversion therapy in at least one state. However this may be impossible if the Supreme Court declares conversion therapists a free speech right, even if there's little evidence that shows any merit that conversion therapy even works and is considered by Kostopolous to be a form of torture. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

There is a six-month exhibition titled "Other Worlds Are Possible" featuring a retrospective of a dozen different immersive storytelling pieces that will shown at the Le Pavillion in Nemur, Belgium from March 22 to September 21, 2025. The exhibition was curated by independent immersive curator Ana Brzezińska, and will also feature other AR pieces, screen-based work, but also an exhibit detailing a brief history and evolution of immersive art and immersive storytelling from different design disciplines. I had a chance to catch up with Brzezińska to get a bit more context on her design intention for this exhibition, to talk about the current state of immersive art and storytelling, as well as her current focus on brining this work to traditional cultural institutions that are reaching out to mainstream audiences. Here's a list of different immersive storytelling pieces that will be featured over the next sixth months (with links to my Voices of VR podcast interviews with the creators). NOTES ON BLINDNESS (2016) SPHERES (2017) BATTLESCAR (2018) GLOOMY EYES (2019) TRAVELING WHILE BLACK (2019) THE HANGMAN AT HOME (2020) GOLIATH: PLAYING WITH REALITY (2021) PLANET CITY (2022) PLASTISAPIENS (2022) EVOLVER (2022) FROM THE MAIN SQUARE (2022) ALL THAT REMAINS (2022) OVER THE RAINBOW (2023) This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

The SXSW XR Experience Selection runs from March 9-11 and contains 15 pieces in competition and 16 pieces in the spotlight, and I had a chance to chat with SXSW's XR programmer Blake Kammerdiener about each of these pieces. He provides some highlights from the XR Track Sessions at SXSW, and also mentions that there is an immersive piece called NOWISWHENWEARE (the stars) that is showing on March 11th & 12th. See down below for some more links to different SXSW events. Here is a list of the XR experiences being shown at SXSW, and I will update this post as I post my Voices of VR podcast interviews as I've featured a dozen projects in my previous coverage. UPDATE (March 29, 2025): I've now added links to all of my subsequent coverage at SXSW down below. And be sure to check out this Linked article: Recap of All SXSW XR Experiences Including Voices of VR Podcast Interviews with Every Artist. SXSW XR Experience Competition [Overview of all of the SXSW 2025 XR Experience Program] - #1529: SXSW 2025 XR Experience Selection Sneak Peak with Programmer Blake Kammerdiener 1906 Atlanta Race Massacre - #1548: 1906 Atlanta Race Massacre Uses Phone-Based AR to Volumetrically Tell a Forgotten History Any War Any Enemy - #1490: “Any War Any Enemy” is a Beautiful Anti-War, Immersive Poem About Nuclear Annihilation Cosmos in Focus - #1554: Cosmos in Focus Contextualizes James Webb Telescope Images in Educational Immersive Planetarium Experience Currents - #1556: Currents Boldly Defines a New Era of DIY 180-Degree Immersive Filmmaking with a Kit Under $5k Face Jumping - #1532: Tenderclaws' "Face Jumping" Explores the Frontiers of Eye-Tracked Locomotion in Poetically Surreal Short Honey Fungus - #1549: Honey Fungus Cultivates Intimacy with Nature through Embodied Actions Inspired by Fungi and Queer Ecology In the Current of Being - #1531: In the Current of Being Uses Immersive Haptics to Tell the Story of Electroshock Conversation Therapy Proof As If Proof Were Needed - #1543: Proof As If Proof Were Needed Enables Audiences to Collaboratively Edit Video Feeds via Embodied Movements Reflections of Little Red Dot - #1539: Wandering in Open World Doc Archives in Mixed Reality with SXSW XR Jury Prize Winner "Reflections of Little Red Dot" Shelter - #1545: Shelter Observational 360 Documentary Shows Intimate Side of War via Ukrainian Citizen Bomb Shelters [The Choice Chapter 1] - #1075: Stereoscopic Compositing Innovations & “The Choice” Interactive Documentary Exploring Reproductive Rights in Texas The Choice - Chapters 2 and 3 - #1547: Simulating One-on-One Conversations about Abortion Experiences to Change Minds with "The Choice - Chapters 2 & 3" The Last Practice - #1542: Exploring the Paradox of Narratively Critiquing AI While Also Using AI to Make "The Last Practice" The Secret Life of Monsters - The Gateway Experience - #1538: Mixed Reality Calibration Innovations Hidden within "The Secret Life of Monsters: The Gateway Experience" Traces: The Grief Processor - #1544: Traces: The Grief Processor Immersive Documentary Invites Groups to Learn About Grief Ways of Knowing: A Navajo Nuclear History - #1546: How Indigenous Storytelling is Changing Non-Proliferation Narratives in "Ways of Knowing: A Navajo Nuclear History" SXSW XR Experience Spotlight Address Unknown: Fukushima Now - #1438: Honoring the Memory of Abandoned Ghost Towns with “Address Unknown: Fukushima Now” All I Know About Teacher Li - #1452: Immersive Documentary about Chinese Censorship “All I Know About Teacher Li” Tops Venice Immersive Audience Favorites Survey Ancestors - #1507: From Selfies to Virtual Offspring, “Ancestors” Turns Strangers into Family and Intergenerational Speculative Futures Anouschka - #1334: “Anouschka” Wins IDFA DocLab Digital Storytelling Award with AR Narrative Game about Cultural Heritage [Oyrza from DocLab 2024, but also some more discussion about Anouschka] - #1540: Hacking...

