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Unity creators can deploy their projects to 20+ platforms²

downloads per month of Made with Unity applications³

of the top 1,000 games are using Unity to grow their games⁴

When created, when played, every game will be touched by AI. See how Unity Muse can transform the way you create.

Success stories

See how creators and studios around the world have achieved remarkable success with Unity's solutions and services.

Deep resources, dynamic community

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Personal

Bring your vision to life with free access to the most widely used game engine in the world.

Pro

Unlock your team's potential with the tools professionals use to create hit games across devices and platforms.

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Disclaimers

1. Creator credits: Bleak Sword DX, More8bit, Devolver Digital | GTFO, 10 Chambers | Laika: Aged Through Blood, Brainwash Gang, Headup Publishing | Muhammad Ali, Showmax Game Changers, Chocolate Tribe | Sea of Stars, Sabotage Studios | BattleBit Remastered, SgtOkiDoki, Vilaskis, TheLiquidHorse

2. As of September 2023. Source: Derived from internal Unity resources.

3. As of September 2023. Source: Internal Unity sources, Data.ai Steam DB. Disclaimer: Downloads number is a combined figure of 3.56 billion mobile downloads based on data.ai data plus an internal estimate of 98 million downloads based on Steam data.

4. Source: data.ai. Disclaimer: Top 1,000 games is top 1,000 gaming apps by downloads in last 4 weeks from data.ai as of February 2023.

Copyright © 2023 Unity Technologies

"Unity", Unity logos, and other Unity trademarks are trademarks or registered trademarks of Unity Technologies or its affiliates in the U.S. and elsewhere ( more info here). Other names or brands are trademarks of their respective owners.

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Unity Real-Time Development Platform | 3D, 2D, VR & AR Engine

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Create and grow real-time 3D games, apps, and experiences for entertainment, film, automotive, architecture, and more. Get started with Unity today.

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Optimized for XR

To create immersive experiences that are believable to the human mind, AR, VR, and MR-collectively known as extended reality or XR-requires complex scenes rendered in exceptional quality at very high frame rates. There are no shortcuts.

Powerful and production-proven, Unreal Engine is designed for demanding applications such as AAA games, filmmaking, and photoreal visualization, making it ideally suited to these challenging requirements.

Robust platform support

Unreal Engine offers frequent updates for the rapidly evolving ecosystem of extended reality hardware and software.

Create your XR experience with Unreal Engine and deploy to any platform. Unreal Engine provides extensive support for OpenXR and all hardware vendors APIs, from Hololens to ARCore to Oculus. Epic Games is a founding member of OpenXR, the open standard for VR/AR/MR.

Meet the performance requirements of any device

Scale your applications from high-resolution, high-frame-rate HMDs to low-power mobile devices. With Unreal Engine's highly optimized graphics pipeline that lets you deliver unmatched visual realism in real time, there's no need to sacrifice quality for speed.

Create tailor-made XR applications with Blueprint visual scripitng or direct C++ coding. Unreal Engine's extensible XR framework, together with free access to the full source code, enables you to easily expand on existing features or add new custom capabilities.

Whether you want to build a high-fidelity product visualization VR experience or the next smash-hit AR game, Unreal Engine helps you realize your creative vision without starting from scratch. With a wide range of free templates and samples, as well as a rich library of assets, you can hit the ground running.

Want to learn how to develop XR games and experiences with Unreal Engine? Check out our 12 free courses on Unreal Online Learning and download Unreal Engine for free today.

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Unreal Engine for extended reality (XR): AR, VR & MR - Unreal Engine

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To create immersive experiences that are believable to the human mind, AR, VR, and MR-collectively known as extended reality or XR-requires complex scenes rendered in exceptional quality at very high frame rates. There are no shortcuts. Powerful and production-proven, Unreal Engine is designed for demanding applications such as AAA games, filmmaking, and photoreal visualization, making it ideally suited to these challenging requirements.

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Why use Hubs?

Welcome to Mozilla Hubs, the go-to virtual platform for educators, teams, and organizations. Powered by Mozilla, we've designed our platform to make virtual collaboration and learning effortless.

With no software to download, you can engage in real-time with any device at the click of a button, all while prioritizing your privacy. Hubs is more than just a platform - it's your gateway to controlling your virtual worlds as we step into the next chapter of the internet.

Try our Demo

Universal Accessibility

Connect from your phone, computer, or headset. No software download needed.

Full Customization

Choose from pre-made environments and avatars, or create your own."

Privacy-First Promise

Your personal data is never collected and you control access to your worlds.

Elevated Engagement

From virtual meetings to workshops, propel your team into custom digital spaces designed for sparking meaningful collaboration.

Your World, Your Rules

Shape expansive, custom digital spaces that foster meaningful connections within or outside of your global organization.

Teaching Transformed

Deliver engaging educational experiences, breaking down the barriers of traditional classrooms and fostering deeper understanding.

Get immersed with the Hubs newsletter!

Sign up here to get updates on what is new with Hubs and we will keep you up to date with the latest news, updates, and product offerings. We can't wait to show you what we have been working on!

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Hubs - Private, virtual 3D worlds in your browser

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Welcome to Mozilla Hubs, the go-to virtual platform for educators, teams, and organizations. Powered by Mozilla, we've designed our platform to make virtual collaboration and learning effortless. With no software to download, you can engage in real-time with any device at the click of a button, all while prioritizing your privacy.

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Built-in apps, such as Safari, Messages, Mail, News, and Notes, use Quick Look to display USDZ files of virtual objects in 3D or AR on iPhone and iPad. You can embed Quick Look views in your apps and websites to let users see incredibly detailed object renderings in a real-world surrounding with support for audio playback.

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Quick Look Gallery - Augmented Reality - Apple Developer

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Embed Quick Look views in your apps and websites to let users see incredible detailed renderings in 3D or AR.

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October 4, 2023
The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release. Please be sure to check out the release notes for the full list.
In this release:

Bug Fixes

Performance Improvements

Thanks,

Vuforia Engine Team

August 23, 2023
The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release. Please be sure to check out the release notes for the full list.
New Features and Improvements:

Camera Intrinsics: Now you can inject camera intrinsics with a sidecar file for UWP apps, making it easier to support custom external cameras without needing to develop a driver.

More Detailed Logging in MTG/ATG: The Model Target Generator (MTG) and Area Target Generator (ATG) now have an option to create more detailed logs, to aid in troubleshooting.

Bug Fixes and Performance Improvements

Support Notice:

Supported Unity Version Change: The minimum supported version of Unity is changed to 2022.3.5f1+.

Virtual Buttons are Deprecated: The Virtual Buttons feature has been deprecated and will be removed in the future. Please contact us at vuforia-feedback@ptc.com if you require a workaround for this feature.

Thanks,

Vuforia Engine Team

July 12, 2023
The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release. Please be sure to check out the release notes for the full list.
New Features and Improvements:

Matterport Pro 3 Camera: The Matterport Pro 3 is now one of our recommended scanning devices for creating Area Targets. Even though the camera allows for taking scans from larger distances, make sure to follow our scanning guidelines and use scanning positions that are close enough together to keep Area Targets robust.

Area Target Capture: You can now pre-define an origin during Area Target capture to aid in aligning multiple scans.

Model Target Generator "No Upload" Mode: Now if you start the Model Target Generator with the command parameter --no-upload, it prevents the user from accessing any option that requires uploading the CAD model, such as Simplification or training Advanced Model Targets.

New Camera Control APIs in Unity: New APIs have been added in the Vuforia Unity Extension for enhanced camera control. See the release notes for what platforms are supported.

Developer Portal Account Manager: Manage your account details in the new "Account Manager" within the Developer Portal together with a new easy-to-use dashboard upon log in.

Area Target Generation on Mac OS 10.13 (Ventura): When running the Area Target Generator (ATG) on Mac OS 10.13 with an Intel CPU, an issue was identified that could create Area Targets with reduced relocalization capability. Developers are advised to regenerate their Area Targets with the latest ATG version 10.16.5, if they previously used any of the ATG versions 10.11-10.15 on such computers.

Thanks,

Vuforia Engine Team

April 26, 2023
The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release. Please be sure to check out the release notes for the full list.
New Features:

Advanced camera controls: Support for additional platforms has been added to the new API controlling focus and exposure. Read the release notes for more details.

Model Target User Volume improvements: Model Target training has been greatly improved when User Volumes are employed, making it easier to define User Volumes in close vicinity to the model geometry and optimizing where the volume overlaps with the model.

External camera improvements: Engine will now use USB-connected webcams or built-in laptop cameras when no back camera is available, to work more easily in scenarios with different camera setups.

Bitrate setting during Session Recording: Now you can set the bitrate used when recording video during a Session Recording, to control the file size. Read the release notes for more information.

Premium Plan license generation: Developers subscribed to a Premium or Academic Plan can now generate additional Premium licenses through the License Manager without additional assistance.

Platform Support Notice:

UWP 32bit (x86) support is removed: Vuforia Engine no longer supports UWP 32bit and we recommend updating apps to be built for 64bit.

Thanks,

Vuforia Engine Team

Feb 15, 2023
The Vuforia Engine team is excited to announce new changes to our support options! These changes are replacing our existing Community Forums to provide more efficient support and transparency:

Share feedback and raise issues through our issue-only repository on GitHub.

For technical questions and solutions, you can use the vuforia tag on Stack Overflow.

Continue to use our direct support via our existing support forms.

You can find all relevant support resources in the updated Support Center on the Engine Developer Portal.

Thanks,

Vuforia Engine Team

Feb 1, 2023
The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release. Please be sure to check out the release notes for the full list.

Magic Leap 2 Beta Integration: The Vuforia Engine integration for Magic Leap 2 is now in beta. Please check the updated documentation for developing for Magic Leap 2, as the process for setting up a project in Unity has changed.

Model Target Performance: Advanced Model Target recognition performance has been improved for iOS devices.

VuMark Illustrator 2023 Support: Illustrator 2023 is supported by the VuMark designer.

Area Target Improvements for Vuforia Studio: The Area Target Generator (ATG) version 10.13 now has an option to package Area Targets in a format that can be imported and visualized in the 9.9 release of Vuforia Studio, including targets made from point-cloud-based scans.

Thanks,

Vuforia Engine Team

Dec 14, 2022
The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release. Please be sure to check out the release notes for the full list.
New Feature
Barcode Scanner: Engine now includes a Barcode Scanner API for reading barcodes and QR codes, including while tracking targets like Model and Area Targets. This feature is a Premium feature and will show a watermark for Basic license holders. Use the new API to read barcodes to identify products, launch experiences, or further enrich your apps.
Additional Updates

Model Target Mesh Observer: Now the mesh representation of a Model Target is exposed at runtime, enabling visual effects and other benefits while tracking Model Targets.

GPS Prior Tutorial for Area Targets: For large spaces GPS can be used to help localize with Area Targets, and now a detailed step-by-step guide with sample code is provided that shows how to do that.

Improved Model Target Tracking on iOS and Android: We improved LOW_FEATURE_OBJECT mode for even better detection and tracking of difficult objects. Additionally, the AI-assisted tracking optimizations are now available on all iOS and Android devices running ARKit or ARCore, plus Magic Leap 2 and HoloLens 2.

Account Usage Tab on Engine Developer Portal: The amount of target generations for Model and Area Targets is now easily viewable within the Engine Developer Portal along with other account information.

Thanks,

Vuforia Engine Team

Nov 22, 2022

Available now for iPad, and soon for iPhone, the Vuforia Creator application is an essential companion for anyone developing Augmented Reality (AR) experiences using Vuforia Engine. It enables users to scan and test Area Targets, test Model Targets, and record sessions that can be played back during development for testing.
Key Functionality Includes:

Scan an environment and instantly generate Area Targets with a depth-enabled iPad Pro device.

Test the detection and tracking quality of Area Targets and Model Targets.

Import, share, or delete datasets in the new Asset Browser.

Record sessions/walkthroughs to support off-site development, complete with video and six degrees of freedom (6DOF) pose data.

This application will replace the functionality of the Vuforia Area Target Creator application and utilize a brand-new architecture for faster creation of Area Targets.

To download, visit the listing in the Apple App Store here.

Let us know what you think! Send us an email to vuforia-feedback@ptc.com with your thoughts.

Thanks,

Vuforia Engine Team

Nov 3, 2022
The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release. Please be sure to check out the release notes for the full list.

Model Target Runtime 3D Guide Views: Now you can create 3D guide views for Model Targets loaded at runtime in Unity, for enhanced eyewear application experiences.

OAuth2 authentication in ATG and MTG: The Model Target Generator and Area Target Generator desktop tools now accept Vuforia Engine OAuth2 credentials for login. This allows companies to share and control access to Vuforia Engine target generation associated with one account with multiple employees. To learn more about using Vuforia Engine credentials, view our library document.

Area Target Improvements:

Performance Improvements on iOS: we've made updates to the machine learning library used for localization of Area Targets, for improved performance on iOS devices.

More accurate Preview Mesh during Area Target capture: When using the Area Target Capture API, the Authoring Mesh is created and updated live and provided as Preview Mesh via MeshObserver for a more accurate representation of the space as captured.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thanks,

Vuforia Engine Team

Sep 15, 2022
The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release. Please be sure to check out the release notes for the full list.
Magic Leap 2
The Vuforia Team is proud to announce an alpha version of support for Magic Leap 2 with Vuforia Engine. Take advantage of the leading optics and powerful computing of the newly released Magic Leap 2. Please read our documentation to learn how to develop for Magic Leap 2.
Additional features and notices:

Model Target Tracking Improvements: Model Target tracking for cars and other large, reflective objects is now significantly improved on the HoloLens 2 through an AI-powered tracking technology when using the LOW_FEATURE_OBJECTS tracking optimization. This improvement was previously available on higher-end iOS and Android devices.

Deprecation Notices:

Apple has deprecated Bitcode as of Xcode 14, and no longer supports app submissions containing Bitcode. A future release of the Vuforia Engine SDK will remove Bitcode from the iOS framework.

We will be removing the Book Sample and Rendering Sample from the Unity Asset store in the future. For Cloud Recognition, please use the Core Samples instead, and for visual effects please use the VFX Library.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thanks,

Vuforia Engine Team

Aug 10, 2022
The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release. Please be sure to check out the release notes for the full list.

Model Target Tracking Optimization modes: The Tracking Mode and Motion Hint options for Model Targets have been consolidated and simplified. This will help reduce errors during creation and enable faster development. To learn about the new tracking mode settings, click here.

Model Target User Volumes: When creating Model Targets, User Volumes can now be set to signify the space where the user will be when viewing the Model Target. This greatly increases the robustness of target recognition, especially in cases where the user is only in specific locations during the experience (for example, underneath a car servicing it, or inside a truck looking at the dashboard) and cannot get the full target into view to initialize tracking

Target Manager Database Improvement: Databases within the Target Manager on the Vuforia Engine Developer Portal now load faster for improved viewing speeds.

Performance Improvements and Bug Fixes

Deprecation Notice: Magic Leap 1 support is deprecated and it will no longer be supported in a future release. You can continue to develop for Magic Leap 1 using older versions of Engine.

