Category Archives: Virtual Reality

The dazzling effects of augmented and virtual reality are obvious, but how can museums know if they actually facilitate learning? Photo credit: Courtesy of Chicago History Museum

I am perfectly astonished at the effect.

The thrilling scenes therein depicted are beyond description.

It is true and really wonderful.

These are reactions from visitors to the Chicago Fire Cyclorama, who, in 1892, were captivated by the sensation of standing in the center of a rotunda, surrounded on all sides by a detailed painting of a burning city. Perched atop slowly spinning platforms, audiences got a 360-degree view and a narrated tour of the already historic 1871 Chicago Fire. Two tons of oil paint, six tons of canvas, and twenty person-years of labor resulted in scenes so massive and so realistically rendered that crowds delighted at the feeling of being transported back in time. Cycloramas were as close to virtual reality as you could get in 1892, and the novelty left an impression.

Apart from the quaint turns of phrase, the sentiments from the Chicago Fire Cyclorama visitors are strikingly similar to those offered by recent users of the Chicago History Museums virtual and augmented reality project, Chicago00 (Chicago zero zero), which we developed as a new kind of museum exhibition: mobile, immersive, and driven by the choices of the user. The project elevates our mission to share Chicagos stories by activating them on the digital landscape.

It felt like I could reach out and touch everything around me.

The experience took me back in time.

I loved it, magnificent view into what it was like back then.

Like the creators of cycloramas, the team behind CHMs experimental digital history initiative aims to astonish. Only instead of tons of paint and twenty thousand square feet of canvas, we leverage new technology, images from CHMs extensive Prints and Photographs Collection, and other media archives to connect users with pivotal events in Chicagos past. Through augmented reality apps and virtual reality videos, the project superimposes historical imagery onto the contemporary landscape. Stunning visuals accompany ambient sound, music, and narration to accomplish immersive storytelling that grounds users in the history all around them. At the edge of the Chicago River between Clark and LaSalle Streets, for example, smartphones become portals to the past, resurrecting ghostly scenes from when the S.S. Eastland capsized on that very spot over a century ago. The AR is a moving experience for users, inducing gasps and exclamations that satisfy both the historians and the creative team behind the experience.

But Chicago00 was always supposed to be more than a spectacle. It was meant to take the simulated reality that has been delighting gamers and amusement park goers for years and apply it to learning and connecting with history in new ways. As a history museum, our goal from the outset was to explore digital storytelling as a means to deliver on our mission. Our partnership with filmmaker and professor Geoffrey Alan Rhodes, which began in 2013, has pushed us to take the stories at our fingertipsthe 1929 St. Valentines Day Massacre, the 1933 Century of Progress Worlds Fair, the 1968 Democratic National Convention protestsand revitalize them with new interpretation and innovative presentation for an expanded audience. Designed as a series of experiments, each 00 initiative has been an evolution, allowing us to test, iterate, and refine. When the project was honored with a MUSE award from AAM in 2018, CHM and our partners were thrilled with how far we had come and how much we had learned.

The only thing was, even as we watched the people engaging with our VR and AR experiences gasp, we could not tell you for certain if they were learning anything about history. Museum AR and VR is relatively new, and very little has been developed and shared on evaluating the effectiveness of these formats in achieving experience goals for audiences. Analytics tell a nebulous story of views, clicks, and likes, but its difficult to draw meaningful conclusions from these numbers. According to museum evaluator Kate Haley Goldman, Museums lack tools, scales, and even a vocabulary for measuring immersion, presence, and empathy, and how those elements might contribute to learning outcomes. With the support of a National Endowment for the Humanities Digital Projects for the Public grant, CHM set out to change that. We used the development of our latest VR experience, Chicago00: 1893 Worlds Columbian Exposition, to create and test an evaluation tool to measure the cognitive and affective impact of these emerging digital experiences.

Working alongside Haley Goldman and her team at HG&Co, we embarked on a process to help us understand how users engage with digital history experiences, what impressions they had of our experience, and what was sinking in, with the goal of integrating this user testing into future design development.

As a test case, HG&Co evaluators observed about fifty participants trying out a previous Chicago00 VR project, Century of Progress, a vivid portrayal of the 1933 Worlds Fair that culminates with a simulated trip up the 628-foot Sky Ride to get a birds eye view of the city. Afterwards, they interviewed the participantswho included students on a field trip, museum educators, and general museum visitorsabout the experience.