The Theater application for the Apple Vision Pro by Sandwich Vision launched in June 2024 with the spatial livestreaming of John Gruber's live interview of Apple Executives at WWDC. They have been collaborating with independent producers of spatial video to distribute rentals and purchases of immersive content spanning across stereoscopic 180-videos to educational planetarium content to more experimental dome content as well as stereoscopic captures of live music performances (I can highly recommend checking out Fungi: Web of Life by K2 Studios). Users can also connect their private collections of movies via Plex Media Servers to enjoy their own private movie collection in a virtual home theater experience with a number of different theater options. They're also currently implementing social features, and may start having live screenings of classic movies with potential collaborations with independent movie theaters. I had a chance to catch up with Sandwich Vision co-founder Adam Lisagor to hear a bit more about his journey into the XR space, how he's blended storytelling and technology throughout his career, as well as his hopes for what might be a new renaissance of spatial video content given Apple's emphasis of on 180-degree spatial video rather than the VR filmmaking era of 360-degree videos. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Lovesick is a narrative game featuring a character-driven story of a bank on the brink of collapse that faces a series of supernatural events that they must escape from. It features a lot of escape room and puzzle mechanics that are mixed with embodied gameplay, but at the heart it's about the relationship between these four different band members in what I found to be a real gem of a story with a payoff ending that made it worth the journey. I had a chance to sit down with director and co-writer Corey Warning from Rose-City Games to get a bit more context for how Lovesick came about catalyzed by some funding from Meta, their iterative design process along the way that was centered and driven by the story they wanted to tell, as well as their hope to bring some narrative-driven content and indie spirit to the VR ecosystem. https://www.youtube.com/watch?v=mAb_7fewd6c This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

In a series of posts from February 8th to 11th, open source developer Matthieu Bucchianeri started making allegations that Meta's OVRPlugin is blocking non-Meta OpenXR runtimes, thereby undermining the open and interoperable spirit of OpenXR. He claims that "the OVRPlugin takes intentional precautions to exclude non-Meta platforms. This means that XR content developed with OVRPlugin will only work with Quest Link, and it will not work with any other runtime." Bucchianeri's allegation is that if a PCVR game includes Meta's OVRPlugin as their OpenXR middleware and doesn't implement the counter-blocking measures that he details, then PCVR users will only be able to use a Quest headset with Quest Link while other non-Meta headsets like "Pimax, Pico, Varjo, Vive" will be blocked, even if they have conformant OpenXR runtimes. Bucchianeri has validated these blocking counter-measures, and he says, "as proven with many applications using OVRPlugin with counter-measures enabled, these applications can run on a conformant OpenXR implementation." Not very many XR developers are willing to speak about these issues on the record, but I did manage to record a Voices of VR podcast interview with Virtual Desktop's Guy Godin who was able to independently corroborate many of the core allegations from Bucchianeri. Godin collaborated with Bucchianeri on the Virtual Desktop OpenXR (VDXR) runtime, but has also been receiving many complaints from PCVR users around Meta's OpenXR non-compliance issues, especially with games that launch both on Quest and PCVR and use Meta's OVRPlugin. Godin told me that games will work fine natively on the Quest, but any non-Quest headsets or if they aren't using Quest Link will be blocked on the PCVR version, unless the developer specifically implements anti-blocking counter-measures detailed by Bucchianeri in his technical write-up. It appears as though OpenXR conformance from the Khronos Group only pertains to the actual OpenXR runtimes on the hardware, but headset manufacturers are able to create their own SDK plug-in middleware that interfaces with OpenXR that doesn't have the same conformance requirements. It appears as though Meta is able to technically maintain their OpenXR runtime conformant status because it does not apply to their OVRPlugin middleware SDK solution, and Bucchianeri is claiming that Meta is undermining the normative standards of interoperability by not following the best practices from the Khronos Group. He says, "For the past several years, Khronos has come up with best practices and solutions to develop OpenXR applications and maximize cross-vendor and cross-platform interoperability. Khronos has asked XR developers all over the world to follow these best practices, however - Meta - the largest vendor in Khronos is refusing to follow these best practices." Bucchianeri is also claiming to have had private communications with Meta confirming that these were deliberate and intentional changes. He says, "This is not an accident: this concern was reported to Meta early in 2024 via official means in the Khronos group. Meta acknowledged purposedly blocking other platforms from running OpenXR content at that time." I was able to confirm in my discussion with Guy Godwin in this Voices of VR podcast episode that he also believes that these were deliberate and intentional changes to undermine the spirit of OpenXR. Part of why Bucchianeri was blowing the whistle is because the Khronos Group had not been taking any action against Meta. He describes Meta's actions as "reverting many of the improvements to the developers and users ecosystem that Khronos has spent time, money, energy into solving for the past 7 years." He says, "Unfortunately, since 2024, Khronos has refused to take actions to stop Meta’s OVRPlugin destructive initiative towards the PCVR ecosystem. By not taking any actions to resolve the issues created by Meta’s OVRPlugin, Khronos is sending the message that OpenXR is no lo...

