Voices of VR
By Kent Bye
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Image by Kent Bye
Category: Design
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Subscribers: 209
Reviews: 2
Episodes: 200
Jan 6, 2021
Jeff
Jan 5, 2019
definitely the top VR podcast
Description
Designing for Virtual Reality. Oral history podcast featuring the pioneering artists, storytellers, and technologists driving the resurgence of virtual & augmented reality. Learn about the patterns of immersive storytelling, experiential design, ethical frameworks, & the ultimate potential of XR.
| Episode | Date |
|---|---|
|
#1385: OpenXR 1.1 Release Promotes Extensions into Core & Marks Yearly Release Cycle for Prominent XR Industry Open Standard
|
Apr 15, 2024 |
|
#1384: 2019 Flashback to OpenXR 1.0 Release at SIGGRAPH
|
Apr 15, 2024 |
|
#1383: 2018 Flashback to OpenXR First Look at GDC
|
Apr 15, 2024 |
|
#1382: Interactive Generative AI Storytelling Installation “The Golden Key” Wins Top Prize at SXSW Leveraging Archetypal Folklore Motifs + Links to SXSW 2024 Coverage
|
Apr 04, 2024 |
|
#1381: “Soul Paint” Wins SXSW Special Jury Prize for Innovative Body Mapping Technique to Spatially Draw Your Emotions
|
Apr 04, 2024 |
|
#1380: “Reimagined Volume III: Young Thang” Adapts a Nigerian Folktale while Refining the Grammar of Spatial Storytelling
|
Apr 04, 2024 |
|
#1379: “Maya: The Birth of a Superhero” Evolves Storytelling Grammar with Magical Realism, Dream Logic, & Interactive Embodiment
|
Apr 04, 2024 |
|
#1378: Anagram’s Mental Health Series Continues with Preview of “Impulse” Mixed Reality Story about ADHD
|
Apr 04, 2024 |
|
#1377: Immersive Producer Katayoun Dibamehr’s Journey to Becoming an Award-Winning Producer at Floréal
|
Apr 04, 2024 |
|
#1376: Indie Musician Roman Rappak’s Annual Mixed Reality Performance Experiments & Expansion into “Detachment” Immersive Story
|
Apr 04, 2024 |
|
#1375: Unique 2D Hand-Drawn Animation Technique with “Tadpole” Leads to a Provocative Immersive Story
|
Apr 04, 2024 |
|
#1374: Telling Stories of Indigenous Leaders with OurWorlds.io’s “Chief” on Apple Vision Pro
|
Apr 04, 2024 |
|
#1373: Interactive Biopic Doc on Opera Singer “Joseph Rouleau: Final Encore” that Mixes Modalities
|
Apr 04, 2024 |
|
#1372: “Last We Left Off” 360 Video Plays Switches Between D&D Imaginal Realms with Physical Reality, & Exhibiting with Apple Vision Pro
|
Apr 04, 2024 |
|
#1371: “Pirate Queen: The Forgotten Legend” Fuses Escape Room Mechanics with Environmental Storytelling & Embodied Gameplay
|
Apr 04, 2024 |
|
#1370: “Madame Pirate: Code of Conduct” Blends Spatial Representations to Tell the Story of Most Powerful Pirate in History
|
Apr 04, 2024 |
|
#1369: Interactive UN Doc “Dreaming of Lebanon” Blends Interactive Oral History, 360 Video, and Speculative Worldbuilding
|
Apr 04, 2024 |
|
#1368: “Walk to Westerbork” Immersive Doc Shares Remarkable Story about a Dutch Jewish Holocaust Survivor Who Defied the Odds
|
Apr 04, 2024 |
|
#1367: “Escape to Shanghai” Immersive Doc Tells the Story of Jewish Refugees who Fled to China to Escape the Holocaust
|
Apr 04, 2024 |
|
#1366: Electric South’s Ingrid Kopp on Increasing Access to Immersive Production Resources to African XR Creators + Tribeca 2019 Program