Unity on MacOS Notice: If you are experiencing DLL related issues on Mac when working in Unity, you might be affected by an unfortunate expired certificate in the SDK. Please see our forum post on how to fix this issue.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thanks,

Vuforia Engine Team

Jun 29, 2022
The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release. Please be sure to check out the release notes for the full list.

Advanced Model Target Improvements: Training times for Advanced Model Targets have been optimized and now depend on the number and size of views. Recognition performance for advanced, close-up views has also been improved.

Area Target Improvements:

The target's occlusion mesh is now exposed in the C API which allows native apps to render occluded virtual content in combination with Area Targets as you move through the space.

Textured authoring models are now created by the Area Target Creator app and the Area Target Capture API providing an improved authoring experience in Unity. These scans can be loaded into the Area Target Generator for clean-up and post-processing.

Area Target tracking data is now compressed and takes up to 60% less space.

Unity Area Target Clipping: Area Target previews in the Unity Editor can be clipped based on height, for faster previewing and better visibility of the scanned space during app development.

Engine Developer Portal (EDP) Self-Service OAuth UI: OAuth Engine credentials can now be managed from the EDP, eliminating the need for the command line.

Notices

High Sensor-Rate Permission: Due to new Android permission requirements, developers should add the "high sensor rate" permission to all native Vuforia Engine apps running on Android 12+ for all releases, otherwise VISLAM may not work. Read more about VISLAM tracking here.

Permission Handling: The Vuforia Engine behavior of triggering OS-specific user permission requests at runtime is deprecated in 10.8 and will be removed in an upcoming release. All native apps should be updated to manage permissions themselves. The 10.8 sample apps share best practices for this.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thanks,

Vuforia Engine Team

Mar 31, 2022
Hello Vuforia Developers,

PTC stands with the Ukrainian people and condemns the Russian invasion of Ukraine in the strongest possible terms. In response to this unprovoked invasion, which continues to result in unnecessary loss of life and has forced so many Ukrainians to flee their homes and seek safety, PTC will discontinue all business operations and sales in Russia and Belarus. All developer accounts and applications belonging to developers in Russia and/or Belarus will be suspended. At this critical moment, the human impact of this tragedy needs to be front and center.

PTC, through its foundation, will donate $1 million to support humanitarian efforts for the Ukrainian people. PTC joins all those around the world calling for peace and the fastest possible end to this conflict.

If you have questions regarding this discontinuance, or believe your account has been incorrectly impacted, please contact vuforia-feedback@ptc.com

You can read our corporate announcement here.

Feb 16, 2022
The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release. Please be sure to check out the release notes for the full list.

Model Target Improvements: Advanced Model Targets now produce a significantly smaller database size and improved recognition when using multiple up-close entry points.

Area Target Generator Update: The Vuforia Area Target Generator introduces a brand new UX and intuitive tools to edit 3D scans and generate targets.

Quickly visualize imported 3D scans from Matterport and other supported 3D scanners.

The new crop functionally enables developers to simply crop out sections of a 3D scan and generate multiple Area Targets out of a single space.

Vuforia Area Target Capture API: Our Vuforia Area Target Capture API has improved functionality and is now commercially available for iOS devices with the purchase of a Premium Plan.

Vuforia Engine VFX Library: New special effects available for Area Targets! Check them out on the Unity Asset Store.

Session Recorder Sharing: The Unity Session Recorder GameObject now comes with a built-in share button to easily share your recordings using the OS file sharing functionality.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thanks,

Vuforia Engine Team

Jan 13, 2022

The team is excited to announce you can now do more with Vuforia Engine for free.

AR Creators, your choice to partner with us for developing innovative applications and solutions is something we take seriously. PTC is dedicated to our customers, developer community, and the future of augmented reality. To help bring more value to our users, and to further the adoption of AR technology in both consumer and industrial spaces, we've decided to offer a free commercial Basic Plan, a more affordable Premium Plan, and optional Cloud Add-ons.

Features included in our new free Basic Plan are as follows: Image Targets, Multi Targets, Cylinder Targets, Ground Plane, and VuMarks. A license for this plan can be obtained through the license manager.

For customers looking to take advantage of our more advanced technology, Model Targets and Area Targets, we are now offering a Premium Plan for an annual subscription fee. This will be offered at a lower cost than the old Pro license.

With both Basic and Premium, your company can publish unlimited applications under a single plan.

If you are interested in learning more about our Premium Plan, please reach out to us via our sales form to learn more.

For more information about our new plans please visit our pricing page or licensing FAQ.

Thanks,

The Vuforia Engine Team

Nov 15, 2021
The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release, please be sure to check out the release notes for the full list.

VFX Library for Vuforia Engine: Our new VFX library offers developers pre-made visual effects to use in their AR applications! Check them out in the Unity Asset Store.

Area Targets Update: Combining multiple smaller Area Targets covering a larger space is now simpler as you can activate multiple targets at once. Vuforia Engine loads the necessary data at run-time, similar to how large Area Targets have been supported.

Area Target Capture API public beta: This new beta API integrates the capture of Area Targets into your applications to share or to use them instantly. To request participation in the beta, please email us at vuforia-feedback@ptc.com. You can find the beta documentation here.

Deprecation notice:

Support for HoloLens 1 is deprecated in Vuforia Engine 10.3, and it will not be a supported device in the future. We will continue to support HoloLens 2.

Vuforia Engine 9.8 will no longer be supported after February 2022. We recommend upgrading to the newest version of the SDK to experience the latest performance improvements and hardware support.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thanks,

Vuforia Engine Team

Sep 29, 2021
The Vuforia team is happy to announce our newest version of Vuforia Engine. Below are the key updates in this release, please be sure to check out the release notes for the full list.

Model Target Tracking Improvements: Model Target tracking using ADAPTIVE mode now provides more agility and accuracy when tracking models in motion with experiences that use Extended Tracking.

General performance improvements and bug fixes.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thanks,

Vuforia Engine Team

Aug 24, 2021
Vuforia Engine 10.1 brings several improvements, including:

Improved VuMark detection and tracking: VuMark tracking is more robust, especially with VuMarks that are further away and/or smaller.

Faster Area Target generation: When using data from Leica scanners, Area Targets can be created in less time.

Performance improvements and bug fixes

For more information, you can read the release notes here. Additionally, this release incorporates feedback from developers who got started on 10.0. Thank you for your contributions, and please keep the feedback coming!

Jul 29, 2021
Hello developers! The Vuforia team is excited to announce the release of Vuforia Engine version 10. This newest update introduces a brand-new API for faster and easier development, reduces the size and upload time of Model Targets with new compression technology, improves tracking for several of our leading target types, and more. Please be sure to check out the release notes for complete details.
Before You Update!
Please carefully review the version 10 migration guide. Since there are many significant changes to the API, you will need to update the code in your apps for them to function properly.

New Vuforia Engine API: This modernized API enables developers to create the same applications faster and more efficiently with fewer lines of code.

Enhanced Compression Technology: New compression technology will greatly reduce the upload times for Model Targets by up to 80% and the dataset size by 50%. This will result in a smaller application footprint and provide users with a faster, better performing application.

Automatic Simplification for All Users: We're now offering our automatic Model Target simplification to all license holders! This simplification happens in the cloud and doesn't require any additional effort from developers.

Improved Tracking: We continue to improve our tracking algorithms to respond to the ever-evolving hardware and platform needs of our developers. Targets will now snap faster and track more robustly in greater variety of conditions.

Simplified Installation for Unity Extension: In response to feedback, we've streamlined the process of installing the Unity Extension by delivering it as a .unitypackage.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

May 21, 2021
Vuforia Live is a half-day virtual event devoted to all things augmented reality, featuring sessions on the business value of AR, spotlights on real-world AR case studies, updates on PTC AR products, and a sneak peek into what the Vuforia team is working on next.

Visit the event website to register!

Mar 15, 2021
The Vuforia team is happy to announce new updates on how you can access the Model Target Generator, enhancements for Model Target testing, and new robust tracking for stationary devices. Below are the key updates in this release, please be sure to check out the release notes for the full list.

Offline Model Target Generator: Using a provided authentication token, developers can now use the new Offline Vuforia Model Target Generator. (For approved Pro Licenses only. Please contact support.)

Model Target Scale Validation: When using Model Targets a new STATUS_INFO value WRONG_SCALE will be reported to alert the developer if the Model Target does not match the physical size of the object being tracked. This event can be processed at runtime or used just in the development process.

Static Device Tracker: This is ideal for applications where the device will remain static, like on a tripod or an overhead camera on a workbench. There is no need for the device to first be in motion for tracking to start. Perfect for toys, books, or even maintenance scenarios that require the use of both hands.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thanks,

Vuforia Engine Team

Mar 10, 2021

Hello Vuforia Developers!

We are excited to announce that our Vuforia Engine community has reached one million registered developers, making this one of the largest AR developer communities online today. This is an extremely exciting moment for the Vuforia Engine team, and to say thank you for your continued support and contributions, we're holding an AR Creators Contest! If you'd like to participate for a chance to win an iPhone 12 Pro Max or an iPad Pro 12.9, read the rules below.
Contest:
You can submit your video entry from now until April 19th under one of these two categories:

Best Student/Hobbyist* application (Prize: iPhone 12 Pro Max)

Application should use augmented reality for a specific purpose: Solving a problem, communicating a messaging, making a game or concept more engaging, etc.

Application should include an intuitive and clean UX.

Application should demonstrate a stable augmented reality experience.

Student or hobbyist cannot work in the AR or VR industry professionally.

Most Innovative Use of Vuforia Engine (Prize: iPad Pro 12.9):

Application should demonstrate a unique or out-of-the-box way to use augmented reality.

Application should use augmented reality for a specific purpose: Solving a problem, communicating a messaging, making a game or concept more engaging, etc.

Application should include an intuitive and clean UX.

Application should demonstrate a stable augmented reality experience.

How to Enter:

Create a video of your Vuforia Engine AR application.

In this video tell us (verbally or with text) what your application does and why you chose Vuforia Engine.

This video should not exceed 60 seconds.

Review our video guidelines here.

Upload your submission on YouTube.

To enter your video into the contest, please fill out our contest form and provide us a link to your YouTube video here.

Feel free to share your submission video on social media with #Vuforia1MContest.

Please read all the legal rules and regulations here.

All videos entered have the chance to appear in our Vuforia Engine highlight reel that will be shared on social media at the end of the contest. Winners will be announced at the beginning of May. We can't wait to see what you submit! If you have any questions please feel free to email vuforia-feedback@ptc.com.

Thanks,

The Vuforia Engine Team

Feb 3, 2021
New year, new version of Vuforia Engine. The team is excited to announce enhancements to our Model Target Generator, new scanner support for Area Targets, and updated functionality in the Area Target Creator application. Below are the key updates in this release, please be sure to check out the release notes for the full list.

Model Target Simplification: We've added a new model simplification process in the Vuforia Model Target Generator. This feature will simplify a 3D model in our secure Vuforia cloud by reducing the polygon count and number of parts to the optimal size for tracking a Model Target with your devices. (This feature can only be accessed with a paid ADVANCED TARGET ADD-ON for the Pro license.)

The Area Target Generator now supports scans from:

NavVis M6 and VLX mobile mapping systems.

Leica BLK360 and RTC360 3D reality capture solution. (Beta only)

Area Target Creator App (iOS only): Updated functionality within the application that allows users to delete Area Target datasets or share them with other users.

Documentation update: Based on community feedback our team has created in-depth documentation around how to use NavMeshes for navigating users through your Vuforia AR app and best practices for combining multiple Area Targets together to create a large Area Target.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thanks,

Vuforia Engine Team

Nov 25, 2020
The Vuforia Engine team is happy to announce that version 9.6 is now live! We've made some quality of life improvements to our Model Targets development process and have added support for the new Iphone 12 for scanning Area Targets. Below are the key updates in this release, please be sure to check out the release notes for the full list.
Model Target Generator

When creating a close-up guide view with Advanced Model Targets the Model Target Generator will now automatically calculate a suitable target extent for optimal detection.

Detection of Standard Model Targets has been enhanced to include a wider range of positions around the defined guide view for snapping to the model.

Vuforia Area Target Creator App

Developers can now create Area Targets quickly and easily on the new iPhone Pro 12!

The amount of scanning time supported in the application has been increased to 5 minutes to help developers capture larger spaces and include more details.

Unite Now 2020 Session:

Check out our Unite Now 2020 session on the value of spatial AR and how to create a Vuforia Engine Area Target! Watch here.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thanks,

Vuforia Engine Team

Oct 22, 2020
The newest Vuforia Engine release drops today! The focus of 9.5 is around usability updates for our advanced features and expanding our support to Unity AR foundation. Below our the key updates in this release, please be sure to check out the release notes for the full list.
Unity AR Foundation Support

Vuforia Engine now offers complementary support for AR Foundation for new and existing applications. Developers can utilize the advanced features in Vuforia Engine simultaneously with the features offered in AR Foundation, like Environment probes and vertical surfaces.
Model Target Generator

The Model Target Generator has been updated to offer a more intuitive and guided interface for creating Model Targets. Clear, separated tabs make it simple to adjust options like scale, orientation, model coloring, and tracking modes.
AR Session Recorder

Having unlimited access to locations and real-world objects to test AR applications can be difficult, especially now. With the Session Recorder, developers can record their AR experiences in the location, and then use that recording with Playback mode in Unity for editing and updating.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thank you,

Vuforia Engine Team

Sep 09, 2020
The team is happy to announce the release of Vuforia Engine 9.4 today! This new update focuses on enhancing our Model Target feature. We're also releasing a new application, the Vuforia Area Target Creator, so that anyone can generate and test Area Targets. Below are just a few of the changes included in Vuforia Engine 9.4 - be sure to check out the release notes for the full list.
Area Targets

Creating Area Targets made simple! The Vuforia Area Target Creator application allows developers to easily generate an Area Target using a depth-enabled mobile device, such as the new iPads and iPhones (coming soon) with LIDAR scanners.

The Vuforia Area Target Creator also enables users to test the tracking and stability of existing Area Targets in their corresponding environments before developing content, such as one that have been created using other scanners.

Interested in giving Area Targets a try? Watch our newest tutorial video: Vuforia Engine: How to Create Area Targets.

Model Targets

The Model Target Generator now offers automatic coloring of specific part of 3D models. This process helps improve recognition and tracking.

When training Advanced Model Targets, the Model Appearance can now be selected in the "Start Training" dialog.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums. Have an AR experience you'd like to share with us? Please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thank you,

Vuforia Engine Team

July 22, 2020
Vuforia Engine 9.3 releases today and the team has developed some great new things that continue to evolve our advanced features. Below are just a few of the changes included in Vuforia Engine 9.3 - be sure to check out the release notes for the full list.

Since the initial release of both Model Targets and Area Targets, Vuforia has been committed to improving the usability and performance of these advanced features. Check out some of our new enhancements:

Model Targets - Improvements to the training of Advanced Model Targets allows for better recognition of objects when the object covers most or all of the view. While ideally it is best for the object's silhouette and some background to be in view, this is no longer strictly required for recognition. To take advantage of this new feature, please re-train your databases with the Vuforia 9.3 Model Target Generator.

