Ray-Ban Stories – Luxottica Facebook, Inc. and Ray-Ban releases the next generation of smart glasses, Ray-Ban Stories. The highly anticipated collaboration brings forward a new way to seamlessly capture, share and listen through your most authentic moments. […]
We’re introducing an entirely new way for people to stay connected to the world around them and truly be present in life’s most important moments, and to look good while doing it,” said Andrew Bosworth, Vice President, Facebook Reality Labs.
I wish Ray-Ban’s Stories smart glasses were made by anyone but Facebook – Yahoo Finance Whether or not you’re willing to make that investment largely depends on how you feel about Facebook and what you are hoping to get out of a pair of “smart glasses.” At best, they feel like a better, more polished version of Snapchat’s Spectacles. It’s still a novelty, but with decent audio, smart glasses are starting to feel a lot more useful. At worst, the glasses are yet another reminder of Facebook’s dominance.
Facebook announces launch of Ray-Ban Stories smart glasses – The Guardian The company’s hardest sell might not be privacy, but the glasses themselves. Snapchat’s Spectacles are now in their third generation, with improvements each time, yet they’ve failed to catch the imagination of the target market. The company took a $40m write-down on the value of unsold inventory in 2017.
Facebook and Ray-Ban are rolling out smart glasses that actually look cool. Will anyone buy them? – CNN I couldn’t shake the feeling that I was getting away with something while wearing Ray-Ban Stories in public. As far as I could tell, nobody noticed anything unusual about the glasses while chasing my kids around a busy playground, even when I was taking numerous short videos. (It was impossible for me to tell, but perhaps the bright sunlight made the glasses’ white LED less noticeable.) I walked into stores with them on, took pictures of myself in mirrors, and nobody even blinked. It would have been easy to use these glasses to invade other people’s privacy. Was this accidentally furtive photo- and video-taking turning me into a Facehole?
Facebook’s new camera glasses are dangerously easy to use – WIRED During a dinner with friends last weekend, Peter wore the Ray-Ban Stories the whole time—and it wasn’t until he pointed out the tiny sensors embedded at the temples that friends noticed. Once they did, though, Facebook’s biggest issue didn’t take long to surface: “So, you’ve been recording the whole time?” one friend asked, only half joking. Similarly, Lauren recorded (then deleted) a conversation with an editor while fumbling with the glasses. The editor never noticed.
That idea is yet another step on the road to the metaverse, Mr. Zuckerberg’s term for how parts of the virtual and actual world will eventually meld together and share different parts of each other.
Is it getting a little tiring, now, to keep responding to these type of stories with ‘just because we can, doesn’t mean we should’? I did, however, like the comment about determining someone’s age by their taking-a-photo gestures, at the end of this piece from the BBC’s Chris Fox.
Remember when virtual reality was supposed to be the next all-encompassing, technological paradigm? Or the Internet of Things? Well, hold on to your VR googles becausethemetaverseiscoming! Mark says so.
Facebook wants us to live in the metaverse – The New Yorker In a Facebook earnings call last week, Mark Zuckerberg outlined the future of his company. The vision he put forth wasn’t based on advertising, which provides the bulk of Facebook’s current profits, or on an increase in the over-all size of the social network, which already has nearly three billion monthly active users. Instead, Zuckerberg said that his goal is for Facebook to help build the “metaverse,” a Silicon Valley buzzword that has become an obsession for anyone trying to predict, and thus profit from, the next decade of technology.
Mark Zuckerberg wants to turn Facebook into a ‘metaverse company’ – what does that mean? – The Conversation In his quest to turn Facebook into a metaverse company, Zuckerberg is seeking to build a system where people move between virtual reality (VR), AR and even 2D devices, using realistic avatars of themselves where appropriate. Here they will work, socialise, share things and have other experiences, while still probably using the internet for some tasks such as searches which are similar to how we use it now. Owning not only the Facebook platform but also WhatsApp, Instagram and VR headset maker Oculus gives Zuckerberg a big head start in making this a reality.