Niantic launched their Into the Scaniverse application on Quest 3 on February 26th, 2025 that features over 50,000 Gaussian Spats from 120 different countries. They originally launched the WebXR version on December 10th, 2024 at IntoTheScaniverse.com, which was built using Niantic Studio (be sure to check out their comprehensive history of Gaussian Splats by Kirsten M. Johnson released at the same time). Users can use the Scaniverse mobile app on Android or iOS to capture, render, geotag, and upload their own Gaussian Splats onto the Into the Scaniverse mapps that can be viewed on either mobile phone or XR devices. I had a chance to speak more about Into the Scaniverse with Joel Udwin, who is Niantic's Director of Product for Niantic's AR, Research, Developer Platforms, and Scaniverse. Gaussian Splats are only about 1 year and a half old as the original "3D Gaussian Splatting for Real-Time Radiance Field Rendering" paper was presented at SIGGRAPH in August 2023, but it represents a new rendering pipeline for volumetrically captured content. Niantic's Into the Scaniverse apps are able to process and render these splats locally on the phone or Quest devices, and they have a lot of plans for how they will continue to utilize and develop this as a core part of their technology infrastructure and enabling new mixed reality applications. https://www.youtube.com/watch?v=NR51MrAtUM4 This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

HTC has launched Viverse platform that is aiming to become the YouTube of 3D Content. It's a platform that hosts 3D content and worlds built on PlayCanvas as well as many other open source technologies like WebXR, WebGPU, and VRM. It is sort of like a mix between VRChat with social worlds, 3D web crypto-based metaverse worlds, but also with some more enterprise embedding features as well. It's exciting to see this shift towards building out the open and interoperable metaverse, but in the context of this hybrid walled garden context that is built using open web technology stacks. It is also a hybrid in another way in that it is mostly consumer-facing but also has enterprise use cases like privately embedding of 3D content. I interviewed HTC's Andranik Aslanyan about the new VIVERSE platform, how they recruited over a hundred XR and WebXR developers to seed the content, and how VIVERSE fits into their overall strategy. I get some clarifications on the Android XR non-exclusive IP acquisition, and how VIVERSE fits into where HTC will be heading now that we're coming up on 10 years the HTC Vive was announced on March 1, 2014. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