While participants were inside the headset, the evaluators observed them pointing, exclaiming, and even grimacing, as they were brought high up in the Sky Ride, then cajoling friends and family members to try it out next. The wow factor was in full effect. The ensuing interviews confirmed the experience achieved powerful sensory immersion for the participantsso much so that, in some cases, they had trouble retaining or reflecting on the ideas being communicated. At times, they even actively tuned out the audio content in order to focus on being there. We learned that multiple viewings were warranted to fully grasp the historical information, which supported our approach to make the experiences free, easily accessible, and appealing to return to.

The disconnect between the sensory elements and the narration was a key finding for us. We also discovered that:

These findingssome surprising and some expectedbecame a formative study for our new Worlds Columbian Exposition VR. We considered the complexity and pacing of the narration, the then-and-now images working together to say history happened here, and the drama of the moving Ferris wheel. Realizing that the experience would prompt curiosity about the 1893 fair, we developed a web portal with mapped imagery and interpretive content. Available now, Chicago 00: 1893 Worlds Columbian Exposition is also the first of our digital history projects to be thoroughly evaluated with our new Experience Evaluation Rubric.

Based on the user testing for Century of Progress, HG&Co developed a framework for impact measurement for museum VR/AR called the Experience Evaluation Rubric (EER). The EER was designed to build a shared vocabulary and specificity around mixed reality experiences. At CHM, we use it to assess and inform the episodes we create of historical events in specific physical locations, but the tool is easily applied to other types of museum-based content and a range of experience goals.

The EER has two sections. The first is for the designer or evaluator to complete, and it captures details about the physical and digital environment of the experience and the content presented. The second is a participant-facing assessment that asks users to score twenty or so statements related to presence factors as well as cognitive and affective impacts. Using a scale of 1 (not at all) to 7 (completely), audiences rate qualities ranging from vividness and captivation to time-travel and physicality of place. These latter two elements were of particular interest to our history-driven, location-based project, but other museums might place more emphasis on traits related to agency or social presence, for example, depending on their intended effects.

Over time, data from the two sections of the EER can be analyzed for emergent patterns, such as what type and context of experience provides what type of impact. Museum digital producers can then make informed decisions about the kinds of content, technology, and settings that best support a desired outcome. For example, after viewing our Worlds Columbian Exposition episode, 81 percent of test subjects indicated they wanted to visit the Museums Worlds Fair exhibition content, which demonstrates VRs potential to support our on-site audience development goal. We also discovered that 87 percent of test subjects were very interested in the details within the virtual world, which indicates that the design of the experience succeeds at piquing curiosity about historical visuals. Finally, over 80 percent reported learning new facts, affirming the educational effectiveness we sought as we designed the experience.

As the Chicago History Museum works toward its commitment to becoming a digital-first museum, projects like Chicago00 are at the top of our strategic agenda. With support from the National Endowment for the Humanities, which encourages new, technology-driven interpretive methods for museums and widespread sharing of resulting products and tools, we have been able to meaningfully advance this goal. We now have evidence of the efficacy and appeal of the mixed-reality work we are developing through the Chicago00 project and a pathway for designing future experiences with our desired outcomes in mind. Our Experience Evaluation Rubric offers clear guidance for how all museums experimenting with augmented and virtual reality can understand user engagement and deliver meaningful content.

Immersive storytelling has come a long way since the peak days of cyclorama exhibitions. Worlds displayed on building-size paintings have shrunk to fit inside screens and headsets, but the potential is bigger and the reach is farther than ever before. We see AR and VR as tools that will greatly influence the future of our museumand probably yours, too.

Colleen McGaughey is the senior manager of institutional advancement at the Chicago History Museum, where she oversees government, foundation, and corporate grants. During her more than 20-year career in nonprofit development, she has played a key role in diverse grant-funded initiatives ranging from HIV prevention and hunger relief to adult literacy instruction and museum exhibitions. She has authored hundreds of proposals grounded in research and driven by mission. Her practice involves program planning and evaluation strategies as essential phases of fundraising. She has a BA in philosophy from Loyola University Chicago and an MA in liberal studies from Northwestern University and insists both prove useful in her work.

John Russick is the senior vice president of the Chicago History Museum where he oversees the departments of collections and curatorial affairs, exhibitions, communications, and the Museums Research Center. His latest digital initiative, the Chicago 00 Project, is a collection of interactive augmented and virtual reality experiences that showcase the Museums film, photo, and sound archive, winning a MUSE award in 2018 and a Chicago Innovation award in 2019. His most recent publication, "The Museum Inside Out" was published in the January/February 2020 issue of the American Alliance of Museum's magazine. Other publications include, "A Place for Everything: Museum Collections, Technology, and the Power of Place,(Medium, 2014) and "Connecting Kids to History with Museum Exhibitions" (Left Coast Press, 2010). He served as a program advisor on the 2011 Florentine Films documentary, Prohibition, directed by Ken Burns and Lynn Novick. Since 2008, he has organized the American Alliance of Museums annual Excellence in Exhibition Label Writing Competition.

