Rudy de Waele has been a busy man. He’s curated 37 of the world’s most notable voices from Mobile & Academia for inclusion in his Mobile Trends 2020 slide deck – a collection of thoughts on where we’ll all be this time next decade:
“I asked some of my personal heroes in mobile to write down their five most significant trends for the coming decade. All of them have been of great inspiration to me during this decade: for their ideas, visions, talent, the capabilities to adapt and the perseverance to succeed whatever the situation.”
Here’s the deck. Hit fullscreen for best viewing experience:
These are my five stand-out ideas from the presentation. What are yours?
Digital garbage collection becomes a (very) lucrative business
Slide 10 / Fabien Girardin / Researcher at Lift Lab
Mobile devices will have sensors added which will enable the capture of local data from temperature to noise and from location to who else is on the room
Slide 13 / Tony Fish / Entrepreneur
Cellular voice dies:
It truly becomes another form of data on the next generation data networks
Slide 30 / Kevin C. Tofel / Managing Editor at jkOnTheRun
Mobiles manifesting AI:
Fulfilling, at last, the vision of “personal digital assistants”
Slide 33 / David Wood / Principal at Delta Wisdom
New sonic experiences:
Augmented reality, 3D sound, will create new mobile audio formats and end user experiences
Slide 41 / Atau Tanaka / Director of Culture Lab
These are my del.icio.us links for July 24th
- LAPP – Light Art Performance Photography –
Must-see timelapse artistry, set in eerie environments where the colours really stand out.
- Eclectic Method –
Recycled video content offered up as pop-art, with some great projects under their belt and lots more to come.
- Open Share Icons and Buttons –
A good idea to redefine sharing on the web with an open-source icon.
- PDF to Excel — 100% Free! –
Why do PR and Creative Agencies insist on releasing work as PDF?
Here’s a solution for that age-old problem.
- New Movie Previews –
Short previews of upcoming and currently showing movies – better than watching a trailer in some instances
These are my del.icio.us links for July 17th
- The Internet of Things starts here – Violet •• Let All Things Be Connected –
Future blog post material…
- Crazy Mouse Spider Thing –
Aaah! Get them off me! Get them off!!
- Welcome to Aviary –
A very powerful blend of Photoshop and Yahoo Pipes, brought to you for free.
- Future Technology – Future Design, Technology, Industrial Design, Car Concept, Futuristic Gadget, and Product Concept –
Interesting site where I found the images used in my most recent blog post. A good source of inspiration for a design-led future.
- Free Teleprompter Software –
Can’t think of a use for this yet, but I’m bound to come across one soon.
I read about Foldit in Wired US yesterday, a game that takes the foundations laid by SETI@home, which uses thousands of computers’ idle time to decode frequencies from Space, and crowdsources solutions to the protein folding problems that are currently baffling the smartest machines in the world.
The difference with Foldit is that it’s not PC idle time that is tapped into here, but players’ idle time. There is no algorithm that can yet match humans’ depth perception; natural ability to recognise patterns; and see causal links in their actions. These traits make us humans the ideal CPU to solve these ‘protein-puzzles’:
Foldit provides a series of tutorials in which the player manipulates simple protein-like structures, and a periodically updated set of puzzles based on real proteins. The application displays a graphical representation of the protein’s structure which the user is able to manipulate with the aid of a set of tools.
As the structure is modified, a “score” is calculated based on how well-folded the protein is, based on a set of rules. A list of high scores for each puzzle is maintained. Foldit users may create and join groups, and share puzzle solutions with each other; a separate list of group high scores is maintained.
Indeed, the creators report that groups working together have led to breakthroughs not matched by either individuals or heavy-duty computing power. It is the power of the engaged-masses that the Baker Lab, research team behind the game are hoping will bring forth potential cures for HIV/AIDS, Cancer and Alzheimer’s.
More info on the game and it’s background on their Science Portal.
Does this remind anyone of War Games?
