Category Archives: Virtual Reality

After recently opening one cell therapy plant and breaking ground on another in Massachusetts, Takeda is pivoting westward to beef upproduction in California.

The Japanese drugmaker is injecting $126 million into its Thousand Oaks facility to boost manufacturing and support new product lines, Pacific Coast Business Times first reported. Takeda wasjoined by the citys mayor, Claudia Bill-de la Pea, for a groundbreaking event on Thursday, July 22.

The outlaywill be used to grow Takeda's portfolio of treatments and boost capacity "to manufacture additional products for the rare disease community," Stephen Hatke, Takeda's Thousand Oaks site head, said in a YouTube video about the expansion. The company didn't name the specific products it plans to make there.

As for the expansion itself, Takeda will build a new 15,000-square-foot manufacturing facility at the site and expand an existing 14,000-square-feet of production space. Takeda has been knocking around the Thousand Oaks area since 1996, the Business Times said.

RELATED:With Takhzyro durability data, Takeda tries to fend off BioCryst's hereditary angioedema challenger Orladeyo

The company pinpointed Thousand Oaks for its expansion based on capability, staffingas well as the local community and the things we could bring to the area,Hatke, told the news outlet.

The sites workforce currently stands 550-strong. Takeda plansto boost its headcount in Thousand Oaks, though nothing is certain, Hatke said, as quotedby the Business Times.

The manufacturing chief pointed to some of the cutting-edge technology Takeda will roll out at the upgraded facility, such as automation and robotics, plusvirtual reality equipment and training.

RELATED:With cost cuts and asset sales largely wrapped, Takeda gears up for growth: CEO

In Massachusetts, where the bulk of Takedas U.S. operations are based since the Shire buyout, the Japanese pharma has been swiftly ramping up its cell therapy ambitions. In September, the company cut the ribbon on a new 24,000-square-foot R&D manufacturing center in Boston, which it said at the time would handle clinical development for three ongoing pipeline programs and two other prospects pegged to enter clinical development by the end of 2021.

Earlier this year, the company revealed it had broken ground on a 38,000-square-foot commercial cell therapy plant in Lexington, Massachusetts, which is about 10 miles from downtown Boston. Takeda says the new $84 million plant will be used to make cell therapies for cancers and other diseases. That site will also tap robotics and virtual reality training, which Takeda says should help operators learn in a virtual environment before they enter the real facility.

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Takeda lays out $126M to tap robotics, virtual reality and more at California production site - FiercePharma

MONTREAL -- When billionaire Amazon founder Jeff Bezos took an all-civilian crew to space, it woke the inner astronaut in many dreamers.

Now, a Montreal team wants to make that dream a reality.

A virtual reality, that is.

Our goal is to bring space to audiences, said Felix Lajeunesse, creative director of Felix and Paul Studios, one of the teams behind THE INFINITE a virtual reality experience that allows viewers to explore the International Space Station (ISS).

The studio worked with NASA to develop virtual reality cameras that could function in zero gravity.

In 2019, they sent the tech to the ISS, where Quebec-born astronaut David Saint-Jacques would operate, as well as other space workers.

We would work in synergy with them from earth to space, said Lajeunesse.

Sometimes the astronauts would even take creative liberties, he said, such as filming shots of their own initiative.

The result is a day in the life of an astronaut with all its pleasures and challenges.

While details of the production are under wraps, those who saw the show said it was out of this world.

Theres one place where they play football, one attendee told CTV News. I ducked because I didnt want to get hit with the football. It was very, very interesting

Some described it almost a religious experience, adding they may never see the world the same.

We have a beautiful planet, and we have to take care of it, honestly, another viewer said.

Space is the ultimate mystery, you know, its the quest of our origins, said Lajeunesse. Its about understanding our place in the universe.

Obviously, we will become an interplanetary species at some point in the future.

Until then, he says the goal is to give those who arent billionaires a chance to see whats out there.

You can catch THE INFINITE at the Arsenal contemporary art centre in Saint-Henri until November 7.

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Virtual reality show brings Montrealers aboard the International Space Station - CTV News Montreal

Could virtual reality tools be effective in helping patients unlearn their chronic pain? Professor Christopher Eccleston from the University of Baths Centre of Pain Research tells us how digital therapeutics are shaping the future of pain management.

A digital software developed by Finnish drugmaker Orion is aiming to address chronic pain conditions using virtual reality (VR) devices that provide an immersive gamified therapeutic treatment program.

The therapy uses a VR headset to guide people with chronic pain through a series of cognitive behavioural therapy (CBT) exercises that are designed to help them overcome the fear of movement also known as Kinesiophobia, and then re-engage in an active life. The modules are presented in a gamified, personalised mode that can be tailored to the patients needs.

Orion developed the software in close collaboration with Professor Christopher Eccleston, a pain specialist from the University of Bath, and technology group Healthware.

There were a number of people at Orion who had an interest in digital therapeutics, but also an understanding that future solutions to chronic pain are not going to be just delivered by pharmacology, Eccleston tells pharmaphorum.

