I've spoken to Whitehead scholar Matt Segall a couple of times before, and I was really keen to catch up with him to hear his process-relational and process philosophical takes on AI, intelligence and consciousness. I was responding to a piece he recently wrote titled " The Philosophical Implications of Artificial Intelligence" (full citation below), and it's helped me to ground the conversation about AI that sometimes feels like it easily gets untethered from reality, or just collapses the complexity of humans down into computational machines. There's a lot of more pernicious metaphors that reductive materialists have about humans are, and so this conversation helps to recenter the AI Hyped conversations into a much more process-relational context.



Segall, M.D. (2025). The Philosophical Implications of Artificial Intelligence. In: Hoffmann, C.H., Bansal, D. (eds) AI Ethics in Practice. Integrated Science, vol 35. Springer, Cham. https://doi.org/10.1007/978-3-031-87023-1_8

I spoke with the curators of Tribeca Immersive 2025 Jazia Hammoudi and Casey Baltes to unpack the 11 impact project that are being feature in this year's selection. We also talk about Tribeca's new collaboration with Onassis ONX and Agog, how the selection process has changed over the years.







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Music: Fatality

I spoke with Raindance Immersive curators Mária Rakušanová, Joe Hunting, Fangs about the 2025 selection of projects across 8 different categories. Tune in to get all of the latest tips from this year's selection that is mostly happening on social VR platforms including VRChat, Resonite, and Orion Drift.







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Music: Fatality

I spoke with producer Victor Agulhon of Targo Stories about their collaboration with TIME Studios to produce D-Day: The Camera Soldier, which he calls the most technologically advance immersive documentary produced up to this point. They took footage from D-Day and spatialized it in a number of different ways, and really pushed the frontiers of innovation for spatial storytelling. It released on the Apple Vision Pro last Tuesday, and it's definitely a project that you should check out if you have access to an AVP.







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Music: Fatality

The Portland Art Museum Center for an Untold Tomorrow (PAM CUT) has acquired the Tomorrow Theater in South East Portland, and is curating 25 unique events a month and over 250 unique events a year. Most of the experiences are grounded within the cinematic tradition, but there are usually ways that they are adding more levels of participation, community-building, and immersion. Portland Art Museum will be expanding in November to add even more immersive art and immersive storytelling programming as a part of their Plus Plus month-long festival, and the Tomorrow Theater is serving to onboard Portland audiences into the beginning steps of more immersive, experiential, participatory, and social types of entertainment. I had a chance to speak with director Amy Dotson to get a lot more context of how PAM CUT came about, and their vision for where they want to take it in the future.







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Music: Fatality

We are in the middle of a hype cycle peak around AI as there are a lot of hyperbolic claims being made about the capabilities and performance of large-language models (LLMs). Computational Linguist Emily M. Bender and Sociologist Alex Hanna have been writing academic papers about the limitations of LLMs, as well as some of the more pernicious aspects of benchmark culture in machine learning, as well as documenting some of the many environmental, labor, and human rights harms from both the creation and deployment of these LLMs.



Their book The AI Con: How to Fight Big Tech’s Hype and Create the Future We Want comprehensively deconstructs the many of the false promises of AI, the playbook for AI Hype, and the underlying dynamics of how AI is an automation technology designed to consolidate power. Their book unpacks so many vital parts of the Science and Technology Studies narrative around AI including:




How big technology companies have been using AI as a marketing term to describe disparate technologies that have many limitations



How we anthropomorphize AI tech from our concepts of intelligence



How AI Boosting companies are devaluing what it means to be human in order to promote AI technology



How AI Boosters and AI Doomers are two sides of the same coin of assuming that AI is all-powerful and completely inevitable



How many of the harms and costs associated with the technology are often out-of-sight and out-of-mind.




This book takes a critical look at these so-called AI technologies, deconstructs the language that we use as we talk about these automating technologies, breaks down the hype playbook of Big Tech, restores the relational quality of human intelligence that is often collapsed by AI. It also provides some really helpful questions to ask in order to interrogate the hyperbolic claims that we're hearing from AI boosters. We talk about all of this and more on today's episode, and I have a feeling that this is an episode that I'll be referring back to often.



This is also the 100th Voices of VR podcast episode that explores the intersection of AI within the context of XR, and I expect to continue to cover how folks in the XR industry are using AI. Being in right relationship to every aspect of the economic, ethical & moral, social, labor, legal, and property rights dimensions of AI technologies is still an aspirational position. It's not impossible, but it is also not easy. But this conversation helps to frame a lot of the deeper questions that I will continue to have about AI. And Bender and Hanna also provide a lot of clues to the red flags of AI Hype, but also some of the core questions to ask that help to orient around these deeper ethical questions around AI.



I've also been editing unpublished and vaulted episodes of the Voices of AI that I did with AI researchers at the International Joint Conference of Artificial Intelligence that I did back in 2016 and 2018 (as well as a couple of other conferences), and I'm hoping to relaunch the Voices of AI later this summer to look back at what researchers were saying about AI 7-9 years ago to give some important historical context that's often collapsed within the current days of AI Hype (SPOILER ALERT: this is not the first nor the last hype cycle that AI will have).



I'll also be engaging within a Socratic Style Debate where I'll be mostly arguing critically against AI on the last day of AWE (Thursday, June 12th, 2:45p) after the Expo has closed down, and before the final session. So come check out a live debate with a couple of AI Boosters and an AI Doomer. Also look for an interview that I just recorded with Process Philosopher Matt Segall diving more into a Process-Relational Philosophy persp...

The Creature label features a lot of really innovative VR and MR games with rich and innovative gameplay mechanics, and they just featured three new games, a new DLC pack, and lots of updates about the games in a half-hour Creature Feature gaming showcase hosted on IGN. I had a chance to catch up with Creature CEO and Creative Director Doug North Cook to unpack all of the different announcements as well as do a bit of vibe check on the state of the VR industry (and responds a bit to Chris Pruett's GDC talk on Meta and the shifting gaming ecosystem).




Announcement of Adepts Arena game



Laser Dance update of entering into Early Access in Fall



Thrasher is coming to Steam Deck



New The Light Brigade mixed reality trailer



Neat Corp recap with Budget Cuts Ultimate



Neat Corp recap Garden of the Sea on Switch and Steam Deck



Announcement of Crossings with a Steam Next Fest demo on June 9th



Wordbound Teaser



Prison Boss Prohibition launches on July 10, 2025



Compass shout out at the end of the Creature Feature of Trebuchet



Announcement of Maestro DLC of Duel of the Fates from Star Wars Episode #1



New Starship Home accolades trailer



Equip soundtrack for Starship Home coming to 100% Electronica label



Creature Feature Bundle launches today with a 30% discount featuring Maestro, The Light Brigade, Fujii, Budget Cuts Ultimate, Garden of the Sea and Prison Boss VR



Horseshoes Hotdogs and Hand Grenades developer Anton Hand says, "It's tough finishing stuff." No additional context, but could the full release of H3VR 1.0 be coming soon? And/or a future Creature collaboration?



Sidequest Indie Spotlight Summer 2025 launches on YouTube



We Are One shout out.



Announcement of Deadly Delivery entering a closed beta period




Here is the Creature Feature 2025 Summer Showcase that premiered on the IGN YouTube channel today at 9a:




https://www.youtube.com/live/OEnj5u_Wht0?t=1765s








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Music: Fatality

NOTE: This sponsored episode was produced by Kent Bye in partnership with PHI and participation from Agog: Immersive Media Institute and immersive artist Peter Burr.

PHI and Agog: Immersive Media Institute are collaborating on the PHI Immersive: XR for Impact residency program that will be running for four weeks from March 2 to 27, 2026 in Montreal, Canada. It was first announced on March 6th, and it's open to "artists, groups, or collectives residing in North America (including Canada, the United States, Mexico, Greenland, Saint-Pierre and Miquelon, and Bermuda)." The submission deadline is June 24th, 2025 (11:59 EDT), and there are a couple of information sessions coming up next week on Tuesday, May 13th (French) and Thursday, May 15th (English), and you can find the Zoom links on the application page (or video recordings if it's after May 15th).

I think this is a very unique opportunity that will be of interest to the Voices of VR podcast audience since the selected artist(s) will be invited to spend a month collaborating with PHI Studio over four weeks towards developing an initial prototype. Here's how they describe it:

Focusing specifically on the development phase of a project over the course of four weeks, the selected artist(s), group, or collective will collaborate with PHI Studio experts to conceptualize, plan, and prototype an immersive artwork. The program provides the selected project with personalized support, workspace, the possibility to connect with a community partner and targeted resources to refine the concept, create prototypes, and prepare for potential production.

I had a chance to catch up with Myriam Archard, Chief New Media Partnership and PR at PHI, Amy Seidenwurm, Chief of Programs and Strategy at Agog, as well as Peter Burr, who was the immersive artist selected for the 2025 edition of the PHI Immersive residency. We talk about the collaboration between PHI and Agog, which is bringing a specific impact focus on "transforming narratives through activism, contemporary challenges, and social good." We elaborate a bit more about what it means to use XR technologies and immersive storytelling to empower changemakers. We also talk about best practices and things to avoid in a pitch (be sure to read closely what the submission guidelines are), and a lot of general advice for aspiring immersive artists navigating how to inspire change and provide opportunities to make a positive difference on the many different challenges facing us today. We also cover a lot of other logistics of the PHI Immersive: XR for Impact residency, including Burr's personal reflections on what the experience was like. Agog also is interested in supporting other immersive residencies, and perhaps starting some of their own residency programs, and so this collaboration with PHI may be an indication for the types of future work that they are looking to support.

Again, the deadline is June 24th, 2025 (11:59p EDT), and be sure to check out the information session on May 13th at 11am EDT for French speakers, and May 15th at 11am EDT for English speakers. You can tune in to the podcast or check out the transcript down below for more details.

Walkabout Mini Golf is really an incredible accomplishment of VR design with its fusion of worldbuilding, compelling physics-based gameplay, the unique social dynamics and community it's able to cultivate, and over 4 1/2 years of consistent DLC courses every 8 weeks or so. They have launched 33 total courses, and just recently announced that they're bumping the price by $10 and adding 6 DLC courses into the base game so that is now 14 courses for $24.99. It's still an incredible deal, especially considering that there are still 19 DLC courses available, which has helped earn the #20 spot on Meta's best-selling Quest apps of all time.



During my trip to SXSW, I had a chance to speak with the original solo developer of Walkabout Mini Golf, Lucas Martell, who has since grown the Mighty Coconut Studio team to 35 people. We talk about how their design process for courses starts with worldbuilding, but also how his script-writing background has helped to inform how they tell the story of each of these worlds through the evolution of game mechanics and shape language that each course is exploring. After I had a chance to interview Martell, I was given access to all 33 of the courses, which I have played through over the past week in order to provide a bit more context on what they've been able to accomplish with Walkabout Mini Golf. It's certainly an achievement within VR design that combines the best part of immersive worldbuilding, convincing gameplay, and compelling social dynamics that keeps players coming back again and again.Be sure to check out the table below which lists the timeline of the release of the 33 different courses that are now available.



OrderCourse NameRelease DateCategory1.1Tourist TrapSep 24, 2020Classic1.1Cherry BlossomSep 24, 2020Classic1.1Seagull stacksSep 24, 2020Classic1.1Arizona ModernSep 24, 2020Classic5Original GothicNov 8, 2020Classic6Tethys StationMar 3, 2021Classic7Bogey's BonanzaJun 10, 2021Classic8Quixote ValleyOct 7, 2021Classic9Gardens of BabylonNov 18, 2021Lost Cities10Shangri-La (Added to Base Game)Dec 16, 2021Lost Cities11Sweetopia (Added to Base Game)Feb 17, 2022DLC12El DoradoJun 2, 2022Lost Cities13LabyrinthJul 28, 2022Licensed IP1420,000 Leagues Under the Sea (Added to Base Game)Sep 29, 2022Jules Verne15MystNov 15, 2022Licensed IP16AtlantisJan 26, 2023Lost Cities17Upside Town (Added to Base Game)Mar 9, 2023DLC18Temple at ZerzuraApr 20, 2023Lost Cities19Journey to the Center of the EarthJun 8, 2023Jules Verne20Laser Lair (Added to Base Game)Jul 20, 2023Evil Lair21Alfheim (Added to Base Game)Sep 7, 2023DLC22Widow’s WalkaboutOct 19, 2023DLC23Meow WolfDec 7, 2023Licensed IP24Around the World in 80 DaysJan 18, 2024Jules Verne25Ice LairMar 7, 2024Evil Lair26VeniceApril 25, 2024DLC27Wallace & GromitJul 25, 2024Licensed IP28Mars GardensSep 10, 2024Original IP298-Bit LairOct 24, 2024Evil Lair30Holiday HideawayDec 5, 2024DLC31Viva Las ElvisJan 16, 2025Licensed IP32Mount OlympusMar 6, 2025DLC33Raptor CliffsMay 1, 2025DLC







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Music: Fatality

asses.masses is a unique, 7-hour, live performance that uses video game logic to expand the narrative possibilities and social dramaturgy of experimental theater. With a single video game controller at the front of a movie theater with lights up so everyone can see each other, the audience must negotiate amongst themselves who will step up to play the next section of a narrative game that spans a wide range of different genres from 8-bit pixel art RPG representing the hyperreal to high-res, 3D open world walking simulators representing a fantasy idealized realm. The audience also has to negotiate how to make hundreds of collective decisions that come up in the game from dialogue tree options to which direction to to go to deciding which set of metaphoric political platform issues that should be prioritized for the ensemble cast of socialist Marxist donkeys. They lean upon the binge-watching culture to split the 7 to 8-hour run time into 10 total episodes split into 2-episode chunks that are broken up by 4 different intermissions where snacks and dinner are provided.



Here's a description of the story that's told in this long-form format:




The unemployed donkeys have one demand: the humans must surrender their machines and give all donkeys their jobs back. But revolution is never easy!



asses.masses is a custom-made video game about labour, technophobia, and sharing the load of revolution, designed to be played from beginning to end in a live theatre. This is gaming as performance, an immersive, cheeky, and highly original work. Brave spectators take turns at the controller to lead the herd through a post-Industrial society, where asses are valued more for their hides than their potential.



Confronting automation-driven job loss, nostalgia as a barrier to progress, and the role of technology in adaptation, we are encouraged to find space between the work that defines us and the play that frees us.



asses.masses is Animal Farm meets Pokémon meets Final Fantasy, as exciting in form as it is in content. No previous gaming (or donkey) experience required.








asses.masses is one of the more unique immersive experiences that I've had a chance to have, especially when it comes to mashing up social behaviors that stem from video game culture, but set within a live theatrical context. I saw asses.masses at PAM CUT (Portland Art Museum's Center for an Untold Tomorrow) here in Portland, OR on March 29th, and I had a chance to remotely catch up with the co-creators Patrick Blenkarn and Milton Lim to unpack their journey of blending video games into how stories are told in a live theatrical performance. We also explore how they're exploring new modes of social dramaturgy that leverage insights from couch co-op, live Twitch streams, and video game logic where part of the performance is automated through the video game itself, but it's augmented by the emergent social dynamics of the audience that end up reflecting main narrative themes of managing flows of power, community-building, collective decision-making, and in the case of our screening some actual revolt against an theater nerd/gamer audience member turned heel.



Overall, the experience allowed the audience to exercise some muscles of social imagination beyond the Capitalist Realism baseline as elaborated by Mark Fisher's work, and there was a turn-taking between the more cathartic mode of Aristotelian drama and breaking the fourth wall of Brecht's distancing effect / alienation effect. The narrative was initially developed to serve a wide range of game-play mechanics in a live theater context, but the spaciousness of the extended run-time allowed them to explore many deeper philosophical, political, and economic topics that most stories do not have the time to ...

Charlotte Mikkelborg is the series director of the Adventure series on Apple TV, which is shot on Apple Immersive Video and co-produced by Atlantic Studios (formerly Atlantic Productions) and Apple. I think it has the strongest storytelling released by Apple so far, and it also has some of the most innovative and cutting edge shots that really show the power of the 180-degree format of Apple Immersive Video.



In this conversation, we cover Mikkelborg's 10-year journey into working with immersive formats starting with 360-degree video, multi-sensory VR, and most recently 180-degree video. We also talk about the emerging grammar of 180-degree filmmaking, and the introduction of close ups, which I feel like work sometimes and other times feels almost too close or can feel a bit uncanny or jarring when changing scales or results in warping or other distortions. We also talk about some of the behind-the-scenes insights about the Adventure series.



One concerning thing that I noticed after watching all of the Apple Immersive Videos released so far is that many of these videos do not contain any credits for who worked on these projects. I did an audit of all 22 of the published Apple Immersive Videos, and I found that 14 of the 22 don't have any credits at all,. Most of these are by Apple Sentity LLC productions, which is presumably Apple's in-house production team. I found that 5 out of the 22 have partial credits, including the four episodes of the Adventure series as well as Man vs. Beast, which features DGA director Ryan Booth. And there are 3 out of the 22 Apple Immersive Videos that have full and complete credits including Submerged that features DGA director Edward Berger, and the Prehistoric Planet Immersive series, which is a co-production with Fairview Portals. See the table below for more information:







It is deeply concerning to me that only 3 out of the 22 Apple Immersive Videos seemingly have full and complete credits. Apple did not provide any comment about why this is or why some of these pieces have no credits, why some have partial credits, and why some have full credits.



It is nice to see at least some credits on the Adventure series, which is a co-production between Apple and Atlantic Studios (formerly Atlantic Productions), but they're only listing the director, executive producer, and key talent while all of the other key creative talent are not being credited. Atlantic Productions did not provide any official comment about why there are only partial credits, while a few other productions have full credits and many other productions have no credits. You can see find a partial a list of some of the Adventure series creative talent on IMDB, and episode 3 protagonist Ant Williams posted a partial list of credits on his Instagram announcement post.



I was able to get some additional context from Mikkelborg about the credits situation, and it does sounds like the co-productions likely have a bit more leeway in dictating what types of credits are shown. While the Prehistoric Planet Immersive series co-produced by Fairview Portals series has full and complete credits, and the Adventure series by Atlantic Studios only has partial credits.



The two Apple Sentity LLC productions that do have credits also happen to be directed by directors who are a part of the Director's Guild of America (DGA). The DGA has specific credits requirements, "For feature films, the Director’s screen credit must be accorded on a separate card, which shall be the last title card appearing prior to principal photography. This credit shall be no less than 50% of the size of the displayed title of the motion picture, or of the largest size in which credit is accorded to any other person, whichever is greater." The rules may be different for immersive productions ...

Ant Williams is a freediving athlete featured in the third episode of The Adventure Series titled "Ice Dive" that's co-produced by Apple and Atlantic Studios (formerly Atlantic Productions). In the episode, Williams attempts to swim a world record distance 182 meters under ice, and I wanted to get some additional behind-the-scenes context on his experience as well as what it was like to have the most intense month of his life condensed down into a 15-minute Apple Immersive Video. Williams is a sports psychologist who wanted to put his theories into practice by taking what he calls "positive, calculated risk-taking challenges" that allow him to deal with overwhelming anxiety, and overcome his fears, uncertainty, and self-doubt.



I also wanted to get some additional context on the production of the episode as Apple has otherwise been pretty tight-lipped about the series, launched with which launched with "Highlining" on the same day as the Apple Vision Pro launch on February 2, 2024. Apple Immersive Video is a different format than spatial video. Apple says "spatial videos are captured in 1080p at 30 frames per second in standard dynamic range," and these are what can be captured by either an iPhone or Apple Vision Pro, and they are displayed in a windowed frame where you see the stereoscopic effects. Apple describes Apple Immersive Video as "a remarkable storytelling format that leverages 3D video recorded in 8K with a 180-degree field of view and Spatial Audio to transport viewers to the center of the action."



Apple Immersive Video is much closer to what we've seen from the XR industry and VR 180 filmmakers from the past decade, and Apple's technology is likely derived from their 2020 acquisition of NextVR. NextVR focused on live stereoscopic broadcasts of sports events on VR headsets starting with the Samsung Gear VR and Oculus Rift in 2014.



A lot of the technical specifications of the Apple Immersive Video format have not been officially confirmed by Apple, but there are a couple of breadcrumbs that give us some more details. Thanks to iFixIt's breakdown of the Apple Vision Pro on February 7, 2024, then we know the microOLED display size is reported as "the lit area totals 3660 px by 3200 px." 360 Labs' Mike Rowell wrote a post on March 19, 2024 saying, "Apple Vision Pro’s screens are a whopping 3660 x 3200 pixels per eye. Although they haven’t made any official claims as to the FOV of the headset, 3rd party developers claim that it looks to be around 100° horizontal. With each screen having 3,660 horizontal pixels, this would mean that a 180° immersive experience would need about 6,000 x 6,000 pixels per eye to saturate the display. Apple’s own immersive experiences have been reported at being 4320x4320 per eye at 90fps and in HDR10."



The reporting of Apple's immersive experiences was detailed by Mike Swanson, who announced a spatial video tool on March 7, 2024 that leverages the Apple's AVFoundation to properly encode video into the "multiview extensions of the HEVC codec, known as MV-HEVC" format. Swanson says in his post, "I receive multiple messages and files every day from people who are trying to find the limits of what the Apple Vision Pro is capable of playing. You can start with the 4320×4320 per-eye 90fps content that Apple is producing and go up from there. I’ve personally played up to “12K” (11520×5760) per eye 360-degree stereo video at 30fps."



Another clue can be found in the Blackmagic URSA Cine Immersive camera that was announced on June 10, 2024, which says, "The sensor delivers 8160 x 7200 resolution per eye with pixel level synchronization and an incredible 16 stops of dynamic range, so cinematographers can shoot 90fps stereoscopic 3D immersive cinema content to a single file."



Incidentally, Currents director Jake Oleson told me that he used Sw...

CURRENTS is a stunning debut from Jake Oleson as it pushes the grammar of 180 filmmaking to new heights. Oleson comes from the world of advertising and music videos, and he went through a rigorous pre-production process where he had actually already edited the entire piece before shooting any production footage by using still stereoscopic test photos and videos. The insights from this pre-production animatic are evident, as there are some of the most stylized movements I’ve seen, and he managed to not trigger any of the common motion sickness triggers. There are some really powerful cuts that seamlessly juxtapose different environmental contexts for dramatic effect.



CURRENTS tells the story of a young woman who leaves her Vietnam rural countryside home to the city seeking more economic opportunity. Aside from a short exchange with her mother at the beginning, the rest of the entire story is told through spatial storytelling, driving electronic music that was also composed by Oleson, and a shader-filled point-cloud scene with some animated motion capture. It's really quite a beautiful piece that gave me a glimpse of the next phase of cinematic immersive filmmaking.



It's also worth mentioning CURRENTS in the context of other musical experiences since Oleson is both a musician who has a background in music video production. The music was specifically composed to serve the narrative in this instance, but it will be interesting to see more and more immersive music videos start to crop up now that the Apple Immersive video format is starting to get licensed out to folks like Vimeo, who commissioned this piece.



Apple's push for 180-degree immersive video has brought up some broader discussions about the merits and downsides to 360-degree films. From a creator's point of view, 180-degree filmmaking is a lot easier to do logistically as it is closer to existing production pipelines, which is brilliantly demonstrated in CURRENTS.