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Evaluating the Impact of Augmented and Virtual Reality - aam-us.org

Wave, the virtual venue & virtual event production company formerly known as TheWaveVR, has moved away from virtual reality over the last two years in favor of distributing its virtual performances to a broader audience through non-immersive media channels. The company today announced that it has de-prioritized its VR app, which will officially shut down at the end of March. Wave says the move will allow it to focus on bringing more fans [to] experience our virtual events on popular streaming platforms.

Founded in 2016, Wave has raised some $40 million in venture capital, according to Crunchbase, to chase its vision of virtual concerts as the future of music performances. The company has produced virtual events headlined by well known artists like John Legend and Lindsey Stirling. Performances are rendered in real-time, with artists donning mo-cap suits and face-tracking tech to bring their likeness into the virtual world as their avatars perform in fantastical virtual venues.

At the outset, the companys platform was built to be immersive and interactiveeven allowing users to host their own performanceswith audiences joining the venue via virtual reality through theWave Beta app which launched on Steam in 2017 and Oculus PC in 2018.

But with VRs relatively slow adoption, the company realized it wasnt reaching the scale of audience that it needed. Wave began focusing its efforts on broadcasting the virtual productions beyond virtual reality so that a wider audience could enjoy the show.Now the company says its fully focused on delivering virtual productions through traditional channels, like livestreams, and will be shutting down its VR app at the end of March.

The primary reason, the company maintains, is that part of its VR app relies on Googles 3D model hosting platform, Poly (which itself is shutting down); Wave says it doesnt have the resources to build a new solution into the app. The company contends that its best option is to shutter the app for now, and promises to do everything we can to one day bring back [the VR experience] in an even more evolved form.

Wave CEO & co-founder Adam Arrigo publicly shared the following note:

We founded Wave almost five years ago to connect humanity through immersive music experiences. That journey started in the VR space, with our community-driven VR app on Steam, and its been rewarding watching our community of creators use our tools to host their own VR concerts. We never foresaw the incredible things people would create, and often attending those shows felt like peering into the future of live music / visual art performance and being blown away by the result.

Two years ago we pivoted out of VR into gaming and live-streaming, as the VR industry didnt develop as quickly as wed hoped. Artists need audiences to thrive, and we realized VR just wasnt there yet, and there was a bigger opportunity for artists outside headsets. Even though ti doesnt fit our current business model, weve kept TheWaveVR app and servers running just because the community in there has made such inspiring stuff. Unfortunately we built the user tools on top of Google Poly, which is shutting down.

As much as wed love to, we arent able to spend the resources to build a new backend pipeline, since we are already spread so thin trying to accomplish our current set of non VR objectives. We are still a relatively small startup. The hardest part of running a startup is choosing what to focus on, which has led us to the difficult decision to sunset TheWaveVR app on Steam and Oculus.

Even though this means the Wave VR shows will come to a pause, we think this is the best decision for the long term future of the Wave community, and we promise to do everything we can to one day bring back this experience in an even more evolved form. Thank you so much from the bottom of our hearts for joining us for all those multi-hour VR raves and for helping us craft this vision of the future of music and art. We hope youll join us for this next chapter.

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Wave Deprecates VR App to Focus on Broader Distribution of Its Virtual Performances - Road to VR

Global Augmented Reality & Virtual Reality in Healthcare Market Scope of the Report

Augmented Reality & Virtual Reality in Healthcare Market research report delivers a comprehensive study on production capacity, consumption, import and export for all major regions across the world. Report provides is a professional inclusive study on the current state for the market. Analysis and discussion of important industry like market trends, size, share, growth estimates are mentioned in the report.

Augmented reality (AR) and virtual reality (VR) is the new way patients are diagnosed and treated. Remote surgery, hands on training, virtual medical learning, etc. are common applications of these two technologies in healthcare sector. Augmented reality (AR) adds digital elements to a live view often by using the camera on a smartphone whereas, Virtual reality (VR) indicates a complete involvement experience that shuts out the physical world.

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Competitive Landscape Augmented Reality & Virtual Reality in Healthcare Market: Worldviz, General Electric Company, Eon Reality Inc., Layar, Hologic, Inc., Koninklijke Philips N.V., Siemens Medical Solutions USA, Inc., CAE Healthcare, Intuitive Surgical, TheraSim Inc.

The global augmented reality and virtual reality in healthcare market is segmented on the basis of device type, application, end user and geography. The device type segment includes, AR healthcare devices, VR healthcare devices. Based on application, the market is segmented as, patient care management, fitness management, surgery, medical training and education, others. Based on end user, the market is segmented as, research organizations, research and diagnostics laboratories, hospitals, clinics and surgical centers, government institutions, others.

The report specifically highlights the Augmented Reality & Virtual Reality in Healthcare market share, company profiles, regional outlook, product portfolio, a record of the recent developments, strategic analysis, key players in the market, sales, distribution chain, manufacturing, production, new market entrants as well as existing market players, advertising, brand value, popular products, demand and supply, and other important factors related to the market to help the new entrants understand the market scenario better.

To comprehend global Augmented Reality & Virtual Reality in Healthcare market dynamics in the world mainly, the worldwide market is analyzed across major global regions: North America (United States, Canada and Mexico), Europe (Germany, France, United Kingdom, Russia and Italy), Asia-Pacific (China, Japan, Korea, India, Southeast Asia and Australia), South America (Brazil, Argentina), Middle East & Africa (Saudi Arabia, UAE, Egypt and South Africa)

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Augmented Reality & Virtual Reality in Healthcare Market New Business Experts Ideas By Worldviz, Eon Reality, Layar, Hologic, Intuitive Surgical,...

Its not the same as being there, but Sony unveiled a new technology featuring Epic artist Madison Beer at CES on Monday that at least looks a lot like an actual live concert.

In it, Beer is a virtual avatar performing her song Boyshit at Sony Hall in New York before a virtual live audience on a virtual stage in a meticulous facsimile of the venue although as the accompanying footage (below) shows, she was actually performing in a studio, wearing a virtual-reality suit. While it still looks like ultra-sophisticated animation, its getting closer every year to looking like real life.

In the full performance, Beers avatar will perform a medley of songs from her forthcoming Epic Records debut album, Life Support, as the avatar.

Watch the preview here.

Fans will be able to view the Madison Beer Immersive Reality Concert Experience on PlayStation VR and Oculus VR, and as an immersive 2D experience, which will be broadly available on streaming music video channels. It is set to debut later this winter.

The process of putting this performance together is like nothing Ive ever done before, said Beer. I love creating visuals, so it was really exciting for me to get involved in the process and make something special for my fans. Were all disappointed we cant go out and experience these songs on tour together, so creating a performance like this one feels like a true gift.

Said Sylvia Rhone, Chairwoman and CEO, Epic Records, Madison Beer is raising the bar of whats possible in a virtual concert performance and we couldnt be more excited. With this cutting-edge collaboration of music and technology, Madison has brought her innovative vision to life in a unique way while taking it to new heights. This is another example of Epics commitment to empower our artists with groundbreaking opportunities to expand their creative options and engage fans through immersive experiences.

Said Dennis Kooker, President, Global Digital Business and U.S. Sales, Sony Music Entertainment, We are pleased to be partnering with Verizon to bring Madison Beers groundbreaking immersive performance to fans across a range of streaming and VR platforms. This is a forward-looking, incredibly lifelike experience that brings a new dimension to Madisons artistry and highlights the capabilities of these innovative formats which bring fans closer to the music than ever before.

New technologies only become real for consumers through groundbreaking performances like this one, said Erin McPherson, Head of Consumer Content and Partnerships at Verizon. Madison Beer is one of the most exciting young performers today, and her willingness to disrupt is a glimpse into the future of creativity and engagement in music. As interactive performances continue to evolve, Madison Beer and Sony will stand as a milestone in the development of new, immersive experiences for consumers, powered by Verizon.

Original post:

Sony Unveils Immersive Reality Concert Experience With Madison Beer at CES - Variety

Baton Rouge Entrepreneurship Week, known as BREW, is hosting its annual business conference online next week.

BREW is free and requires registration with an optional donation, but there are ticketed events during the week.

It begins at 9 a.m. Jan. 19 with an overview of the past decade of entrepreneurship in Baton Rouge, since it's the 10th year in a row NexusLA has organized the conference.

NexusLA's CEO Genevieve Silverman in two sessions will discuss how business innovation can shape the growth of a city, followed by how innovation in health care during the coronavirus is happening in the market.

There are lightning talks, which are 5-minute speeches from regional entrepreneurs about innovation in their respective industry.

Keynote speakers are Sevetri Wilson, founder of Resilia a New Orleans-based technology company that sells online tools for nonprofit organizations to track compliance and streamline charitable goals, on Jan. 19; and on Jan. 20 both Patrick Comer, CEO of Lucid, a New Orleans-based technology startup that sells a tool for market researchers, and Silicon Valley serial entrepreneur Philip Rosedale, founder of virtual reality business High Fidelity.