As you start to think more about chronic pain, you realise that chronic pain is really about function and disability; its less about altering the sensation of pain and more about altering behaviour.

After developing the technology, the team ran a feasibility study for six-months to determine its response and tolerability. Due to encouraging results, a pilot study was opened to the public last year in Helsinki, Finland.

The prospective, randomised, double-blind, 3-arm parallel group compared the digital therapy for pain with a control group and an open standard care arm over 6-8 weeks. Patients were provided with the devices at home and received technical support remotely.

Theres such an unmet need for chronic pain management that people came forward really quickly to join the trial, says Eccleston.

I think rehabilitation in chronic pain has been overdue a major change. There is absolutely no reason why we should still be doing it in a rather old-fashioned Victorian way of visiting a specialists office. It needs to be taken outside the clinical setting and into the home; it needs to be made active!

As you start to think more about chronic pain, you realise that chronic pain is really about function and disability; its less about altering the sensation of pain and more about altering behaviour

Clinical trial success

In June, Orion announced the clinical trial results showing the software had a statistically significant benefit overplacebo and standard care interventions for fear of movement, patient clinical global impression of change and quality of life in adult patients with chronic low back pain.

Results from the VIRPI study in patients with chronic pain showed that the TSK score (Tampa Scale for Kinesiophobia assessing fear of movement) was significantly reduced at the end-of-intervention.

According to Eccleston, the results highlight the potential for digital therapeutics to expand treatment options.

What digital therapeutics will be really very good at is improving access to treatments that people wouldnt necessarily have access to otherwise, he says. Unfortunately, the healthcare system is often dependent on the skills and expertise of individual practitioners delivering treatment. With automated, remote technology such as this we can provide solutions in a home environment, tailored to individual needs.

As patients received positive results in the trial without specialist intervention, there is an opportunity to scale the treatment up. Patients will also benefit from having a sense of control over their treatment.

Were interested in people being active and engaging with the world, moving in that world, and getting involved with what matters to the, says Eccleston.

There are so many aspects to virtual reality that are useful in pain management: principally, it allows immersion far beyond what is possible by instruction, it creates emotionally rich teachable experiences that take time to do face to face, and it is portable The remote technologies enable people to try things out safely and for their behaviour to be modified in a way they wouldnt necessarily be able to achieve in the real world.

Following the announcement of its pilot study results, Orion is looking for partners to further develop and commercialise the software. And as digital solutions become more widespread in healthcare due to COVID-19, Eccleston is optimistic the therapy is here to stay.

I think we are seeing a rapid reappraisal of the way we organise healthcare in long-term conditions. The pandemic has been an accelerator and created much needed disruption in the way in which we think about delivery of healthcare. Im excited to see what the future holds! If we get this right we can put evidence based interventions into the hand of the many not just the few.

About the interviewee

Professor Christopher Eccleston directs the activities of the University of Baths Centre for Pain Research. His research interests include evidence based pain management, self-management of chronic illnesses, assistive rehabilitative technology, and attentional mechanisms of analgesia.

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Virtual reality therapy: The future of chronic pain management? - - pharmaphorum

Virbela builds virtual spaces to recreate the office experience in a simulated space for workers in all time zones.

Virbela runs its daily operations in a virtual office that includes common areas, meeting rooms, offices and avatars that represent employees.

Image: Virbela

The key to success with the new hybrid work plans is experimenting, according to HR experts. Managers should be willing to drop policies that don't work and try something new, particularly when there are some people working in-person and some working remotely. That could include building a virtual office in the cloud.

The Virbela team of 180 people "drinks its own champagne," according to CEO and founder Alex Howland, by operating 100% in the virtual world. There are offices, small meeting rooms, a big auditorium, a rooftop space and a speakeasy in the Virbela virtual offices. The team works in offices over six floors and the company keeps one floor open to the public.

"Anyone can download this software and come into the open campus and visit us in our office," Howland said.

Howland said Virbela employees use the platform in a variety of ways.

"Some team members sit in their virtual offices so people can walk in, and some people may close their door," he said. "We try to build in opportunities for more social interaction as well so it's not just work."

During Pride month in June, Virbela hired a drag queen to host a trivia night in the speakeasy.

SEE: PwC finds that virtual reality is the best place to practice difficult conversations(TechRepublic)

Companies are starting to pay more attention to the employee experience. Creating one place that remote and in-person employees can both use could reduce the risk of creating a second-class experience for remote workers. Howland said a virtual environment also can help companies with offices in multiple locations create a hub that is accessible to all employees.

"With that approach, everyone is on the same level playing field and everyone has just as much access to leadership," he said.

Working in a virtual office avoids the fatigue associated with back-to-back video conferences, according to Howland.

"There's a little bit of cognitive load when you try anything new but your brain adapts," he said.

In 2012, the company's initial focus was management training for graduate students. Howland has a doctorate in behavioral and organizational psychology. Once he realized virtual training can be as effective as in-person education, he expanded the focus of the platform.

He said that the company has added about 300 new customers since the pandemic started and that there has been significant international interest as well.