Mark in the metaverse: Facebook’s CEO on why the social network is becoming ‘a metaverse company’ – The Verge The metaverse is a vision that spans many companies — the whole industry. You can think about it as the successor to the mobile internet. And it’s certainly not something that any one company is going to build, but I think a big part of our next chapter is going to hopefully be contributing to building that, in partnership with a lot of other companies and creators and developers. But you can think about the metaverse as an embodied internet, where instead of just viewing content — you are in it. And you feel present with other people as if you were in other places, having different experiences that you couldn’t necessarily do on a 2D app or webpage, like dancing, for example, or different types of fitness.
For context, it would be helpful to read Neal Stephenson’s 1992 Snow Crash or Ernest Cline’s Ready Player One from 2011, recently made into a movie of the same name. Exciting, dynamic sci-fi thrillers, but not futures that I’d like as my present.
The metaverse has always been a dystopian idea – VICE If it is coming, and if it is a big deal, then surprisingly few have paused to carefully consider the actual source of the metaverse, an undertaking which seems like a good idea, especially because that source is a deeply dystopian novel about a collapsed America that is overrun by violence and poverty. The metaverse was born in Neal Stephenson’s 1992 Snow Crash, where it serves as entertainment and an economic underbelly to a poor, desperate nation that is literally governed by corporate franchises. […]
Both books’ metaverses get at a common truism: there is something inherently dystopian in a future where humans abandon the real world in favor of an escapist and consumerist-oriented fully immersive digital one. To want to spend any serious amount of time in a metaverse, it must be made more appealing than reality, a feat which can be accomplished in one of two ways—either the world outside is already shitty enough to drive you into a glitch-prone, murder-filled alternative, or the fantasy of becoming someone else is compelling enough to consume you totally.
Is this all hype at the moment? Is there any real substance to these aspirations?
But as usual with such amorphous concepts and platform aspirations, there’s very little there. None of these luminaries, from Zuck to Nadella to Boz, seem capable of painting a coherent vision for what their particular metaverse will look or feel like, beyond gesturing at “presence” and a collection of apps, keywords, and old science fiction tropes. It is an odd vision built from a compendium of juvenile fantasies, perceived market opportunities, and overt dystopias.
Well, the author of that article might think so, but that’s not a view shared by venture capitalist Matthew Ball. He first wrote about the beginnings of the metaverse in 2018 …
The Metaverse: What it is, where to find it, who will build it, and Fortnite – MatthewBall.vc This is why considering Fortnite as video game or interactive experience is to think too small and too immediately. Fortnite began as a game, but it quickly evolved into a social square. Its players aren’t logging in to “play”, per se, but to be with their virtual and real-world friends. Teenagers in the 1970s to 2010s would come home and spend three hours talking on the phone. Now they talk to their friends on Fortnite, but not about Fortnite. Instead, they talk about school, movies, sports, news, boys, girls and more. After all, Fortnite doesn’t have a story or IP – the plot is what happens on it and who is there.
A framework for the metaverse – MatthewBall.vc Since [the 2020 update], a lot has happened. COVID-19 forced hundreds of millions into Zoomschool and remote work. Roblox became one of the most popular entertainment experiences in history. Google Trends’ index on the phrase “The Metaverse” set a new “100” in March 2021. Against this baseline, use of the term never exceeded seven from January 2005 through to December 2020. With that in mind, I thought it was time to do an update – one that reflects how my thinking has changed over the past 18 months and addresses the questions I’ve received during this time, such as “Is the Metaverse here?”, “When will it arrive?”, and “What does it need to grow?”.
Each of these buckets is critical to the development of the Metaverse. In many cases, we have a good sense of how each one needs to develop, or at least where there’s a critical threshold (say, VR resolution and frame rates, or network latency). But recent history warns us not to be dogmatic about any specific path to, or idealized vision of, a fully functioning Metaverse. The internet was once envisioned as the ‘Information Superhighway’ and ‘World Wide Web’. Neither of these descriptions were particularly helpful in planning for 2010 or 2020, least of all in understanding how the world and almost every industry would be transformed by the internet.
Very extensive, and I can’t say I follow even half of it, but it all sounds very exciting. It’s nice to see Second Life getting a mention as a “proto-metaverse”, but I wish it was more involved.
Second Life 2021 review, documentary from inside the social metaverse – YouTube Second Life is an open world 3D social virtual world, the precursor of the virtual reality or VR platforms we see today. But is it really on its way out of the Metaverse game as some believe? Or does it hold the keys to realizing the Metaverse as it is envisioned by many futurists and sci-fi authors? This short film seeks to answer those questions.
