<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/image19_small.jpg" alt="" /></figure>The world of academia now boasts a number of newly-minted programs focused on immersive reality. For this week’s post we reached out to Joseph Amodei, a professor of Immersive Media at Chatham University in Pittsburgh and asked them to share some insights and highlight student work. 
<figure><a href="https://musick.digital/" target="_blank" rel="noreferrer noopener"><img src="https://lh6.googleusercontent.com/JekqVk5KFdc7wbFRzlXKUZlz45fQ2QmcljkLJ-ki5of2kOemTExz23pIjkmi_Ga5iNIj0Ga5QRDW5CUl6Xeer6kv15pWk0i2m5Ku_gBo4tDdXCFeK9xEqbX9SwqwBhwdCfS1kBNG" width="533" height="349" alt="" /></a><figcaption>Augmented Reality work by Alex Musick</figcaption></figure>Thanks for joining us, Joseph! What have you been working on lately?
At the moment I am working on projects that tackle gerrymandering through game-based performance (<a href="https://www.packingandcracking.com/">Packing and Cracking</a>), Vaccine advocacy and Access through <a href="https://freethevaccine.org/">Free the Vaccine</a> and other local Pittsburgh-based groups, and stitching together archives of care in the AIDS crisis and the COVID-19 pandemic through a project called <a href="http://lyambgabel.com/dancefloor">the dance floor, the hospital room and the kitchen table.</a> The last project is still in early redevelopment and will take the final form of a browser-based VR archive and an immersive theater performance.
<figure><a href="http://lyambgabel.com/" target="_blank" rel="noreferrer noopener"><img src="https://lh3.googleusercontent.com/EaJnX0QePoV3Wn1DuSasifXYmeVEantxTNHUOnJNF0fJYavQrsSHbsKcTFxY89p8rJ-GnsXwPgIpno_htdUb63_TM1vun76daTBGn6_egdUUCx-g1vE8S8FOevhK_Wqyo8zcFMWG" width="640" height="305" alt="" /></a><figcaption>the dance floor, the hospital room, and the kitchen table, Joseph Amodei and Lyam Gabel</figcaption></figure>I teach in the <a href="https://www.chatham.edu/academics/undergraduate/immersive-media/">Immersive Media program</a> at Chatham University in Pittsburgh which is an interdisciplinary program equipping students with knowledge of virtual reality and augmented reality technology, architecture, 3D modeling, game development engines, writing, and design thinking to prepare them for careers in immersive media creation. 
At Chatham I teach how to work with the above technologies and, just as importantly, how to implement them in many fields with a critical eye for how they can best be leveraged to produce a more justice-oriented world. I also collaborate with students for my research and arts practice to give them a lens into how I specifically interface with immersive media in the expanded field.
<figure><a href="https://carsoncuster.cargo.site/" target="_blank" rel="noreferrer noopener"><img src="https://lh4.googleusercontent.com/z7u6vTQsuIiHgekFovlfJNUIkQP3f-T9J5phMM6bXvE1pObO3XDdAOw9uzCRmaPgBtA521tbcQTZ96dgyXfxDK0GFSA1SQTYhmyfIgikCw2koXGmQauJ7ZsGB4NZ-3onZ7G3GdrH" width="640" height="303" alt="" /></a><figcaption>Virtual Reality work by Carson Custer</figcaption></figure>That all sounds fascinating. How did you originally get interested in exploring the world through new media?
I never did anything in the art, performance, or technology world until my undergraduate years at UNC. There, through the help of some wonderful mentors, I learned to connect my ideas to creative and technologically driven artist-activist modes of production. The activist part has only become increasingly more important to me as time has gone on. I come from a low-income background and, as a result, ‘access’ in a broad sense has always been important to how I work with technology. I like working at the forefront of emerging technology because I can freshly explore these mediums before they become codified into the alienating capitalist cycles of commodification. I believe there is an often-overlooked opportunity to employ these technologies to create hope and joy via mediated surprises, outlets, and reformulations of tech within everyday life.
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/image25.jpg" alt="" /></figure>What are your students most interested in exploring these days?
My students are interested in all sorts of things! They are interested in using art, design, and technology to work toward social justice ends, and in thinking about where the field of immersive media can keep expanding into. They are also just excited about learning. The field is broad and we are always trying out new toolkits, techniques and modes of making across AR/VR/XR spaces. 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/image28.jpg" alt="" /></figure>What are your thoughts about the increased adoption of VR/AR environments for education, vocation and recreational usage? 