|
Apr 04, 2024 |
|
#1365: “We Speak Their Names in Hushed Tones” Explores Impact of Migration on Families Left Behind in Poetic Immersive Still Life & Audio Documentary
|
Apr 04, 2024 |
|
#1364: Step into the Movies with “The Vortex Cinema” Blending Cinematic Storytelling, Gaming, & Escape Room Mechanics
|
Apr 04, 2024 |
|
#1363: DIY 360 Video for Perspective-Taking and Investigating Murder of Trans Woman in “Her Name Was Gisberta”
|
Apr 04, 2024 |
|
#1362: “The Tent” Tabletop AR Mixes Photogrammetry, Volumetric Capture, & Theatre in Modern-Day Fairytale about Unhoused Crisis
|
Apr 04, 2024 |
|
#1361: Agog Immersive Media Institute Launches to Help Social Good Orgs Leverage XR
|
Mar 11, 2024 |
|
1360: Sneak Peak of SXSW XR Experience Projects, Events, & Lounges with Programmer Blake Kammerdiener
|
Mar 08, 2024 |
|
#1359: Landmark Anthropological Field Study of VR with “In the Land of the Unreal” author Lisa Messeri
|
Mar 07, 2024 |
|
#1358: Reflecting on Location-Based Entertainment VR in 2018 with Joanna Popper
|
Mar 07, 2024 |
|
#1357: Jacki Morie’s Scent Collar and History of VR from VRLA 2017
|
Mar 07, 2024 |
|
#1356: Origin Story for Embodied Labs with Carrie Shaw from VRLA 2018
|
Mar 07, 2024 |
|
#1355: Reflecting on the Technicolor Experience Center & Mars Home Planet with Marcie Jastrow
|
Mar 07, 2024 |
|
#1354: Mission Responsible Panel Discussion with Polys Awards Ombudsperson of the Year Winners
|
Mar 06, 2024 |
|
#1353: “Our Next Reality” Book Debates Future of XR + AI, and Speculations of Superintelligence Promises & Perils
|
Mar 03, 2024 |
|
#1352: Felix & Paul Studios Secures Funding for Next LBE VR + Apple Vision Pro’s Focus on Entertainment
|
Feb 23, 2024 |
|
#1351: “Stranger Things VR” Breakdown of Story, Gameplay, & Design Process with Tenderclaws Co-Founders
|
Feb 22, 2024 |
|
#1350: Healium Developer Challenges Meta’s Open Ecosystem Claims Being Stuck in App Lab for 3 Years While Launching on Day One for Apple Vision Pro
|
Feb 21, 2024 |
|
1349: Building Juno for YouTube visionOS App with iOS developer Christian Selig
|
Feb 15, 2024 |
|
#1348: The Journey from VRvana to Apple Vision Pro with co-founder Bert Nepveu
|
Feb 09, 2024 |
|
#1347: One of the Grandfathers of VR Tom Furness on the Origins of Virtual Reality
|
Feb 08, 2024 |
|
#1346: Apple Vision Pro First Impressions with Road to VR’s Ben Lang & the Comparisons to Meta Quest
|
Feb 06, 2024 |
|
#1345: AI-Driven Poetry Performance & Decolonization Workshop at Sundance New Frontier with “Being (the Digital Griot)”
|
Jan 23, 2024 |
|
#1344: “Turbulence: Jamais Vu” Wins IDFA DocLab Immersive Non-Fiction Award with Embodied Mixed Reality Doc on Depersonalization & Derealization
|
Jan 23, 2024 |
|
#1343: Using 360 Video to Connect Women Prisoners in Chile with their Families in “Going Back Home: Mother VR”
|
Jan 23, 2024 |
|
#1342: Transforming a Book into an Interactive Experience with the Time-Based Edition of “Borderline Visible”
|
Jan 23, 2024 |
|
#1341: Performative Lecture “(this conversation is) Off the Record” uses AI & Theater to Critique Algorithmic Profiling
|
Jan 23, 2024 |
|
#1340: Recreating the Social Dynamics of a Road Trip in “Yugo: The Non-Game”