Model Target Generator - For overlapping recognition ranges, a warning has been added to the Model Target Generator in case multiple Advanced Guide Views have been created that share the same target extent. This reduces database size and improves recognition speed.

ATG and MTG input/output paths - Localized input and output paths - in particular paths containing Chinese, Japanese or Korean Characters - are now supported in the Area Target Generator and the Model Target Generator.

Java language bindings for Android have been removed.

The entire team at Vuforia is extremely excited about all the technology we're building this year and we cannot wait to see the amazing games, experiences, and applications that our community is building!

If you have an AR experience you'd like to share with us, please send any videos of your Vuforia Engine application to vuforia-feedback@ptc.com.

Thank you,

The Vuforia Team

June 15, 2020
Vuforia Engine 9.2 drops today! This release includes many quality of life improvements based on community feedback. Please be sure to check out the release notes for the full list.

The Vuforia team is committed to making our developers successful in developing augmented reality applications. Below are a few new pieces of content to help support the community when using our new features.

How to Create Model Targets - Link

How to Create Instant Image Targets - Link

Unity Blog: Vuforia Engine Area Targets - Link

Stay tuned for our Area Targets Webinar!

Be on the lookout for more content, as we will be releasing videos regularly at our YouTube channel.

The entire team at Vuforia is extremely excited about all the technology we're building this year and we cannot wait to see the amazing games, experiences, and applications that our community is building! We'd love to see what you are doing, feel free to send movie links to: vuforia-feedback@ptc.com to show us what you are doing with Vuforia Engine.

If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums.

Thank you,

The Vuforia Team

May 6, 2020
The Vuforia Engine team is excited to announce our most recent update! This release we've focused on prioritizing enhancements on our leading functionalities and adding new device support. Vuforia Engine 9.1 includes the following advancements and support:

Model Target improvements (Improved tracking, stabilization, and recognition)

Higher resolution on popular ARCore devices

RealWear HMT-1 support

Improvements to Playmode Simulator

ATG available on macOS

For a more detailed look at each of our new updates, please review our release notes. If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums.

Thank you,

The Vuforia Engine Team

Mar 18, 2020
The Vuforia Engine team has been working hard to offer our developers more ways to create immersive, engaging AR experiences - and today we get to show you that work. Vuforia Engine 9.0 includes the following advancements and functionality:

Vuforia Engine Area Targets with Area Target Generator

Advanced Model Targets - Multiple Model Detection

Scanned Model Targets

Simulation Play Mode

Vuforia Engine Tracking Scale

Continued experiences when pausing applications

Vuforia Engine Area Targets enable developers to use an entire space, be it a factory floor or retail store, as an augmented reality target. Design intuitive navigation for factories and malls, dynamic marketing promotions inside stores, or useful amenity and service details for hotel rooms with this powerful new feature.

Using our first supported device, a Matterport Pro2 camera, developers can create a detailed 3D scan of a desired location. Locations are recommended to be indoors, mostly static, and no larger than 1,000 m² (10,000 sqft). Once the scan produces a 3D model it can be converted into an Area Target with the Vuforia Area Target Generator. This target can then be brought into Unity where content can be placed within a digital representation of the space. You simply scan, author, and view your Area Target AR experience.

Model Targets are one of our most powerful features that use CAD models to offer robust tracking. To offer even more use cases, we've extended its capabilities to support multiple objects being detected from any angle within the same scene. This allows applications to discover multiple products or different items automatically without pre-selecting them. To make Model Targets more accessible we published a detailed guide for using Model Targets with objects that have been scanned using a 3D scanner, such as the Structure Scanner from Occipital 3D. S canned Model Targets allow developers to build experiences that offer all the same powerful tracking without having to get access to a CAD model.

To help developers better visualize their AR applications, we're offering a Simulation Play Mode. This allows users to "walk through" or around the 3D model and see the final AR experience from their computer. This can be useful for testing applications where you may have limited access to the physical space or object.

We've also made user improvements for both developers and end-users. For developers, we're now offering Vuforia Engine Tracking Scale. This will automatically convert from meters, which Vuforia Engine natively uses, to whatever unit system you're using in Unity. It provides an arbitrary scale in your virtual scene to help you adjust digital content. From the end-user perspective, we've greatly improved tracking when an application is interrupted. This could be when you get a phone call or open another application. When the user comes back to the AR application tracking will continue.

For a more detailed look at each of our new updates, please review our release notes. If you have questions about this release or other Vuforia Engine features, feel free to post on our community forums.

Thank you,

The Vuforia Engine Team

Jan 28, 2020

Hello Vuforia Developers

On Friday January 24th Unity posted an " XR Platform Updates" article. Unfortunately, the original version of this article included unclear information about Vuforia Engine. Vuforia Engine is still supported, and will continue to be supported, in Unity. What has changed is that the Vuforia Engine package will no longer be natively distributed by Unity but can be easily obtained from the Unity Asset Store via our Core Samples or our hosted NPM registry. You can learn more about how to download the Vuforia Engine package here.

We apologize for any confusion. If you have any questions, please feel free to post them on our community forums.

Thank you,

The Vuforia Team

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October 4, 2023 The Vuforia Engine team is happy to announce our newest version. Below are the key updates in this release. Please be sure to check out the release notes for the full list. In this release: Bug Fixes Performance Improvements Thanks, Vuforia Engine Team August 23, 2023 The Vuforia Engine team is happy to announce our newest version.

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link metaspace

Flexible large-scale data acquisition

City-scale mapping service

Stable, accurate, fast visual positioning service

Efficient annotation and debugging tools

Ability of AR ecosystem integration

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ar sdk，cloud recognition service (crs)，slam/clm，physical spaces recognition，image recognition，motion tracking，surface tracking，3d object tracking，planar image tracking，sparse 3d point clouds，dense 3d point clouds / 3d mesh

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EasyAR Sense is a standalone SDK, it provides flexible dataflow-oriented component-based API and do not depend on any non-system libraries or tools like Unity3D. Support for Unity, EasyAR Sense Unity Plugin, is a very thin wrapper to expose EasyAR Sense features into Unity. All code of EasyAR Sense Unity Plugin is open sourced with well-designed interface.

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Build new augmented reality experiences that seamlessly blend the digital and physical worlds | ARCore | Google for Developers

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Discover links to learn more about and get started with the technology to create world-scale, immersive augmented reality experiences.

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Reality Composer Pro

Meet the all-new Reality Composer Pro, designed to make it easy to preview and prepare 3D content for your visionOS apps. Available with Xcode, Reality Composer Pro can help you import and organize assets, such as 3D models, materials, and sounds. Best of all, it integrates tightly with the Xcode build process to preview and optimize your visionOS assets.

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AR Creation Tools - Augmented Reality - Apple Developer

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Reality Composer is a powerful tool that makes it easy for you to create interactive augmented reality experiences. Reality Converter quickly converts your existing 3D models to USDZ.

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Lens Studio is a powerful application designed for artists and developers to build augmented reality experiences for hundreds of millions of Snapchatters. With a huge set of built-in features including custom shaders and advanced tracking technology, the possibilities are endless.

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What you see is what you get

Preview model topology, UVs, and textures with our 3D viewer and model inspector before you purchase.
See an example

Everything you're looking for

From low-poly video game 3D assets to real-world photogrammetry scans, 3D models from every conceivable category.
Browse all 3D model categories

Today's technical standards

PBR materials, animated rigs, and more in a universal format.
Learn more

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Sketchfab - The best 3D viewer on the web

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With a community of over one million creators, we are the world's largest platform to publish, share, and discover 3D content on web, mobile, AR, and VR.

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The WebXR Device API provides access to input (pose information from headset and controllers) and output (hardware display) capabilities commonly associated with Virtual Reality (VR) and Augmented Reality (AR) devices. It allows you develop and host VR and AR experiences on the web.

You can read more about the goals of this standardisation effort by reading the WebXR Explainer.

For phones:

Enable VR by providing pose information and allowing the WebGL scene to be rendered side by side to be placed in a headset like the Cardboard

Enable AR by using the platforms AR capabilities such as ARCore to render the WebGL scene onto the users environment like a magic window.

For Desktops:

Desktop computers can make use of tethered VR hardware such as the Oculus Rift or HTC Vive to display the VR scene

For standalone AR Headsets:

Enable AR by using the platforms AR capabilities to render the WebGL scene immersively onto the users environment.

For standalone VR Headsets:

Enable VR by rendering the scene using the platforms VR capabilities.

Instant deployment to every XR platform with a WebXR enabled Web Browser

Future proof experiences, new AR and VR hardware comes about regularly, your experience should continue working on new hardware without needing to push new code.

An experience can choose to target both VR and AR, Handheld and head mounted devices with a single release. Minimal code changes needed to support VR and AR together.

No app stores or large downloads required, users get immediate access to your experience without needing to leave your web site.

Since the rendering is handled by WebGL, which has been around since 2011, you gain the benefit of WebGL's rich development tool ecosystem and a large, active developer community.

These are brief guides to building a site which uses and AR and VR.

The WebXR device API relies on graphics APIs like WebGL & WebGL2 to work, these graphics libraries and frameworks come with WebXR support built in.

A-Frame, is a JS library to use HTML to create VR and AR experiences in the Web.

A-Frame is based on THREE.js and has a large community, as well as lots of community made custom elements and components.

Babylon.js is an easy to use real-time 3D game engine built using TypeScript. It has full WebXR support out of the box, including gaze and teleportation support, AR experimental features and more. To simplify WebXR development Babylon.js offers the WebXR Experience Helper, which is the one-stop-shop for all XR-related functionalities.

To get started use the Babylon.js playground, or try these demos:

https://playground.babylonjs.com/#PPM311

https://playground.babylonjs.com/#JA1ND3#164

To start on your own use this simple template:

For advanced examples and documentation see the Babylon.js WebXR documentation page

Model viewer is a custom HTML element for displaying 3D models and vieweing them in AR

PlayCanvas is an open-source game engine. It uses HTML5 and WebGL to run games and other interactive 3D content in any mobile or desktop browser.

Full documentation available on the PlayCanvas Developer site including API reference. Also check out XR tutorials with sources using online Editor as well as engine-only examples and their source code.

Below is basic example of setting up PlayCanvas application, simple scene with light and some cubes aranged in grid. And Immersive VR session on click/touch if WebXR is supported:

React 360 is a framework for the creation of 3D and VR user interfaces.

Three.js is a cross-browser JavaScript library used to create and display animated 3D computer graphics in a web browser. It has a large community, good docs, and many examples.

Using VR is largely the same as regular Three.js applications. Setup the scene, camera, and renderer. The major difference is setting the vr.enabled flag to true on the renderer. There is an optional VRButton class to make a button that will enter and exit VR for you.

For more info, see this guide to VR in Three.js and the WebXR examples.

Here is a full example that sets up a scene with a rotating red cube.

Here is a full example of an immersive-ar demo made using three.js

Unity is a GUI based game engine

Verge3D is an artist-friendly toolkit that allows Blender, 3ds Max, or Maya artists to create immersive web-based experiences. Verge3D can be used to build interactive animations, product configurators, engaging presentations of any kind, online stores, explainers, e-learning content, portfolios, and browser games.

Setting up Virtual Reality

We recommend to enable the Legacy VR option in app creation settings in the App Manager in order to support a wider range of browsers (such as Mozilla Firefox) and devices.

Cardboard devices should work out of the box in any mobile browser, both on Android and iOS.

Google Daydream works in stable Chrome browser on Android phones while HTC and Oculus devices should work in both Chrome and Firefox browsers.

Plese note that WebXR requires a secure context. Verge3D apps must be served over HTTPS/SSL, or from the localhost URL.

The VR mode can be set up for any Verge3D app using enter VR mode puzzle.

Interaction with 3D objects is performed by using the gaze-based reticle pointer automatically provided for VR devices without controllers (such as cardboards).

For VR devices with controllers, interaction is performed by the virtual ray casted from the controllers.

You can use the standard when hovered or when clicked puzzles to capture user events as well as VR-specific on session event.

Setting up Augmented Reality

You can run your Verge3D-based augmented reality applications on mobile devices with Anroid or iOS/iPadOS operating systems.

Android

To enable augmented reality, you need an Android device which supports ARCore technology and latest Google Chrome browser. You also need to install Google Play Services for AR. The installation of this package is prompted automatically upon entering AR mode for the first time, if not pre-installed.

iOS/iPadOS

Mozilla's WebXR Viewer is a Firefox-based browser application which supports the AR technology on Apple devices (starting from iPhone 6s). Simply install it from the App Store.

Creating AR Apps

The AR mode can be set up for any Verge3D app using the enter AR mode puzzle.

Upon entering AR mode you will be able to position your 3D content in the "real" coordinate system, which is aligned with your mobile device. In addition to that, you can detect horizontal surfaces (tables, shelves, floor etc) by using the detect horizontal surface AR puzzle.

Also, to see the the real environment through your 3D canvas, you should enable the transparent background option in the configure application puzzle.

What's Next

Check out the User Manual for more info on creating AR/VR applications with Verge3D or see the tutorials for beginners on YouTube.

Got Questions?

Feel free to ask on the forums!

Click on a tab to begin.

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The WebXR Device API provides access to input (pose information from headset and controllers) and output (hardware display) capabilities commonly associated with Virtual Reality (VR) and Augmented Reality (AR) devices. It allows you develop and host VR and AR experiences on the web.

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Terminology: XR - the X can mean whatever you choose it to

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Terminology: XR - the X can mean whatever you choose it to

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Virtual Reality

Mixed Reality

Blended Reality

Spatial Reality

Active Reality

Extended Reality

Augmented Reality

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Image Tracking

Plane Tracking

Face Tracking

Body Tracking

3D Object Tracking

Lighting Estimation

Occlusion

Shared Worlds

Geo-tagging

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Glitch: The friendly community where everyone builds the web

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Simple, powerful, free tools to create and use millions of apps.

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Founded in March 2015, PICO is a leading VR company with independent innovation and R&D capabilities, focusing on VR all-in-one technology. Embracing a mission to bridge connections, enrich life, and release infinity, PICO is committed to building an integrated XR platform that inspires the community and empowers developers, creators, and businesses.

Technology Visionary Breakthrough Connection

Founded in March 2015, PICO is a leading VR company with independent innovation and R&D capabilities, focusing on VR all-in-one technology. Embracing a mission to bridge connections, enrich life, and release infinity, PICO is committed to building an integrated XR platform that inspires the community and empowers developers, creators, and businesses.

Technology Visionary Breakthrough Connection

We believe that Virtual Reality will lead the next wave of innovation, reshape our everyday life and how we perceive and think about this world.

We believe in the beauty in minimalist design and the harmony, unity, honest and sincere philosophy that it conveys.

It is also our fundamental faith that technology is shaping and will continue to reshape our world. We wish to uncover a new world together with you.

Pico is committed to R&D, production and sales of VR headsets, specifically focusing on the VR All-in-one headset.