The biggest barriers to more widespread adoption of VR in the workplace are the idea that the technology is just for gaming and the fear that it's hard to implement, according to Scott Likens, an emerging tech leader at PwC.

"Once we force our executives into it, they have a light bulb moment," he said.

Likens sees two paths for virtual reality at work: Training that is completely virtual that can be done from home and a more collaborative experience that involves several people and physical as well as virtual elements.

One example of that mixed approach is a conference or live event with in-person attendees as well as a 360-degree camera or other elements that could extend the reality of being in the room for people who are watching online.

"We're not quite there yet, we really only have the purely simulated world," he said. "The augmented world is still nascent."

eXp Realty was one of Virbela's first customers and has been fully remote since the company was founded in 2009. The residential real estate company has no physical offices. Instead the company operates in a "cloud-based campus," doing everything from recruiting agents to holding board meetings in a virtual office built by Virbela. Currently the company has almost 60,000 agents in 17 countries.

Jason Gesing, eXp Realty's CEO, said learning to use eXp World is a bit like learning to ski.

"You take four or five runs through campus, and suddenly you're moving with ease, purpose and a newfound sense of freedom and belonging without having to worry about anyone stealing your lunch out of the refrigerator," he said.

Gesing said hallway and lunchroom conversations are just as much a part of the virtual world as they are in the physical office.

"Keeping your microphone open when in public spaces is key in the virtual world so you can strike up a conversation with other avatars (i.e. colleagues) in the space that you may recognize," he said.

SEE: VR training expands to make collaborative education relevant to all workers(TechRepublic)

The ability to sit across a virtual table and actually feel as if you're in the same room as colleagues or peers is unique to Virbela, according to Gesing.

"With other platforms and video conferencing solutions, it's easy to be distracted by the camera, to remember smiling, to sit up straight, and lots of great ideas and thoughts get lost in the process," he said.

Gesing said that hosting its annual company summits in Virbela's virtual setting allowed agents to attend from around the world, reconnect with colleagues, walk the virtual trade show floor, and attend sessions.

"We continue to have birthday parties, concerts, speedboat races and baby showers in eXp World, in addition to the nearly 100 hours of live training sessions," he said.

Gesing said his company has used the virtual office setting to avoid staffing redundancies across geographies, build a strong culture, and revamp the compensation landscape of the real estate industry.

Virbela has a web version of its software that works in a browser. The other option is to download the Virbela software for a more immersive experience.

"Most of our customers use our off-the-shelf starter campus and they put their own branding everywhere so it feels like their space," Howland said.

Virbela's front end is on the Unity platform, the GUI is in a web layer and the backend is in Java Script. Howard said he has hired a lot of people from the gaming industry who want to do something more impactful in building community.

Likens of PwC said that VR companies should build more analytical capabilities into the platforms to get a better understanding of what design elements work best to encourage collaboration.

"You really want to know who connected and talked and understand the patterns of movement in the environment," he said. "Designing the environment is hard and just rebuilding the settings we had in the real world might not be best."

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One company's virtual reality approach could end the debate over working from home vs. at the office - TechRepublic

NEW BRUNSWICK, NJTo help residents deal with social isolation, Parker Life at Landing Lane in New Brunswick has incorporated the virtual reality (VR) platform called Rendever.

There are also Parker Life homes at Somerset, Monroe, Stonegate, and River Road. The homes have made changes to meet the needs of their residents during the COVID-19 pandemic, including incorporating virtual reality technology.

Parker is always interested in looking at new ways to enhance our residents experiences, whether its through technology or care and services, said Judy Collett-Miller, Director of Planning and Technology Innovation at Parker Life. Weve known about VR. It has been around for a long time. Its become more popular within aging services, so we have been thinking about it.

Collett-Miller says the pandemic really accelerated her efforts to use this service.

We reached out to two companies that we were familiar with and then did vetting of both of their products, she said. We actually had them send headsets to all of our different sites so all of our recreation directors can actually use the equipment. They did demos for us before we made our selection.

The companies were Rendever and MyndVR, and they chose Rendever. It was all about getting more opportunities for positive experiences to the Parker Life residents.

Since using the product, the residents have had a wonderful reaction to it.

I have to say, from the minute they started using it they really enjoyed it for really different reasons, Collett-Miller said. Even though we had restrictions in place, we were able to do some virtual visits.

For obvious reasons, the residents werent able to do many group activities but they were spaced out in their rooms and were able to have a communal experience through the VR technology.

They went on a trip to London and other places, she said. We used it in group settings, but we also did a lot of one-on-one visits, as well.

The Parker Life at Landing Lane home in particular did a lot of one-on-one visits.

They had a particular resident who was on hospice services, and she had been to the Grand Canyon a long time ago and it was one of her favorite experiences, she said. They were able to bring her back to the Grand Canyon through VR.

VR technology being used to help residents with terminal illnesses or cognitive decline reminisce about good times in their lives.

A Parker Life at Landing Lane resident with dementia was also taken to a waterfall and museum during VR visits.

What is interesting is that she was very interactive, she said. She was pointing. She was gesturing. She was moving with the technology so they were very excited to see her engaged in a different way than somebody else.