It's also worth noting that CURRENTS has a point-cloud scene that shows up in the middle of their cinematic 180-degree immersive video that represents a key turning point in the story and journey of the main protagonist. There's also some really poetic shaders that are translating the static scenes into even more of a dynamic visual representation of the business and chaos of the city. It has quite a narrative impact when juxtaposed against the photorealistic footage and custom-written and driving musical score.



Even though the Apple Vision Pro has been out for over a year now, SXSW is still an opportunity for folks to check out the Apple Vision Pro for the first time. It was probably easiest to check out on CURRENTS who had six different headsets and was using the Sandwich Vision Theater app in Kiosk mode to seamlessly jump into the experience bypassing the time-consuming eye tracking calibration step.



I was also particularly interested in Olson's production pipeline, the camera gear and kit costing less than $5k (Canon EOS R5 Camera Body, RF5.2mm F2.8 L Dual Fisheye, & DJI Ronin-SC Gimbal Stabilizer), Topaz Video AI Enhancer upscaling tools to go from 8k to 16k, and all of the due diligence that he did to understand and mitigate motion sickness triggers. The end result feels like a music video that tells a timeless story of the tension between rural and urban homes and what is lost in the pursuit of career opportunities.



Below are links to of all of my SXSW 2025 coverage by the Voices of VR podcast. And be sure to check out this Linked article: Recap of All SXSW XR Experiences Including Voices of VR Podcast Interviews with Every Artist.



SXSW XR Experience Competition




[Overview of all of the SXSW 2025 XR Experience Program] - #1529: SXSW 2025 XR Experience S...

OTO'S PLANET was being exhibited on the Quest at SXSW, but I had a chance to check out the Apple Pro Version ahead of the SXSW festival and I felt like I much preferred it. OTO'S PLANET picked up the second place prize at Venice Immersive, but I missed being able to interview the director Gwenael Francois there.



I did manage to catch up with Francois at SXSW to talk more about the development of this beautiful interactive narrative that uses table top-scale animation, and requires the user to rotate a tiny planet around in order to follow the story of Oto, his pet, and the story of a colonizing intruder who arrives.



I found that the interactions were much smoother and immersive on the Apple Vision Pro than the Quest, and the higher resolution also popped a lot more. The Apple Vision Pro version defaults to mixed reality while there is an opportunity to see it in fully immersive VR on the Quest. I normally would prefer the Quest version, but having the better quality mixed reality cameras and overall much higher resolution in the Apple Vision Pro.



Apple also featured Oto's Planet, and DPT CEO Nicholas Roy shares in this interview that they've actually received more purchases on Apple devices than Meta's ecosystem. Meta’s storefront has been flooded by Meta's own first-party Horizon world as well as App Lab apps, and so it’s very telling and reflective of the current state of distribution to have more sales for the Apple Vision Pro than Meta Quest.



It is promising to see Apple get more serious at immersive storytelling as there was a session titled "Create Interactive Stories for Apple Vision Pro" on Tuesday morning featuring three representatives from Apple.







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Music: Fatality

Another Apple Vision Pro piece at SXSW 2025 was COSMOS IN FOCUS by Atlantic Studios (recently rebranded from Atlantic Productions). This was a short and sweet educational experience that allowed you to explore the imagery of the James Webb telescope, but it's both spatially contextualized in the night sky planetarium style. It is also fused together with other deep space satellite images at different scales of resolution creating this really cool zoom effect that's like a mash-up of the film POWERS OF TEN with Google Maps tiles, but in the context of space imagery. It's also an experience that demonstrates the power of collaborating with scientific researchers and subject matter experts as they're able to translate contextless 2D jpgs into an incredibly powerful immersive experience that not only preserves the original context, but leverages the immersive medium to provide many more learning opportunities. Many immersive stories on the festival circuit will shy away from more explicit didactic content or learning experiences, but this piece leans into it by reducing the choices a user can make streamlining the user journey. I also really enjoyed my conversation with Aditi Rajagopal, who led this project after transitioning from R&D and AR storytelling at Meta to immersive storytelling at Atlantic Studios.