The latest Polys Ombudsperson of the Year is Ingrid Kopp, and previous winners Brittan Heller, Michaela Montagna, and myself gathered again on December 8 2024 to reflect on the current state of the XR industry as well as the specific ethical concerns about the intersection between XR and AI. We also speak about some of the power of storytelling to unpack some of these moral dilemmas, as well as tech policy in the context of the existing political climate, but also some of the broader and general trends of the XR industry. In my takeaways at the end, I also elaborate on the leaked memo from Meta CTO Andrew "Boz" Bosworth saying "We need to drive sales, retention, and engagement across the board but especially in MR. And Horizon Worlds on mobile absolutely has to break out for our long term plans to have a chance. If you don't feel the weight of history on you then you aren't paying attention. This year likely determines whether this entire effort will go down as the work of visionaries or a legendary misadventure." A lot of their Meta's commitment to XR seems to be directly tethered to the success or failure of their own first-party app. Zuckerberg's AR/VR Strategy memo from 2014 leaked to TechCrunch by Blake Harris now seems particularly prescient: "for now keep in mind that we need to succeed in building both a major platform and key apps to improve our strategic position on the next platform. If we only build key apps but not the platform, we will remain in our current position. If we only build the platform but not the key apps, we may be in a worse position." Zuckerberg later elaborates that apps and experiences are their top priority in XR: "I think you can divide the ecosystem into three major parts: apps / experiences, platform services and hardware / systems. In my vision of ubiquitous VR / AR, these are listed in order of importance." As time has passed, it's become more and more clear that the success of Meta's Horizon worlds may be directly tethered to Meta's overall commitment to the XR industry. Just yesterday, Meta announced a $50 million dollar fund for Meta Horizon World creators, with special awards for mobile: "By investing in mobile content, we can reach a lot of new people who don’t yet own a Quest headset and ultimately grow the pie for everyone. That’s why, as part of our $50 million Creator Fund for creators of mobile and MR worlds, we’re also announcing our first creator competition of the year with a focus on mobile." UploadVR did a really great follow-up report about "From Quest To Horizon: How Meta's Shifting Priorities Are Affecting Developers" that includes many anonymous statements from XR developers talking about the impact of Meta's shifting priorities. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Oliver Kadel's 1618 Digital specializes in spatial audio sound design and engineering across linear immersive storytelling and interactive immersive experiences. Kadel also co-hosts The Immersive Audio Podcast with Monica Bolles, and I was recently featured in episode #109. I sat down with Kadel to get a survey of some of the spatial audio formats and production pipelines ranging from 3rd order ambisonics, object-oriented audio in game engines, working with the audio formats for Apple Immersive Video, Dolby Atmos, MPEG-H Audio, and emerging open standards like the Immersive Audio Model & Format (IAMF), which is "an audio container specification designed to revolutionize immersive audio experiences across a wide range of applications, including streaming, gaming, augmented reality (AR), virtual reality (VR), and traditional broadcasting." We talk about some of his favorite immersive audio productions, his process of getting a Ph.D. studying the impact of spatial audio on cognitive load, and some of the future trends of spatial audio.

The Khronos Group is working on a new open standard tentatively called the glTF External Reference Format (or glTFx for short), which will allow users to add multiple glTF assets to a single scene. This used to be called the "glTF Experience Format (glXF)," and the final name is still being finalized. This will enable new capabilities that are not possible by using glTF itself to contain other glTF assets, which includes is level-of-detail (LoD) management, asset-based lighting Management, and billboarding. The Khronos Group continues to translate the core functionality of game engines into various open standards, and are also working towards finalizing glTF extensions for interactivity as well as for physics. I did a deep dive with Khronos 3D Formats Working Group Chairman Alexey Medvedev (AR Tech Lead at Meta/Facebook), and 3D Formats Working Group Vice Chairman Dan Frith (Chief Creative Officer at London Dynamics) to unpack all of the latest news about glTF and glTF External Reference Format. . This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I dig into my archives to unpack the one-on-one, immersive theatre piece that I saw online back in 2021 called TM that used a Socratic dialectic to interrogate you as you're going through a process of joining an imaginary cult. I spoke with Ontroerend Goed's artistic director Alexander Devriendt to get a lot more context for how he designs immersive theatre productions for folks who typically don't like immersive theatre. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

