Monthly Archives: January 2021

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

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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.

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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

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