AR is considered by some to be a logical progression of VR technologies (Liarokapis, 2006; Botella, 2005; Reitmayr & Schmalstieg, 2001), a more appropriate way to interact with information in real-time that has been granted only by recent innovations. Thus, one could consider that a full historical appraisal would pertain to VR’s own history, plus the last few years of AR developments. Though this method would certainly work for much of Wearable AR- which uses a similar device array- the same could not be said for Mobile AR, since by its nature it offers a set of properties from a wholly different paradigm: portability, connectivity and many years of mobile development exclusive of AR research come together in enhancing Mobile AR’s formal capabilities. Despite the obvious mass-market potential of this technology, most AR research continues to explore the Wearable AR paradigm. Where Mobile AR is cousin to VR, Wearable AR is sister. Most published works favour the Wearable AR approach, so if my assessment of Mobile AR is to be fair I cannot ignore its grounding in VR research.
As aforementioned, VR is the realm at the far right of my Mixed Reality Scale. To explore a Virtual Reality, users must wear a screen array on their heads that cloak the user’s vision with a wholly virtual world. These head-mounted-displays (HMD’s) serve to transpose the user into this virtual space whilst cutting them off from their physical environment:
The HMD’s must be connected to a wearable computer, a Ghostbusters-style device attached to the wearer’s back or waist that holds a CPU and graphics renderer. To interact with virtual objects, users must hold a joypad. Aside from being a lot to carry, this equipment is restrictive on the senses and is often expensive:
It is useful at this point to reference some thinkers in VR research, with the view to better understanding The Virtual realm and its implications for Mobile AR’s Mixed Reality approach. Writing on the different selves offered by various media, Lonsway (2002) states that:
“With the special case of the immersive VR experience, the user is (in actual fact) located in physical space within the apparatus of the technology. The computer-mediated environment suggests (in effect) a trans-location outside of this domain, but only through the construction of a subject centred on the self (I), controlling an abstract position in a graphic database of spatial coordinates. The individual, of which this newly positioned subject is but one component, is participant in a virtuality: a spatio-temporal moment of immersion, virtualised travel, physical fixity, and perhaps, depending on the technologies employed, electro-magnetic frequency exposure, lag-induced nausea, etc.”
Lonsway (2002: 65)
Despite its flaws, media representations of VR technologies throughout the eighties and early nineties such as Tron (Lisberger, 1982), Lawnmower Man (Leonard, 1992) and Johnny Mnemonic (Longo, 1995) generated plenty of audience interest and consequent industrial investment. VR hardware was produced in bulk for much of the early nineties, but it failed to become a mainstream technology largely due to a lack of capital investment in VR content, a function of the stagnant demand for expensive VR hardware (Mike Dicks of Bomb Productions: personal communication). The market for VR content collapsed, but the field remains an active contributor in certain key areas, with notable success as a commonplace training aid for military pilots (Baumann, date unknown) and as an academic tool for the study of player immersion and virtual identity (Lonsway, 2002).
Most AR development uses VR’s same array of devices: a wearable computer, input device and an HMD. The HMD is slightly different in these cases; it is transparent and contains an internal half-silvered mirror, which combines images from an LCD display with the user’s vision of the world:
There are still many limitations placed on the experience, however: first, the digital graphics must be very bright in order to stand out against natural light; second, they require the use of a cumbersome wearable computer array; third, this array is at a price-point too high for it to reach mainstream use. Much of the hardware used in Wearable AR research is bought wholesale from liquidized VR companies (Dave Mee of Gameware: personal communication), a fact representative of the backward thinking of much AR research.
In their work New Media and the Permanent Crisis of Aura Bolter et al. (2006) apply Benjamin’s work on the Aura to Mixed Reality technologies, and attempt to forge a link between VR and the Internet. This passage offers a perspective on the virtuality of the desktop computer and the World Wide Web:
“What we might call the paradigm of mixed reality is now competing successfully with what we might call ‘pure virtuality’ – the earlier paradigm that dominated interface design for decades.
