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https://hubs.mozilla.com/

Mozilla Hubs is a private social space where you can create rooms and invite others to join in 3D on desktop or mobile devices. You can also join in Virtual Reality using a VR headset.

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A New Year, A New Hubs: introducing Mozilla Hubs' new user interface

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Thank you to the following community members for letting us share your content in this video:

0:08 Paradowski - Apart: Posters from a Social Distance

0:28 XP Portal - Wordcamp Austin 2020

0:30 Narratify  - House in the Forest V2 (https://hubs.mozilla.com/scenes/piTHyAS)

0:31 REM5 For Good - Day by Day Exhibition 

0:50 Innovación Educativa del Tecnológico de Monterrey  - Dias de meurtos Día de Muertos scene (https://hubs.mozilla.com/scenes/DTbrWYp)

0:52 Jordan Elevons - Underwater Classroom Scene (https://hubs.mozilla.com/scenes/kGtRVhb)

1:08 Brendan Bradley - Future Stages Scene (https://hubs.mozilla.com/scenes/RNAbMaU)

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Ready Player One: A Novel [Cline, Ernest] on Amazon.com. *FREE* shipping on qualifying offers. Ready Player One: A Novel

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By Neal Stephenson

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Snow Crash [Neal Stephenson, Jonathan Davis] on Amazon.com. *FREE* shipping on qualifying offers. Snow Crash

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Most Important Design Jobs of the Future

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Most Important Design Jobs of the Future

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Yesterday's graphic designers are today's UX designers. Will tomorrow's UX designers be avatar programmers, fusionists, and artificial organ designers? Yes, according to the illustrious roster of design leaders we spoke with here.

Design has matured from a largely stylistic endeavor to a field tasked with solving thorny technological and social problems, an evolution that will accelerate as companies enlist designers for increasingly complex opportunities, from self-driving cars to human biology. "Over the next five years, design as a profession will continue to evolve into a hybrid industry that is considered as much technical as it is creative," says Dave Miller, a recruiter at the design consultancy Artefact. "A new wave of designers formally educated in human-centered design-taught to weave together research, interaction, visual and code to solve incredibly gnarly 21st-century problems-will move into leadership positions. They will push the industry to new heights of sophistication."

Here are 18 of the most important design jobs of the future, as identified by the men and women who will no doubt do much of the hiring. Most looked three to five years out, but some peered farther into the future (see: organ designer).

Avatar programmer
Nominated by Glen Murphy, director of UX, Android and Chrome
Our celebrity clients will need help in representing themselves best in virtual scenarios such as VR, mobile games, and movies. This job will entail creating a celebrity's best representation in low-poly, high-polygon variants, and will depend upon rigging a client up for motion capture and text-to-speech emotive output. Some AI-response programming knowledge would be helpful. A version of this job actually exists today (see the digitized actors in L.A Noire), but will become increasingly important and complicated as actors' likenesses become more prevalent in games and VR. As these representations become more mainstream and more powerful, actors will want increasing control of their image, just as they have in every other form of media.

The next big thing is not a thing.

The next "big thing" is not a thing. It is a change in the relationship amongst the things. Without the Conductor's input, we are on a fast path to hitting the complexity barrier, since the cumulative complexity of a bunch of simple things-regardless of how delightful, simple and desirable they may be-will soon exceed the ability of humans to cope. It is the Conductor who carries the responsibility for the design of those relationships and ensuring that their collective value significantly exceeds the sum of their individual values, and their cumulative complexity is significantly less than the sum of their individual complexities.

Cybernetic directors will need to be well versed in the visual language and traditions of North American audiences and their subcultures. The job requires at least four years of formal training in visual communication, graphic arts, modern American studies, or equivalent, and at least 10 years of relevant experience working in media, communications or entertainment. Exposure and familiarity with modern popular Western media is a bonus, but not a substitute. Also requires experience with learning systems training and reasonable fluency in HALtalk 9000, Lovelace++, and human-cyborg relations.

In five years machine learning will enable computers to make the kinds of aesthetic choices that humans make today.

In five years machine learning will enable computers to make the kinds of aesthetic choices that humans make today-the more on the production end of the spectrum, the more quickly it will happen. This will enable massively more personalized experiences. Imagine reading a magazine article where the photo editor wasn't just aware of you as part of a broad demographic, but knew your visual fluency and consumption more intimately than your spouse. Yet who teaches the computers to make those creative choices? How do we balance the possibilities of personalization when each article wants to have its own editorial flavor, each publication its own style? Training and directing creative machines will be one of the most exciting and important creative jobs of the future. It's starting today.

Whether this embodiment is physical or virtual, this new designer is concerned with virtual and augmented reality, as well as the computers embedded into things and spaces. Therefore, this role is expert in interface pattern languages and touch-points that have largely been considered as alternative or merely subservient to screen-based GUIs. This designer will borrow practices from industrial design and architecture, so that she can model interactions that are oriented in space.