Tara Cunningham is the Activities Director at Parker Life at Landing Lane, and she has seen very positive reactions first hand from residents.

We started using the virtual reality back in June of 2020, Cunningham said. It was something our director of technology, Judy, was informing us about. We all had different meetings to get more information on it. Ever since, it has been a huge success.

During the course of the pandemic, she saw the residents struggle with loneliness, boredom and sadness from being away from family members.

Virtual reality has given them a sense of belonging again, she said. Growing up with her grandparents, Cunningham has always been interested in elder care.

I did a lot of volunteer work, and my college internship was in elder care, as well, she said.

Even after the pandemic is over, she still plans on having residents at the home use the VR technology. Not only is it really great for travel and culture, theres so much on there. One of the other things its great for is sensory simulation, she said.

For elders who are non-verbal and are unable to make their needs known, the residents are still able to use the VR technology to connect with others.

As Recreation Supervisor, she manages the day-to-day activates going on in the home. However, the pandemic has challenged her to keep the residents connected to their families.

She has been setting up a lot of video communication schedules on Facetime and Skype, on top of window and outdoor visits.

Jake from Rendever trained the Landing Lane staff and answered all of their questions.

The technology is set up in a tablet that is synced to the headsets.

This allows the activity directors to send out the videos to the users.

If a resident isnt comfortable with the headset, they can start with just looking at the tablet and then slowly bring the headset up to their eyes and strap it on.

We started about five years ago, said Kyle Rand, CEO of Rendever. We have been on a mission.

He saw the impacts of social isolation on his grandmother, so he has always been interested in helping the elderly population cope with the isolation of aging.

The data shows that the health impacts can be as detrimental as smoking 15 cigarettes a day, or an increase in dementia risk, 32% increase in stroke and 29% increase in heart disease, he said.

He wants to bring the world to this special demographic through this technology. Our core guiding principle is that the foundation of human relationships is shared positive experiences, he said.

A silver lining of this pandemic in his view is that he doesnt have to explain how detrimental social isolation is.

Even as millions get the COVID-19 vaccine and things are getting back to normal, we cant forget how isolation impacts seniors.

The case fatality rate of COVID-19 for seniors is about 12 to 25 percent and social isolation increases the mortality rate in this population by up to 30%.

The magic of VR is that seniors can connect with others will also being physically distant.

The company also launched the Connection Corner, which allows user to sit with one another on a virtual coach after the experience is over, look at each other as avatars, and continue communicating with each other.

The VR has been such in light in something that has been so dark, he said.

The company is nearing 300 communities across North America, and they work with health care systems and hospice organizations, as well.

In the future, the company could potentially sell the product direct to consumers outside of nursing homes but they are very happy working with the senior care industry for right now.

They are doing a study that is funded by the National Institute on Aging to study the impact of virtual family interaction.

We have a family platform where family members are able to upload old family photos and videos. But they can also take their own 360 camera, film something like a birthday party or a wedding, and the loved one can put on a headset and feel like theyre there at the event, he said.

They also have the Reminiscence Journey, or life story builder, where you can recreate someones life story in a location-by-location basis, such as a childhood home or vacation destination.

You can bring them there in VR and recreate those moments, he said.

When a family does this together, the emotion health of the senior improves. Caregiver guilt decreases, as well. The ongoing study is currently in phase two of clinical trials and has expanded to twelve locations across the United States.

If a home wants to get the technology, all they have to do is reach out. Parker Life at Landing Lane is one of the companys most active users.

Any senior living community can use Rendever, he said.

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Nursing Homes Use Virtual Reality Tech to Help Residents Cope with Isolation - New Brunswick Today

POCONO MOUNTAINS, Pa., July 22, 2021 /PRNewswire/ --To celebrate National Waterpark Day next week, Kalahari Resorts and Conventions partnered with BallastVR to launch America's first and only virtual reality waterslide. Ballast's patented VRSlide technology enables riders to experience virtual reality worlds while riding down Kalahari's thrilling Anaconda waterslide. As riders race down unique drops and twisting curves wearing a VR headset, the sensation fully immerses them in one of three experiences: adventuring on an action-packed African safari, chasing aliens through outer space or flying through castles surrounded by fire-breathing dragons.

To celebrate National Waterpark Day, Kalahari Resorts debuts America's first virtual reality waterslide.

"We wanted to do something extraordinary to celebrate the 5th annual National Waterpark Day and what better way than to introduce America's first virtual reality slide?" said Cary Brandt, Corporate Creative Director Entertainment at Kalahari Resorts and Conventions. "Our guests will be truly blown away by the experience offered by Ballast's VRSlide technology, and we're proud to continue to innovate the waterpark experience to bring our guests the best in entertainment."

Ballast engineers thoroughly match each piece of content to the exact slide layout to maximize the experience for each guest.