VR filmmakers Joe Hunting and Max Willson are premiering their short documentary film The Reality of Hope at the Sundance film festival this week (online tickets are still available here from Jan 30 to Feb 2 and it'll also be available later this year on Documentary+). Hunting's previous film We Met in Virtual Reality also premiered at Sundance in 2022 and got picked up by HBO, and he's continuing to document very human stories that are rooted within the context of virtual culture. The Reality of Hope is shot both in VRChat and physical reality as it tells the beautiful and inspiring story of Photographotter traveling across the world to donate a kidney to his friend Hiyu, who he met within the furry community in VR. Hiyu is a world builder and avatar creator who has been a part of the team that has created some truly spectacular worlds as a part of the Furality conference (See the full list of worlds listed down below). Facing kidney failure, Hiyu turned to social media asking for help seeking a donor, which caught Photographotter's attention who then privately reached out. Photographotter documented the ups and downs of his inner journey in a VTuber video blog series, and The Reality of Hope fills in a lot of the gaps for the broader Furality community, the worlds that Hiyu has built, and the nuances of their friendship in hospitals of Stockholm, Sweden as the organ donor process requires a three-month commitment. The Reality of Hope is a beautifully-told story that shows the power of VR to forge deep and meaningful connections that proved to be literally life-saving. VRChat Worlds featured in The Reality of Hope Furality Aqua: The Oceans of Luma by Furality Sylva: Treehouse Village at Night by Furality Luma: Crystal Forest by Furality Sylva: Lahaina Springs by Furality Umbra: Village of Umbra by Furality (video) Furality˸ F․Y․N․N․'s Gym by Furality VR Yoga by Castiel先生 Exoplanet Journey by Niko* Tanuki Tunesǃ - タヌキトゥーンズ by Juno Tanuki Photographotters House V2 - by Photographotter https://www.youtube.com/watch?v=pVMSZ30_FMY This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

If it were up to Agnes Callard, she would be having a lot more philosophical encounters in her life. But conversational norms lean towards agreeability, surface-level interactions, and, in some contexts, a polarizing battlefield of ideologies that is near impossible to penetrate. Her preference is for the Socratic Method of inquiry that requires participants to embody specific roles (believing truths vs avoiding falsehoods), with specific rules to follow, and committing to the possibility of having one's beliefs or skepticism radically transformed. This allows for the prospect of overcoming blind spots and co-creating knowledge in a collaborative fashion where one thinks with someone rather than thinking for someone. Socratic inquiry doesn't just happen, so Callard wrote a book called Open Socrates: The Case for a Philosophical Life explaining the process in great detail. She even created an entirely new ethical framework arguing that striving for knowledge is a moral imperative per Socrates' aphorism "the unexamined life is not worth living." Callard argues in her book that while achieving knowledge requires following the two rules of believing truths and avoiding falsehoods, it's impossible for one person to follow both rules simultaneously. To do so requires a collaborative and dialectical process like the Socratic Method. She cites William James' 1896 The Will to Believe as the source of the insight that believing truths and avoiding falsehoods are apparently two different mutually-exclusive algorithms: We must know the truth; and we must avoiderror,—these are our first and great commandments as would-be knowers; but they are not two ways of stating an identical commandment, they are two separable laws. James, W. (1907). The Will to Believe and Other Essays in Popular Philosophy. page 17. Longmans Green and Co. For a quick 5-minute overview on why believing truths and avoiding falsehoods are two separate algorithms requiring a dialectical process, check out this short 5-minute video where Callard explains the crux of the Socratic Method: https://www.youtube.com/watch?v=6yjjYq-Z-z0 It's not immediately obvious to me that the path towards knowledge requires believing truths and avoiding falsehoods, or that it would be impossible for one person to commit to both. If Callard is right, the path towards knowledge requires a collaborative and deliberative process similar to the path towards justice where the prosecution prosecutes the guilty and the defense acquits the innocent. Once again, a lawyer cannot represent both sides, however, in this instance, the debate is mediated by a judge with an independent jury deciding the verdict. Callard contends that pure Socratic Inquiry needs no moderator as long as both parties are open-minded enough to have their blind spots challenged and potentially be radically transformed. What it does require is a good faith commitment to work collaboratively with a certain amount of epistemic humility. This underlying dialectical nature of knowledge applies in many and varied contexts, especially around conversations focusing on "What is Truth?" or "What is Reality?" Close listeners to the Voices of VR podcast have heard me mention this tension between "believing truths" vs "avoiding falsehoods" in at least a dozen podcasts going back to November 2019 (#846, 860, 912, 927, 932, 959, 971, 1055, 1092, 1144, 1147, & 1353). Dialectical polarities are a core pillar of my experiential design framework, and I've been seeing more immersive stories and experiences use the principles of the Socratic Method as a core mechanic. See my interviews about Horizon (one-on-one Socratic dialogue with an immersive theatre actor within a speculative futures context), Mandala (group Socratic dialectic about philosophical ideas), and The Collider (asymmetrical two-person experience about power and boundaries where one person embodies power-over dynamics with the other embodying power-unde...