I think it’s great! There have long been flight simulators used for pilots to learn to fly and I think AR/VR tech can eventually be used to help others learn to do anything. There is a lot of excitement around thinking about how safety can be improved in workplace training. For example, underwater welding will always be dangerous, but wouldn’t it be great if you could log a couple of hundred virtual hours before you had to go and give it a try in a dangerous real life situation. There is also great possibility for immersive media in healthcare. My insurance company already offers wellness training in a gamified application and it makes it much more engaging and fun! Although I never thought I would end up spending time playing a game about sleep hygiene I actually did and ended up walking away with some common-sense tips I may not have retained from simply reading an article. Of course these technologies are already being used in helping surgeons train, too and I think moving forward we will see AR/VR become more integrated into all sorts of new ways. On the personal health front we are even seeing AR/VR move into the recreational fitness space. Of course, there are fun workout/dance games like Beat Saber, but you also see exercise machines increasingly having something of an XR component. Here’s an example of an aerobic machine that was donated to the Immersive Media program, and it is a self-styled VR flying as exercise machine. It’s fun and also makes you engage your core.
<figure><img src="https://lh6.googleusercontent.com/zTOB649BknIsGWxgJICmj38-IW3bSMK5dlR3lQfn6pRDgJgXT-W_xE_h28cXZ6JStv6VMSPXxDAHSfdSzvMBopV4XPAIEb9wJF7RYuQ7bm4wph68uJhF5fR2DSMi_hs_BUlcPQh5" width="640" height="319" alt="" /></figure> What are some of the most interesting applications of emerging immersive technologies you have recently come across?
I have long been interested in depth-capture technologies and photogrammetry. The new Ipads have a Lidar sensor that can capture reality in 3D in remarkably accurate and quick ways. While Ipads are still expensive it does mean I no longer have to develop a custom capture backpack that had a battery supply, waterproofing, a laptop, and a kinect to do the same thing. And before that I was able to use the front-facing depth cameras on iphones (often used as part of the security feature face-ID) to make collages of depth data. Like in my artwork <a href="https://vimeo.com/335437198">Point Cloud Gardens</a>. 
<figure><img src="https://lh4.googleusercontent.com/Pr52efur6bsQomBHQ0mbHjLZMKbdkNl7AaeRWJOcq68AD4-vgoNWTH1si75NEJjRR1wLc_ayHcL9XjHz-O6HICH27m-wBizjyZEeTAeRgBU_ee4sXl7bAZR6FnSK6KQBAe-QKNa2" width="624" height="325" alt="" /><figcaption>Packing and Cracking: Joseph Amodei with Rachel Karp and Josh Kery</figcaption></figure> Super cool! Can you drill down a bit on the participatory part of your new project and introduce any collaborators? 
Do we choose our politicians, or do our politicians choose us? Packing and Cracking is an interactive mapmaking event about gerrymandering: the pervasive practice of politicians choosing their voters rather than the other way around. Through participatory drawing and map-drawing games, Packing and Cracking uses critical cartography, gerrymandering history, and interviews with politicians and reformers today to show how easy and disenfranchising gerrymandering can be and ask what, if anything, we should do about it. 
<figure><a href="https://www.rachelkarp.com/" target="_blank" rel="noreferrer noopener"><img src="https://lh3.googleusercontent.com/CuW5e3SgxZySv2nzYJbQFLTU2NCooUByuk2FwvR16u580uN7arUvHTC0qwKdio2SE0shSoZSNM4yBSXfPrdbPV-0B6oy13QbZYebHNbWaVTPlLdnvuWq5E618QDpVi_0k0QO79B2" width="543" height="266" alt="" /></a><figcaption>Packing and Cracking: Joseph Amodei with Rachel Karp and Josh Kery</figcaption></figure>This was an in-person drawing game based theater performance that when the pandemic hit, my collaborators and I shifted it to an online performance. We translated all the in person games into digital ones through a combination of Zoom, a custom “game page” website, and projection design software. This piece and others are in this exhibition of all of our work: <a href="https://freethevaccine.org/exhibit/gallery/">Creativity vs. COVID: Ending the Pandemic for Good</a>
 These are quite civically engaged projects. What are your thoughts on the creative technologist's role when it comes to commentary and critique?
The creative technologists role ought to be one of responsibility. This means working in ideas of intersectionality to help audiences consider structures of power while actively trying to dismantle these established structures towards more justice-oriented ends. I think a lot about race, gender, and class disparities in tech and I think the patterns are established early. For example, it is important who exactly has access to these tools and platforms and who is encouraged to explore them. As a white, genderqueer person I try to understand where I have privileges and where I do not and do my best to listen, keep learning, and apply my knowledge to help those around me and in my various communities. So, in certain ways, the role of the creative technologist is not that different than any other responsible citizen, it just means I often work with unique skills and tools in varied contexts.