Other events during BREW include a session about angel investing in startups, moderated by Bill Ellison of Red Stick Angels and Innovation Catalyst; an improvisation class for executives, a ticketed event hosted by Theatre BR; interactive virtual reality networking; a session about marketing, the future of entrepreneurship in Baton Rouge and an overview of Resolve, which is a recurring virtual event meant to offer open dialogue about racial equity in business.

Three finalists, out of 56 applicants, are competing for $50,000 in a pitch competition on Jan. 21. Finalists include Baton Rouge-based payroll and business functions tool Omnidek; telehealth business Relief Telemed and artificial intelligence startup for bioscience Biocaid.

The investor group behind the funding for the competition is Red Stick Angels, a group of accredited investors interested in high-growth businesses.

Information and tickets are atcelebratebrew.com.

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Baton Rouge entrepreneurship conference to be virtual next week - The Advocate

Spartanburg County students say they have learnedabout standing up for what is right and how your history helps to define who you are while studying about the life and legacy of Martin Luther King Jr.

The national holiday honoring the slain civil rights leader is today. King would have turned 92 on Jan. 15.

On Thursday at Pine Street Elementary School, many classes were working on projects to help students connectKing's words to their own lives.

Fifth-graders inMary Ann Stoddard's class selected some of King's quotes to study and show how it relates to their own lives or current events. They shared their understanding of the quotations by acting them out for their classmates.

Across the hall, Julie Sprinkles' fifth-grade class took a virtual tour of several historical landmarks. By using virtual reality headsets, the students got to see such sites as Ebenezer Baptist Church, where King preached and his funeral was held after his assassination on April 4, 1968.

Students were proud to show how much they had learned by sharing that King's birth name was Michael and not Martin.

"By the time they get to fifth grade, they think they know everything there is to know, and we learned something new through this yesterday. It was great.They enjoy it and it keeps them engaged,"Sprinkles said.

The students also completed a writing project using a King quote of their choice.

Millie Bagwell, 11, chose "The time is always right to do what is right."

"That means you don't have to wait to do something good or right. It matters because if you do something right then you will set an example and then hopefully some other people will do the same and then that will make the world better," Bagwell said.

"My quote is 'We are not makers of history; we are made by history.' To me, that means that our past does matter because it makes us who we are today,"said Rayonna Hibbard, 11.

Stoddard said drawing from current events for examplesduring classroomtalks about King and his method of nonviolent resistancehas been a natural choice.

"We've talked about Black Lives Matter and the positive ways in which people have fought for better rights for African Americans and we also talked about commotion and how that's not the way to do it. We definitely brought it up last week," said Stoddard. "I let them talk. We have a writing workshop in here so they write a lot and they're very comfortable sharing their thoughts, so once I set (the discussion) up, I let them just share."

She said students were able to see the difference between the peaceful protests King promoted and the actions insurrectionists took at the Capitol on Jan. 6.

"It was disturbing to them, but they know that Congress still had a sessionand still went through with their job andfinished the job. And they acknowledge that freedomof speech is an important part of our country and our process, but that rioting is not acceptable,"Stoddard said. "I ended it that day on the importance of voting."

Lynsey Bullington, a fourth-grade teacher, said her students were asking more questions during their MLK Day lessons than students in years past. Her class was working on an art project, painting pictures of King surrounded by words that reflected key parts of his messages, like "equality" and "justice."

"One of the things that I think has been a little bit different this year is they're making so many connections to what is going on in the nation currently, whereas in the past, we really haven't had that. Everybody knows he's such an inspirational person and we love learning about him, but I think his message is really hitting home with them right now,"Bullington said.

Sprinkles anticipates thatstudents will have more questions about the Black Lives Matter protests that took place last summer and the protests King took part in during their Civil Rightslessons in February during Black History Month.

"They do know about it and they do bring it up (now). Some children are more knowledgeable about it than others, some don't even know that it's going on because their parents have sheltered them a little bit from that,"Sprinkles said. "We have to be kind ofcareful about how we handle situations like that; it's very important that they learn about it and hear about it, but not know the political views of their teacher. We try to keep it as neutral as we can."

The Herald-Journal sharedone more quote with the students for Martin Luther King Jr. Day "I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character."

The Herald-Journal asked students to share what it means to them and their own dream for the future.Here's what they had to say:

"He wants all the people of the world, especiallyof color, to be treated equally. And if they're good people, they should be treated well. (In the future) I definitely want COVIDto go away, and I want more peace," said Kennedy DeMark, 10, fifth grade.