I interviewed producer Dan Tucker at IDFA DocLab 2024 about the lessons learned from touring In Pursuit of Repetitive Beats across 20 different venues over the past couple of years. See the transcript down below for more context on our conversation." See more context in the rough transcript below. This is the last episode from my series of interviews from IDFA DocLab 2024. You can see all of the interviews in the list below: #1492: IDFA DocLab Curators Preview 2024 Slate of AI & XR Immersive Documentaries #1493: "About a Hero" IDFA Opening Night Doc Blends Realities, Written by AI Trained on Werner Herzog Corpus #1495: Getting Roasted by Unfiltered "AI & Me" Photobooth Installation #1496: Using GenAI to Recreate Erased Family Photos with "Burn From Absence" 4-Channel Video #1497: Experimental VR Doc "Rapture II: Portal" Blends Hypnotic Audio with Spatial Scan of War-Abandoned Home #1498: Immersive Installation Frames Provocative "Töngö Sondi" Animation on Langauge, Censorship, & Identity #1499: From Interactive Biohacking Lecture to Speakeasy with "Drinking Brecht: An Automated Laboratory Performance" #1500: Sharing Indigenous Knowledge with AR on 360 Video and Embodied Rituals in "Ancestral Secrets VR" #1501: Roaming as Resistance: "Entropic Fields of Displacement" wins DocLab Digital Storytelling Award #1502: Candid Audio Clips Juxtaposed with Poetic GenAI Video in "Sincerely Victor Pike" #1503: "The Liminal" Spatial Audio Installation Blends Audio Doc with Specualtive Arab Futurism #1504: Open World, GenAI Podcast "Drift" Reflects on Climate Change from 500 Years in the Future #1505: Immersive Journalist Features Volumetric Sexual Harrassment Testimonies in "Walking Alone, Text You When I'm Home" #1506: Going on a Virtual Date in "ROAMance" that Generates Novel Encounters with Defamiliarization #1507: From Selfies to Virtual Offspring, "Ancestors" Turns Strangers into Family and Intergenerational Speculative Futures #1508: Virtual Architecture Vibes Part 1: "Limbotopia" VR & Dome at Film Gate Interactive #1509: Virtual Architecture Vibes Part 2: "Limbophobia" VR & Dome at IDFA DocLab #1510: Poetic VR Exploration of Iranian Protest Blindings in "Speechless Witness of a Wandering Tree" #1511: Cultivating Virtual LGBTQIA+ Safe Spaces in VRChat with "Dollhouse for Queer Imaginaries" #1512: DocLab Immersive Non-Fiction Winner "Me, A Depiction" Performance Installation Confronts Objectifying Gaze #1513: From Daily News to GenAI Irish Sean-nós Songs in "You Can Sing Me on My Way" Audio Installation #1514: Creating GenAI Flower Ecosystem with "Future Botanica" AR App #1515: VR Researcher Julia Scott-Stevenson on Embodiment in Story & Why Docs are Perfect to Explore AI #1516: Myriam Achard on Phi Studio's Expansion into LBE Distribution & the Fusion of Immersive Art at Phi Contemporary #1517: LBE Lessons Learned from 20-Venue Tour of "In Pursuit of Repetitive Beats" with Producer Dan Tucker This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Myriam Achard about the new distribution arm of Phi Studio (as of now there is still no official name yet) as well as the exciting new Phi Contemporary set to open in 2028 that will be fusing together the contemporary art world with the immersive art, storytelling, and technology worlds that the Phi Centre have been curating. See the transcript down below for more context on our conversation. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed VR researcher Julia Scott Stevenson at IDFA DocLab 2024 about her research into embodiment and AI within the context of immersive stories as well as her work around climate change. See the transcript down below for more context on our conversation. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed co-directors Marcel van Brakel and Hazal Ertürkan about Future Botanica that showed at IDFA DocLab 2024. See the transcript down below for more context on our conversation. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed director Seán Hannan about You Can Sing Me on My Way that showed at IDFA DocLab 2024. See the transcript down below for more context on our conversation. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed director Lisa Schamlé about Me, A Depiction that showed at IDFA DocLab 2024. See the transcript down below for more context on our conversation. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed director Queer.Space about Dollhouse for Queer Imaginaries that showed at IDFA DocLab 2024. See the transcript down below for more context on our conversation. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed director Aphra Taghizadeh about Speechless Witness of a Wandering Tree that showed at IDFA DocLab 2024. See the transcript down below for more context on our conversation. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed director Wen Yee Hsieh and producer Sebox Hong about Limbophobia that showed at IDFA DocLab 2024. See the transcript down below for more context on our conversation. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality