Virtual Reality is Missing Its Moments :

.They were meeting in a small wardrobe in one of the hundreds of worlds held on the platform. To my knowledge, this particular land had a single cupboard surrounded by a flat, low-lying area with a border and water. As I scanned the virtual space, I heard the voices of the people in the wardrobe stopping their conversations and looking out my window. I've been pretty visible since I was in Kiddy Kong and I was about the same size as their small building; I heard them talking about me on the walls. I was tempted to go into a small wardrobe and talk to the group, but instead, I grabbed my big wristwatch and was sent to another world.

 VRChat's first human world:

The first-person point of view on VRChat enables a sense of immersion and interaction with other users. At times, it even feels natural to connect with other people in a digital environment. When I first started using VRChat in 2018, it seemed to me that it was meant to be the next real beginning of a social media experience and something to help with years of inability to travel. Now what happens?

I spent the last several years researching the history of virtual reality and finally wrote my writing on VR of the 80's and late '90s.

. In fact, Howard Rheingold wrote those words in his 1991 book, Virtual Reality. Rheingold's writing, the first real story of the virtual reality industry, is an ever-expanding look at yet VR's huge jumps along with the people who created the new technology and their goals. In the early 1990s, the purpose of VR was to rediscover the ways in which people could experience behind-the-scenes, and the designers of the time had a unique historical opportunity to do that. Yes, they were limited by technology.

The passing of the late-'80s came to the forefront because culture was demanding precisely, without technical limitations. Advances in three-dimensional computer models, an increase in the prevalence of your computers, and a psychedelic culture of science focused on trying to align everything in the late 1980s. Eric Gullichsen has created a working space for Autodek Cyberpace offices, Meredith Bricken looks at how our "perceptual apparatus" can find work in non-human avatars, and VPL's Jaron Lanier has developed a virtual playground.

As a result, VR's hype and marketing promotions were meteoric. At SIGGRAPH in 1990, the Autodek and VPL product release line threatened a conference. In October of that year, a 24-hour Cyberthon event hosted over a hundred people who came to check out the technology. Unfortunately, the technology was complicated and expensive (the Autodek unit is about $ 20,000 and the VPL costs hundreds of thousands of dollars). In the early '90s, VR was a distinctive fashion with products designed for game and arcade systems, virtual world software, and the emergence of a three-dimensional coding language for the spring.
And then it went.

As the story goes, in 2012, Palmer Luckey launched his Kickstarter to showcase a modern head-up display (HMD) that would cost both, and with technology capable of creating a virtual world in real time. Facebook bought the Oculus Rift two years ago for $ 3 billion as Zuckerberg sees an opportunity to expand the social networking space in a lively space - personal and almost instantaneous. Facebook even created a similar experience with the first VPL co-player game called Facebook Spaces.

When I first started using Facebook posts, I was intrigued and transparent. It is well integrated and works as advertised, but I can't help thinking of the confidential information they were getting through the aggregate data (now they will know my height, how I'm going and where I'm looking). As a new media teacher, I naturally figured out how to use this kind of technology for use in the classroom. Later, when I discovered VRChat, I wanted to build a world of class and encourage students to study in the diving environment for learning distances or opportunities for emergency programs where we couldn't go to campus.

So where is VR?

We are now at the moment of globalization of "asylum" due to the coronavirus epidemic. Most of the tech and education industries have moved to the rural lifestyle and have turned to Zoom, WebEx, Skype, and social media to connect to the virtual space. And to save: Crossing Animals.
Although not deliberately included, Animal Crossing: New Horizons March 20 release date is consistent with orders for people to stay home. A good game encourages users to design an island paradise to interact with friends. Redditor described the previous version as "a place to go when the real world enters." The game actually doesn't have a different point, but during the public downturn, it keeps everyone close.

So where is VR? With an incredible opportunity to introduce new users, new locations, and new experiences, why hasn't the VR industry gone so far? After watching Westworld Season 3's episode of "The Winter Line," I was reminded that the present moment is probably the third VR opportunity lost in recent years.

I've been using Ernest Cline's Ready Player One of 2011 in my new Media studies since it came out. It is a great book to use in the classroom because as 2010 goes on, the discussion includes problematic ideas of nostalgia, fetishism, childhood narcissism, and obvious problems with women in play. When Spoelberg first made this film, I was really excited, despite criticizing the book. Then when it came out, it was a movie about VR, not inside VR. Personally, I thought the movie was completely out of step and based on the idea of ​​acting as an eye candy, but what disappointed me most was the lack of VR inactivity.

Most of the Ready Player One computer is our computer as Wade Watts (Tye Sheridan) is spending his solitary time in VR (as he lives in a 2045-story space because of a climate crisis and economic collapse) and there is no real-world place to work. In the VR world of "OASIS," we're treated to a straightforward gameplay, albeit in 2D.

We have to follow the camera guide and the director's storytelling. In fact I was always distracted thinking about what I couldn't see and why I couldn't turn my head. Why can't the VR section of the film be viewed with headphones as we watch 3D films and glasses?

When the movie came out, the cost of the Samsung Gear VR was $ 99 and the Google Cardboard was $ 10. (Now it's about $ 16 and $ 1.67 respectively.) Why aren't some theaters different from this new way of seeing the film? Why did Spoelberg not direct the project to the game engine in the traditional CG customization process? All these questions made me wonder why VR didn't skip the event.

Douglas Rushkoff, who was present during the 1990s revolution in real-time writing technology, wrote recently that "much of VR has been bullshit" because as technology, it's not as innovative as it may have been. Technology simply replaces old ideas of entertainment and focuses on profit over experience. And maybe that's the problem of trying in this situation. Like finishing one would probably be too risky and the cost of producing a VR film would be huge (almost always more).

However, it would indicate that VR is designed to be a new vehicle for interactive experiences.
The second time I felt disappointed about the lack of VR was after watching the final part of the second season of Westworld. Towards the end of season 2, Bernard Lowe (Jeffrey Wright) uses the "pearl" (his full potential in a small cage) to access Cradle, a complete memoir of all parks and characters stored in a place called Thegege. As an audience, we pay attention to Bernard's anointing on the aspect ratio on television. Last week, we were entrusted by Maeve (Thandie Newton) into a computer simulation. Directors used the same viewing strategy.

As soon as I saw the incident taking place, I thought of A.R. Sone's 1991 article "Does the Real Body Please Stand Up," first published by Michael Benedikt's cyberpace: The First Steps. The cyberfeminist article rethinks what it means to be in cyberpace, a place given names and places and meanings, designed solely for the experience, a place often written by men: Dr. Robert Ford (Anthony Hopkins) has written scenes for Westworld and the world inside the computer itself.

There were many additional moments of entertainment and media that would have paid tribute to the new VR show, but it didn't. In almost every concept of the show, Bernard fully enters “cyberpace” and advances him to become a digital matrix. The stone marked "cyberpace insertion into cyberpace;" to become a cyborg. But here we are, watching an avatar of Bernard pass through a common code that looks like a physical scene, with no effect. But once inside, aren't we real people Bernard? We were in his kind of imitation. Why couldn't we be there with him? Shouldn't we see this with his eyes?

In November of 2015, the New York Times sent 1.3 million Google cards to their subscribers, giving them the opportunity to get involved in a new "VR". The article about VR includes links to a few VR films. subscribers had to put their phones inside the cardboard and download the Times video app to access the content.The Season 2 of Westworld was in the year 2018 and HBO could have released the same stunt - they couldn't.

I would love to see The Cradle as a first person. There was a lot of enthusiasm in 2015 about the New York Times that made VR a bit more focused, and now, a missed opportunity. At least I didn't think the adventure inside Wonderland's Dr. Ford maths was a problem. In Season 3, Maeve also found herself in a role model and we know this because the scale of the problem told us so.
Finally, we are here for another lost opportunity. I have spoken many times about the subtle nature of VR as a motor tool and believe that when we are hit by a car (my thought after a weather disaster) the real thing can be a tool to get us into cyberpace, connect with us and others, and give us the distractions needed to fight anxiety right now.

My dissertation with the subsequent book project argues that virtual reality is part of the journey. Looking at the emergence of the product in the 1990s, we will see that headset is not the end point. Gullichsen has continued to run a company with Pat Gelband called Sense8 which provides diving software to various companies. The headset was very difficult and expensive, but the nature of the diving was always desired.

Three missed opportunities tell us that hype has always been just that, an unrealistic marketing effort right now. There were many additional moments of entertainment and media that would have paid tribute to the new VR show, but it didn't. No big rush ahead.
I think I will always use my Animal Crossing “tools” to build my own learning center focused on my island. Looks like everyone is still there.