Pico's products have the latest and most advanced hardware configurations as well as independently- developed core technologies.

Pico also gives priority to the cultivation of content ecology. Pico Store as gathered the best creative content from around the globe.

We believe that Virtual Reality will lead the next wave of innovation, reshape our everyday life and how we perceive and think about this world.

We believe in the beauty in minimalist design and the harmony, unity, honest and sincere philosophy that it conveys.

It is also our fundamental faith that technology is shaping and will continue to reshape our world. We wish to uncover a new world together with you.

Pico is committed to R&D, production and sales of VR headsets, specifically focusing on the VR All-in-one headset.

Pico's products have the latest and most advanced hardware configurations as well as independently- developed core technologies.

Pico also gives priority to the cultivation of content ecology. Pico Store as gathered the best creative content from around the globe.

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Founded in March 2015, PICO is a leading VR company with independent innovation and R&D capabilities, focusing on VR all-in-one technology. Embracing a mission to bridge connections, enrich life, and release infinity, PICO is committed to building an integrated XR platform that inspires the community and empowers developers, creators, and businesses.

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MIXED is one of the leading online magazines about virtual reality, augmented reality, artificial intelligence and other technologies that are shaping our future.
We started in 2015 as a small German-language VR blog. Now we have many authors and readers from all over the world who are interested in the future of computing. When man and machine converge and the analog merges with the digital, we get curious. What does the post-smartphone age look like? What comes after the PC? New human-machine interfaces such as virtual reality, augmented reality and artificial intelligence illustrate how humans will interact with computers in the future - or vice versa.

Our readers are future-oriented technology enthusiasts who have a positive attitude toward new technologies and are open to critical discourse about advantages and disadvantages.
Who owns MIXED?
MIXED reports independently and is managed by the editorial staff. Our site is financed by advertising, which is clearly separated from editorial content. You can support us by deactivating your ad blockers and recommending our articles on social media.

Read more in our review and ethics guidelines.

Team

Alan Truly

Benjamin Danneberg

Jan Wöbbeking

Josef Erl

Martin Schwarz

Matthias Bastian

Maximilian Schreiner

Sarah Schmitt

Sönke Siemens

Tomislav Bezmalinovic

DEEP CONTENT GbR
Gutenbergplatz 3
04103 Leipzig
Germany

Phone: +4915144540896

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MIXED is one of the leading online magazines about virtual reality, augmented reality, artificial intelligence and other technologies that are shaping our future. We started in 2015 as a small German-language VR blog. Now we have many authors and readers from all over the world who are interested in the future of computing.

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Start building

Watch Meta Spark's best-in-class courses to build your first AR experience and learn AR fundamentals. If you're ready to become an expert, our Meta Spark AR Pro curriculum helps you become a certified Meta Spark Creator.
Start learning

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Meta Spark Studio - Create Immersive AR Experiences

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Create immersive experiences with Meta Spark Studio, reaching billions of people through Meta's family of apps and devices.

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Microsoft HoloLens | Mixed Reality Technology for Business

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Introducing HoloLens 2, an untethered mixed reality headset that’s designed to help you solve real business problems today using intelligent apps and solutions.

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Microsoft Virtual Reality - Experiences and Devices

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Explore Microsoft's Virtual reality portfolio

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https://www.tiltbrush.com/

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Find the right high-end VR system for you | VIVE United Kingdom

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Discover the ideal VIVE device for you, and learn more about what features should be included in a high-end VR solution.

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META QUEST

Meta Quest: Important! For people aged 13 and above. Certain apps, games and experiences may be suitable for a more mature audience. Meta quest features, functionality and content notice: Features, functionality and content are subject to change or withdrawal at any time, may not be available in all areas or languages or may be restricted; may require enabled software or service activation, and additional terms, conditions and/or charges may apply.

Meta Quest important safety notice https://www.oculus.com/quest-2/removable-facial-interface-alert/

*Meta Quest is for ages 13+. Offer valid 5 February 2023 to 3 June 2023 (23:59 PST). Offer valid with purchase of a new in-stock 128 GB or 256 GB Meta Quest 2 device ("Qualifying Product"), while supplies last. Refurbished and 64 GB Meta Quest 2 devices and Meta Quest Pro are not included. Account ("Account") registration required. Account holder must be 13 or older. Offer Items (digital content): Space Pirate Trainer DX and Golf+, both in the Meta Quest Store. Additional downloadable content, and other content and software, sold separately. To receive Offer Items, Qualifying Product must be first activated between 5 February 2023 00:01 PST to 17 June 2023 23:59 PST through an Account without Space Pirate Trainer DX and/or Golf+ entitlement previously enabled on such account ("Activation"). Upon Activation, you will receive a notification message via email, in your mobile app and in VR with a link to redeem the Offer Items from the Meta Quest Store. There are no redemption codes in connection with this Offer. Offer Items must be redeemed within 14 days upon Activation. Once redeemed, Offer Items remain available for download indefinitely. Limit of one (1) of each Offer Item per Qualifying Product, regardless of the number of Accounts connected to such Qualifying Product. Qualifying Products first activated through an Account with Space Pirate Trainer DX and/or Golf+ entitlement previously enabled are ineligible to receive the previously enabled Offer Item. Not valid on prior orders or purchases. Offer is non-transferable and not valid for cash or cash equivalent. Offer may be cancelled or modified at any time without notice. Void where prohibited or restricted. For full terms and conditions, see https://www.meta.com/legal/quest/promotional-terms.

**Meta Quest is for ages 13+. Offer valid 1 April (14:01 PT 2023)-15 April (13:59 PT 2023). Limit two devices per transaction. Valid on qualifying purchases of new 128 GB Meta Quest 2 devices at www.meta.com only, while supplies last. Not valid on prior orders or purchases. Offer is non-transferable and not valid for cash or cash equivalent. Offer may only be combined with other offers, discounts, bundles or coupons currently available at www.meta.com. Savings automatically applied at checkout. Offer may be cancelled or modified at any time without notice. Software sold separately.

Actual savings may differ based on currency conversion.

Financing options. You may be offered financing options for your Meta purchases. Learn more here: https://www.meta.com/help/quest/articles/accounts/payment-settings/finance-your-meta-purchase/

Pay in 3 is a form of credit, so carefully consider whether the purchase is affordable and how you will make the repayments. Be aware of the possible impact of using Pay in 3 and of missing payments, including making other borrowing more difficult or more expensive. Pay in 3 eligibility is subject to status and approval. 18+ UK residents only. See product terms for more details.

Meta Portal

Meta Portal: Portal voice command availability varies. Learn more: https://www.meta.com/legal/portal/usage. Screen images simulated. User experience may vary. Requires wireless internet connection and Facebook or WhatsApp account. WhatsApp is not available on tablets. Features, functionality and content vary, and may not be available on all Portal models or in all areas and languages. Some features may require a Facebook account and downloading the Portal mobile app. Additional account registration, terms and fees may apply. Amazon, Alexa and all related logos are trademarks of Amazon.com, Inc. or its affiliates. Other names and brands may be claimed as the property of others.

RAY-BAN STORIES

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Meta Quest 2: Immersive All-In-One VR Headset | Meta Store

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Article : What is the Difference between AR vs. MR vs. VR vs. XR?

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Article : What is the Difference between AR vs. MR vs. VR vs. XR?

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There is a fair amount of confusion about the differences between the terms virtual reality (VR), augmented reality (AR), mixed reality (MR), and extended reality (XR). While most people have stuck with AR and VR to describe the different technologies, these terms are not enough to fully comprehend the extent of these technologies and harness their potential. That's why we're going to explore them in detail now.
According to research by MarketsandMarkets, the market size of all extended reality technologies combined is expected to reach USD 125.2 billion by 2026, at a compound annual growth rate (CAGR) of 30.6% between 2021 and 2026. As a UX designer, you have the chance to contribute to this technology revolution and help define how to take user experience to the next level.

The first step is to define each technology clearly. Once you understand the possibilities each one offers, you'll be able to adapt your UX design knowledge to these new environments.

Let's start by looking at the word they all have in common: "reality." What does "reality" mean in the context of AR, MR, VR and XR?

What is Reality?

Have you ever been in an argument with someone over a specific color? Did it seem dark blue to you and black to the other person? To some extent, the way we process information and construct reality is unique to each one of us-our genetics, previous experiences, etc.-and shapes how we perceive the world.

Humans tend to confuse reality with the physical world and struggle to understand why virtual reality feels so real even when they know it is not.

"We have had people literally run out of the VR room, even though they know that what they are witnessing is not real"

- Mel Slater, Distinguished Scientist and VR pioneer, Institute of Neurosciences of the University of Barcelona

To understand these technologies, you need to understand reality as a construct that each of us makes based on what we perceive from our senses, whether what we perceive comes from the digital or the physical world. The same thing happens when we watch movies. Do you remember the last time you cried or laughed while watching a movie? Were you aware that what you were watching was not real? Yes. Did it make you cry or laugh anyway? If the movie was good, absolutely! Even though you knew you were watching fiction, it felt real at the time. Extended reality technologies add another layer to this phenomenon, which makes the experiences feel even more intense.

"It's really important to understand we're not seeing reality. We're seeing a story that's being created for us."

- Patrick Cavanagh, Research Professor, Dartmouth College

When you wear a VR headset, you can feel present in a fully digital environment. The digital information that you perceive through your senses overpowers your reasoning "this is not real." For your body, at that moment, it is real.

And for all these technologies to work, they all need to feel real. The difference between them is how much they rely on physical or digital elements.

What is the Virtuality Continuum?

The virtuality continuum- continuum being the critical word-contains the full spectrum of possibilities between the entirely physical world or real environment and the fully digital world or virtual environment. In a continuum, adjacent parts are almost indistinguishable, but the extremes are very different. The researchers Paul Milgram and Fumio Kishino first introduced the virtuality continuum or reality-virtuality continuum concept in 1994.

Representation of the virtuality continuum (adapted from Milgram; Kishino, 1994).

The virtuality continuum is a theoretical framework that can help you visualize and understand the differences between the various technologies that exist today and those that are yet to be invented. For example, you can simplify the concept and think of a spectrum of immersion, where one end is low immersion and the other end is high immersion. Then, you can situate the technologies according to the degree of immersion they provide.

Representation of current XR technologies according to the spectrum of immersion.

Sometimes the exact limits of the various technologies are not a hundred percent clear, and they may overlap. However, the critical part is that you understand the region they occupy in the spectrum. This exercise will help you clarify the differences between all these technologies.

What is Extended Reality (XR)?

Extended reality (XR) is an umbrella term that encompasses any sort of technology that alters reality by adding digital elements to the physical or real-world environment by any extent, blurring the line between the physical and the digital world.

XR includes AR, MR, VR, and any technology-even those that have yet to be developed-situated at any point of the virtuality continuum.

The term XR includes AR, MR, VR, and any technology that blends the physical and the digital world.

Bear in mind that XR technologies keep evolving, and their full potential remains to be seen. There are still many things to discover about how users can better interact with them and achieve the best results. For a UX designer specializing in XR experiences, the difficulty lies in the lack of defined standards. An excellent place to start is to keep experiences simple and push the envelope a little bit at a time. In the case of new technologies, usability testing will be your best friend.

What is Augmented Reality (AR)?

Augmented reality (AR) is a technology that allows the superposition of digital elements into the real-world environment. In the AR experience, you can see a composite view of physical or real-world elements and digital elements. While some AR experiences may offer a certain degree of interaction between physical and virtual elements, typically, there is limited to no direct interaction between the digital and physical world components.

AR experiences are close to the physical world end of the virtuality continuum. The ability to overlay digital objects onto the physical world is revolutionizing many industries such as gaming, education, healthcare, and manufacturing. For example, have you ever been to the doctor for a blood test, and the nurse couldn't find your vein? It can be excruciating. What if AR technology could help with that?

AccuVein uses projection-based AR technology and a laser-based scanner to convert the heat signature of a patient's veins into an image superimposed on the skin, making the veins easier for clinicians to locate. This AR technology increases the likelihood of a successful first-time injection by 350%.

As a UX designer specializing in AR experiences, you have the chance to go beyond the rectangular square of a screen and contribute to a revolution that will continue to change the way we interact with digital products. However, you'll need to be aware of additional parameters to deliver a good UX that you may not be used to, like physical constraints and safety issues.

What is Mixed Reality (MR)?

Mixed reality (MR) is a technology that allows not only the superposition of digital elements into the real-world environment but also their interaction. In the MR experience, the user can see and interact with both the digital elements and the physical ones. Therefore, MR experiences get input from the environment and will change according to it.

In MR experiences the user can interact with both digital and physical elements. MR differs from AR-where digital and physical elements don't interact- and VR-where the physical or real world is completely blocked out.

MR experiences cover the center of the virtuality continuum.

The concept of mixed reality can be a bit difficult to grasp; watch the video below to see an example of an MR experience.

This video shows how MR experiences blend the physical and digital worlds.

As a UX designer specializing in MR, you'll have to master all the possibilities that MR technologies have to offer. Immersive experiences add a new layer to the user experience and require you to learn continuously and stay up to date to deliver an excellent user experience.

What is Virtual Reality (VR)?

Virtual reality (VR) is a technology that allows the creation of a fully-immersive digital environment. In VR experiences, the physical or real-world environment is entirely blocked out.

VR experiences are located at the fully virtual extreme of the virtuality continuum.

Many people struggle with the fact that VR experiences generate true emotional responses even if we know it's "fake." Keep in mind that humans construct reality from the information they receive from their senses, and this is why, even if we are aware that we have a fully digital experience, our bodies respond in the same way. Typically, VR takes advantage of the visual and auditory systems. However, there is an even greater sense of presence and immersion if you add other senses. Have you heard about the "Walk the Plank" challenge? It is a VR experience where you enter an elevator and get out at the top of a skyscraper. Then you're asked to "walk a plank." Just with auditory and visual stimulation, many people (especially those who suffer from a fear of heights) can't do it, even though they are aware that what they see and hear is not real. However, if you add a physical plank to the setup and thus activate the sense of touch, even fewer people will be able to do it.

In this video, you can see how football players try the "Walk the Plank" VR experience with a physical plank and struggle to complete the experience, even though they are aware that the heights are not "real."

The more coherent information we get through our senses, the more immersive the experience. As a UX designer, you'll have to consider the different dimensions of the experience and the particularities of VR technology to create the best possible experience for your user.

[[widget__template: storyboard-for-vr]]

The Take Away

There are many technologies that alter our perception of reality by adding digital elements to the physical world to a greater or lesser extent. All these technologies can be situated at some point of the virtuality continuum according to the extent that the digital elements block the real-world environment and their interactive capabilities. If you have the image of the virtuality continuum in your head, you'll be able to clearly see the difference between each type of technology.

The most important terms to learn to harness the potential of these new technologies are:

Augmented reality (AR): a view of the real world-physical world-with an overlay of digital elements.

Mixed Reality (MR): a view of the real world-physical world-with an overlay of digital elements where physical and digital elements can interact.

Virtual reality (VR): a fully-immersive digital environment.

Extended reality (XR): an umbrella term that covers all these different technologies, including AR, MR, and VR.