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Music: Fatality

There was an projection-based immersive experience called ORIGINS - LIFE'S EPIC JOURNEY that was originally formatted for a digital art museum in Germany called Kunstkraftwerk Leipzig, but it was translated into a three-channel video installation that was showing in a small conference room at SXSW. I only saw the video version at SXSW, and so I have not experienced the piece within its originally-intended, fully-immersive context. But it's collaboration between digital artists Markos Kay, Martin Salfity, Thomas Vanz, Davy Evans, Gokhan Tekin, Susi Sie, Teun van der Zalm and Roman Hill to tell the story of the evolution of life from the smallest quantum to biological to galactic scales, each using different visual techniques to create these 25 different chapters. I had a chance to chat with Paolo Loeffler to get a bit more context on the evolution of Kunstkraftwerk Leipzig, and how ORIGINS was developed and commissioned to play in these projection-based immersive exhibition spaces.







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Music: Fatality

FLY TO YOU tells the story of Kang Songjeol who was separated from her childhood friends in the aftermath of the 1950 split between North and South Korea. Oral history interviews were captured in 360 video, and her childhood memories were recreated with point scans derived from Leici BLK360 LiDAR scans combined with Azure Kinect volumetric captures. The experience manages to virtually fly over the restricted demilitarized zone into North Korea, which is something that is illegal from them to do physically but serves as a symbolic gesture towards reunification. There are still thousands of families hoping for an opportunity to be reunited, and there's a beautiful spatial memorial that brings home that point at the end of this piece. I had a chance to unpack it all with co-directors Sngmoon Lee and Youngyun Song







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Music: Fatality

SYMPHONI is a brand new hand-tracked rhythm game that was inspired by the mechanics of conducting a symphony. It was directed by Ingram Mao and developed by a number of undergrads and graduates of the USC Games program. This game also goes from mixed reality into fully immersive VR as you progress through each of the stages, but it's a really fresh take within the rhythm game genre as I found myself playing for over an hour on my first playthroughs. Mao comes from an interior design and architecture background, but also thinks very deeply about the game mechanics and innumerable tradeoffs to be navigated through the game design process, and so it was a real pleasure to have a chance to dig into the weeds of the process of developing this experience.







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Music: Fatality

ECHOVISION is the latest experience from multi-disciplinary artist Jiabao Li that has three major parts. The first part is a mobile-phone based mixed reality experience that does a metaphoric translation of echolocation by using LiDAR to detect your immediate physical surroundings, and then reveals it with a rippling shader that is voice activated. The second part is a video that poetically visualizes different bat calls that have been identified by AI into different contextual domains, and there's a really awesome haptic couch experience that goes along with it. The last part is a field trip to the Congress Street bridge to watch the emergence of hundreds of thousands of bats come out at night as they go to eat. I caught up Li to hear more about all of her interdisciplinary and interspecies collaborations on this piece.







This is a listener-supported podcast through the Voices of VR Patreon.



Music: Fatality

There were a number of pieces at SXSW that were centered around embodied interactions including HONEY FUNGUS, which is a series of interactive embodied experiments telling a broader story of cultivating intimacy with ecology. This piece leans more into embodied dream logic rather than clearly articulating a narrative journey, and I had a fascinating conversation with Jonah King who decoded the underlying symbolism. King’s first step of his creative process was to go down a rabbit hole researching queer ecology and the latest research on fungi, and he wrote an essay titled "Unfathomable Intimacies" that lays out his original inspirations. One thing that really stuck with me from the experience was this intriguing AI mash-up of Smithsonian Field Research and amateur erotica designed in order to cultivate a new form of ecological intimacy with the world around us. I appreciated this experience a lot more after having a chance to learn more about additional context provided on the website as well as insights gained from my conversation with King. To me the dream logic in this piece leans a little bit more into personal symbols that need some decoding rather than more universal archetypes that are easier to project the intended meaning upon. But I always love learning more about Fungi since they represent so many paradigm-shattering insights.







This is a listener-supported podcast through the Voices of VR Patreon.



Music: Fatality