"There's a magical combination that comes from merging immersive virtual reality worlds with the thrill of riding down a real waterslide. At Ballast, we've been committed to bringing that magic to waterparks for the last four years with VRSlide and we couldn't be more pleased to debut this system in America with Kalahari Resorts," said Stephen Greenwood, CEO and Co-Founder of Ballast VR. "To date, we've had over half a million riders of VRSlide at prior installations overseas it's a system that has proven to be safe for riders and profitable for our clients and partners. The Anaconda at Kalahari is the perfect match for VRSlide and the result is an incredible guest experience that can be repeated over and over, without getting old. We're deeply appreciative of Kalahari's vision for innovation and their leadership in the immersive entertainment space."

National Waterpark Day

Kalahari Resorts, home to America's largest indoor waterparks, founded National Waterpark Day on July 28, 2017, to celebrate the fun and lasting memories families create at waterparks every summer. In addition to the new waterslide attraction, Kalahari will celebrate the holiday with a special summer savings offer available at http://www.kalahariresorts.com/celebrate.

About Kalahari Resorts and Conventions

Kalahari Resorts and Conventions in Wisconsin Dells, Wisconsin, Sandusky, Ohio, the Pocono Mountains, Pennsylvania, and now open in Round Rock, Texas, deliver a beyond-expectations waterpark resort and conference experience all under one roof. The authentically African-themed Kalahari Resorts, privately owned by the Nelson family, are home to America's largest indoor waterparks. All Kalahari Resorts feature well-appointed guest rooms, full-service Spa Kalahari, a fun-filled family entertainment center, on-site signature restaurants, unique retail shops and a state-of-the-art convention center. Kalahari Resorts and Conventions frequently receives awards and accolades for its guest and convention services. Recognition includes: Cond Nast Traveler's #1 World's Coolest Indoor Waterparks, Sensory Friendly Certified in 2020 (Ohio), Best Family-Friendly Meeting Hotel and Resort in Smart Meeting's 2020 Smart Stars Awards, Parents' Magazine 2019 Kids' Travel Award Winner and TripAdvisor's 2018 and 2017 Travelers' Choice Awards. For reservation and guest information, call 1-877-KALAHARI (525-2427) or visit KalahariResorts.com. To learn more about Kalahari Resorts and download images and b-roll, members of the media are encouraged to visit KalahariMedia.com.

About Ballast VR

Ballast VR is the first company in the world to bring the magic of virtual reality to the unique environment that water parks and resorts offer. In the past four years, Ballast VR has introduced several new attractions that heighten the thrill of virtual reality by merging out-of-this-world visuals with incredible physical sensations. For waterpark operators, these systems offer new possibilities to add dynamic attractions that can be updated seasonally while establishing new revenue streams on top of existing waterslide and swimming pool infrastructure. VRSlide is a system that safely allows riders to be immersed in VR worlds while riding down real waterslides. With multiple content experiences that are tailored to each unique waterslide path, guests love the ability to re-ride the same slide and have a new adventure with each different VR experience. Every drop, turn and burst of speed is augmented inside the VR worlds, resulting in new sensations that make VRSlide a must-try experience. DIVR is a system that safely allows guests to snorkel in shallow water while wearing a unique underwater VR headset. The unique sensation of being in neutral buoyancy in VR makes guests believe they can float in space, dive with whales or soar over cliffs alongside wingsuit skydivers. These groundbreaking attractions have been enjoyed by over 700,000 happy customers in 15 countries across the world. By creating incredible and eye-catching guest experiences that generate new revenue streams, Ballast has grown quickly to become the unquestioned world leader in this new form of entertainment technology. To learn more, visit BallastVR.com.

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SOURCE Kalahari Resorts and Conventions

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America's First Virtual Reality Waterslide Opens at Kalahari Resorts and Conventions - WFMZ Allentown

In Virtual Reality News

July 20, 2021 Moth+Flame, a developer of immersive training technology, has recently announced that its Virtual Reality (VR) sexual assault prevention and response (SAPR) training platform has been officially deployed by the United States Air Force (USAF).

Utilizing Moth+Flames VR training platform, the immersive training program was first introduced to Airmen at Joint Base Charleston, South Carolina. According to Moth+Flame, the three-part multifaceted curriculum is designed to tackle many sides of a complex issue, including intervention skills, victim advocacy, and reporting protocols.

We take a great deal of pride in helping the armed forces develop smarter, safer, and more responsive teams through immersive training. This is such an important issue, and by bringing people into environments where they have to confront difficult situations, we can help prepare them for when these scenarios arise in the real world, said Kevin Cornish, CEO and Founder of Moth+Flame. The Air Force has been a tremendous partner in working with us to address these complex and serious issues head on with training that improves how people respond to these types of situations.

The sexual assault prevention and response training features conversational simulations that leverage natural language processing technology, allowing virtual trainees to respond in real-time to spoken dialogue. The solution helps to train Air Force personnel to physically say out loud the right words in difficult conversations, as opposed to selecting a text-based answer from a list of options, which Moth+Flame states offers a more effective style of learning. The company added that the training comes at a crucial time as the most recent annual report from the Department of Defense indicates that the Air Force received a total of 1,661 reports of sexual assault in 2020.

The future of sexual assault prevention and response training should be innovative and creative. Virtual reality as a training tool puts Airmen into real world life situations where they can build knowledge, skills and abilities, commented Carmen Schott, Air Mobility Command Sexual Assault Prevention & Response Program Manager. Through experiencing SAPR training in the virtual world, the Airmen have to be present and connected to the experience. Our mission is collect relevant data to show that Airmen prefer this type of training over normal classroom training and that we can track to see that they enhance comprehension of key sexual assault reporting options and resources to better equip them to intervene and help other Airmen in need. We want to show that this type of training is not only relevant but effective in educating our Airmen on sexual assault prevention and response reporting options and resources.

The trainings content modules will include:

The contract for the training was awarded through the AFWERX Small Business Innovation Research (SBIR) program, and follows on from a successful pilot training program Moth+Flame recently completed at Sacramentos Travis Air Force Base in military suicide prevention.

The content of the training was developed in conjunction with Air Mobility Commands Integrated Resiliency Team. Moth+Flame added that the training is expected to be utilized at Little Rock Air Force Base in Arkansas later this summer. For more information on Moth+Flame and its VR training solutions, please visit the companys website.

Image credit: Moth+Flame / US Air Force

About the author

Sam Sprigg

Sam is the Founder and Managing Editor of Auganix. With a background in research and report writing, he covers news articles on both the AR and VR industries. He also has an interest in human augmentation technology as a whole, and does not just limit his learning specifically to the visual experience side of things.

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Moth+Flame partners with US Air Force to launch Virtual Reality sexual assault prevention and response training - Auganix

For an audience member in a proscenium theater, watching ballet unfold onstage is a big picture experience. As you sit quietly in the dark, you can shift your vision side to side, up and down, but the perspective stays basically the same, and theres a definite sense of remove between viewer and performer.

With its new virtual reality project, Dance in VR Series on Facebook, Boston Ballet explodes the 4th wall, offering viewers at home a way to step into the middle of all the action. Dancers seem to jet over your shoulder, and you can almost feel the breeze from a flurry of pirouettes that unfurl as if just inches away. Its an intimate, visceral, immersive, and interactive experience. And since the company wont be performing live at the Opera House until The Nutcracker, it may be the next best thing to sitting in the audience this summer.

You can experience performance at your house as if youre sitting in the middle of the [performance space], seeing everything from within, says Ernesto Galan, Boston Ballets videographer for the past 12 years. Its like being transported to another world.

For the new series, the company commissioned three works designed specifically for VR Ken Ossolas Zoom In, adapted from his work of the same name for the recent Process & Progress program, a newly tweaked version of Helen Picketts acclaimed Petal, and a new work by company dancer MyKal Stromile, On (my) line, In (my) mind, filmed in December in a large industrial warehouse in New Bedford. The three pieces are choreographed to be viewed through a high-end Oculus headset, but even some gaming headsets can give you a glimpse into this new way of looking at dance. (If your only option is your tablet or smartphone, your best bet is to sit on a swivel chair in a darkened room. You change perspective by moving your device.)

Virtual and augmented reality in dance have been around for awhile, but Boston Ballet believes its the first major company to delve so deeply into the technologies with ballet. The project builds on inroads made over the past year during the companys first ever virtual season, which not only expanded outreach to audiences around the world but strengthened understanding of technology.

Boston Ballets artistic director Mikko Nissinen says it is part of being a living theater for contemporary audiences. I didnt want to be a museum or church, but part of todays society moving forward, he explains. We explored this technology five or six years ago, but the limitations of viewership were so narrow I thought there was no point jumping on the bandwagon. Now that technology has grown by leaps and bounds, its opened so many possibilities. In the future, it could be almost a new art form for people to experience dance, music, theater. This is just the beginning.

Its not a simple or inexpensive process. The dances are filmed with a globe-like contraption embedded with six different cameras placed in the center of the space to capture a 360-degree surround. Footage from each camera then gets stitched into a seamless flow that the viewer controls. Though each dance was filmed in a day, the editing process for each was an intensive week of post-production that Galan says pushed his system to the limit.

However, he says he is excited to be a part of the companys exploration of new vistas for ballet. And he can imagine moving beyond virtual reality into augmented reality once that technology is more developed. In the future, you could be in the Opera House watching a performance, put on AR glasses and see Swan Lake [performed] on a lake, or Corsair could actually be on a pirate ship going through the ocean. It could really enhance the performance.

For the current VR series, the choreographers challenge was to tailor the dance so viewers could look in any direction at any time and see dancing. Ossolas approach keeps some of the tradition of putting important material, such as duets, in the forefront. Stromiles choreography draws the eye around the space in a circular manner. Picketts work, however, filled every corner of the space with simultaneous movement. For the dancers, that meant treating every phrase like a solo in case someone chose to look their way, and it was a cardiovascular feat to dance full-out continuously for the pieces full length every take the technology couldnt be edited for starts and stops.

Normally in a theater, you could go offstage and catch your breath, explained Stromile, who danced in Picketts work in addition to choreographing his own piece. But we had to fill in all the holes and do it all the way through at one time. We dancers made an agreement that if anything happened, we just keep going!