|
Jan 23, 2024 |
|
#1339: “The School, a World” uses Web Documentary to Profile Changes in the Small Polish Town of Chlebiotki
|
Jan 23, 2024 |
|
#1338: Multi-Sensory Immersive Art Installation “Redemption” Deconstructs Brazil’s History of Eugenics
|
Jan 23, 2024 |
|
#1337: Using Night Vision Googles to Watch Viscerally Immersive Dance Performance “One Two” in Total Darkness
|
Jan 23, 2024 |
|
#1336: “Close” Uses Hand Gestures to Switch Between Audio Commentary Channels on Juitamai Dance Performance
|
Jan 23, 2024 |
|
#1335: Retrospective on Lodz Film School’s Visual Narratives Lab and “Whispers” with Jacek Nagłowski
|
Jan 23, 2024 |
|
#1334: “Anouschka” Wins IDFA DocLab Digital Storytelling Award with AR Narrative Game about Cultural Heritage
|
Jan 23, 2024 |
|
#1333: AI Remix of 1982 Documentary “Koyaanisqatsi” with “The Vivid Unknown” Interactive Video Installation
|
Jan 23, 2024 |
|
#1332: “Texada” Tells the Story of Limestone Across Geologic Time With Animation and 360 Video
|
Jan 23, 2024 |
|
#1331: Recreating Spatial Presence in Caves with Point Clouds & Spatial Audio in “Buried in the Rock” Documentary
|
Jan 23, 2024 |
|
#1330: “Squeeker: The Mouse” Coach Interspecies Fitness App Collaboration
|
Jan 23, 2024 |
|
#1329: Mixed Reality “PHANTOM” Installation Explores Dark Sides of Mental Illness with Gallows Humor
|
Jan 23, 2024 |
|
#1328: Kickoff of IDFA DocLab 2023 Coverage: “Natalie’s Trifecta” is a Virtual Tour of Natalie Paneng’s Digital Art, Identity, & Imagination
|
Jan 23, 2024 |
|
#1327 “Voice in My Head” Remixes Your Inner Monologue with AI
|
Dec 29, 2023 |
|
#1326 “Surrogate” Experimental Web Doc and Performance by Lauren Lee McCarthy
|
Dec 29, 2023 |
|
#1325 End of Tung-Yen Chou’s Gay Sauna Trilogy with “Traversing the Mist”
|
Dec 29, 2023 |
|
#1324 Beginning of Tung-Yen Chou’s Gay Sauna Trilogy with “In the Mist”
|
Dec 29, 2023 |
|
#1323 Fourth Iteration of Lance Weiler’s Community Greiving Ritual with “Where There’s Smoke”
|
Dec 29, 2023 |
|
#1322 Beginning of Lance Weiler’s Grieving Journey with “Where There’s Smoke”
|
Dec 29, 2023 |
|
#1321: Breaking Down the Epic Immersive Adventure of “Asgard’s Wrath 2” with an Oculus Studios Producer
|
Dec 14, 2023 |
|
#1320: Plans for VisionDevCamp, an Apple Vision Pro Hackathon after Q1 2024 Launch
|
Dec 07, 2023 |
|
#1319: Preview of 40 Raindance Immersive 2023 Indie VR Art, Music, Game, Narrative, & Live Experiences
|
Nov 09, 2023 |
|
#1318: Why Fitness App Developer Andre Elijah is Suing Meta for Alleged Anti-Competitive Behaviors
|
Nov 09, 2023 |
|
#1317: Qualcomm’s XR2 Gen 2 and AR 1 Gen 1 Announcement by Hugo Swart
|
Oct 05, 2023 |
|
#1316: I-Illusions Premieres Mixed Reality Game “Bam” at Meta Connect & “Space Pirate Trainer” History
|
Oct 05, 2023 |
|
#1315: Latest Research on Innerworld VR Mental Health Peer Support Platform & Cognitive Behavioral Immersion
|
Oct 05, 2023 |
|
#1314: Cloudhead Games CEO Denny Unger on the Need to Support Indie Devs to Push Limits of VR & Mixed Reality
|
Oct 05, 2023 |
|
#1313: Veteran Games Journalist Dean Takahashi on Mixed Reality, AI, Sci-Fi, Unity vs Unreal, and Meta Connect
|
Oct 05, 2023 |
|