As all these technologies keep evolving and new ones emerge, UX designers need to keep learning and understanding the characteristics of each one to deliver the best possible user experience. If you can clearly distinguish AR, MR and VR and any other XR technology, you'll be able to design experiences that take advantage of each technology and give an outstanding boost to your UX career!

References and Where to Learn More

Learn how to design your own XR experiences with our course: How to Design for Augmented and Virtual Reality.

Watch the How To Influence Behavior Through Virtual Reality Narratives on-demand Master Classby VR pioneer Mel Slater.

Vi, S. (2022). Exploring User Experience Guidelines for Designing HMD Extended Reality Applications.

The way you see colour depends on what language you speak. (2022). Aina Casaponsa, Panos Athanasopoulos.

UX for XR by Cornel Hillmann.

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Beyond AR vs. VR: What is the Difference between AR vs. MR vs. VR vs. XR?

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Beyond AR vs. VR: find out all the differences between all extended reality (XR) technologies, including augmented reality (AR), mixed reality (MR) and virtual reality (VR).

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Yes, Aero mobile (iOS) and Aero desktop have similar capabilities in terms of feature functionality. Aero mobile (iOS) makes it possible to create AR in AR with the added contextural view of the front-facing camera.

Aero desktop does not enable a real-time view of AR in AR because there is no front-facing camera on most desktop hardware. Aero desktop does give you greater control for placement and adding complex sequences of interactivity to objects in your scene. The desktop environment also provides direct access to content being prepped on other desktop applications.

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Bring your design ideas into the world of augmented reality. Visualize prototypes in the AR and VR space. Easily create interactive experiences with Adobe Aero AR technology.

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Eight artists from across the UK delved into virtual, augmented and mixed reality technologies at this week-long development session.
The artists explored and produced work employing such innovations as the HTC Vive with Tilt Brush, 360° cameras and the Microsoft Hololens.
Leading experts from University of Cambridge engineering department, Anglia Ruskin University's gaming department, Sedgwick Museum and established digital artists such as Gibson/Martelli and Kinicho VR joined participating artists to showcase the latest techniques and methodologies. PhD students from Cambridge School of Art with Anglia Ruskin University and young talent from local creative industries attended this inspirational talks track. The event closed with artists presenting their experience and ideas to Collusion's partners and key representatives from Cambridge's arts and technology sectors.

Artists

Participating Artists

Jo Clements, Marcia X, Mike Faulkner, Lee Mason, Soa J. Hwang, Nuria Bonet, Harmeet Chagger-Khan, Emily Bowers

Partners

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David Russell - The Fusion Works (http://www.thefusionworks.com)

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The artists explored and produced work employing such innovations as the HTC Vive with Tilt Brush, 360° cameras and the Microsoft Hololens. Leading experts from University of Cambridge engineering department, Anglia Ruskin University's gaming department, Sedgwick Museum and established digital artists such as Gibson/Martelli and Kinicho VR joined participating artists to showcase the latest techniques and methodologies.

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An active reality adventure unfolding across King's Lynn town centre
REVEAL was an interactive story and immersive experience - an unprecedented amalgam of live theatre performance, online episodes, an augmented reality game, and large-scale projections, which we coined "Active Reality". It launched on 23 November 2018 and ran until 04 January 2019.
The project used the unique geography, history, and architecture of King's Lynn as the setting and stage for a play about a Syrian refugee making her way through Norfolk. King's Lynn also served as the backdrop for dynamic projections and as the site for an augmented reality treasure hunt, made possible using a unique browser-based smartphone technology.

To create this ambitious piece, Collusion harnessed the efforts and talents of actors, projection artists, designers, musicians, and technologists - many from King's Lynn and the surrounding region - comprising a team of 36 people working together across disciplines.

The legacy site for the project may be found at www.revealkl.com.

Artists

Producers

Simon Poulter, Executive & Artistic Producer // Rachel Drury, Executive Producer // Marcus Romer, Artistic Producer

Story

James McDermott Story // Marcus Romer Story // Liwaa Yazaji Words // Kathryn Castles Script editing // Beatrice Bray Research and photography volunteer

Actors

Claire Lacey Margaret of Antioch // Rebecca Banatvala Maya // Oliver Westlake Joe // Tim Welton Uncle Don

Artists - projections

Yael Biran Tuesday Market Place // Dominic Manning & Simon Poulter The Minster Joe Magee & Pete Cleary Custom House // Issam Kourbaj Greyfriars Tower // Karen Frances Eng St Nicholas Chapel & Tuesday Market Place

Music

Sandy Nuttgens // Matmos // Carter-Tutti

Films and photography

Gavin Toomey Film elements and trailer // Matthew Usher Drone footage and photography

Production

Joe Magee Logo and design // Sunny Luckhoo Costume Designer // Chris Tyler Web development // Richard Hall Creative technologist/augments/back-end developer // Sabrina Minter After Effects artist // Aleksandra Kruk Production Assistant // Lewis Anderson Stage Manager // Maze Media Multimedia assets // Catherine Slack Funding // Jermone Etienne Open source code // Mark McGarragh LIDAR survey //Alex Byford Production Assistant // Ben Pugh Production Manager // Nev Milsom Technical Manager

Engagement programme

Katy Marshall Creative Technologist // Michelle Brace Producer

PR & Marketing

Becky Wieczorek PR // Stephanie Lewis Marketing //

Pop-up shop team

Fynn Pitkeathy // Luke Woodcraft // Finnbar Cleary

Partners

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David Russell - The Fusion Works (http://www.thefusionworks.com)

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REVEAL was an interactive story and immersive experience - an unprecedented amalgam of live theatre performance, online episodes, an augmented reality game, and large-scale projections, which we coined "Active Reality". It launched on 23 November 2018 and ran until 04 January 2019.

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Video  : Cambridge Invents // Kinect & computer vision

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Video  : Cambridge Invents // Kinect & computer vision

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Collusion's 2014 series of films celebrating Cambridge's creativity
Press play above to hear from Jamie Shotton about his role in creating the Kinect and the challenge of computer vision.
Do you know that Microsoft Research, Cambridge, played a vital role in the development of Kinect for Xbox, or that Kinect held the Guinness World Record in 2011 as the fastest selling consumer electronic device in history?

Kinect launched in 2010, selling 8 million devices in its first 60 days on the market. Most commonly you find it with an Xbox, allowing users to play games without the use of a controller, instead via gesture and voice commands. One of the hardest problems in computer vision has been to detect the complexity of human movements, based on physical size, shape and distance of the body from a camera sensor. Microsoft solved many of these problems using an infra-red projector and camera to track movement, using them to teach a computer to learn whose body parts belong to whom.

During its development, the research team working on Microsoft's top secret 'Project Natal' (code name for Kinect) carried out thousands of observations of human movements in homes and even in Hollywood Studios, to create a complex set of movements to teach and test the early iterations of the Kinect system.

Project Natal brought together a diverse team of talented individuals from across Microsoft, including Jamie Shotton. By 2014, a Senior Researcher at Microsoft Research, Jamie's PhD at the University of Cambridge working on Computer Vision and Visual Object Recognition proved to be a key component in the development of Kinect. In 2008 he received an email from Microsoft colleagues in the United States asking him to help them with Project Natal. Collaborating with other colleagues at Microsoft Research in Cambridge, this ask resulted in direct work that produced a machine learning algorithm for human motion capture in Kinect.

Microsoft has since opened up development for Kinect by the release of Kinect for Windows, allowing people to invent their own uses for the device. As a result, people have used Kinect in operating theatres, to play virtual pianos, create 3D maps of rooms and someone is even creating a user controlled interface like the one in the 2002 film, Minority Report. Often science fiction falls flat in predicting the future, but in this case gestural interfaces, the ability to control computers through human motion, are now common in the domestic space. Whilst they're still in their infancy, it's exciting to discover that such powerful breakthroughs were contributed to by a talented team at Microsoft Research in Cambridge.
Press play above to hear from Jamie Shotton about his role in creating the Kinect and the challenge of computer vision.

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David Russell - The Fusion Works (http://www.thefusionworks.com)

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Cambridge Invents // Kinect & computer vision - Collusion

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Collusion's 2014 series of films celebrating Cambridge's creativity Press play above to hear from Jamie Shotton about his role in creating the Kinect and the challenge of computer vision. Do you know that Microsoft Research, Cambridge, played a vital role in the development of Kinect for Xbox, or that Kinect held the Guinness World Record [...]

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Project : TEO // Henry Driver + Barbara Dougan

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Project : TEO // Henry Driver + Barbara Dougan

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Commissioned for Collusion 2019

TEO is an interactive artwork that explores the digitalisation of the human form in social media avatars. Created by artists Henry Driver and Barbara Dougan, TEO combines artificial intelligence, face tracking, and feature detection with live CGI to enable participants to control and animate virtual avatars that mimic our facial expressions and movements. By interacting with TEO, the audience glimpses the revolutionary possibilities - as well as dystopian outcomes - of virtual avatars.
TEO was initially prototyped by Driver and Dougan as part of Collusion's 2018 Bury St Edmunds R&D project before being commissioned for the Collusion 2019 showcase.

Artists

Henry Driver creates artworks to communicate and raise awareness for the pressing issues and questions our societies face, particularly in relation to technology. He uses a variety of media such as experimental games design, CGI, VR, AI, projection mapping, film, sound, and sculpture.

Barbara Dougan's practice explores concepts of restraint, constraint, resistance, and adaptation articulated through film, animation, print, and drawing.

Partners

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David Russell - The Fusion Works (http://www.thefusionworks.com)

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TEO by Henry Driver & Barbara Taylor // Collusion 2019

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TEO is an interactive artwork that explores the digitalisation of the human form in social media avatars. Created by artists Henry Driver and Barbara Dougan, TEO combines artificial intelligence, face tracking, and feature detection with live CGI to enable participants to control and animate virtual avatars that mimic our facial expressions and movements.

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Real Time Commission 2015
Artist Mark Farid's Data Shadow aimed to encourage the public to question the privacy we sacrifice by sharing our personal data. Just what are we agreeing to share? Participants entered, one at a time, the 8 x 2m shipping container that contained the piece. During their journey through the container, each participant came face-to-face with their own personal data shadow. The installation was presented in central Cambridge from 26 October - 1 November 2015.
Data Shadow challenged the public to question the privacy they sacrifice by using an internet-connected mobile phone and apps, cloud storage services and social media. Just what are you agreeing to share? View our film and the Anglia TV coverage.

Despite average citizens' increasing understanding of the currency of personal information shared with companies such as Apple and Google via apps and on social media, our use of them increases daily. As our data shadow continues to grow and evolve, what happens when people are individually confronted by their seemingly random personal and private information?

Whether we are aware of it or not, we treat our phones as we would treat a human. We set the background to personal images, we customise their cases to our liking, we have conversations with them through programmes like Siri, and find answers to every passing quandary. We use them for work and for socialising. Unlike a personal computer, it never leaves our side. Phones are a link to family, friends and foes, and they've become an extension of ourselves.

Our mobile phones go with us everywhere, and when they aren't within arm's reach, we're lost until we find them. We can search for people on the internet and learn a lot about them very easily. Through Google, LinkedIn, Twitter and Facebook we can quickly ascertain many elements of a person's character - and our phones can likewise tell us a lot about ourselves.

We are aware, to varying degrees, that our information is not private. The amount of information and how intrusive this information is raises questions over the level of security over our data and becomes a pressing matter as we enter an age where the digital is starting to supersede the physical, and further cries from the government to increase surveillance continue. Data flows all around us from our phones all the time, each phone sending out on average 350,000 messages a day.
Commissioned by Collusion in partnership with The Technology Partnership, the University of Cambridge and Arts Council England.
Do you still have nothing to hide when you're faced with your own personal information?

Mark Farid was awarded Collusion's Real Time Commission in June 2015 following an international open call for submissions.

Artists

Mark is a conceptual artist who examines the formation of the projected self, and how our constructed identity is shaped by societal expectations. He graduated from Kingston University, London, with a first class degree in fine art, 2014, and has since participated in group and solo exhibitions in London, Paris, Frankfurt and Abu Dhabi. At 23 years old, Mark hit the headlines (Nov 2014) when he announced that he planned to spend 28 days in virtual reality, immersing himself in someone else's life - even eating the food they ate.

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David Russell - The Fusion Works (http://www.thefusionworks.com)

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Data Shadow by Mark Farid // Collusion 2015

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Artist Mark Farid's Data Shadow aimed to encourage the public to question the privacy we sacrifice by sharing our personal data. Just what are we agreeing to share? Participants entered, one at a time, the 8 x 2m shipping container that contained the piece.

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https://www.brinkofthefuture.com/dog
https://www.brinkofthefuture.com/owl
https://www.brinkofthefuture.com/2
https://www.brinkofthefuture.com/7

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An augmented-reality adventure story set 100 years in Wisbech's future

Designed as walking tour of the town, The Brink of the Future invited audiences to step into a future 100 years from now to journey with Pipp and her robot friend Caleb as they battled to save Wisbech's digital memory from draining into the Fens.

Audiences experienced the project by strolling along the route with their smartphones to hear and see the story overlaid onto the townscape.

The story was developed by writer Lucy Sheerman based on local stories and voices, gathered through a series of workshops. A local team of artists and technologists came together to turn the story into an augmented reality experience, including artist Lee Mason, who created the visuals, developer Mark Richardson from TinFish Creative, who led on animating and integrating the various assets, and audio engineer Sam Loose, who helped record the narrative.

The Brink was built as a web app using augmented reality and open source technology. It was the first app to animate augments created using Google Blocks, which can be accessed on multiple devices, from a basic MP3 player to Android smartphones and iPhones with i0S 11. 360° photography was captured on location and edited within virtual reality using Google TiltBrush, overlaying the real view of the North Brink with the story's future vision of the area. Each part of the story was connected to a particular zone on the route using GPS technology, triggered when participants walked into the zone.

The resulting augmented reality experience was an instant hit with visitors, who were also able to use Google Cardboard headsets to enjoy The Brink over the launch weekend.

Artists

Lucy Sheerman is a Cambridge-based writer and author. Her recent work includes Even You Song, created in collaboration with Bettina Furnée using interview material drawn from couples who were asked whether they could travel to the moon together. Lucy has written two plays, including a collaboration with the Apollo astronaut and poet Alfred Worden.

Based in Peterborough, Lee Mason works and teaches in a range of virtual reality art programs on multiple platforms. While his background is in digital illustration, Lee's portfolio also includes digital sculpting and large-scale mural work.

Jamie Gledhill is an East Anglia-based artist working at the intersection of audiovisual art and interface experimentation.

Sam Loose

Sam Loose is a sound engineer.

Ben Prest is a Wisbech-based photographer whose work has been internationally published.

Associates

Partners

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David Russell - The Fusion Works (http://www.thefusionworks.com)

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The Brink of the Future // Collusion 2017

# data[].attributes.attachment_link.description
Designed as walking tour of the town, The Brink of the Future invited audiences to step into a future 100 years from now to journey with Pipp and her robot friend Caleb as they battled to save Wisbech's digital memory from draining into the Fens.

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Project : My fingers distended as honey dripped from your lips… // Adham Faramawy

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Project : My fingers distended as honey dripped from your lips… // Adham Faramawy

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Commissioned for Collusion 2019
Adham Faramawy's 360-degree dance film My fingers distended as honey dripped from your lips and we danced in a circular motion investigates the idea of embodied viewing - considering how being immersed in a 360-degree dance might make a person more aware of their own body.
Allowing the technology to delineate their movements, four dancers move anti-clockwise around the viewer, fluidly shifting from solo to duet to trio. Meanwhile, animations of a fungus start to appear and ultimately metabolise the video. This piece builds on Faramawy's existing body of work, which uses technology to address issues of materiality, touch, embodiment, and identity construction.

Collusion supported Faramawy through a 12-month programme of research and development to realise the work, connecting him with key partners. Faramawy worked with The Fusion Works, a digital innovations agency specialising in virtual reality technology, to develop his 360° film.

Artists

Adham Faramawy is an emerging artist working with technology. He was nominated for the Jarman Award in 2017 and was recently involved with the Royal Academy's Virtually Real programme, supported by HTC.

Associates

Partners

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David Russell - The Fusion Works (http://www.thefusionworks.com)

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My fingers distended .... by Adham Faramawy // Collusion 2019

# data[].attributes.attachment_link.description
Adham Faramawy's 360-degree dance film My fingers distended as honey dripped from your lips and we danced in a circular motion investigates the idea of embodied viewing - considering how being immersed in a 360-degree dance might make a person more aware of their own body.

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Project : Above the Surface // Studio Above & Below

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Project : Above the Surface // Studio Above & Below

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Commissioned for Collusion 2019
How will emerging technologies alter our relationship to material consumption - for better or worse? Above the Surface is an augmented reality (AR) artwork by Above&Below that reimagines how we might desire - and consume - objects in the future.
Audiences enter a space in which they experience 3D-printed physical objects on a sculptural table through AR viewers. The 5-minute-long audio-visual experience creates digital overlays over the objects, altering perception.

Above the Surface tells the story of the overproduction of objects, asking whether this may be the future of sustainable consumption and addressing our vulnerability to external digital forces. The piece reflects on how emergent technologies might benefit the whole of society, in line with the United Nations' Sustainable Development Goals.

Above the Surface is the culmination of year-long research by Above&Below, supported by Collusion. This included 3D printing their own Mixed Reality headset with a sensor that reads hand gestures and movement, experimenting with digital and physical materials, and collaboration with augmented reality technologists from Cambridge Consultants to create digital overlays.

Artists

Emerging artists Daria Jelonek and Perry-James Sugden - both graduates of the Royal College of Art - are the founders of Above&Below, an arts collective that creates work exploring interactive and speculative design processes. Their work is multidisciplinary, combining research, hands-on experimentation, and storytelling.

Associates

Partners

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David Russell - The Fusion Works (http://www.thefusionworks.com)

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Above the Surface by Studio Above&Below // Collusion 2019

# data[].attributes.attachment_link.description
How will emerging technologies alter our relationship to material consumption - for better or worse? Above the Surface is an augmented reality (AR) artwork by Above&Below that reimagines how we might desire - and consume - objects in the future. Audiences enter a space in which they experience 3D-printed physical objects on a sculptural table through AR viewers.

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The exhibition draws on Bunting-Branch's long-standing interest in the encounters between feminist practice and science fiction, to explore ideas of worldbuilding, embodied perception and technologies of representation.

The exhibition's centre-piece is META, a prototype for a new work in VR, jointly commissioned by Wysing Arts Centre, The Mechatronic Library, FACT, Liverpool and QUAD.

In this iteration of META, digital arts studio Werkflow have transformed Bunting-Branch's hand-painted characters, props and backdrops into an immersive virtual storyworld. As the viewer is transported between environments - from an unknown planet to a restaurant orbiting in space and beyond - we inhabit the bodies of different human and non-human characters in the narrative.

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The exhibition draws on Bunting-Branch's long-standing interest in the encounters between feminist practice and science fiction, to explore ideas of worldbuilding, embodied perception and technologies of representation. The exhibition's centre-piece is META, a prototype for a new work in VR, jointly commissioned by Wysing Arts Centre, The Mechatronic Library, FACT, Liverpool and QUAD.

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British-Korean artist Soa J. Hwang takes visitors through a spectacular in an incredible new immersive, interactive video installation.

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Who we are

AΦE (AE) is a Medway/Kent (UK) based dance company founded by Aoi Nakamura (Japanese) and Esteban Lecoq (French). Our uniqueness lies in the use of technology to completely reinvent audience participation. We were the UK's first dance company to tour internationally with VR and AR productions. Our productions toured to 15 counties, over 60 venues & engaged over 21000 live audiences and participants. As trailblazers in our sector, we want to rethink live performances. To help us in this process, we have partnered with high end technology brands such as EPSON and The Scalable Display who we are inviting into the dance world to push its boundaries. In only 6 years, we have managed to gather the support of some of the most prestigious venues around the world such as Sadler's Wells, Chaillot Theatre National de la Danse Paris & Sydney Festival.

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AΦE (AE) is a Medway/Kent (UK) based dance company founded by Aoi Nakamura (Japanese) and Esteban Lecoq (French). Our uniqueness lies in the use of technology to completely reinvent audience participation. We were the UK's first dance company to tour internationally with VR and AR productions.

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Virtual Realist duo Gibson / Martelli work with live simulation, performance capture, installation and video to create immersive exhibitions.

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LimboTech was established in 2016 to entertain, educate and inspire through the power of Digital Technology.

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We deliver a vast range of exciting and innovative workshops to enhance learning and creativity through digital technologies, pioneer new and innovative forms of augmented theatrical experiences and harness digital technologies to create bold, exciting and interactive art installations.

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We've been named as one of @CreativeIndsUK's #CreaTechUK Ones To Watch 2021 - a showcase of 100 outstanding UK CreaTech businesses working at the intersection of creativity and technology.

Dave is a Creative Technologist with a background in participatory Theatre. He trained at East15 Acting School and has developed a unique practice of live performance and digital technology. His specialisms include Motion Capture, VR & AR, Interactive Artwork and runs an extensive range of Education and Training programs. His work has ranged from large scale interactive installations at firstsite gallery and Landguard Fort to directing live theatre in a virtual world at the Mercury Theatre.

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See my full CV

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Key skills include:

For more of the Limbo Tech story you can find us on Instagram, Facebook, Twitter and You Tube.

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LimboTech provides a range of services themed around creativity and Digital Technology. We have partnered with a range of creatives and institutions, to produce innovative, interactive and exciting inventions that entertain, inspire and educate. LimboTech specializes in working with Motion Capture, VR & AR, Interactive artwork and also heads up its own education division providing workshops focused around making computer science fun, creative and accessible.

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Digital artist focused on the metaverse.
The pandemic prompted me to pivot into crypto art and I'm now thoroughly enjoying my time as my VR artist alter-ego Metageist.

I won't be taking on any community work or commissions for the time being. I'm having too much fun in alternate realities.

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Digital artist focused on the metaverse. The pandemic prompted me to pivot into crypto art and I'm now thoroughly enjoying my time as my VR artist alter-ego Metageist. I won't be taking on any community work or commissions for the time being. I'm having too much fun in alternate realities.

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Always human. Welcome!

:: artist

I make art that straddles analog and digital media. I'm fascinated by all kinds of art-making technologies, and my practice has taken me from traditional letterpress printing to still and moving lens-based work to large-scale animated projections on medieval buildings. A longtime participant in multiuser digital worlds, I'm currently exploring the possibilities of VR and cryptoart - under the name oculardelusion - as tools of expression and collaboration. I'm especially interested in art as a catalyst for innovation, cooperation and creating communities. ACE supported. //
Explore: Moving Pictures (projections, experimental films) >>> 105collective (cryptoart collective) >>> Cryptoartnet >>>
Read my article: "What the heck is cryptoart?" >>>
::: Art CV >>>

:: writer & editorial consultant

As a writer, I tell stories of the people behind some of the world's most extraordinary ideas in science & technology, arts & culture, environment & sustainable development, and social justice. I'm known for communicating complex concepts clearly and accurately - while intimately conveying the humanity and passion that drives scientists, artists and others to innovate. I've published hundreds of feature articles and profiles of visionaries from around the globe, across a vast swath of disciplines. Meanwhile, as an editorial and communications consultant, I help individuals, organizations, startups and corporate clients create manifestos, communicate successes, tell their origin stories, find and develop a brand voice, connect with the public, and more. //
Explore: Articles >>>
::: LinkedIn >>>

"Thanks for writing and interviewing. It's all so hard for me to describe, but you've given me one of the greatest gifts of having a document or two that describes what the heck I do and why... KNOW THAT I AM GRATEFUL." - Christine Marie, artist

:: writing coach & facilitator

I guide and motivate writers at all experience levels to tell their own stories, develop their own writing practices, and get their books written, produced - and published.

"I've learnt that you can write a poem about anything, that poetry can be part of my toolbox, if it's the right form of expression I can use it. I don't need to worry that knowing more about it will take away my own idiosyncratic way of expressing myself. I've learnt that sometimes it conveys a feeling with a precision that takes your breath away." - participant, Doorstep Environment weeklong poetry residency 2020, GroundWork Gallery

"I had given up on the book when I hired you. You coached me to get my 'second wind,' so thank you, Karen. I would have left it another year otherwise. Your reorganising and streamlining it made it possible for me to get going." - Helena Kim, author

:: oracle

I offer one-on-one, 90-minute guided sessions using the I Ching, an ancient form of Chinese divination. I have used the I Ching all my adult life as a tool for perspective, self-reflection and guidance. Let me know if you'd like to learn how to use the I Ching and/or have a question you'd like to explore.

:: creative producer + founding member of:

Sprygg.io: platform convening artists, technologists & communities to catalyse Acts of Genius
105collective: a collective of UK-based artists bringing work to the digital, VR, & crypto spaces
11tHour: an experimental festival of light and sound

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Always human. Welcome! I make art that straddles analog and digital media. I'm fascinated by all kinds of art-making technologies, and my practice has taken me from traditional letterpress printing to still and moving lens-based work to large-scale animated projections on medieval buildings.

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immersive sound

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https://collusion-ar.glitch.me/ar/owl

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Studio Above & below : Daria Jelonek + Perry-James Sugden

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Studio Above & below : Daria Jelonek + Perry-James Sugden

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Studio Above&Below LTD. London based art+design+technology studio- creating immersive installations, artworks & future speculations using XR, research and data.

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Close & Remote : Sophie Mellor + Simon Poulter

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Close & Remote : Sophie Mellor + Simon Poulter

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360 watercolours

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Jamie Gledhill is an East Anglia based artist working at the intersection of audiovisual experimentation and interaction design. Fascinated by the power of play to transcend norms of behaviour, he constructs experiences that encourage participants to enter a 'magic circle' of their own making. He is also a lecturer at Norwich University of the Arts.

Take a look at these pages and by all means get in touch if you would like to discuss a project, suggest a collaboration or perhaps just find out more...

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Jamie Gledhill is an East Anglia based artist working at the intersection of audiovisual experimentation and interaction design. Fascinated by the power of play to transcend norms of behaviour, he constructs experiences that encourage participants to enter a 'magic circle' of their own making. He is also a lecturer at Norwich University of the Arts.

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During 2017 I was kindly funded by Collusion to conduct R&D into critical and innovative uses of VR & AR. From March till July I worked with the HTC Vive and Microsoft Hololens exploring their capabilities, in particular I was interested in how these new technoglies might change and distort how we perceive our bodies.

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During 2017 I was kindly funded by Collusion to conduct R&D into critical and innovative uses of VR & AR. From March till July I worked with the HTC Vive and Microsoft Hololens exploring their capabilities, in particular I was interested in how these new technoglies might change and distort how we perceive our bodies.

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Tektõn is a series of works exploring the spatio-temporal qualities of light and motion. Imagined digital/machinic instruments are used to engineer different formations of kinetic light. As these light machines are rendered invisible we witness the traces of structure and spatial presence.

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Description

Thresholds is an ongoing touring exhibition that restages the world's first major exhibition of photography. Visitors travel back in time to 1839, when British scientist William Henry Fox Talbot first presented his photographic prints to the public at King Edward's School in Birmingham.

The experience is a fully immersive portal to the past; visitors can walk freely throughout a digitally reconstructed room, and are able to touch the bespoke vitrines, fixtures and mouldings; even the heat and scent of a coal fire is recreated. Infrared sensors track visitors' movements, creating ghostly avatars that indicate their position and enhance the feeling of travelling through time. Collishaw has also created a soundscape to accompany the exhibition: the demonstrations of the Chartist protesters who rioted in 1839 on the streets of Birmingham, and who can be glimpsed through the digital windows.
Venues and tour dates:
Somerset House, London, 17th May 2017 - 11th June 2017 ( https://www.somersethouse.org.uk/press/mat-collishaw-thresholds)

Birmingham Museum & Art Gallery, 24th June 2017 - 6th August 2017 ( https://matcollishawthresholds.eventbrite.com)

Lacock Abbey, Wiltshire, 16th September - 29th October 2017 ( https://www.nationaltrust.org.uk/lacock-abbey-fox-talbot-museum-and-village/features/mat-collishaw-thresholds)

National Science and Media Museum, Bradford, 2 nd March - 7th May 2018

Yapi Kredi Kültür Sanat Yayincilik A.S. Istanbul, 15th May - 28th July 2018

The Bodleian Library, Oxford (dates tbc)

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Thresholds is an ongoing touring exhibition that restages the world's first major exhibition of photography. Visitors travel back in time to 1839, when British scientist William Henry Fox Talbot first presented his photographic prints to the public at King Edward's School in Birmingham. The experience is a fully immersive portal to the past; visitors can walk [...]

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I have been incredibly fortunate to work with some of the most talented people in the advertising and creative industries. I've worked in advertising for 10 years, first as Executive Assistant to Lord Maurice Saatchi at M&C Saatchi before becoming a Creative, writing and art directing ads for Coca-Cola, Nike, Cadbury, Orange, Tesco, Skoda and others at Ad Agencies Fallon and Wieden+Kennedy.

After learning the craft of writing and art direction in the commercial world, my debut interactive 360 VR film I wrote and directed - The Last Moments - was presented at The Metropolitan Museum, New York at their 'In Our Time Symposium', as part of their 'Most exciting and critical spatial projects of 2017' and at THE WIRED LIVE Event, London, 2017. The film was nominated for 'Best Director Award' at Underwire Festival and 'Most Immersive Award' at Encounters Festival 2017.

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I have been incredibly fortunate to work with some of the most talented people in the advertising and creative industries. I've worked in advertising for 10 years, first as Executive Assistant to Lord Maurice Saatchi at M&C Saatchi before becoming a Creative, writing and art directing ads for Coca-Cola, Nike, Cadbury, Orange, Tesco, Skoda and others at Ad Agencies Fallon and Wieden+Kennedy.