Stromile thinks embracing new technology could be a way to bring more people into the Opera House for the real thing in person, he says, adding hed like to see the company provide a range of interactive virtual experiences, including previews and glimpses behind the scenes. It gives people who are not your typical avid ballet-goers another way into the ballet world. People are really interested in getting that inside look. You could get funding to get some VR goggles and turn the whole building into an interactive space for people, who would then go buy tickets to see the live performance. I think were really on the brink of something incredible that puts us on the forefront and definitely makes Boston Ballet a leader in the field.

We like to explore the boundaries and go over the boundaries, Nissinen claims. When theres nobody to follow, you have to lead.

Karen Campbell can be reached at karencampbell4@rcn.com.

Continued here:

Boston Ballets Dance in VR Series breaks the wall between viewer and performer - The Boston Globe

The Impact and Role of Social Media at the Olympics

In this episode of Michigan Minds, Scott Campbell, PhD, Communications and Media Department Chair and Constance F. and Arnold C. Pohs Professor of Telecommunications, discusses the impact and role of social media at the Tokyo Olympics. He also talks about the presence that newer technologies like 5G and augmented reality will have on spectator events.

Campbell says that the way people experience the Olympics is continually evolving, through communications media like radio, television, and internet streaming.

Whats going on right now is interesting, because the telecom companies are trying to get us to shift to a new fifth generation of infrastructure with mobile media, and what Im paying attention to when it comes to the Olympics is the advertising of that media, he says, adding that 5G is supposed to offer a new level of low latency, or more instantaneous processing of livestreamed data.

Theyre offering all kinds of new ways to connect with the Olympics so that spectators can take part through augmented reality and through virtual reality.

He notes how social media has the ability to bring people from around the world right into the Olympics.

We are intimately and immediately involved in gossip, rumor, updates, and news.

The way that social media provides a platform for athletes to amplify their voices has a great impact on society, Campbell says.

Olympic athletes and professional and amateur athletes can use social media to put themselves on a stage, to represent who they are, to represent their values beyond just their skills. Because they are role models, he says. It also makes them more vulnerable. These are young people and the dynamics on social media are so very hard to keep up with.

After more than a year of living through a global pandemic in which individuals connected virtually rather than in person to follow public health and safety guidelines, Campbell believes people will be even more comfortable engaging through social media.

The Olympics is a global event, and for people to participate in this together, it does take these kinds of resources. It does take this kind of media to bring people together at the same time, in the same place. And thats what the Olympics is all about. So I do think were going to see more people living their lives in the digital realm. Theyre more accustomed to it. Its more acceptable, he says.

Throughout the 2021 Tokyo Olympic events, and after, Campbell will be watching the mobile and social spaces to see how they progress. His prediction? More hybrid experiences of the Olympics where people have opportunities to be there, immersed with digital information to enhance that experience. He notes that the movement is toward visuals, and that will continue to grow.

The internet was very text-based 25-30 years ago, very text-based. From there, picture sharing has become more prominent and people are trying to use fewer words and more pictures and more images. From there, I think were seeing more videos nowmore streaming content now. And from there, I think were going to see more immersive content where its a hybrid space.

Read the rest here:

The Impact and Role of Social Media at the Olympics | Public Engagement - University of Michigan News

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In 2017, I took a trip to Paris, where I greedily took in as much art as I could. In one of the cavernous chambers of the ornate Muse dOrsay was the van Gogh exhibition, his framed works (Starry Night Over the Rhne, Bedroom in Arles, The Church at Auvers, a number of his self-portraits) set against a brazen sapphire background rather than the usual chaste white museum walls.

Ive had a poster of Starry Night, gifted to me by a college friend, since my undergraduate dorm days. It hangs framed in my bedroom today. At Muse dOrsay I stared at his restless skies and fields, stood for long stretches in front of his self-portraits, rooted in place by the depth of his gaze. And I cried suddenly, violently. I rushed out. I had never before had such a fierce reaction to a painting, and I have never again since.

What does it mean to build intimacy with an artist even one separated by over a century of history? And can an artists work be reimagined to give an audience in modern times an even more intimate contemporary relationship with the art?

These questions occurred to me as I visited the two competing immersive van Gogh exhibitions in Manhattan, Immersive Van Gogh at Pier 36 on the East River and Van Gogh: The Immersive Experience at Skylight on Vesey. Unlike my emotional high at Muse dOrsay, these shows left me feeling largely indifferent; in fact, the strongest reaction I had was an alarming sense of intrusion and a disingenuous connection with the artist and his work.

Immersive art installations and especially immersive theater trigger my sense of play and activate both the critic and artist in me. Theres a large difference between art conceived to be immersive, though, and art strong-armed into an immersive medium.

But first there was a beautiful translation of van Gogh: The entry ceiling of Pier 36, an imaginative 3-D recreation of Starry Night by the designer David Korins, featuring thousands of painted brushes, felt like a beautiful homage an artist taking on another artist in a work that invites a new perspective, channeling the original works style and motifs without aiming to be an exact reproduction.