#1312: VR Filmmaking Tips from Hugh Hou & Keeley Turner
|
Oct 05, 2023 |
|
#1311: Bringing React Native to Enterprise XR App Development with Matt Hargett
|
Oct 05, 2023 |
|
#1310: Ethereal Engine as an Open Source, WebXR Pipeline for Apple Vision Pro and Beyond
|
Oct 05, 2023 |
|
#1309: Why JoyReignVR and JDun Chose Meta’s Horizon Worlds as their Preferred Social VR Platform
|
Oct 05, 2023 |
|
#1308: Meta Horizon World Builder Paige Dansinger on Creating Art History Museum Tours
|
Oct 05, 2023 |
|
#1307: Quest 3 First Impressions with YouTubers Naysy and VR with Jasmine
|
Oct 05, 2023 |
|
#1306: Kickoff of Meta Connect Series with CNET’s Scott Stein Analyzing Meta’s XR & AI Announcements
|
Oct 05, 2023 |
|
#1305: Critics Roundtable for Venice Immersive 2023 Breaking Down all 43 Projects
|
Sep 27, 2023 |
|
#1304: Capturing an Archive of Destroyed Palestinian Homes with “Remember This Place”
|
Sep 27, 2023 |
|
#1303: A Deep Dive into Breaking Down the Experiential Design of “The Imaginary Friend”
|
Sep 27, 2023 |
|
#1302: “Aufwind” Uses Motion Platform and Beautiful Environmental Design to Explore Aviation Sexism
|
Sep 27, 2023 |
|
#1301: “Gaudi, L’Atelier Du Divin” Explores Gaudi’s Work Place and Architectural Achievements
|
Sep 27, 2023 |
|
#1300: Prolific Meta XR Producer Ryan Genji Thomas on VR Storytelling Innovations with Animation
|
Sep 27, 2023 |
|
#1299: Character-Driven Quill Animation Piece “Perennials” Explores Nostalgia and Family Dynamics
|
Sep 27, 2023 |
|
#1298: The Story Behind “Pepitos: the Beak Saga” Quill Piece
|
Sep 27, 2023 |
|
#1297: Studio Syro’s Groundbreaking Quill Series “Tales from Soda Island”
|
Sep 27, 2023 |
|
#1296: “Wallace & Gromit in the Grand Getaway” Translating Big IP Narrative & Animation Rules into VR
|
Sep 27, 2023 |
|
#1295: The AR Pop-Up Book Innovations of “Jim Henson’s The Storyteller” & Amazing Shot of Earth in “The Orbit”
|
Sep 27, 2023 |
|
#1294: Buddy Comedy “Gargoyle Doyle” Pushes at the Edges of Mixed Reality Storytelling
|
Sep 27, 2023 |
|
#1293: The Personalized AI-Driven “Tulpamancer” VR Sandpaintings with AI Text to Audio & VR Workflow
|
Sep 27, 2023 |
|
#1292: Pioneering the VR Essay with “Shadowtime” Critiquing Sci-Fi Dystopic Aspirations of VR
|
Sep 27, 2023 |
|
#1291: Excellent Redirected Wandering to Discover Indigenous Transmissions in “Origen”
|
Sep 27, 2023 |
|
#1290: “Floating with Spirits” Explores the Day of the Dead, Indigenous Transmissions, & Elemental Animism
|
Sep 27, 2023 |
|
#1289: “Sen” Is a Beautifully Transcendent Virtual Japanese Tea Ceremony Exploring Reincarnation
|
Sep 27, 2023 |
|
#1288: “Tales of the March” Uses Durational Takes in 360 Video to Explore Death Marches
|
Sep 27, 2023 |
|
#1287: “Letters from Drancy” is an Incredibly Emotional and Powerful Story About the Holocaust
|
Sep 27, 2023 |
|
#1286: Capturing the Horrors of the Ukrainian War in “First Day” with High-Res Environmental Captures
|
Sep 27, 2023 |
|
#1285: PK’s Break Series in VRChat Explores the Intersection of Shaders and Indie Music
|
Sep 27, 2023 |
|
#1284: Gina Kim’s Environmental Storytelling Innovations with “Comfortless”
|
Sep 27, 2023 |
|
#1283: The Exquisite Lighting in Fins’ “Complex 7” VRChat World
|
Sep 27, 2023 |
|
#1282: Ethnographic Study of South Korean Studio Apartments with “Oneroom-Babel”
|
Sep 27, 2023 |
|
#1281: The Many Movie Magic Techniques Behind “David Attenborough’s Conquest of the Skies”
|
Sep 27, 2023 |
|
#1280: Interactive Projection Mapped Installation “Populate” Poetically Explores the Human Nature Dialectic
|
Sep 27, 2023 |
|
#1279: “Home” Explores Human Nature Relationship with Visceral Projection Mapped Installation
|
Sep 27, 2023 |
|
#1278: Visualizing the Invisible and Pushing Forward the Grammar of Visual Storytelling with “Flow”
|
Sep 27, 2023 |
|
#1277: A Vocal Landscape is an Intimate Study of Authentic Conversation and Surrealism
|
Sep 27, 2023 |
|
#1276: Beautiful “Emperor” Explores Aphasia Communication Gaps with Compelling Interactions
|
Sep 27, 2023 |
|
#1275: Translating 2D Paintings in Immersive Biography with “Frequency”
|
Sep 27, 2023 |
|
#1274: “Queer Utopia: Act I Cruising” Explores Queer Identity, Exile, AIDS, & Sex in the 80s
|
Sep 27, 2023 |
|
#1273: Switching First and Third Person POV with “Finally Me” Coming Out Story
|
Sep 27, 2023 |
|
#1272: Kickoff of Venice Immersive 2023 Coverage with Winner “Songs by a Passerby” and Atmospheric Storytelling
|
Sep 27, 2023 |
|
#1271: Indie Immersive Narratives at FIVARS & the Fragility of XR Creation, Distribution, & Open Source Ecosystems
|
Sep 15, 2023 |
|
#1270: Preview of Venice Immersive 2023 Selection with Co-Curators Liz Rosenthal & Michel Reilhac
|
Aug 27, 2023 |
|
#1269: Three XR & AI Projects: “Sex, Desire, and Data Show,” “Chomsky vs Chomsky,” and “Future Rites”
|
Aug 27, 2023 |
|
#1268: Survey of Open Metaverse Technologies & AI Workflows by Adrian Biedrzycki
|
Aug 27, 2023 |
|
#1267: Frontiers of XR & AI Integrations with ONX Studio Technical Directors & Sensorium Co-Founders
|
Aug 27, 2023 |
|
#1266: Converting Dance into Multi-Channel Generative AI Performance at 30FPS with “Kinetic Diffusion”
|
Aug 27, 2023 |
|
#1265: Integrating Generative AI into Live Theatre Performance in WebXR with OnBoardXR
|
Aug 27, 2023 |
|
#1264: Inworld.ai for Dynamic NPC Characters with Knowledge, Memory, & Robust Narrative Controls
|
Aug 27, 2023 |
|
#1263: MeetWol AI Agent with Niantic, Overbeast AR App, & Speculative Architecture Essays with Keiichi Matsuda
|
Aug 27, 2023 |
|
#1262: Using in AI in AR Filters & ChatGPT for Business Planning with Educator Don Allen Stevenson III
|
Aug 27, 2023 |
|
1261: Using ChatGPT for Rapid Prototyping of Tilt Five AR Applications with CEO Jeri Ellsworth
|
Aug 27, 2023 |
|
#1260: Using ChatGPT for XR Education and Persistent Virtual Assistant via AR Headsets
|
Aug 27, 2023 |
|
#1259: AWE Panel on the Intersection of AI and the Metaverse
|
Aug 27, 2023 |
|
#1258: Using XR & AI to Reclaim and Preserve Indigenous Languages with Michael Running Wolf
|
Aug 27, 2023 |
|
#1257: Talk on Preliminary Thoughts on AI: History, Ethics, and Conceptual Frames
|
Aug 27, 2023 |
|
#1256: Using GPT for Conversational Interface for Escape Room VR Game “The Unclaimed Masterpiece”
|
Aug 27, 2023 |
|
#1255: Using GPT Chatbots to Bootstrap Social VR Spaces with “Quantum Bar” Demo
|
Aug 27, 2023 |
|
#1254: Using AI to Upskill Creative Sovereignty with XR Artist Violeta Ayala
|
Aug 27, 2023 |
|
#1253: XR & AI Series Kickoff with Evo Heyning on a Promptcraft Guide to Generative Media
|
Aug 27, 2023 |
|
#1252: “Kinfolk” App is Cultivating an AR Archive of Black History with Digital Monuments & Speculative Futures
|
Aug 16, 2023 |
|
#1251: From Book to Play to AR Installation, “Colored” Explores the Forgotten Segregation History of Claudette Colvin
|
Aug 16, 2023 |
|
#1250: Translating 1:1 Experimental Theatre Encounters into 360 Video to Transcend Expectations with Craig Quintero
|
Aug 16, 2023 |
|
#1249: Experiential Design Breakdown of “Reimagined Vol II: Mahal,” A Stylized & Mythic Story of Personal Grief
|
Aug 16, 2023 |
|
#1248: Tribeca Games Curator Casey Baltes Recaps the 2023 Selection of 2D Indie Games
|
Aug 16, 2023 |
|
#1247: The Branching Narrative Architecture of “The Expanse: A Telltale Series” Featured at Tribeca Games
|
Aug 16, 2023 |
|
#1246: Smartphone Orchestra’s “Emojiii” Cultivates Playful & Novel Group Social Dynamics
|
Aug 16, 2023 |
|
#1245: “The Pirate Queen” Narrative Game Wins Tribeca Storyscapes Prize with Exquisite Environmental Storytelling
|
Aug 16, 2023 |
|
#1244: “Maya: The Birth” Animation Uses Mythic Symbols & Magical Realism to Explore Menstrual Taboos
|
Aug 16, 2023 |
|
#1243: Origin Story of “Pixel Ripped 1978” with ARVORE and Atari Team + Novel Game-Within-a-Game Mechanics
|
Aug 15, 2023 |
|
#1241: “MONSTRORAMA” Narrative Game Uses Mixed Reality to Explore Inner and Outer Monsters
|
Aug 15, 2023 |
|
#1240: “Meneath: The Mirrors of Ethics” Uses Pepper’s Ghost Technique to Represent Indigenous Ancestors
|
Aug 15, 2023 |
|
#1239: “Fortune” Uses AR Filters to Tell Spatial Stories about Money and Facilitate Social Media Conversations
|
Aug 15, 2023 |
|
#1238: “The Fury” Combines Two-Channel Video Installation with 360 Video to Explore Memories of Sexual Assault
|
Aug 15, 2023 |
|
#1237: The VOID’s Curtis Hickman on his book “Hyper-Reality: The Art of Designing Impossible Experiences”
|
Aug 03, 2023 |
|
#1236: Blind and Low-Vision Challenges & Opportunities for XR Accessibility with Lighthouse Access Tech Experts
|
Jul 13, 2023 |
|
#1235: Head-Mounted AR as an Assistive Technology for Blind and Low-Vision Users with Yvonne Felix
|
Jul 13, 2023 |
|
#1234: Geospatial Browsing AR Feature in Google Maps with Screen Reader Support
|
Jul 13, 2023 |
|
#1233: Intersection of AI and Spatial Computing for XR Accessibility with Mozilla’s Liv Erickson
|
Jul 13, 2023 |
|
#1232: Low-Vision VR Design Innovations & XR Accessibility in Owlchemy Labs’ “Cosmonious High”
|
Jul 13, 2023 |
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#1231: XR Accessibility Insights from a Government Contractor + AR as an Assistive Technology
|
Jul 13, 2023 |
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#1230: Captioning for XR Accessibility with W3C’s Michael Cooper
|
Jul 13, 2023 |
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#1229: XR for Career Exploration with Accessibility in Mind with Transfr’s Mark Steelman
|
Jul 13, 2023 |
|
#1228: XR Accessibility and Public Policy with XR Association’s Liz Hyman
|
Jul 13, 2023 |
|
#1227: Journey of Making XR Accessible with XR Access COO Dylan Fox
|
