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Voices of VR

Voices of VR

Di: Kent Bye
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Designing for Virtual Reality. Oral history podcast featuring the pioneering artists, storytellers, and technologists driving the resurgence of virtual & augmented reality. Learn about the patterns of immersive storytelling, experiential design, ethical frameworks, & the ultimate potential of XR. Arte Filosofia Scienze sociali
Episodi
  • #1789: Steam Frame VR HMD Peripheral Developed by Arcturus Vision Camera

    #1789: Steam Frame VR HMD Peripheral Developed by Arcturus Vision Camera
    Sep 15 2026
    Valve's Steam Frame was finally announced today, and initial lottery to have an opportunity to buy one will be open until September 17th. Some of the biggest complaints are around the low quality, monochrome, default mixed reality passthrough cameras. But Valve collaborated with the Arcturus Vision Camera team to add a port that would enable their $149 camera peripheral to the Steam Frame in order to upgrade the mixed reality passthrough quality. I had a chance to speak with founder Jeff Powers to get some more context on the camera, the additional Gaussian Splatting capture capabilities, and the process of collaborating with Valve to add this port. I watched a lot of reviews today, and I enjoyed getting an overview from Tested's Norm Chan and Linus Tech Tips, VR developer Anton Hand had some pointed critiques around the Steam Frame controllers quality prioritizing 2D games over VR games, Gamers Nexus had some innovative tests comparing controller latency and privacy policies, Cas and Chary XR did a great overview from a VR gaming and gaming POV, CNET's Scott Stein's brief review focused on the Steam Frame as a standalone device (however most of the feedback is that it is more of streaming device for PCVR), and ThrillSeeker dug into a bit more of how the Steam Frame is a proper Linux machine with a lot of optimism around that it means to finally have an XR device that is a rootable open platform. A lot of the feedback was that the ergonomic kits and charger were also likely add-ons that were suggested to make the device even more comfortable via the top strap, and a charger that could be plugged in as the battery life was also not the greatest, but could be solved with a portable battery charger. The default camera is also not the greatest, and so given all of the things that need updates, then going with the smaller 256GB version rather than the 1TB version means the price difference could be applied to these peripherals to make the overall experience better. And listen to Powers talk about the Steam Frame, what the Arcturus Vision Camera provides, and what types of additional volumetric capture solutions they've been developing for it. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality
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    52 min
  • #1788: Curatorial Overview of Venice Immersive 2026 & Celebrating 10 Years of Immersive Storytelling

    #1788: Curatorial Overview of Venice Immersive 2026 & Celebrating 10 Years of Immersive Storytelling
    Aug 17 2026
    The 2026 edition of Venice Immersive marks their 10-year anniversary, and I interviewed the co-curators Liz Rosenthal and Michel Reilhac about this year's selection that includes 30 projects in competition, 9 Best of selections, 3 Biennale College Cinema – Immersive projects, 26 VRChat worlds, as well as a special immersive event. Rosenthal and Reilhac talk about how the structures and forms of immersive storytelling have really matured, and how they're still really novel and compelling ways that artists are using XR and the affordances of immersive design to tell really compelling stories. The diversity and comprehensive scope of the selection each year reflects a vibrant creative exploration that is being grounded into more and more viable revenue streams through "location-based entertainment" or LBE. Be sure to check out the 121-page IDFA DocLab Immersive Think Tank Report 2026 that I wrote for more details on this emerging indie XR distribution ecosystem. Rosenthal and Reilhac talk about the latest trends of immersive storytelling, but also what keeps them coming back to this emerging medium. To me, it's one of the most vital and interesting aspects of the XR industry, and it is also where I'm seeing some of the most intersting innovations for the medium. I've now published 692 episodes on Immersive Storytelling on the Voices of VR podcast since 2014 with many more unpublished in my backlog yet to come. This accounts for over a third of all my coverage as it's a really great testing ground for really understanding the affordances of the medium as it is used to tell so many different types of stories across many contexts, and using many different combinations of disciplines. Check out my previous episode #1787 for some of my philosophical musings on "Blending the Elements of Experiential Design."I'll be attending this year's edition of Venice Immersive to both see the program and to interview as many of the featured creators as I can, and last year I topped more than 30 hours conducted onsite. I will update this post here once I post all of my coverage from Venice Immersive 2026. Selected Projects that You Can Watch at Home Right Now If you won't be able to make it Venice Immersive, then there are a number of Best of Selections that are available on the Oculus store, that are very much worth checking out. Spymaster Crafting Crimes: The Mona Lisa Heist Hotel Infinity The Amusement Little Nightmares VR: Altered Echoes All but one of the 26 VRChat worlds in the VRChat World Gallery are already publicly available, and I'll leave a list of links down below if you'd like to get an early start on worldhopping. There will be an official Hub world in VRChat with portals to all of the worlds published on September 2nd by the VeniceImmersive user account, and if you're onsite, then I'd highly recommend checking these out as a guided tour. Celestium by Lavryou Memory by LeraNibiru_art Blumea… by TontonDemon Frozen Signal by Lavryou The Antikythera Mechanism by Thrill, PHIAbunny Come Home by Aruse Arkani A World Of My Own by 襟草たぬ Demonhour – Chapter 1 by Kitsunaki [Jan Köster] Dawn Beyond… by TontonDemon Noctiluca by LuminaPalette {黒熊１３} I Feel Small by Fewiix Veiled Dark by Dean`, Karl Kroenen Patriki VR by DrMorro Specularium by jasper ｡ Spatialography by VoxelKei Limitless Pt․1˸ Enter The Void by HILL JR Fractured Winter by Lavryou town of connection by haruki_haru Vertical Horizon ⁄ 361 Degrees by Inloco Gallery Tokogrammetry Museum by Tokoyoshi A Wonderful Thing To Realize by Screaming Color [not currently public] Volare by Juice … Break 25: Sinto Feliz by PK Half Empty by yuri_ts Forgotten Empire by 3D Master Liminal Nightmares by ∗Lotus∗ [Autumn Boyd] To sign up for Venice Immersive, then check out these logistical details as well asl accreditation process. If you are already signed up, then these are the four dates to pay attention to for booking experiences: Thursday, August 27th at 2.00 pm CET to book for September 2nd-4th Saturday, August 29th at 2.00 pm CET to book for September 5th-7th Monday, August 31st at 11.00 am CET to book for September 8th-10th Friday, September 4th at 6.45 am CET to book for September 11th-12th And be sure to check out my write-up from last year for more tips and tricks for attending Venice Immersive. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality
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    1 ora e 18 min
  • #1787: Blending the Elements of Experiential Design & Process-Relational Foundations of the Elements

    #1787: Blending the Elements of Experiential Design & Process-Relational Foundations of the Elements
    Aug 11 2026
    I gave a lecture about "Blending the Elements of Experiential Design" on Saturday, June 6, 2026 at Seattle XR in Seattle, Washington. (PDF of Slides]. At the end, I run through some examples of the types of interdisciplinary fusion that I see within the context of immersive storytelling and immersive art. This lecture also digs into the process-relational philosophical foundations, as well as how I'm gaining additional inspiration from Empedocles, Aristotle, and the Classical Quadrivium (Four Arts) of Math, Music, Geometry, and Astronomy. For my 30+ hours of coverage of Venice Immersive, then I apply this archetypal framework to help describe the context, quality, character, and story of each of these projects. You can see an overview of how I've been using this framework in this PDF on "Venice Immersive 2025 Archetypal Categorizations" https://www.youtube.com/watch?v=01M5NcOYzx0 One of goals of this talk was to further define the archetypal nature of the elements, and how I'm conceiving of them as a possibility space of design tradeoffs (C.S. Peirce's "Firstness"), but also as the concrete decisions that an experiential designer makes ("Secondness"), and then finally how these decisions are experienced more from a phenomenological experience as the audience as we feel, sense, act, and make sense of these experiences, and what they might mean ("Thirdness"). I do not actually dive into Peirce's concepts of Firstness, Secondness, or Thirdness in this specific talk, but I wanted to elaborate on these concepts in this write-up as these have been crucial concepts to help translate the overall abstract Firstness quality of my talk, and ground it into the Secondness of something that is a bit more practical and pragmatic. For Peirce, his semiology is grounded into a triune theory of actualization that goes from a non-Boolean possibility space as Firstness, and then grounds into a Boolean actualization of secondness, and then an interpretant mediates from the concreteness of the Secondness object back to the Firstness of the fundamental archetypal qualities or meaning. I find speculative philosopher James Bradley's summary of the Peirce's triune semiology to be the most easy to digest in his essay titled, "Beyond Hermeneutics: Peirce’s Semiology as a Trinitarian Metaphysics of Communication." I can also recommend this article on "Peirce's Theory of Signs" from the The Stanford Encyclopedia of Philosophy for a comprehensive recap, and there's also this excellent YouTube series primer by Philosign's Markus Raninen titled The Basics of Semiotics. But here's Bradley's description of Firstness, Secondness, and Thirdness, which I find myself coming back to again and again. "Within the fundamental speculative triunity of activity, difference and order, or firstness, secondness and thirdness, semiology is an analysis of order or thirdness… Thirdness is analyzed as idea or sign, as the exchange of information between individual entities, and as interpretation; in other words, thirdness is itself a threefold of sign, object and interpretant. Here, sign occupies the position of firstness because it is the potentiality for interpretation; object occupies that of secondness because it is determinate; and the interpretant occupies that of thirdness because the interpretant has the sign-interpreting or sign-ordering role, and so has the status of a third. [24] Thus for Peirce semiology is the analysis of the triune relation of sign, object and interpretant." It's still a bit obtuse, and one way that I like to think about it is through the experience of communication. You have a possibility space of meaning you want to convey (Firstness of the sign/potential), then you choose specific words that convey that meaning (Secondness of the object), then someone listens to those words and phrases, and then connects those words back to a meaning space (Thirdness of the interpretant mediating between the two). For Peirce, each of the Firstness, Secondness, and Thirdness can also refer to themselves, like you can have a Firstness of Thirdness or Secondness of Firstness. It gets a little bit confusing, but I found the following graphic from Collected Essays in Speculative Philosophy (2021) by James Bradley and edited by Sean McGrath to be very useful. Within the context of immersive storytelling, then it's a semiotic process of communication of meaning where you're able to use all sorts of affordances from game design, literature, social dynamics and relations, music, film, lighting, architecture, dance, theme park design, sensory design, and embodiment. My Elemental Theory of Presence attempts to simplify this into the following: Fire Element of Active Presence: Interactivity, Agency, Game Design Air Element of Mental & Social Presence: Meaning, Semiotics, Language, Possibility, Form, Relationality Water Element of Emotional Presence: Experiential Processes, Story, Film, Music, Cycles, Time Earth Element of Environmental & Embodied...
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    1 ora e 8 min
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