In purely virtual applications, the computer defines the entire informational or perceptual environment for the user … The goal of VR is to immerse the user in a world of computer generated images and (often) computer-controlled sound. Although practical applications for VR are relatively limited, this technology still represents the next (and final?) logical step in the quest for pure virtuality. If VR were perfected and could replace the desktop GUI as the interface to an expanded World Wide Web, the result would be cyberspace.”
Bolter et al. (2006: 22)
This account offers a new platform for discussion useful for the analysis of the Internet as a component in Mobile AR: the idea that the Internet could exploit the spatial capabilities of a Virtual Reality to enhance its message. Bolter posits that this could be the logical end of a supposed “quest for pure virtuality”. I would argue that the reason VR did not succeed is the same reason that there is no “quest” to join: VR technologies lack the real-world applicability that we can easily find in reality-grounded media such as the Internet or mobile telephone.
Presently, most AR research is concerned with live video imagery and it’s processing, which allows the addition of live-rendered 3D digital images. This new augmented reality is viewable through a suitably equipped device, which incorporates a camera, a screen and a CPU capable of running specially developed software. This software is written by specialist software programmers, with knowledge of optics, 3D-image rendering, screen design and human interfaces. The work is time consuming and difficult, but since there is little competition in this field, the rare breakthroughs that do occur are as a result of capital investment: something not willingly given to developers of such a nascent technology.
What is exciting about AR research is that once the work is done, its potential is immediately seen, since in essence it is a very simple concept. All that is required from the user is their AR device and a real world target. The target is an object in the real world environment that the software is trained to identify. Typically, these are specially designed black and white cards known as markers:
These assist the recognition software in judging viewing altitude, distance and angle. Upon identification of a marker, the software will project or superimpose a virtual object or graphical overlay above the target, which becomes viewable on the screen of the AR device. As the device moves, the digital object orients in relation to the target in real-time:
The goal of some AR research is to free devices from markers, to teach AR devices to make judgements about spatial movements without fixed reference points. This is the cutting edge of AR research: markerless tracking. Most contemporary research, however, uses either marker-based or GPS information to process an environment.
Marker-based tracking is suited to local AR on a small scale, such as the Invisible Train Project (Wagner et al., 2005) in which players collaboratively keep virtual trains from colliding on a real world toy train track, making changes using their touch-screen handheld computers:
GPS tracking is best applied to large scale AR projects, such as ARQuake (Thomas et al, 2000), which exploits a scale virtual model of the University of Adelaide and a modified Quake engine to place on-campus players into a ‘first-person-shooter’. This application employs use of a headset, wearable computer, and a digital compass, which offer the effect that enemies appear to walk the corridors and ‘hide’ around corners. Players shoot with a motion-sensing arcade gun, but the overall effect is quite crude:
More data input would make the game run smoother and would provide a more immersive player experience. The best applications of AR will exploit multiple data inputs, so that large-scale applications might have the precision of marker-based applications whilst remaining location-aware.
Readers of this blog will be aware that AR’s flexibility as a platform lends applicability to a huge range of fields:
- Current academic work uses AR to treat neurological conditions: AR-enabled projections have successfully cured cockroach phobia in some patients (Botella et al., 2005);
- There are a wide range of civic and architectural uses: Roberts et al. (2002) have developed AR software that enables engineers to observe the locations of underground pipes and wires in situ, without the need schematics
- AR offers a potentially rich resource to the tourism industry: the Virtuoso project (Wagner et al., 2005) is a handheld computer program that guides visitors around an AR enabled gallery, providing additional aural and visual information suited to each artefact;
The first commercial work in the AR space was far more playful, however: AR development in media presentations for television has led to such primetime projects as Time Commanders (Lion TV for BBC2, 2003-2005) in which contestants oversee an AR-enabled battlefield, and strategise to defeat the opposing army, and FightBox (Bomb Productions for BBC2, 2003) in which players build avatars to compete in an AR ‘beat-em-up’ that is filmed in front of a live audience; T-Immersion (2003- ) produce interactive visual installations for theme parks and trade expositions; other work is much more simple, in one case the BBC commissioned an AR remote-control virtual Dalek meant for mobile phones, due for free download from BBC Online: