This 8-Minute Galactic Primer Is the Future of AR Education | WIRED

Total Page:16

File Type:pdf, Size:1020Kb

This 8-Minute Galactic Primer Is the Future of AR Education | WIRED This 8-Minute Galactic Primer Is the Future of AR Education | WIRED 8/28/19, 1033 AM This 8-Minute Galactic Primer Is the Future of AR Education Can augmented reality help children with reading skills? Boring math lessons? Chris Milk and the team at Within believes it can. Angela Watercutter 08.26.2019 07500 AM James Yang This story is part of a series on how we learn—from augmented reality to music-training devices. I swear I learned this once in school. Something about fusion and explosions. Yet for the life of me, aside from a few Lady Gaga musical montages, I can't remember how a star is born. Luckily, I have Clio to help. She's a tiny particle that, thanks to the program built with Appleʼs ARKit on the iPad I'm holding, is showing me all over the galaxy. She got chased out of her neBula by a bully named Lewis and needs help. "I want to be a star— a gorgeous celestial star that illuminates the universe with beauty," she says. "But Lewis says I'm too little." We go on an adventure to confront her bully, seek the wise counsel of Red Giant, and (spoiler alert!) she becomes a star. The whole thing taKes aBout 8 minutes—and taKes me right BacK to science class. This is intentional. Clio's Cosmic Quest, the latest augmented reality experience from VR/AR company Within, is meant to help Kids learn. It asks children questions and is designed to coax them into reading aloud. It turns any surface they're near—a dining room table, a bunk bed, a park bench— https://www.wired.com/story/how-we-learn-augmented-reality-wonderscope/ PaGe 1 of 6 This 8-Minute Galactic Primer Is the Future of AR Education | WIRED 8/28/19, 1033 AM into another galaxy and then explains how it was formed. It might be the best 8-minute astronomy lesson out there. It's not alone. Clioʼs Cosmic Quest, released August 13, is the fourth experience for Within's Wonderscope app. The software, which the company debuted last November, is intended for kids to use at home or in school (it's already being used at after-school programs in Los Angeles), turning what otherwise might be brain-rotting screen time into a way to improve their reading sKills and Knowledge. Wonder's Land Ringmaster Wanted has kids interact with a rabbit as he's reminded why he loves his home; Little Red the Inventor flips the traditional Little Red Riding Hood story on its head, teaching them to use their smarts to avoid the Big Bad Wolf; and A Brief History of Amazing Stunts by Astonishing People is self-explanatory—the highlight is the tale of Helen Gibson, Hollywood's first stuntwoman. "We launched with those [first three] to see if there was a signal that people were into augmented reality storytelling for children, since it was a totally foreign concept," says Chris MilK, Within's CEO and the driving force Behind Wonderscope. "The signal came BacK that they were excited aBout it, so we started a new production cycle to maKe a Bunch more stories." Within isnʼt the only team combining AR and learning. Earlier this month, a report from the organizers of the XRDC conference, polled 900 developers worKing in virtual, augmented, and mixed reality and found that 33 percent of them said their current projects were focused on education. (The previous year's report didn't track education work specifically, but suffice to say this number was a sizeable uptick.) As AR experiences—from smartphone games like Minecraft Earth to offerings from Magic Leap—gain traction, they'll become a go-to medium for myriad applications. Within's most recent project is right on time. https://www.wired.com/story/how-we-learn-augmented-reality-wonderscope/ PaGe 2 of 6 This 8-Minute Galactic Primer Is the Future of AR Education | WIRED 8/28/19, 1033 AM WIRED Series Wonderscope is just the latest Big idea to A Dive into How We Learn. emerge from Milk's brain—and a somewhat surprising one. He started his career as a director of music videos, making clips for the likes of Kanye West and JacK White. Over time, though, he turned his attention to interactive projects like The Wilderness Downtown, a partnership with Arcade Fire and Google to make an interactive HTML5 experience. (Remember those?) Soon, he moved on to virtual reality filmmaking, creating scores of experiences, and eventually launched Vrse, later renamed Within, working with his Wilderness Downtown collaborator Aaron Koblin. When Apple began previewing ARKit to developers before announcing it in 2017, Milk's team was among the first to get a chance to play with it, and Wonderscope was born. But Wonderscope was more than just a new toy for a new medium. It had a direct connection to Milkʼs childhood. He had dyslexia as a kid and didn't find the same joy in reading that he did in making up tales with action figures and cardBoard-box spaceships. "It was so non-interactive and not alive. There's no feedBack loop when you're just slogging through. Whereas in Wonderscope, you're reading a line that you are saying as a character to another character who's looking at you," he says. "That is much more the world that I enjoyed and lived in as a child. So comBining those two things together was personally really meaningful to me." Wonderscope wasn't necessarily Built to Be an app to improve reading skills. The first iterations were actually just story booKs for iPads, simple things that used voice-recognition to maKe sure kids were reading along to an animated story. Milk face-palms now when he thinKs about the fact that his team basically just reinvented the childrenʼs book. "We were making the first mistake of every new medium: copying the medium before it," Milk says. Then, when they started giving it to actual kids, they learned https://www.wired.com/story/how-we-learn-augmented-reality-wonderscope/ PaGe 3 of 6 This 8-Minute Galactic Primer Is the Future of AR Education | WIRED 8/28/19, 1033 AM Wonderscope experiences were very good at Boosting reading confidence. Jonny Ahdout, Within's director of development, has favorite memories of seeing this in action. Once, when testing the app with parents and their kids, a mother worried about her child with a speech impediment reading aloud in front of others—only to be delighted when her daughter was happy to do so. Another time he saw a 9-year-old who'd said "I'm not a great reader" follow along so well with the app that she called over her younger sister to teach her the words. "I'm like, 'Yep. Where's the camera? This is our promo right here,'" Ahdout says. It just so happens that the Within team wasn't, as Milk predicted, the first to think of AR as a new way to maKe booKs. They weren't even the first to think to use it for education. A paper in the Journal of Educational Technology Development and Exchange noted "the potential of AR books to appeal to many types of learners, through many paths, is undeniable, and exciting for educators" way back in 2011. PBS released a math-focused AR app for kids that same year. Research continues, but those who study augmented reality believe there are lots of possibilities for using it in education—but as with all learning, there are curves. AR has the ability, for example, to provide context for things in the real world (think: pointing your camera at a painting and learning more of its history). With young people, the interactivity of augmented reality can help make boring topics interesting (think: math). Currently, it's challenging for schools or after-school programs to offer AR as part of a curriculum across the board, but according to Judy Perry, the director of MIT's Scheller Teacher Education Program, the possibilities are there. "Teachers probably want to think about ways [to use AR] to teach things that are hard, that aren't particularly engaging to students, but are https://www.wired.com/story/how-we-learn-augmented-reality-wonderscope/ PaGe 4 of 6 This 8-Minute Galactic Primer Is the Future of AR Education | WIRED 8/28/19, 1033 AM important," Perry says. "The piece of augmented reality I find most compelling is the way you're mingling the digital layer with the real world" It doesn't hurt that Wonderscope's target demo—kids roughly 6 and up— grew up with smartphones. Unlike their parents, they didn't have to learn how to interact with screens—many of them have been doing it since they were old enough to hold oBjects. (One of the other things the Within team learned when they started giving Wonderscope to children was that not only did the kids want characters to talk back to them, they expected it.) Within hopes to make more screen time positive screen time. The way Milk sees it, devices have typically been the things people look at when they want to shut out the world (or distract their Kids); AR "completely inverts that. We're enhancing the world around you." So far, this has proven true. In April, Within partnered with the Los Angeles Public Library system and an after-school program called LA's Best to give 500 young people in 17 area schools and libraries a chance to use Wonderscope.
Recommended publications
  • School of Motion Pictures & Television Program Brochure
    School of Motion Pictures & Television academyart.edu SCHOOL OF MOTION PICTURES & TV Contents Program Overview ...................................................5 What We Teach ......................................................... 7 The School of MPT Difference .................................9 Faculty .....................................................................11 Degree Options ..................................................... 13 Our Facilities ......................................................... 15 Alumni Success ..................................................... 17 Partnerships ......................................................... 19 Career Paths ......................................................... 21 Additional Learning Experiences ......................... 23 Awards and Accolades ......................................... 25 Online Education .................................................. 27 Academy Life ........................................................ 29 San Francisco ....................................................... 31 Athletics ................................................................ 33 Apply Today .......................................................... 35 3 SCHOOL OF MOTION PICTURES & TV Program Overview Taught by professionals working in the industry, including Academy and Emmy Award winners, our students learn their craft through hands-on filmmaking experience. IMMERSE YOURSELF Direct. Produce. Shoot. Edit. Production Design. Write. Crew up and follow your passion
    [Show full text]
  • Google Chrome Scores at SXSW Interactive Awards 16 March 2011, by Glenn Chapman
    Google Chrome scores at SXSW Interactive awards 16 March 2011, by Glenn Chapman type of video," Google's Thomas Gayno told AFP after the award ceremony. "For Google it is very compelling because it allows us to push the browser to its limits and move the Web forward." Visitors to the website enter addresses where they lived while growing up to be taken on nostalgic trips by weaving Google Maps and Street View images with the song "We Used to Wait." A woman works on her computer as on the wall behind "It takes you on a wonderful journey all is seen the logo of Google in Germany 2005. A music synchronized with music," Gayno said. "It is like and imagery website that shows off capabilities of choreography of browser windows." Google's Chrome Web browser won top honors at a South By Southwest Interactive (SXSW) festival known US Internet coupon deals website Groupon was for its technology trendsetters. voted winner of a People's Choice award in keeping with a trend of SXSW goers using smartphones to connect with friends, deals, and happenings in the real world. A music and imagery website that shows off capabilities of Google's Chrome Web browser won Founded in 2008, Chicago-based Groupon offers top honors at a South By Southwest Interactive discounts to its members on retail goods and (SXSW) festival known for its technology services, offering one localized deal a day. trendsetters. A group text messaging service aptly named The Wilderness Downtown was declared Best of GroupMe was crowned the "Breakout Digital Trend" Show at an awards ceremony late Tuesday that at SXSW.
    [Show full text]
  • Urban Illusions Haley R
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2017 Urban Illusions Haley R. Hatfield Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Fine Arts Commons Recommended Citation Hatfield, Haley R., "Urban Illusions" (2017). LSU Master's Theses. 4618. https://digitalcommons.lsu.edu/gradschool_theses/4618 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. URBAN ILLUSIONS A Thesis Submitted to the Graduate Faculty of Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Fine Arts in The School of Art By Haley Hatfield B.F.A., Kansas State University, 2014 May 2017 I would like to dedicate this thesis on behalf of anyone that has ever been stereotyped or discriminated against. Keep your head up. ACKNOWLEDGEMENTS First and foremost, I would like to thank my advisor and thesis chair, Derick Ostrenko, as well as another committee member, Dr. Hye Yeon Nam, for granting me the opportunity to continue my education at Louisiana State University. Without their guidance and support throughout this program I would not be where I am today. I would like to thank the rest my thesis committee: Vincent Cellucci, for always commending me for tackling tough subjects like racism and segregation.
    [Show full text]
  • Stash 89 Features These Outstanding Projects
    Stash 89 features these outstanding projects: CHEVY "JOY" TVC :30 Agency: MCCANN NEW YORK/DETROIT Director: PSYOP Production: PSYOP, SMUGGLER Animation/VFX: PSYOP www.psyop.tv OPTUS "CROC TENNIS" TVC :30 Agency: M&C SAATCHI, SYDNEY Director: THIERRY POIRAUD Production: RODS FILMS VFX: BUF www.buf.fr NEXTEL "TERRAZAS" TVC 1:10 Agency: MADRE BUENOS AIRES Director: ANDY FOGWILL Production: LANDIA VFX: BITT ANIMATION www.bittanimation.com PERNOD RICARD TV Broadcast design :35 Client: ELEPHANT AT WORK, PERNOD RICARD Director: PARALLEL Animation: CHEZ EDDY http://chezeddy.com PERSOL "A YEAR OF SUN" Marketing film :60 Agency: WINKREATIVE Directors: KEVIN DART, STEPHANE COEDEL Animation: PASSION PICTURES www.passion-pictures.com TD AMERITRADE "COMMON SENSE", "EMPOWERMENT" TVCs :30 x 2 Agency: GOODBY, SILVERSTEIN & PARTNERS Director: PSYOP LA Production: SMUGGLER A nimation: PSYOP LA www.psyop.tv CISCO "ROBOTARM" TVC :30 Agency: OGILVYWEST Director: DAVID ROSENBAUM Production: MOTHERSHIP Animation: DIGITAL DOMAIN www.digitaldomain.com RED BULL "SIGNATURE SERIES" Broadcast design 1:22 Director: SCOTT DUNCAN Production: OTHER FILMS Design/VFX: SPONTANEOUS www.spon.com AXN LATIN AMERICA Broadcast design / TVC :30 Client: SONY PICTURES LATIN AMERICA Director: PLENTY Animation: PLENTY www.plenty.tv VIDEO MUSIC BRAZIL 2011 Broadcast design 2:14 Client: MTV BRAZIL Director: CONSULADO www.consulado.tv Animation: ATOMO FX www.atomovfx.com.br FOX CLASSICS Broadcast design :60 Client: FOX CLASSICS AUSTRALIA Directors: THE DMC INITIATIVE Animation: THE DMC
    [Show full text]
  • MUSIC VIDEOS It Was Too Tough for Me to Choose Only 36 Music Videos from the Stash Archive and Compile Them Stash Media Inc
    MUSIC VIDEOS It was too tough for me to choose only 36 music videos from the Stash archive and compile them Stash Media INC. Editor: STEPHEN PRice into this 2nd collection, so I did what any editor would do. I opened it up to let the best of the best Publisher: GReg ROBINS videos fight it out for victory in a totally gnarly, steel cage grudge match. Managing editor: HEATHER GRIEVE Associate publisher: MARILEE BOITSON Of course bets were placed on popular champions such as Kanye West’s “Welcome to Account managers: APRIL HARVEY, Heartbreak”, Radiohead’s “House of Cards”, and The Chemical Brothers’ “The Salmon Dance,” CHRISTINE STEAD Associate editor: ABBEY KERR but this year saw maniacal young bloods enter the ring with Flairs “Better Than Prince”, LeLe Business development: “Breakfast” and Wild Beasts “Brave Bulging Buoyant Clairvoyants”. And don’t forget the vicious PauliNE THomPsoN comebacks of seasoned prize-fighters like Grace Jones with “Corporate Cannibal” and Paul Music editor: STEVE MARCHESE Preview editor: McCartney with “222”, proving they still have the music video moves to make it to the top of our list. HEATHER GRIEVE Technical guidance: IAN HASKIN I know you’ll enjoy this new collection, just watch out for the blood spatter. MUSIC Heather Grieve Managing Editor Get your inspiration delivered monthly. VIDEOS Toronto, May 2009 Every issue of Stash DVD magazine [email protected] is packed with outstanding animation and VFX for design and advertising. Subscribe now: WWW.STASHMEDIA.TV ISSN 1712-5928 Subscrptions: www.stashmedia.tv. Submissions: www.stashmedia.tv/submit. Contact: Stash Media Inc.
    [Show full text]
  • Mash Media,” Artforum, Feb 5, 2014
    Taubin, Amy, “Mash Media,” Artforum, Feb 5, 2014 Mash Media Klip Collective, What’s He Projecting in There?, 2014. “NEW FRONTIER,” the mini-art-fair component of the Sundance Film Festival, was headquartered this year in and around the building where casual or well-heeled festival-goers buy movie tickets. (Industry professionals register for passes and “packages” in advance.) Between the ticket buyers and the not inconsiderable numbers of viewers who are excited by the promise of expanded and interactive media, “New Frontier” drew crowds every day to its primary location—between Park City’s Main Street and its free bus depot. With the exception of jury members and the rich and famous who have their own cars and drivers, almost everyone at the festival gets from theater to theater via Sundance shuttles or Park City buses, mingling on the latter with skiers. “New Frontier’s” location, therefore, also worked in favor of the installations that at night spilled onto the streets near the stairs to the depot. From there, one could be lured toward James Nares’s Street (2011), projected on a large, freestanding screen surrounded by benches and heat lamps, its extreme slow-motion images of New York in summer rendered surreal by the subfreezing temperatures and patches of ice and snow. A half-block in the opposite direction from the depot put you in front of David Adjaye’s circular, two-thousand-square-foot pavilion designed to house Doug Aitken’s The Source (evolving), an open-ended series of video conversations between Aitken and “pioneers” of various creative disciplines (among them Paolo Soleri, Tilda Swinton, and James Turrell) about art in the contemporary world.
    [Show full text]
  • EARLY BIRD DISCOUNTS MARCH 10-19, 2017 > SXSW.COM
    2017 MARKETING EARLY BIRD DISCOUNTS Save 20% by September 9 Save 10% by November 18 MARCH 10-19, 2017 > SXSW.COM SXSW DEDICATES ITSELF TO HELPING CREATIVE PEOPLE ACHIEVE THEIR GOALS. SXSW is best known for its conference and festivals that celebrate the convergence of the interactive, film, and music industries. Merrick Ales Merrick Ales NEW FOR SXSW 2017 Nelson Barnard–Wireimage Nelson Barnard–Wireimage AN EVEN RICHER EXPERIENCE FOR SXSW 2016 Film Opening Night REGISTRANTS Film, Everybody Wants Some Mike Windle / Getty Images Interactive, Music and Film badges will now include expanded access to more of the SXSW Conference & Festivals experience. Attendees will still receive primary entry to programming associated with their badge-type, but can now enjoy secondary access to most other SXSW events. Mike Windle–Wireimage SXSW 2017 provides a unique environment for registrants to network, learn and discover. For SXSW sponsors and sales clients, your message will reach an even wider array of registrants exploring cross-industry events. SXSW 2016 Interactive Opening MARCH 10-19, 2017 | AUSTIN, TEXAS Speaker, Casey Gerald Nelson Barnard / Getty Images Kris Fuentes Cortes Dustin Finklestein–Wireimage SXSW 2016 Music Showcase, A Giant Dog Cal Holman SXSW 2017 OVERVIEW Nelson Barnard / Getty Images Nelson Barnard / Getty Images SXSW 2017 CONFERENCE SXSW 2016 The SXSW Conference provides an opportunity for global SXSW 2016 Interactive Keynote SXSW 2016 Music Keynote professionals at every level to participate, learn, and network. President Barack Obama First Lady Michelle Obama Featuring a variety of tracks that allow attendees to explore what’s next in the worlds of entertainment, culture, and technology, the conference proves that the most unexpected discoveries happen when diverse topics and people come together.
    [Show full text]
  • Copyright by Christopher Lee Milk 2011
    Copyright by Christopher Lee Milk 2011 The Dissertation Committee for Christopher Lee Milk certifies that this is the approved version of the following dissertation: Narrating Racial Ideologies: An Ethnography of Relational Organizing at a Working Class Latino Elementary School in Texas Committee: ________________________________ Douglas Foley, Supervisor ________________________________ Noah de Lissovoy ________________________________ Kevin Foster ________________________________ Maria Franquiz ________________________________ Joao Vargas Narrating Racial Ideologies: An Ethnography of Relational Organizing at a Working Class Latino Elementary School in Texas by Christopher Lee Milk, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2011 Dedication: To Liliana, Diana Isabel and Yashua Josue, For their love and support in this project Acknowledgements I want to thank the community of support which helped me throughout this process, from getting me to and through graduate school, to collaborating with me in the ethnography, to getting me to finish writing. Since I will invariably miss someone who played a crucial role in this work, I want everyone to know that their support was greatly appreciated. Thanks. I want to continue by thanking my professors who have provided me feedback, encouragement and wonderful critique: Doug, for your guidance, taking me on
    [Show full text]
  • Virtual Reality Witness: Exploring the Ethics of Mediated Presence
    Studies in Documentary Film ISSN: 1750-3280 (Print) 1750-3299 (Online) Journal homepage: https://www.tandfonline.com/loi/rsdf20 Virtual reality witness: exploring the ethics of mediated presence Kate Nash To cite this article: Kate Nash (2018) Virtual reality witness: exploring the ethics of mediated presence, Studies in Documentary Film, 12:2, 119-131, DOI: 10.1080/17503280.2017.1340796 To link to this article: https://doi.org/10.1080/17503280.2017.1340796 Published online: 03 Jul 2017. Submit your article to this journal Article views: 1362 View related articles View Crossmark data Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rsdf20 STUDIES IN DOCUMENTARY FILM 2018, VOL. 12, NO. 2, 119–131 https://doi.org/10.1080/17503280.2017.1340796 Virtual reality witness: exploring the ethics of mediated presence Kate Nash School of Media and Communication, University of Leeds, Leeds, UK ABSTRACT ARTICLE HISTORY The notion of immersive witness underpins much of the exploration Received 12 February 2017 of virtual reality (VR) by journalists and humanitarian organisations. Accepted 7 June 2017 Immersive witness links the experience of VR with a moral attitude KEYWORDS of responsibility for distant others. In accounts of media witness, the Virtual reality; humanitarian ability of the media to sustain an experience of presence has played communication; ethics; an important, albeit often implicit, role linking the spectator spatially proper distance; empathy and temporally to distant suffering. However, the concept of media witness has to date assumed that the media represent, that news stories and documentaries present to their audiences images and sounds that communicate something of an event.
    [Show full text]
  • 2016 Sundance Film Festival to Feature Conversations With
    FOR IMMEDIATE RELEASE Media Contact: January 8, 2016 Chalena Cadenas 310.360.1981 [email protected] 2016 Sundance Film Festival to Feature Conversations with Christopher Nolan, Colin Trevorrow, Reggie Watts, Norman Lear, Lena Dunham, Chelsea Handler, Charlie Kaufman, Werner Herzog, John Krasinski, Thomas Middleditch; Live Streamed on sundance.org/festival ​ Panels Cover Topics Including Technology and Storytelling, Film Aesthetics and Celluloid, Music Design, and Environmentalism; Festival’s ‘Art of Film Weekend’ Returns to Celebrate Craft of Filmmaking New Venue will Host Panels and Other Offscreen Programming: Festival Base Camp, Presented by Canada Goose Park City, UT — Adding to the excitement of the 2016 Sundance Film Festival’s onscreen films and ​ episodic programming, Sundance Institute announced today the lineup for its offscreen panels, which will feature renowned artists and experts in conversation. This year’s panels will address topics including the relationship between media technology and storytelling, film aesthetics and the use of celluloid, music design, casting, and environmentalism. The Festival will again host the Art of Film Weekend, celebrating the craft of filmmaking January 28­30. Many panels and other offscreen programming will take place at a new venue: Festival Base Camp, Presented by Canada Goose. The Festival’s panels programming is anchored by its longstanding Power of Story series, which this year will feature conversations with John Underkoffler, John Gaeta, Lynette Wallworth, Reggie Watts, Christopher Nolan, Colin Trevorrow and Alex Ross Perry. Other noteworthy conversations at the Festival include the ​ ​ Cinema Café daily series of informal chats with guests including Norman Lear, Lena Dunham, Chelsea Handler, Morgan Spurlock, Werner Herzog, Joshua Oppenheimer, Rebecca Hall, Michael Shannon, Charlie Kaufman, Duke Johnson and more.
    [Show full text]
  • Nguyen VR Presentation Version2
    Waves of Grace Presented by: Vi Nguyen Virtual Reality Storytelling for Spring 2016 An Ebola Survivor's Story, Told in VR “Empathy to action” –Gabo Arora Who, what, when, & where ✤ Decontee Davis ✤ Ebola survivor now turned advocate ✤ Plea for help to rebuild her country after the Ebola outbreak in 2014 ✤ For the survivors of ebola; orphans in Liberia ✤ Advocate that the survivors are no longer a threat “I remember the fear—the fear people had of me. They were too scared to even touch me. And I was scared of my own child. I was scared of the man I loved. Forgive me, Lord. Forgive me.” Created by: ✤ Gabo Arora ✤ Lead filmmaker at United Nations ✤ Chris Milk ✤ Founder & CEO @ Vrse.works ✤ VICE News “Even the term “created by” reflects how new the virtual reality medium is. “You’re ‘creating’ these worlds rather than you’re ‘directing’ a scene with actors and rectangular framing. We’re still playing with the way we define these roles,” –Chris Milk United Nations & Vrse: ✤ The “on-ramp” for VR ✤ “Waves of Grace” is to get people to understand the emerging medium of storytelling and filmmaking ✤ Tiers of technology gives audience a taste of VR even if audience is not strapped into a headset ✤ The options includes a scrollable, 360-degree web player Successful? Connection & Empathy ✤ United Nations found that those who watched and experienced VR stories were more likely to donate (1 in 6 donated, long term $$$) ✤ “Hand off point” - the way the audience is brought into a scene, based on where you were looking at in the last scene, the anticipation
    [Show full text]
  • Assessing the Future Ip Landscape of Music’S Cash Cow: What Happens When the Live Concert Goes Virtual
    \\jciprod01\productn\N\NYU\91-2\NYU205.txt unknown Seq: 1 11-MAY-16 12:42 ASSESSING THE FUTURE IP LANDSCAPE OF MUSIC’S CASH COW: WHAT HAPPENS WHEN THE LIVE CONCERT GOES VIRTUAL CHARLES H. LOW* If piracy has been the bane of the music industry, and live performances are a financial buoy, what happens when live performances are ported to a virtual medium that all of a sudden may be subject to piracy again? This Note examines the various intellectual property frameworks through which one can look at the protectable elements of a live show or concert and what happens to the pro- tectability of those elements once the show is ported to virtual reality. Given that technology to date has had a much larger impact on recorded music than on live performances, the introduction of virtual reality technology has serious disruptive potential. This Note argues that one can use existing intellectual property law to weave a complex web of protected elements around less traditional targets of IP like stage, set, and lighting design, background visuals, live performers, and props. This web of intellectual property protection will encourage strong contracting and yield more avenues for resisting piracy in the virtual reality world. INTRODUCTION ................................................. 426 R I. AN INTRODUCTION TO THE ECONOMIC STATE OF THE MUSIC INDUSTRY, THE NUANCES OF VIRTUAL REALITY, AND TWO VERY MARKETABLE LIVE SHOWS WITH VR POTENTIAL .............................................. 430 R A. “Don’t Let Me Down”: The Current Economic State of the Music Industry ............................... 430 R B. “In Some Ways, the Biggest Competitor . Might Be a Bottle of Wine”: An Introduction to Virtual Reality .............................................
    [Show full text]