"People want to be treated equally, like paid equally, everything equal," saidJulian Gillam, 11, fifth grade. For his future, Gillam also wanted the pandemic to end.

"And I want flying cars.Theysoundfun," he said.

"I think it means that back then when segregation was a thing, they wanted it to be stopped and for Black people to be treated exactly like white people, and Martin had that dream and it came true," saidLuke Hodge, 9, fourth grade.

His dream for the future, "That I become famous and that Black lives will matter more."

"I think it means if you have a different skin color than someone, it doesn't mean you have to be rude to them. You don't have to hate them for that, you should be nice to them. I hope that people still don't judge people for their skin color or anything, that's what I want," said Marianna Hallenbeck, 10, fourth grade.

The rest is here:

Spartanburg students learn about Martin Luther King Jr.'s dream, share their own - Spartanburg Herald Journal

Virtual Reality and Augmented Reality in Retail Market Status and Trend Analysis 2017-2026 (COVID-19 Version)

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A winning Augmented Reality & Virtual Reality Marketfor Retail Industry report is an established source of information that presents with a telescopic view of the current market trends, situations, opportunities and status. This report helps clients recognize new opportunities and most important customers for their business growth and increased revenue. Moreover, the trends in consumer and supply chain dynamics are also recognized and then accordingly strategies about marketing, promotion and sales are interpreted for an extreme success. The report gives details about the top players and brands that are driving the market. The current market scenario and future prospects of the sector have also been examined in the comprehensive Augmented Reality & Virtual Reality Marketfor Retail Industry report.

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Augmented Reality & Virtual Reality Marketfor Retail Industry: Worldwide Analysis

Augmented reality & virtual reality market for retail industry is expected to reach USD 2,094.08 billion by 2027 witnessing market growth at a rate of 68.5% in the forecast period of 2020 to 2027. Data Bridge Market Research report on augmented reality & virtual reality market for retail industry provides analysis and insights regarding the various factors expected to be prevalent throughout the forecast period while providing their impacts on the markets growth.

Top Key Competitors: Global Augmented Reality & Virtual Reality Marketfor Retail Industry

The major players covered in the augmented reality & virtual reality market for retail industry report are Google LLC, Microsoft, Facebook, Inc., PTC, Wikitude GmbH, Magic Leap, Inc., DAQRI, Blippar Ltd, Upskill, Continental AG, Visteon Corporation., EON Reality., Vuzix Corporation, Zugara, Inc., MAXST Co., Ltd., Ultraleap Ltd., Sixense Enterprises Inc., Atheer, Inc, Marxent-Patents Pending, Apple Inc, Intel Corporation, among other domestic and global players.

Augmented Reality & Virtual Reality Marketfor Retail Industrys Drivers, Restraint and Key Development:

Some of the Major Highlights of TOC covers: Global Augmented Reality & Virtual Reality Marketfor Retail Industry

Chapter 1: Methodology & Scope

Definition and forecast parameters

Methodology and forecast parameters

Data Sources

Chapter 2: Executive Summary

Business trends

Regional trends

Product trends

End-use trends

Chapter 3: Augmented Reality & Virtual Reality Marketfor Retail Industry Industry Insights

Industry segmentation

Industry landscape

Vendor matrix

Technological and innovation landscape

Chapter 4: Augmented Reality & Virtual Reality Marketfor Retail Industry, By Region

Chapter 5: Company Profile

Business Overview

Financial Data

Product Landscape

Strategic Outlook

SWOT Analysis

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Augmented Reality & Virtual Reality Marketfor Retail Industry Size, Share, Application With Growth And Business Strategies Forecast - KSU | The...

The MIT.nano Immersion Lab, MITs first open-access facility for augmented and virtual reality (AR/VR) and interacting with data, is now open and available to MIT students, faculty, researchers, and external users.

The powerful set of capabilities is located on the third floor of MIT.nano in a two-story space resembling a black-box theater. The Immersion Lab contains embedded systems and individual equipment and platforms, as well as data capacity to support new modes of teaching and applications such as creating and experiencing immersive environments, human motion capture, 3D scanning for digital assets, 360-degree modeling of spaces, interactive computation and visualization, and interfacing of physical and digital worlds in real-time.

Give the MIT community a unique set of tools and their relentless curiosity and penchant for experimentation is bound to create striking new paradigms and open new intellectual vistas. They will probably also invent new tools along the way, says Vladimir Bulovi, the founding faculty director of MIT.nano and the Fariborz Maseeh Chair in Emerging Technology. We are excited to see what happens when students, faculty, and researchers from different disciplines start to connect and collaborate in the Immersion Lab activating its virtual realms.