And yet that just was an appetizer to the main show, a series of connected rooms where people lie and sit and stand watching a video of van Goghs works projected in all corners of the room, and that left me numb. And what got to me wasnt the young women posing for selfies or the older tourists lounging as if at a beach or the restless children scurrying around and climbing on Korinss large abstract monuments, their reflective surfaces catching all the sunflowers and stars Ive encountered much of the same in traditional museum exhibitions of van Goghs work.

It was the brevity of the paintings in the video sequence how quickly they appeared and disappeared. And it was the animations his mighty cypresses manifesting like apparitions from the mist so that the magic of the work is rendered literally. Theres no room for subtlety or implication here. The beauty of being swallowed by projections of van Goghs multicolored fields was subdued by the sloppiness of the translation. I stood off to one side to examine the projections and lost the resolute brush strokes and tiny gradients of color in the fuzziness of the digitization.

I quickly realized that for a good number of those in the audience, those details didnt matter. The goal was to use the art as a backdrop for a kind of theatrical experience.

It was precisely this experience that made me uneasy. How do you make theater out of art that is so explicitly contained and individual to van Goghs perspective? Despite all the color and character in his work, it would be inaccurate to restyle his paintings as scenery on the quasi-stages that these exhibitions create for audiences to explore not as admirers but active participants.

No matter how many times I toured the chambers, I had the itching sense that it was dishonest to expand a 2 by 3 foot painting to fit the horizons of a 75,000-square-foot space. The images are expanded and duplicated to create a repetitive panoramic. But theres a reason for the size of the original work; what the painter wanted to obscure, what parts of the world were allowed to see and what were left to imagine. A painting hanging on a museum wall is a declarative statement, the artist saying, Heres a piece of a world of color, style and form that Ive given you.

To try to introduce new depth and interactivity in the artists work is to imply that van Goghs originals his brush strokes, his swaying fields and torrents of blues or the bowing heads of his oleanders didnt breathe.

The van Gogh show at Vesey similarly used projections along with 3-D deconstructions of his paintings, and I felt more at ease with these impressive life-size recreations of works like Bedroom in Arles in an exhibition that styled itself a virtual museum. But my eyes glossed over the canvas reproductions of the work, so inferior to the real thing: The colors were dull, the textures nonexistent, and the fibers of the canvas shone artificially in the exhibit light.

Not the van Gogh works I remember but at least here was the art, standing still and on its own, and without interruption. And here was the artist a timeline of his life, blurbs about his career.

However, I found the final part of the exhibition a journey via virtual reality headset through some of the landscapes on which his paintings were based off-putting. In this digital world I floated through van Goghs house, then out into the street among people milling around, working and chatting. Every once in a while a frame would appear in front of my field of vision, and the scene would transform, to match its painted counterpart. Were meant to see the difference between the real world and van Goghs world as seen by a mind-reading illustrator. But can any scenic designer really step into the artists shoes? Are some chambers in the impenetrable mind of an artist better left untouched?

Of course theres no way to resurrect the artist, not through the Vesey van Gogh recreation of his world, nor the Pier 36 exhibition (which also offers an A.I. van Gogh who will write you a letter; an algorithm recycles words and phrases from his real-life letters and delivers them in his own handwriting).

In search of the real van Gogh, I made my first post-pandemic museum outing to the Met. I spent several minutes mesmerized by the wild, almost sensual, twists and curls of the dark leaves in Cypresses, in contrast to the powdery blues and whimsical pinks pirouetting in the sky. A group of eager art students in cutoff jeans and Doc Martens gushed about what theyd learned from Wheat Field With Cypresses while I studied the paintings sea-green bush leaning to the left as though eavesdropping on a conversation outside of the frame.

As I spent time with Self-Portrait With a Straw Hat, I heard someone behind me say, What a sad little man. And of course they were right. The paintings fleshy pinks and reds give it a more bodily emphasis than his signature cool blue observation of the natural world. The same sunny yellows and fern greens that look unassuming in his coat and hat make his face look sickly and jaundiced.

What a sad little man yes, van Goghs personal story is a large part of what we relate to, and especially as we come out of a year and a half of pandemic: his life of hardship, including isolation and depression. And, in his case, there was also poverty and ultimately suicide. The van Gogh I met in Paris made me cry, not only because of the beauty of the work but also because I related to his insecurity and self-doubt, his struggle with mental illness. The myth of the tortured artist is so seductive, I clung to it for dear life.

But what the two van Gogh immersive exhibitions made me realize is how I also made unfounded presumptions of the artist and his work in 2017. I can never pretend to understand the way he thought and saw the world. I only know what Ive read, and thats not enough to comprehend the entirety of a life. What I do know is the way his works tap something beautiful and unfathomable in me the critic, the art-lover, the poet. Because at the end of the day, we cant pretend to know van Gogh, just like we cant pretend his work can be projected on walls as though its the same experience. All we have are the paintings in the frames, but those nights, those cypresses, those sunflowers theyre more than enough on their own.

Read the rest here:

Paintings, Projections, V.R. Starry Nights: Can We Ever Know van Gogh? - The New York Times