While these new materials force the designer to be intensely concerned with formal and spatial qualities, they belie a behind-the-scenes complexity that is also paramount. The Embodied Interactions Designer must be comfortable wading neck-deep through datasets to mine value while protecting privacy. She must be adept at persuading disparate business stakeholders of a product's value and able to fight for the resources required to design it well. She must have foresight to uncover the biases in algorithms and large-scale systems that can negatively impact people.

While still expertly versed in classical design skills, the fusionist will mix those skills with a "generalist" approach to technology, working across disciplines and interest groups. In many cases, the fusionist may feel like an outlier. The technologies she bridges will require her to expand her own capacities. She'll need to be an expert collaborator and communicator, extending her vocabulary so that she can reverse engineer her vision into discrete items that specialists can act upon. The Fusionist will remain driven by her passion for the Future and her ability to use Design as the unifying vehicle to drive the best experience.

The prospect of artificially made human organs is just around the corner. Who's going to fit these organs to their end user? Designers.

The global challenges that lie ahead can only be solved by a collaboration of minds and vocations, and a diversity of views. The challenge and reward for the Fusionist will be in her ability to communicate, comprehend, and connect all parties through design. This is already beginning to happen in the emerging fields of biofabrication and wearable technology. Stemming from biotech, biofabrication is a new cross disciplinary movement between the design and science that is generating the next wave of sustainable materials and solutions for our survival. It is not uncommon to see artists and biologists sitting together tackling the same problem. Additionally, wearable technology will see an influx of fashion designers and artists partnered with engineers, in order to create technologies that will go into our fibers and onto our skin. Fusionists will act as the bridges between emerging fields, and their ability to bring all parties together through communication and design will help bring about the greatest experiences.

We are very close to being able to reproduce artificial biologically fitted tissues. Some of these tissues will come from genetic-engineering, some will be manufactured in bio-reactors, and some will be merged with micro-electronics. The prospect of artificially made human organs is just around the corner. Who's going to design and fit these organs to their end user? Designers will be there, sooner or later

Game design as an industry is such a focused discipline and craft: It takes years of practice to operate at a high level. With that in mind, senior level 3-D designers will be pioneers, leaving behind game design and joining product teams to create entertainment and productivity tools with complex interaction problems. We will start to see shifts in school curriculum, where both 3-D and UX disciplines share the same halls and work together to invent the same future.

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The Most Important Design Jobs Of The Future

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Yesterday's graphic designers are today's UX designers. Will tomorrow's UX designers be avatar programmers, fusionists, and artificial organ designers? Yes, according to the illustrious roster of design leaders we spoke with here.

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Cybersecurity experts warn about potential risks in the metaverse

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Our series Mornings in the Metaverse continues with a look at some of the potential dangers consumers should look out for. CBS News consumer investigative correspondent Anna Werner spoke with cybersecurity experts who say where there’s money to be made, the criminals won’t be far behind.

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The Metaverse: The Emperor's New Clothes? 

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The Metaverse: The Emperor's New Clothes? 

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The Metaverse:  The Emperor's New Clothes? - VIPSS Expert Panel Discussion

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Centered around fully customizable spaces, Gather makes spending time with your communities just as easy as real life.

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Unlock your imagination with Roblox Creator Hub - the ultimate platform for building and publishing games for free. Join a vibrant community of creators today and publish your ideas to millions of people around the world. This world is ours for the making!

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A Glimpse Into the Future of Hospitality

Friday, April 22, 2022, 9:30am EDT

Register Now

Event Overview

Roger Hill and Ron Swidler will share this year's findings from The Gettys Group's global think tank, The Hotel of Tomorrow Project, which recently concluded its first-ever series of events in virtual reality.

This event is brought to you by the 97th Annual Hotel Ezra Cornell. Hotel Ezra Cornell (HEC) is a three-day, student-run business conference for hospitality industry leaders and members of the Cornell community from across the globe. A 97-year tradition of the Nolan School of Hotel Administration, HEC is one of the oldest organizations at Cornell and an unparalleled introduction to the students, faculty, and alumni of the preeminent hospitality program in the nation. Featuring some of the most talented individuals in the business, the conference will discuss the latest developments in hospitality and include leisure events for attendees to network with other professionals and meet the students who will be leading the industry into the future. Learn more about the conference at the Hotel Ezra Cornell website.

What You'll Learn

The process of building and hosting events in the metaverse

Insight and foresight that emerged from the collaborative ideation and conceptualization

Speakers

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Chairman and CEO, The Gettys Group

Roger G. Hill II is Chairman and CEO of The Gettys Group, a leading hospitality design, development, branding, and procurement company that he co-founded in 1988. A vanguard of the philosophy "Beautiful design is good business," Mr. Hill has led through more than three decades of growth by continually raising the bar in his endeavors as Chief Executive Officer - a role that encompasses the strategy and analysis of the company's own development efforts, including the acquisition and repositioning of assets throughout the United States. A respected hospitality industry veteran, Mr. Hill's expertise and influence have helped place The Gettys Group amongst the most recognized firms in hospitality design.

A seasoned industry speaker, Mr. Hill frequently shares his insights on the development, renovation, and repositioning of hospitality real estate, regularly contributing to media outlets such as Bloomberg TV, Crain's Chicago, Hospitality Design, Boutique Design, Hotel Business, and The Wall Street Journal. His achievements have earned him accolades that include Hospitality Design Magazine's prestigious Platinum Circle Award and The Cornell School of Hospitality Innovator of the Year award.

A graduate of the Cornell University School of Hotel Administration, Mr. Hill is a member of the Urban Land Institute, International Society for Hospitality Consultants, and the Young Presidents Organization. He also serves as a board member for the Lincoln Park Zoo and is both a past president and past trustee of the Auxiliary Board for the Art Institute of Chicago. In addition, he has served as an appointed delegate for the White House Conference on Small Business. Mr. Hill lives in Chicago with his wife Eva and his two children, Getty and Madelyn. In his spare time, he enjoys spending time with his family, scuba diving, skiing, and playing golf.

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Chief Innovation Officer, The Gettys Group

With a passion for pioneering innovative approaches to hospitality design, Ron Swidler identifies new strategic growth initiatives for The Gettys Group family of companies. A collaborative and innovative thinker, he has shaped hundreds of hotels, resorts, and brand initiatives over his more than three decades with The Gettys Group.

In 2003, Mr. Swidler was key in establishing The Hotel of Tomorrow® Project, an industry-leading think tank that brought together more than 100 companies to envision the future of hospitality. He is currently leading a new phase of this project, aimed at addressing the needs that have arisen for hospitality in 2020. Mr. Swidler's vision also led to the founding of Gettys ONE, its interior design group dedicated to branded hotels, as well as Gettys branding group, where he led brand creation and strategic thinking projects for boutique properties, large industry events, and international brands.

Mr. Swidler is a frequent speaker at industry events and has been quoted in numerous publications for his hospitality, design, and branding insights. He received his Bachelor's degree from the University of Illinois. Mr. Swidler is affiliated with the Hospitality Advisory Council at DePaul University, School of Hospitality Leadership and also serves as an adjunct professor at Institut Paul Bocuse in Lyon, France; EM Lyon in Paris; Haaga Helia University in Helsinki, Finland; and Breda University of Applied Sciences in The Netherlands.

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Roger Hill and Ron Swidler will share this year's findings from The Gettys Group's global think tank, The Hotel of Tomorrow Project, which recently concluded its first-ever series of events in virtual reality. This event is brought to you by the 97th Annual Hotel Ezra Cornell.

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I've been involved in VR and AR since those technologies first emerged, so with the growing interest in the metaverse, I'm often asked for explanations and definitions. People especially want to know about the capabilities and potential risks of the metaverse. With similar questions coming up again and again, I wanted to put some of the more useful definitions together in one place. So here goes:

In the world of immersive media, virtual reality (VR) and augmented reality (AR) are the two pillars of the field. Both terms have been around for about 30 years, with VR emerging in the late 1980s and AR in the early 1990s.

The key difference is wherethe user feels present. In virtual reality, the user feels present within a simulated environment, while in augmented reality the user feels present in a combined world of real and virtual content.

This leads to the following definitions:
Virtual reality (VR)Augmented reality (AR) is an immersive and interactive environment in which virtual content is spatially registered to the real world and experienced in the first person, providing a strong sense of presence in a combined real/virtual space. is an immersive and interactive simulated environment that is experienced in the first person and provides a strong sense of presence to the user.
To achieve a true VR or AR experience, a user must be able to interact with virtual content in natural and immersive ways. This distinguishes VR from 3D movies and 3D simulations. It also distinguishes AR from " heads-up displays " (HUDS) that present non-immersive content into a user's line of sight, such as text, data, and flat images.

For decades, virtual reality and augmented reality were the primary phrases used in academics and industry, but additional words have become popular in recent years. For example, extended reality (XR) emerged to describe the full spectrum of VR and AR capabilities and has become a convenient catch-all for many forms of immersive media.