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"One of the most interesting, dynamic and creative organisations we've worked with... Compassionate, insightful and professional. A great team of people with years of expertise in community work."

Leonie McCarthy - CEO, PCVS

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One to One Development Trust is an award-winning arts organisation that uses digital media to work with communities, organisations and partners to produce innovative, immersive projects Community Engagement We work collaboratively with communities to co-produce...

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Dreaming Methods : Andy Campbell + Judi Alston

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Dreaming Methods : Andy Campbell + Judi Alston

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Digital storytelling and games development studio

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Alex Makes VR (@alexmakesvr) * Instagram photos and videos

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3,708 Followers, 1,292 Following, 322 Posts - See Instagram photos and videos from Alex Makes VR (@alexmakesvr)

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A virtual reality and 360 experience by Marshmallow Laser Feast

A virtual reality and 360 experience
by Marshmallow Laser Feast

- Note: the web version of In the Eyes of the Animal is not supported in this browser/device.

You can view the video on YouTube.

Please note, on mobile and tablet devices, the Youtube app must be installed to view this video in 360.

Download the YouTube app for iOS or Android and search for "In the Eyes of the Animal".

- There are four different ways you can experience ITEOTA - the web player, YouTube 360°, Google Cardboard and the full VR immersive experience, which is on tour and will be available for download from VR stores in November. We recommend if you have a slower internet connection to try the YouTube version.

VIA WEB PLAYER

To get a glimpse of a ITEOTA VR video, you can watch it on the web. This is not as immersive as the virtual reality experience, but the player gives you an insight into the different perspectives of the animal. To explore the environment simply click and drag to navigate left, right, up and down.

VIA YOUTUBE

You can also use a simple VR viewer, download the YouTube app onto your mobile phone and view the 360° videos. To maximise your viewing experience: pop your headphones in and ensure the resolution is set to highest quality.

Check your device has a gyroscope, responsible for the 360° simulation, not all devices have the capability to play 360° videos.

VIA GOOGLE CARDBOARD

If you have a Google Cardboard download the YouTube app rather than view it through a web browser, select the highest resolution in settings. If you are experiencing difficulties viewing the video in 360° on mobile or tablet, please check your device has a gyroscope, responsible for the 360° simulation, not all devices have the capability to play 360° videos.

- Discover forests anew through In the Eyes of the Animal, a 360° cinematic experience immersing you in a vibrant landscape belonging to woodland creatures. Enter this sensory 3D world and be transported on an animated and sonic journey.

In the Eyes of the Animal, a journey through the food chain, is an artistic interpretation of the sensory perspectives of three British species. Created using Lidar scans, unmanned aerial vehicles (UAVs) or drones & bespoke 360° cameras, the piece is set to a binaural soundscape using audio recordings sourced from Grizedale Forest in the north of England.

Created by creative studio Marshmallow Laser Feast (MLF) - who delight in exploring the line between virtual and real-world experiences - this critically acclaimed work will launch online in September 2016.

In the Eyes of the Animal can also be experienced in a live natural environment on its current UK and international tour, where sculptural virtual reality headsets are suspended from overhanging woodland enabling forest explorers to traverse the animated, real-world, landscape.

In the Eyes of the Animal was commissioned by Abandon Normal Devices and Forestry Commission England's Forest Art Works. The online edition was created in partnership with The Space. Produced by Abandon Normal Devices and Marshmallow Laser Feast. Supported using public funding by Arts Council England and Forestry Commission England. Website support by The Neighbourhood.

- In the Eyes of the Animal continues to evolve and research and development is currently taking place on visualising the nocturnal senses of the bat. This is as much an exploration on the landscape of sound as it is a VR experience speculating on the science of seeing.

Most bats primarily view their environment via sonar or echolocation, detecting the reflections from objects within range, of their own rapid, subtly modulated, high-frequency shrieks. Though sonar is clearly a form of perception, it is difficult to comprehend visually how this works and how bats perceive the external world. This currently Untitled project is in pre-production and prototyping stage. Early testing has taken place with sound artist Antoine Bertin, who, using bespoke sonar devices equipped with an ultrasound generator allowed audiences to hear the unseeable by replicating bat song - this is ordinarily undetected by the human ear.

This event took place at the home of one of the world's largest listening devices, the Lovell radio telescope at Jodrell Bank (UK).

The next stage will include a visual component, distinctly different to the aesthetic of In the Eyes of the Animal, which will use powerful binaural audio and 360 degrees of sound to help humans understand what it feels like to be a bat navigating through echolocation. For more information and if you are interesting being involved in the process contact us info@marshmallowlaserfeast.com

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Note: the web version of In the Eyes of the Animal is not supported in this browser/device. You can view the video on YouTube. Please note, on mobile and tablet devices, the Youtube app must be installed to view this video in 360.

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Surfing Light Beams : Harmeet Chagger-Khan

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Surfing Light Beams : Harmeet Chagger-Khan

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Surfing Light Beams is a start up media studio founded by Harmeet Chagger-Khan producing site specific projects and playable adventures that unlock polymathic qualities within individuals. Using locative and interactive storytelling, we create subtle behaviour change within communities, organisations and cities.

Having researched Cultural Innovation at the Futurelab, Ars Electronica & worked on behaviour change campaigns as Digital Strategist at M&C Saatchi, Harmeet uses the premise of storytelling across film & digital media, fused with the artistic expertise of other disciplines, to create a space where the inventor, the artist, the intellect, the communicator & the leader can be harnessed and for individuals to recognise how valuable their contribution is within a community, a society, an organisation or as a global citizen.

Since completing a Nesta Fellowship on the Clore Leadership Programme in 2012, Harmeet has continued to invest in work that creates people centric system change & advocates creative & cultural innovation across Birmingham. Harmeet is a Resident at Pervasive Media Studio, Bristol and Fellow at Birmingham Open Media (BOM). Using Harmeet's vision and insights, Surfing Light Beams is currently exploring 'antidotes' to life using new technologies.

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Surfing Light Beams Creating Immersive Adventures to Unlock The Renaissance Qualities Within You See Portfolio R&D: STATE SECRET R&D In Pre-Production. Working at the cutting edge of technology to create experiences to enhance people's lives. RESEARCH Finding opportunities for research to inspire new forms of content creation.

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Sian Fan: Artist based in London. Digital | Performance | Installation

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Seeing I (Date TBC): For 24-hours a day, for 14-days, artist Mark Farid will wear a virtual reality headset, experiencing life through the eyes and ears of one person; hearing only what they hear and seeing only what they see for two weeks.

Inspired by Psychologist Philip Zimbardo's 'Stanford Prison Experiment' (1971), Philosopher Jean Baudrillard's 'Simulacra and Simulation' (1981), and Artist Josh Harris' 'Quiet: We Live in Public' (1999), Seeing I will confine Farid to a gallery space, subject to the simulated life of the project's Other. With no existing relationship to the Other, how will the constant stream of artificial sights and sounds start to displace Farid's own internal monologue? For the duration of the project, Farid will experience no human interaction relative to his own life, allowing his indirect relationship with the Other to become his leading narrative.

Adapting the question of nature vs. nurture to the digital age, Seeing I will consider how large a portion of the individual is an inherent self, and how large a portion is a consequence of environment and culture. How will the 14-days alter Farid's movement, mannerisms, personality, and most importantly, his rationale? Without free will to determine and shape who he is, will Farid's consciousness be enough to deter significant change?

Seeing I was conceived and created by artist Mark Farid, is commissioned by arebyte Gallery, UK, and the European Media Art Platform's EMARE program at Werkleitz with the support of the Creative Europe Culture Programme of the European Union, the National Theatre Immersive Storytelling Studio, UK, Body>Data>Space, UK, and the Sundance Institute, USA.

Seeing I: The Other, as part of the European Media Artist in Residency Exchange, 2020/21

Culminating an online residency with the the European Media Art Platform's program at Werkleitz, as part of the Creative Europe Culture Programme of the European Union, we screened the lives of three migrants, in first person point of view.

Screening 360° Video

Exhibition Exhibition Concept The Other The Other Concept Research

Research

Seeing I is open to research partners and individuals. Please get in contact if you are interested in conducting research or contributing to this project.

We are currently working with Clinical Psychologist and Neuroscientist Dr. Mavi Sanchez, co-Director of Experimental Virtual Environments in Neuroscience and Technology, and Adjunct Professor at the Dept. of Basic Psychology, University of Barcelona.

Both Farid and the Other's long-term mental and physical health are imperative. We have sought, and will continue to seek advice from a range of experts regarding the physical, and psychological effects for both Farid and the Other. These experts include but are not limited to cognitive behavioural therapists, neuroscientists, psychologists, ophthalmologist, and psychiatrists.

Seeing I is not an endurance test, and if Dr. Sanchez feels Farid should take the headset off, a discussion with Farid - through the headset - will take place, and we will act accordingly. Farid will not have the ability to make this decision himself. Farid will wear a bio sense harness, which will be record his heart rate, galvanic skin response, breathing, body and environmental temperature and humidity, and his movements.

Seeing I will culminate in a documentary focusing on the project's implications: the effect of new technologies and surveillance - both social and political - on ideas of the self, and the influence of society on the individual.

Research

Seeing I is open to research partners and individuals. Please get in contact if you are interested in conducting research or contributing to this project.

We are currently working with Clinical Psychologist and Neuroscientist Dr. Mavi Sanchez, co-Director of Experimental Virtual Environments in Neuroscience and Technology, and Adjunct Professor at the Dept. of Basic Psychology, University of Barcelona.

Both Farid and the Other's long-term mental and physical health are imperative. We have sought, and will continue to seek advice from a range of experts regarding the physical, and psychological effects for both Farid and the Other. These experts include but are not limited to cognitive behavioural therapists, neuroscientists, psychologists, ophthalmologist, and psychiatrists.

Seeing I is not an endurance test, and if Dr. Sanchez feels Farid should take the headset off, a discussion with Farid - through the headset - will take place, and we will act accordingly. Farid will not have the ability to make this decision himself. Farid will wear a bio sense harness, which will be record his heart rate, galvanic skin response, breathing, body and environmental temperature and humidity, and his movements.

Seeing I will culminate in a documentary focusing on the project's implications: the effect of new technologies and surveillance - both social and political - on ideas of the self, and the influence of society on the individual.

Seeing I: Pilot, at Ars Electronica Digital Arts Festival, 2nd - 8th September 2019

Culminating a residency at Ars Electroinca Digital Arts Festival; for seven consecutive days, artist Mark Farid wore a VR headset for nine continuous hours each day, subject to the sights and sounds of a different person each day.
Watch the videos and read more →

Experts and Media

Professor Simon Baron-Cohen, Developmental Psychopathology, University of Cambridge

"Seeing I is an extraordinary social psychology single-case study, an experiment in which for one month Mark sees the world only through other people's eyes. All this is possible through new technology. One might imagine various outcomes of this experiment: that he might become more empathic, being other- rather than self-focused; that he might experience distorted perceptions and even delusions, given that his own brain is not receiving its normal input but instead is experiencing a kind of sensory deprivation; or that he might establish that the brain can in fact adapt relatively quickly (hours or days?) to a new reality, and then adapt back again at the end of the experiment, with no serious side- effects.

Professor Simon Baron-Cohen, Developmental Psychopathology, University of Cambridge

Whatever the result, the project will be ground-breaking and give rise to a raft of new hypotheses and methodologies for social psychology to explore more systematically and in larger samples. I am reassured that Mark has taken sensible precautions in case there are side- effects, and one hopes if these occur that they are temporary and reversible. The ethical issues are important, and at a minimum the fact that the experimenter is also the consenting participant makes this more ethical.

The project will take us on a journey in the tradition of Timothy Leary and Aldous Huxley, experimenting on one's own perception through a manipulation, in this case not pharmacological, but technological."

Artist Gilad Raman, Israeli Pavilion, 55th Venice Biennale (2013)

"One of many aspects of this project that really interests me, is the connection between the reality which is being experienced by Mark and the Other. If I was able to create an identical situation for Mark within the Gallery: temperature, touch, smell, it would be a bad piece of work, because what is happening is exactly linear. What we call Mark right now, is trying to find itself, and this is exactly between the real space and time we are in; everything else is projected into his mind. This must be in collision, and once it is, then we will have something very interesting. Here, as an image and as a situation, any attempt to put Mark into the exact situation where temperature, smell, touch etc. are the same as the Other's, makes this a boring scientific experiment, but where it becomes Art, is because of the creation of this friction and discontinuity."

Professor Barbara Sahakian, Clinical Neuropsychology, University of Cambridge. Research Council Wellcome Trust: Behavioural & Clinical Neuroscience Institute

"My initial thoughts are that it is an extremely interesting project and raises a number of important topical issues about society and our human interactions with technology. It also raises ethical issues, including of personhood and what the effects of reality distortion are on the brain and psychological processes. I found the description of the project fascinating and very thoughtfully and creatively conceived.

I am however concerned about how such a long project which involves voyeurism on the part of Mark and also on the part of the public in regard to Mark will affect his mental health and wellbeing. It could be extremely disturbing and it is unclear whether any potential damage to Mark's mental health could be repaired. I would recommend a short trial of the project to get an understanding of possible problems that may arise and what kinds of psychological difficulties might be experienced so that these can be monitored carefully in the longer project."

Professor Simon Baron-Cohen, Developmental Psychopathology, University of Cambridge

"Whatever the result of Seeing I, the documentary will be ground-breaking and give rise to a raft of new hypotheses and methodologies for social psychology to explore more systematically and in larger samples. I am reassured that Mark has taken sensible precautions in case there are side-effects, and one hopes if these occur that they are temporary and reversible. The ethical issues are important, and at a minimum the fact that the experimenter is also the consenting participant makes this more ethical. The documentary will take us on a journey in the tradition of Timothy Leary and Aldous Huxley, experimenting on one's own perception through a manipulation, in this case not pharmacological but technological."

Mark Farid talking about Seeing I

Times Radio: Michael Portillo interviewing artist Mark Farid. October 2020

Impakt Festival. November 2019

Team, Funders, Partners and Supporters

Funders

Arebyte Gallery, UK

European Media Art Platform's program at Werkleitz, and the Creative Europe Culture Programme of the European Union, EU

Imagine Science Films, in partnership with New York University, Abu Dhabi, USA

Current Team

Mark Farid Artist, Producer, and Subject

Toby Coffey Producer and Consultant

Dr. Mavi Sanchez Clinical Psychologist and Neuroscientist

Ghislaine Boddington Dramaturg

Supporters

National Theatre Immersive Storytelling Studio, UK

Body>Data>Space, UK

The Sundance Institute, USA

With Special Thanks To

Gallery Director Nimrod Vardi

Filmmaker John Ingle

The Mindfulness Centre of Excellence, UK

Ravensbourne University, UK

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Seeing I (Date TBC): For 24-hours a day, for 14-days, artist Mark Farid will wear a virtual reality headset, experiencing life through the eyes and ears of one person; hearing only what they hear and seeing only what they see for two weeks.

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A game, an installation and a performance placing you in a collaborative virtual environment and sending you on a mission into a virtual world.