Jul 13, 2023 |
|
#1226: Poster Session Interviews from XR Access Symposium 2023
|
Jul 13, 2023 |
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#1225: XR Accessibility for the Deaf and Hard of Hearing, Captions, & Potential of Haptics
|
Jul 12, 2023 |
|
#1223: Defining Disability Through Differences in Movement, Sensing, Feeling, Thinking, & Communicating
|
Jul 12, 2023 |
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#1222: Kickoff of XR Accessibility Series with XR Access Co-Founder Shiri Azenkot
|
Jul 12, 2023 |
|
#1221: Wagner James Au’s Book “Making a Metaverse that Matters” Shares 20 Years of Virtual World Insights
|
Jun 22, 2023 |
|
#1220: Tribeca Immersive 2023 Preview with Curator Ana Brzezińska
|
Jun 07, 2023 |
|
#1219: Apple Vision Pro Hands-on Debriefing with CNET Editor Scott Stein
|
Jun 07, 2023 |
|
#1218: Apple Vision Pro Hands-on Debriefing with UploadVR Editor Ian Hamilton
|
Jun 07, 2023 |
|
#1217: Apple Vision Pro Hands-on Debriefing with Road to VR Editor Ben Lang
|
Jun 07, 2023 |
|
#1216: First Impressions of Apple Vision Pro from Two XR Developers at WWDC
|
Jun 06, 2023 |
|
#1215: Fatboy Slim’s Groundbreaking & Trippy VR Concert on EngageXR
|
May 30, 2023 |
|
#1214: History of Engage XR’s Education & Communications Platform
|
May 30, 2023 |
|
#1213: Primer on WebGPU & Bringing High-Performance 3D Graphics and Parallel Compute to the Web
|
May 19, 2023 |
|
#1212: Breakdown of Award-Winning “Reeducated” VR Doc & Translation into Interactive Component of Yorker Article on Chinese Prison Camps
|
May 12, 2023 |
|
#1211: Jay Graber in 2019 on Decentralized Social Networking Philosophy before becoming Bluesky CEO
|
May 05, 2023 |
|
#1210: Adding a Social Graph to the Open Metaverse with Immers Space’s ActivityPub Integration
|
May 04, 2023 |
|
#1209: Metaverse Standards Forum Update on Working Groups & Incorporating as a Non-Profit Industry Consortium
|
Apr 18, 2023 |
|
#1208: 2023 SXSW Immersive Recap and Highlights with Programmer Blake Kammerdiener
|
Apr 03, 2023 |
|
#1207: “Temporal World” Blends Touch with Sound Design for a Unique Haptisonic Experience about Memory
|
Apr 03, 2023 |
|
#1206: The District VR Enables Professional DJs to Play Live Social VR Gigs without Mixer Hardware
|
Apr 03, 2023 |
|
#1204: Blending Open World Exploration with VR Immersive Theatre Drama with “Find WiiLii” in International Collaboration with GiiOii Immersive Studio and Ferryman Collective
|
Apr 03, 2023 |
|
#1203: “Body of Mine VR” Uses Full-Body Tracking Embodiment to Explore Gender Dysphoria & Transgender Testimonies
|
Apr 03, 2023 |
|
#1202: Miro Shot’s Second Mixed Reality Concert at SXSW: An Intimate, Live Performance Ritual
|
Apr 03, 2023 |
|
#1201: Jessie Cohen’s Oral History of Public Relations for Immersive Stories from 2013 to 2023
|
Apr 03, 2023 |
|
#1200: Defining Process-Relational Architecture with Andreea Ion CojoCaru: Spatial Design as a Participatory Improv Performance
|
Apr 03, 2023 |
|
#1199: “Whipped Cream: The Dark” Interactive Music Video Blending Volumetric Capture with Spatial Locomotion
|
Apr 03, 2023 |
|
#1198: AmazeVR is Bringing High-Res, Immersive Concert Experiences to the Quest Starting with K-Pop Band Aespa
|