A major focus of the lab is to support data exploration, allowing scientists and engineers to analyze and visualize their research at the human scale with large, multidimensional views, enabling visual, haptic, and aural representations. The facility offers a new and much-needed laboratory to individuals and programs grappling with how to wield, shape, present, and interact with data in innovative ways, says Brian W. Anthony, the associate director of MIT.nano and faculty lead for the Immersion Lab.

Massive data is one output of MIT.nano, as the workflow of a typical scientific measurement system within the facility requires iterative acquisition, visualization, interpretation, and data analysis. The Immersion Lab will accelerate the data-centric work of MIT.nano researchers, but also of others who step into its space, driven by their pursuits of science, engineering, art, entertainment, and education.

Tools and capabilities

The Immersion Lab not only assembles a variety of advanced hardware and software tools, but is also an instrument in and of itself, says Anthony. The two-story cube, measuring approximately 28 feet on each side, is outfitted with an embedded OptiTrack system that enables precise motion capture via real-time active or passive 3D tracking of objects, as well as full-body motion analysis with the associated software.

Complementing the built-in systems are stand-alone instruments that study the data, analyze and model the physical world, and generate new, immersive content, including:

Like MIT.nanos fabrication and characterization facilities, the Immersion Lab is open to researchers from any department, lab, and center at MIT. Expert research staff are available to assist users.

Support for research, courses, and seminars

Anthony says the Immersion Lab is already supporting cross-disciplinary research at MIT, working with multiple MIT groups for diverse uses quantitative geometry measurements of physical prototypes for advanced manufacturing, motion analysis of humans for health and wellness uses, creation of animated characters for arts and theater production, virtual tours of physical spaces, and visualization of fluid and heat flow for architectural design, to name a few.

The MIT.nano Immersion Lab Gaming Program is a four-year research collaboration between MIT.nano and video game development company NCSOFT that seeks to chart the future of how people interact with the world and each other via hardware and software innovations in gaming technologies. In the programs first two calls-for-proposals in 2019 and 2020, 12 projects from five different departments were awarded $1.5M of combined research funding. The collaborative proposal selection process by MIT.nano and NCSOFT ensures the awarded projects are developing industrially-impactful advancements, and that MIT researchers are exposed to technical practitioners at NCSOFT.

The Immersion Lab also partners with the Clinical Research Center (CRC) at the MIT Institute for Medical Engineering and Science to generate a human-centric environment in which to study health and wellness. Through this partnership, the CRC has provided sensors, equipment, and expertise to capture physiological measurements of a human body while immersed in the physical or virtual realm of the Immersion Lab.

Undergraduate students can use the Immersion Lab through sponsored Undergraduate Research Opportunities Program (UROP) projects. Recent UROP work includes jumping as a new form of locomotion in virtual reality and analyzing human muscle lines using motion capture software. Starting with MITs 2021 Independent Activities Period, the Immersion Lab will also offer workshops, short courses, and for-credit classes in the MIT curriculum.

Members of the MIT community and general public can learn more about the various application areas supported by the Immersion Lab through a new seminar series, Immersed, beginning in February. This monthly event will feature talks by experts in the fields of current work, highlighting future goals to be pursued with the immersive technologies. Slated topical areas include motion in sports, uses for photogrammetry, rehabilitation and prosthetics, and music/performing arts.

New ways of teaching and learning

Virtual reality makes it possible for instructors to bring students to environments that are hard to access, either geographically or at scale. New modalities for introducing the language of gaming into education allow for students to discover concepts for themselves.

As a recent example, William Oliver, associate professor in electrical engineering and computer science, is developing Qubit Arcade to teach core principles of quantum computing via a virtual reality demonstration. Users can create Bloch spheres, control qubit states, measure results, and compose quantum circuits in an intuitive 3D representation with virtualized quantum gates.

IMES Director Elazer Edelman, the Edward J. Poitras Professor in Medical Engineering and Science, is using the Immersion Lab as a teaching tool for interacting with 3D models of the heart. With the 3D and 4D visualization tools of the Lab, Edelman and his students can see in detail the evolution of congenital heart failure models, something his students could previously only study if they happened upon a case in a cadaver.

Software engineers understand how to implement concepts in a digital environment. Artists understand how light interacts with materials and how to draw the eye to a particular feature through contrast and composition. Musicians and composers understand how the human ear responds to sound. Dancers and animators understand human motion. Teachers know how to explain concepts and challenge their students. Hardware engineers know how to manipulate materials and matter to build new physical functionality. All of these fields have something to contribute to the problems we are tackling in the Immersion Lab, says Anthony.