Desert Rain is a war game. Six players at a time suit up and go into the virtual desert which is video projected onto water spray. It is our first collaboration with the Mixed Reality Lab at the University of Nottingham. In a world where Gulf War images echo Hollywood images, where Norman Schwarzkopf blurs into Arnold Schwarzenegger, Desert Rain looks for the feint line between the real and the fictional.

Standing on a footplate and zipped into a cubicle, each of the six team members explores motels, deserts and underground bunkers, communicating with each other within the virtual world . . . a world projected onto a screen of falling water. You have 30 minutes to find the target, complete the mission, and get to the final room, where others may have a very different idea of what actually happened out there.

one of the most complex and powerful responses to the first Gulf War to be produced within the sphere of theatrical practice.
Gabriella Giannachi
Virtual Theatres

Desert Rain is a collaboration between Blast Theory and the Mixed Reality Lab, University of Nottingham. It was originally co-commissioned by Contemporary Archives and ZKM Centre for Arts & Media (Karlsruhe, Germany) in association with DA2 (Bristol) and KTH (Stockholm, Sweden). It is supported by the Arts Council of England and the European Commission's Kaleidoscope Fund for NOWninety9.

It was nominated for an Interactive Arts BAFTA Award in 2000 and received an Honorary Mention at the Transmediale Awards in 2001. It has toured internationally including the UK, Central and Eastern Europe and Australia with support from the British Council.

Conceptual Background

Desert Rain uses a combination of virtual reality, installation and performance to problematise the boundary between the real and the virtual. It places participants in a Collaborative Virtual Environment in which the real intrudes upon the virtual and vice versa. It uses the real, the imaginary, the fictional and the virtual side by side and juxtaposes these elements as a means of defining them.

The piece is influenced by Jean Baudrillard's assertion that the Gulf War did not take place because it was in fact a virtual event. Whilst remaining deeply suspicious of this kind of theoretical position Blast Theory recognise that this idea touches upon a crucial shift in our perception and understanding of the world around us. It asserts that the role of the media, advertising and of the entertainment industries in the presentation of events is casually misleading at best and perniciously deceptive at worst. As Paul Patton says in an essay about Baudrillard, "the sense in which Baudrillard speaks of events as virtual is related to the idea that real events lose their identity when they attain the velocity of real time information, or to employ another metaphor, when they become encrusted with the information which represents them."

In this sense, while televisual information claims to provide immediate access to real events, in fact what it does is produce informational events which stand in for the real, and which "inform" public opinion which in turn affects the course of subsequent events, both real and informational. As consumers of mass media, we never experience the bare material event but only the informational coating which renders it "sticky and unintelligible like the oil soaked sea bird".

This reference to the "oil soaked sea bird" as an icon that stands in for the reality of an oil spill (and which, in effect, distracts attention from and even masks entirely the real complexity and significance of the events surrounding an oil spill), gives a direct example of the ways in which these processes affect us every day.

While these ideas form the backdrop to Desert Rain the piece is not intended to be a demonstration of this theory merely to accept its significance in informing our view of the relationship of the real to the virtual and especially in its assertion that the virtual has a daily presence in our lives.

Indeed we also have a great interest in those who have coruscatingly attacked Baudrillard's ideas as "absurd theses" which are "ill equipped to mount any kind of effective critical resistance"The role of the cinema, particularly Hollywood, in this process is also important. As a vehicle for dreams, aspirations and fantasies, films play a major role in affecting our self image and as a source of inspiration.

The key motif of the individual overcoming all odds to triumph is a touchstone for our culture and has an impact on real life. Arnold Schwarzenegger and Norman Schwarzkopf both exemplify certain aspects of leadership, for example, and each draws on the attributes of the other.

Desert Rain therefore attempts to bring visitors to a new understanding of the ways in which the virtual and the real are blurred and, in particular, the role of the mass media in distorting our appraisal of the world beyond our own personal experience.

I can guarantee that you will come out changed and humbled...utterly gripping...a brilliantly judged experience
The Scotsman

Description

On arrival, six visitors at a time enter a small antechamber. They are given a magnetic swipe card of a person they must find. They leave their coats and bags and put on hooded black jackets. The visitors are then lead in total darkness into the next space. Each visitor finds themself standing on a foot pad. In front of them is a rain screen, 4 metres across, which provides a surface of fine water spray which holds the projected image of a virtual world. The visitor begins alone in an American motel room.

Reaching the apparent safety of an underground network of bunkers and tunnels, the visitors come face to face with performers, fragments of the Gulf War and each other. If they successfully find their target a performer emerges through the water screen and hands them a magnetic swipe card.

The final virtual space is a vast underground hangar containing a floating field of numbers, all of which are estimates of Iraqi casualties. As the visitors push their way through the densely packed numbers they reach the exit. Only if all six visitors escape together has their mission been a success.

Having left the virtual world and crossed through the water screens, the visitors find the exit corridor is blocked by a large pile of sand. Having climbed up the sand and down the other side they reach the final room of the installation. The walls of the final room are full scale photographs of the walls of an English hotel room. The room contains no objects apart from a magnetic card reader and a monitor cut into the wall exactly where the television is in the hotel room.

As each visitor swipes their card, their target appears on a monitor sitting in the very same hotel room. Each of the six targets has had their life changed by the Gulf War in some way: as a soldier, a journalist, a peaceworker, an actor or a passive spectator. They talk about their relationship to the events, their proximity to them and how 'real' it felt. On leaving, the visitors collect their coats and bags. At some point later they will discover a small bag of sand concealed in their coat or bag. The bag contains approximately 100,000 grains.

one of the most successful and advanced digital performances of the late 90s... a seminal experimental production fusing the technological complexity of hard science skills with a truly original artistic vision.
Steve Dixon
Digital Performance

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A game, an installation and a performance placing you in a collaborative virtual environment and sending you on a mission into a virtual world. Desert Rain is a war game. Six players at a time suit up and go into the virtual desert which is video projected onto water spray.

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Tribeca Film Festival, New York, USA

ArtScience Museum, Singapore

The Reel Store, Coventry, United Kingdom

Pedion tou Areos-Onassis Foundation, Athens, Greece

Discovery Park, Seoul, Korea

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Tribeca Film Festival, New York, USA ArtScience Museum, Singapore The Reel Store, Coventry, United Kingdom Pedion tou Areos-Onassis Foundation, Athens, Greece Discovery Park, Seoul, Korea

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Daughters of the River, performance, 35 minutes

Performed alongside Tylor Deyn, Joseph Funnell and Kitty Clarke, as part of the Serpentine Ecologies symposium 'Queer Earth, Liquid Matters', Stone Nest, Soho, London

Organised by Kostas Stasinopoulos, Jack Halberstam and Macarena Gomez-Barris

The air is subtle, various and sweet, Niru Ratnam Gallery, London, 2021

By earth, sea and air we came, video, 18 minutes

installed as part of the group exhibition 'Loop' at

Eastside Projects, Birmingham, 2021

Skin Flick (Invasive Species), installed as part of 'Genders: Shaping and Breaking the Binary'

Science Gallery London, 2020

Janus Collapse, (video still), 2016

Porous Bodies, poster for cinematic screening series as part of the Near Now Fellowship, Nottingham, 2019

Performance rehearsal by Ted Rogers for Adham Faramawy's Jarman Award presentation

at the Whitechapel Gallery, 2017

There's this thing, this feeling, Naughton Gallery, Belfast, 2017

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Daughters of the River, performance, 35 minutes Performed alongside Tylor Deyn, Joseph Funnell and Kitty Clarke, as part of the Serpentine Ecologies symposium 'Queer Earth, Liquid Matters', Stone Nest, Soho, London Organised by Kostas Stasinopoulos, Jack Halberstam and Macarena Gomez-Barris The air is subtle, various and sweet, Niru Ratnam Gallery,

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Hello internet! I'm Rosie a 3D animator, Virtual Reality Artist and Tilt Brush live performer. I currently work at XR Games, which recently released Angry Birds Movie 2 VR: Under Pressure for PlayStation VR. I am a storyteller, telling stories through motion with my animation work, and through other dimensions through my VR art. You could say I've ditched the paintbrush and canvas, for a controller and another world. I'm also obsessed with the performance aspect that comes with creating art in VR, my body makes the paint strokes and becomes a sort of interpretive dance routine as I paint a piece, which is an amazing concept. I have performed live VR paintings at numerous festivals and events for clients including Google, National Football Museum and Manchester Animation Festival. One of my most recent projects was working with the BBC and creating Seven Worlds One Planet VR art and performance promo material. See below my wide variety of projects and thanks so much for stopping by! If you like what you see, drop me a line below!

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Hello internet! I'm Rosie a 3D animator, Virtual Reality Artist and Tilt Brush live performer. I currently work at XR Games, which recently released Angry Birds Movie 2 VR: Under Pressure for PlayStation VR. I am a storyteller, telling stories through motion with my animation work, and through other dimensions through my VR art.

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Experience Togetherness
This installation comes alive when you come together. As aware of us as we are of it, this digital environment invites us to move and perform as a group to create unique visuals and sounds. Using a convergence of generative technologies, it looks ten years ahead, beyond the current VR headset craze, to a real-time collective reality.
It is a large yet intimate immersive environment achieved through overhead projection, surround sound, projection mapping and motion capture to create a living, breathing virtual presence environment that can be experienced by groups in real-time.

Images and sounds converge and this is generated through motion capture with a focus on finding and engaging with others with similar energies. We aim to be looking at the environment 10 years ahead - at a fluid immersive group environment where virtual and physical space is blended, where groups of people can move through the digital with the physical.

The room is composed of two different zones:

The Experimental Zone - Where the audience arrive, hang out, feel, watch, hear, move around and use their bodies and their interaction intuition to feel at home in this immersive responsive space.

The Performative Zone - A central stage where professional dancers (MJs or Movement Jockeys) are timed slotted into the 20-30 minute dramaturgies of the experience. Referencing contact improvisation, capoeira, hip hop, free style football and other social dance or sports, they encourage the public to move into the performative zone and potentially participate when the opportunities arrive.

The project was premiered at and commissioned by FutureFest 2016 and created by interactive design collective body>data>space in collaboration with the University of Greenwich (Creative Professions and Digital Arts), d3 technologies and Genelec. With support from Panasonic, The Games Europe Plays, EUNIC, British Council, Stage Sound Services, iSci and the Freestyle Footballers Federation.
Collective Reality at FutureFest 2016

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This installation comes alive when you come together. As aware of us as we are of it, this digital environment invites us to move and perform as a group to create unique visuals and sounds. Using a convergence of generative technologies, it looks ten years ahead, beyond the current VR headset craze, to a real-time collective reality.

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Artist creates film, animation, illustration, graphics and exhibition design. Works with museums, heritage, archives, music industry & galleries on art projects & commissions. Creates documentaries, short films, experimental animation, opening title sequences, music videos, promotional videos using collage, archives and green screen. Playful, surreal, fun, accessible, imaginative and evocative artwork.

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World's first digital art park : NetPark

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"In all the years I have lived in the area - including the years I lived practically opposite the park - I've never just sat there in such a mindful way as that." "NetPark - impressive, meaningful digital art work" Address: Chalkwell Park, Southend on Sea SS0 8NB Opening Hours: 6am - 8pm
Fifteen engaging and playful artworks and stories take you different journeys around the park that are in turn, surprising, funny, informative and thought-provoking.

Designed for a variety of audiences, the range of works ensures that there is something to enchant all ages and allows for a shared experience or individual contemplation.

All the works are GPS located and experienced through a smart device, either iPad, iPhone or Android. All are best experienced with a set of headphones.

The collection includes artworks created by artists and five site-specific stories created by Southend school pupils working with writers and illustrators.

HOW TO ACCESS THE ARTWORKS:

Matmos: Site-specific music created from original sounds recorded from the everyday park life.

Joel Cahen: Oneironaut - a promenade work that places you in the position of a traveller or lucid dreamer

Rosie Poebright: Running To Flight - a processional work explores your physical and emotional responses to the landscape.

Mark Grist and MC Mixy: Spoken word poetry tours, including the love story of a couple growing up in and around Chalkwell Park.

Spiky Black: Amanda Loomes and Alison Carlier's app responds to the historic Rose Garden and the punk gardener who tends them, takes listeners on an abstracted but informative exploration of how roses are bred, grown and named - all set to a fantastic soundtrack.

Woodland by French and Mottershead is a contemplative piece that asks listeners to find the shade of a big tree, lie down (perfect activity for a hot day) and go on a poetic audio odyssey spanning 1000 years to explore how the afterlife of a human body is part of the natural life cycle of the earth.

Everyday Fiction: An audio work derived from the artist's time in-residence at Chalkwell Hall in 2016, exploring the ambiguities between reality and fiction that we encounter in everyday life. Real events and imagined lives are brought together in a heart-breaking story of loss, grief, and mental illness.

The Garden of Remember: this app explores memory and its relationship to dementia. It was made as in collaboration between Metal, Southend Borough Council and National Health Service (NHS, England). The Garden of Remember has been managed by local artist Elsa James and NetPark Mental Wellbeing Co-ordinator, Emma Mills working with people living with dementia, local school children and young people over a series of workshops in 2016.

Play Southend, Now or Never - Re-discover and explore Southend through play! Have you ever hummed a Lulu lullaby? When was the last time you walked backwards in silence, towards land? Play Southend Now or Never! is a unique App for mobile devices that will make you experience Southend in fresh, imaginative and mischievous ways.

The Disappearing Spell written by pupils from Chalkwell Hall Junior School, working with writer, Lucy Sheerman and illustrator, Maggie Li.

Witch Quest written by pupils from St Georges School, working with writer, Vahni Capildeo and illustrator, Maddy Vian.

Scentopia written by pupils from Thorpe Greenways Junior School, working with writer, Syd Moore and illustrator, Karl Lawson.

Cake Work written by pupils from Milton Hall Junior School, working with writer, Jeremy Hardingham and illustrator, Zoe Barker.

Hello, Friend Monster written by pupils from Westborough School, working with writer, Vahni Capildeo and illustrator, Claire Softley.
"The apps become a park pursuit bonus, even encouraging you to spend more time being engrossed in the surroundings."
A number of innovative accompanying NetPark projects are underway in partnership with Southend Borough Council public health team: The Wellbeing Project is exploring how digital arts in an outdoor setting can improve mental health and well-being; the Dementia Project is working with digital arts to capture stories and memories and promote awareness.

NetPark launched in October 2015, read some of the great press reviews here:-

The Creators Project; The Echo Newspaper; The Design Week; LS:N Global; BBC Radio 6 (from 1:50); The Guardian; The Observer

A new digital park logo to indicate public green space with open wi-fi was developed as part of the NetPark project.

Designed by Malcolm Garrett of Images&Co, a British designer with a worldwide reputation in culture and identity, known for his work in the music industry in the 80's with bands such as Duran Duran and Simple Minds.

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NetPark is the World's first Digital Art Park and a new, permanent visitor attraction for Southend. "In all the years I have lived in the area - including the years I lived practically opposite the park - I've never just sat there in such a mindful way as that."