The term mixed reality (MR) has also become popular but causes some confusion because it's primarily a synonym for augmented reality. The popularity took off in the mid-2010's when Microsoft launched its seminal HoloLens headset and used the phrase "mixed reality" in its marketing language. Since then, people often look for ways to differentiate between AR and MR, but it's mostly a matter of preference.
A is a persistent and immersive simulated world that is experienced in the first person by large groups of simultaneous users who share a strong sense of mutual presence. It can be fully virtual (i.e. a virtual metaverse), or it can exist as layers of virtual content overlaid on the real world (i.e. an augmented metaverse).
Additional confusion has emerged because some companies have marketed smart glasses using imprecise language, describing certain products as AR/MR when they are really heads-up displays that present non-immersive content into the user's line of sight. Such devices can be very useful but cause market confusion when compared to true augmented reality eyewear like Microsoft's HoloLens and Snap's latest Spectacles.

To add to the confusion, the word "metaverse" has recently become wildly popular. The word has its roots in science fiction of the 90s but wasn't widely used until Facebook (now Meta) put its marketing muscle behind it. It can be defined as follows:

Some believe a metaverse must also include formal rules of conduct and a fully functional economy. While many worlds will have these features, it feels too limiting to force that condition into the definition. Similarly, some believe that all virtual and augmented worlds will be connected into a single interoperable metaverse, with elements shared between the sub-worlds. While it is very likely that many worlds will share features and content, some will surely stand alone and still meet the definition of a metaverse.

And, no, the metaverse is not a new technology. The first dedicated metaverse I ever experienced was There.com, which went beta in 2001. It was impressive, even by today's standards. This was followed by Second Life soon after, which was also impressive and gained a large following. Another early metaverse was ActiveWorlds, which may pre-date the two above, although I didn't experience it until 2006.

Of course, metaverse platforms of decades past didn't involve recent concepts like Web 3.0 or NFTs that are now part of the conversation. These new words confuse many people, so it's worth providing some context and explanation for them, too.

The reason Web 3.0 and NFTs are discussed in regard to the metaverse has little to do with any immersive capabilities. Instead they relate to whether metaverse data is stored centrally by platform providers (like user data on Facebook) or stored on distributed networks (like cryptocurrency on blockchain). Both are viable paths for building a metaverse, but distributed networks facilitate interoperability and strengthen data privacy. Still, it will be up to the platform providers to decide which path to take.

Before moving on, it's worth discussing NFTs as many people incorrectly believe they are defined as "digital collectables." Yes, they are currently very popular for that use, but the NFT is a far broader concept aimed at assigning ownership of digital assets.

I like to think of NFTs as similar to VIN numbers in cars. In the physical world, you and I could each own a white Tesla, fresh out of the factory so they're essentially identical. We could walk to our cars in a large parking lot and be confused as to who owns which one. Ownership could easily be settled by looking at the VIN number on each car, which is linked to your title and tracked in a variety of databases.

In the metaverse, the same thing could happen - you and I could each own virtual Tesla that look identical and are parked in the same virtual parking lot. We might be confused as to who owns which one. Instead of resolving this with VIN numbers, many metaverse platforms will likely track such ownership using NFTs linked to each virtual car (and to every other virtual object that can be owned).

I point this out because an NFT defines ownership regardless of collectability. In the future, we may look back and laugh at the wild speculation markets for NFTs right now. Instead, we will appreciate that the primary value of an NFT is far more mundane - to clarify which car in a virtual parking lot is yours. It may also let you take that virtual car from one platform to another because NFTs are decentralized.

Finally, there is one last concept that is new to some people - haptics.

The word "haptics" refers to adding a sense of touch to computing. Touch has two components: tactile sensations (i.e. texture and vibration) perceived through the skin, and force sensations (i.e. weight and resistance) perceived through your muscles. Most consumer devices today that provide haptic feedback focus on tactile sensations (because of cost). But hardware that also provide force sensations make VR and AR significantly more immersive and compelling by giving virtual objects physical realism.

All in all, immersive media is a rapidly developing field with many overlapping words and phrases. The graphic below should help clarify the language:

Consumers should be aware that many in the industry currently use these words imprecisely. Every virtual environment is not a metaverse; every pair of smart glasses does not provide an AR/MR experience, and it's not guaranteed that all virtual worlds will be interoperable, even if that's a noble objective. On the flip side, our language will surely get more precise as the market matures and consumers become more sophisticated. Until then, the definitions above may help reduce confusion.

Louis Rosenberg is a pioneer in the fields of VR, AR, and AI. In 1992 he developed the first interactive AR system (the Virtual Fixtures platform) for the U.S. Air Force. He then founded the early VR company Immersion Corporation (1993) and brought it public in 1999. He then founded the early AR company Outland Research (2004). Rosenberg earned his PhD from Stanford, worked as a professor at California State University, and has been awarded over 300 patents for his work in VR, AR, and AI. He is currently CEO of Unanimous AI, a company that amplifies group intelligence in shared environments.

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Metaverse 101: Defining the key components

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I've been involved in VR and AR since those technologies first emerged, so with the growing interest in the metaverse, I'm often asked for explanations and definitions. People especially want to know about the capabilities and potential risks of the metaverse.