A faculty advisory board has been established to help the MIT.nano Immersion Lab identify opportunities enabled by the current tools and those that should be explored with additional software and hardware capabilities. The labs advisory board currently comprises seven MIT faculty from six departments. Such broad faculty engagement ensures that the Immersion Lab engages in projects across many disciplines and launches new directions of cross-disciplinary discoveries.

Visit nanousers.mit.edu/immersion-lab to learn more.

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MIT.nano's Immersion Lab opens for researchers and students - MIT News

Virtual reality made me want to get into bed with Glenn Close.

Well, I had to do something. She laid there right in front of me, dying. I stepped to the edge of the bed and reached out, wanting to comfort. My sister Daisy Ridley and I exchanged a knowing glance across the bed, and then averted our eyes. Then we looked back at Close, our mother, the chief of our village, whod been cursed by the witch Baba Yaga.

This affecting scene was not in a videogame or a movie, but in a virtual reality short film released Thursday on Facebooks FB, +2.62% Oculus headsets.

Based on a Russian fairy tale and starring Close, Ridley, Kate Winslet and Jennifer Hudson, Baba Yaga was created by Baobab studios, one of a handful of production companies creating animated stories for VR.

Director Eric Darnell, an animation veteran behind hits like Antz and Madagascar, says even after five years of creating stories in VR, theyre still essentially inventing a new narrative medium on the fly, the rules and grammar of which are still being figured out.

Theres an awful lot we obviously still need to learn, Darnell told MarketWatch. Were at the stage when cinema was basically shooting stage plays. At first I thought it was just like making movies in 3-D, but it was humbling to realize I couldnt just go back to what I know about cinema this is something completely different.

VR remains a niche market, a transformative technology that for years has seemed perpetually about to emerge from its cocoon. But 2021 does feel like yet another inflection point. Maybe its because VR technology has become so much better at precisely a time actual reality has turned so much worse. The two are meeting in the middle, with millions more donning headsets.

Facebook wont say how many Oculus Quests it has sold, but in a January 6 blog post, Andrew Bosworth, head of Facebook Reality Labs, wrote, Quest 2 surpassed the original Quests monthly active people in less than 7 weeks.

So can VR storytelling and gaming replace movies, TV and game consoles as a dominant form of entertainment?

Why cant they all exist together? Jennifer Hudson told MarketWatch. I like options. Sometimes you watch things a traditional way, and sometimes you want to be seen. What better way to be seen than by becoming the character in VR.

The technology is also appealing to audience-deprived artists, Hudson added. The challenge of being a performer today is we are so disconnected and you want to feel energy and to feel you are more present, a part of it and reaching someone. VR space allows for that.

To Hudsons point, due to Covid, the premiere party for Baba Yaga was held in VR. I walked the red carpet from home, took photos and mingled. It was weird, socially awkward, and yet exhilarating to be back in a public space talking to strangers.

Right now the main challenge to VR storytelling is economics. Darnell told me it was no more expensive for his studio to produce a virtual reality film than a traditional one, but it is far less profitable. Not enough people have a headset, and not enough that do seem willing to fork over six bucks for a 20 minute film.

This comes back to what Darnell said about inventing new ways of telling stories. Theres a wonderful moment in Baba Yaga when you follow your sister Magda into the dark forest on a quest to save your ailing mother. Magda hands you her lantern. Its subtle, but suddenly you can illuminate individual plants. It doesnt change the narrative, but it deepens your immersion.

The interactivity doesnt have to be this profound moment do you save the kitten or do you let it die? Darnell said. I have a lantern, I can follow the story and light up things around me. Little moments of delight. And it doesnt have to be about killing zombies or Nazis. Its just about the magic of being able to exist and suspend disbelief and be in this magical world with these characters that you fall in love with.

The best storytelling helps us close the social distance between ourselves and the hearts and minds of others. It generates empathy and joy. Virtual reality has the potential to deepen this experience, Darnell says.

Empathy is step one, but the next step is compassion, where you actually take action based on the empathy you are feeling, he said. That is the big difference with VR, you can go to the point of compassion.

I felt a glimmer of that walking up to Glenn Close on her deathbed, actually reaching out with my hand with compassion. Studios like Baobab are far from cracking the code, but experiencing VR films like Baba Yaga will make you yearn for whats to come.

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This film shows off virtual reality's growing potential to compete with movies, TV, and gaming as our dominant form of entertainment - MarketWatch