Hopefully this next social internet will result in a more positive future than the one envisaged in Keiichi Matsuda’s video, Hyper-reality, that I shared some time back.
Anyway, to round all this off, here are a couple of links from Dezeen on what real estate in this new digital universe might look like.
Artist Krista Kim sells “first NFT digital house in the world” for over $500,000 – Dezeen Kim designed the home in 2020 to be a space that embodied her philosophy of meditative design and worked with an architect to render the house using Unreal Engine, software that is commonly used to create video games. She describes the house, which overlooks a moody mountain range and features an open-plan design and floor to ceiling glass walls, as a “light sculpture”.
At a time when indoor art galleries and museums are closed because of you know what, it’s good to see some alternative initiatives. Here, an augmented reality app allowed you to explore 36 digital sculptures from artists around the world, arranged as a riverside walking tour.
How an augmented reality app transformed London into an immersive art gallery – Aeon Videos If you ever hopped on the Pokémon GO craze, you’ll have an inkling of how digital technology is increasingly capable of adding rich new slices to everyday life. The public exhibition ‘Unreal City’, which ran from 8 December 2020 to 5 January 2021 on the River Thames in London – and is, until 9 February 2021, available for at-home viewing – similarly superimposed digital layers on to reality, but with an aim to transform the city into an immersive augmented reality (AR) art gallery.
Have a go at curating your own exhibition at home.
Unreal City at Home – Acute Art Acute Art and Dazed Media are excited to announce that Unreal City, London’s biggest public festival of AR art will now be available to view and interact with from inside your home for one-month only. Responding to new lockdown measures and the popularity of the exhibition in London and across the United Kingdom, Acute Art and Dazed Media will make these site-specific artworks available for audiences all around the world to discover from the safety of their homes via the free Acute Art app.
How about this for an unsettling glimpse into the future?
Hyper-reality Hyper-Reality presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media.
It serves as the introduction to this fantastic overview of augmented reality in urban environments.
City Skins: Scenes from an augmented urban reality In one scene, the film’s protagonist-user (“Juliana”), becomes confused, even anxious, by a technical glitch which forces a reboot of her device while shopping for food, showing the viewer a brief glimpse of a un-augmented and totally featureless supermarket, clearly designed for the express purpose of accommodating a digital overlay. Matsuda’s film ultimately suggests that augmented reality may become so commonplace as to be essential to making sense of the world.
However futuristic it may seem, location-based augmented reality (virtual reality’s more successful but less hyped cousin) has been around for a while.
Growing interest in location-based AR projects, beginning in the late 1990s, can be in part attributed to the confluence of art and networking technologies which emerged out of the gradual popularization of the Internet and the influence of “net art.” Net art, according to critic Josephine Bosma, has often concerned itself with “the public domain as a virtual, mediated space consisting of both material and immaterial matter,” indicating a conceptual and ethical foundation for augmented reality’s radical leap from the space of the screen to a “hybrid space” mixing real and virtual elements.
Near the tail end of the 20th century, pseudonymous author and technologist Ben Russell released The Headmap Manifesto — a utopian vision of augmented reality referencing Australian aboriginal songlines and occult tomes, while pulling heavily from cybernetic theory and the Temporary Autonomous Zones of Hakim Bey. At turns both wildly hypothetical and eerily prescient, Headmap explores in-depth the implications of “location-aware” augmented reality as a kind of “parasitic architecture” affording ordinary people the chance to annotate and re-interpret their environment.
That might sound too abstract and theoretical, but here’s an example of a very real-world, poignant use of AR.
Following the release of the first iPhone and advancements in mobile phone cameras and processing power, AR began to move toward the more visually-dominant experiences we are familiar with today — in the process also opening up possibilities for more explicitly political projects. The group 4 Gentlemen, for instance, embraced AR as a tool for criticizing oppressive government policies in China. A collective of exiled Chinese artists and one American artist, 4 Gentlemen (taking their name from a group of intellectual dissidents central to the Tiananmen Student Protest in 1989) developed a series of works that digitally recreated in situ both the famous “Tank Man” image and the “Goddess of Democracy” statue — two symbols of the Tiananmen protest which have defined the struggle for democracy and human rights in China since.