Apr 03, 2023 |
|
#1197: Myriam Achard’s Industry-Leading, Immersive Curation for Montreal’s Phi Centre
|
Apr 03, 2023 |
|
#1196: “Eggscape” is a Groundbreaking, Mixed Reality, Multi-Player, Table Top Platformer Aiming for LBE
|
Apr 03, 2023 |
|
#1195: Exploring Non-Normative Avatars with Disabled Dancers in “Figural Bodies” Research Project
|
Apr 03, 2023 |
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#1194: “Jailbirds” is a Well-Told, Magical Realist Story Using Character-Driven Animation and Stylized Cinematography
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Apr 03, 2023 |
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#1193: Phone-based Interactive Story “Consensus Gentium” Takes Top SXSW Prize for Chilling Speculative Worldbuilding Exploring AI Bias, Surveillance, & Biometric Agency
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Apr 03, 2023 |
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#1192: The Last Moments of AltspaceVR, Athena Demos’ Eulogy & Retrospective Journey into Social VR
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Apr 03, 2023 |
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#1191: Closing the Distribution Gap: Atlas V’s Astrea Aims to Port, Publish, & Market the Best of Immersive Stories
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Apr 03, 2023 |
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#1190: Targo Stories’ Immersive Documentary Spatial Innovations with “Behind the Dish” & “JFK Memento”
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Apr 03, 2023 |
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#1189: “Forager” Volumetric Timelapse of Mushroom Growth Hits a Sweet Spot of Touch, Smell, & Immersive Storytelling
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Apr 03, 2023 |
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#1188: Emotionally Evocative, Virtual Eye Gazing with Ukrainians in Bombed Out Buildings in “Fresh Memories: The Look”
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Apr 03, 2023 |
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#1187: “MLK: Now is the Time” Brilliantly Translates Dr. King’s Speech into Embodied Interactions & Spatial Metaphors
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Apr 03, 2023 |
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#1186: Chinese Ecosystem for Immersive Stories, VAST Platform, & Neo-Wulin Immersive Music Experience
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Apr 03, 2023 |
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#1185: HTC’s Enterprise VR Strategy + Debate about the Future of AI
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Apr 03, 2023 |
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#1184: “Battle for Your Brain” Author Nita Farahany on Establishing Cognitive Liberty as a Human Right for Limits on Neurotechnologies & XR
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Mar 09, 2023 |
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#1183: From Kant to an Organic View of Reality: Scaffolding a Process-Relational Paradigm Shift with Whitehead Scholar Matt Segall
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Mar 09, 2023 |