Thank you so much for speaking with us today Joseph! 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/image1.gif" alt="" /></figure> 
<figure><img src="https://lh5.googleusercontent.com/10OXLfZzJ__pbEKMkrQHGHTbVqEmmN7sLFxybWQG6FKRplU4i8rWiYlEcinBd0y3VuF-iha5WADWCatikDsPGgoa0SDTdyeE5mVakPadABLFDJHVKh4e-cRrafDmnF92pen2z5BH" width="384" height="576" alt="" /></figure>Joseph Amodei (they/them) is a new media artist, theater designer, educator, and activist. Joseph conceives of art as a powerful epistemic and emotional tool for examining assumed realities. Their work combines innovative technology, extensive research, and hope for alternate futures to invite audiences into a communal process of debriefing and re-learning. Joseph grew up in North Carolina, where they received a BFA in Studio Art from UNC-Chapel Hill. Joseph completed their MFA in Video and Media Design at Carnegie Mellon's School of Drama. Currently, they are a professor of Immersive Media at Chatham University in Pittsburgh. <a href="http://www.jamodei.com" target="_blank" rel="noreferrer noopener">www.jamodei.com</a>

Amodei 6

Amodei 10

Immersive Media 101

<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/14show-1_2021-02-03-024524.jpg" alt="" /></figure>Here at Britelite we are always on the hunt for art that engages audiences by creating mixed-reality experiences. Since 2006, the <a href="https://island6.org/liudao" target="_blank" rel="noreferrer noopener">island6</a> collective has been doing just that. We sat down with one of the founders to dig a little deeper. . . 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/11island6.gif" alt="" /></figure> So, let's start at the beginning! Please introduce our readers to the collective and describe some of the ideas you are tackling.
<a href="https://island6.org/liudao" target="_blank" rel="noreferrer noopener">island6</a> or Liu Dao in pinyin, is an art collective of tech-geeks and creative talents driven by innovation and interaction. The original platform was established by Thomas Charvériat, Zheng Guoyang (a trained biologist!) and Kang Jingfang back in 2006. It started off as a Shanghai-based artist residency program which has now evolved into an art lab that draws on a network of local Chinese artists and international curators. The identity of Liu Dao was established with the belief that the best method for creating and experiencing art derives not from the success of an individual, but rather by collaborative effort and dialogue. The group places emphasis on interaction in order to engage artists, curators and technicians in the process of creating and experiencing art, with the direct aim of benefiting a young Chinese contemporary art scene promotionally and creatively. The collective works on a flexible open platform process that ensures all artworks are the result of synergetic thought between multiple collaborators. Liu Dao explores the cultural potential of the convergence of art, technology and science, and promotes cross-cultural dialogue through their unique collaborative philosophy. 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/2f718ff4-f699-4b0f-8581-21e01d56eb72_rw_1920.jpg" alt="" /></figure> 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/18071fd9-e350-434c-b483-d111fa0477c9_rw_1920.jpg" alt="" /></figure>Can you speak a bit about your interest in creating immersive and participatory environments for the public to view your work?
It’s always fun to watch visitors engaging with and experiencing the art, as opposed to just looking at it. The move beyond merely being in conversation with an artwork to actually physically engaging with it is oftentimes delightfully startling to our viewers. You are not looking at art, you’re a part of it, and thus you’re also creating art. At island6 we always try to incorporate an interactive element in our shows with an emphasis on inviting audience participation. In the past we’ve had live phone numbers people can call or text like in <a href="https://island6.org/thecurvedshapeofaporcelainheart" target="_blank" rel="noreferrer noopener">"The Curved Shape Of A Porcelain Heart"</a>, and artworks that react to clapping, like <a href="https://island6.org/allalongthewires" target="_blank" rel="noreferrer noopener">"All Along The Wires"</a>. We also have a few like <a href="https://island6.org/redgreenbluefares" target="_blank" rel="noreferrer noopener">"Red, Green, Blue Fares"</a> that record the watcher via built-in cameras representing the idea of CCTV. The truth is, we always try to innovate with technology, this adds an exciting new range of possibilities that we’re all quite eager to work out. 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/3island6.gif" alt="" /></figure>How many people are part of the island6 collective?
The number of collective members has ranged from 6 to 26 people in the past 15 years. The main group fluctuates rather often, and we frequently have guest curators and collaborators from places such as Singapore, Berlin, Budapest, Vilnius, Vienna, Barcelona, Taipei, Philadelphia, Paris, Hong Kong, etc. The collective is generally pretty indifferent to where people are from (as long as they have good ideas and love art). 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/thumbnail-1.jpg" alt="" /></figure>The idea of a modular, sprawling group of artists collaborating across borders is fascinating. With all of the various people involved how do you come up with ideas? 
Generally, at island6, all the work exhibited is made on-site and specifically for the theme of a exhibition The collective works on a flexible open platform process that ensures all artworks are the result of synergetic thought between multiple collaborators. 
Whenever we come up with an idea for a new exhibition, we first brainstorm on the theme. This can be a motif - such as neon signs which became <a href="https://island6.org/brightlightsflashylifestyles" target="_blank" rel="noreferrer noopener">"Bright Lights, Flashy Lifestyles"</a> last year. In our current exhibition, <a href="https://island6.org/foodasartasfood" target="_blank" rel="noreferrer noopener">"Food As Art As Food"</a> we focused on exploring the intimate and unique relationship between food and people, as well as its cultural impact. This exhibition will end soon, and so we’re currently working on our next idea (hint: it involves fast cars!). When we figure out what the exhibition should be about, the curators elaborate on the intellectual background and the art directors commission the artists to make artworks for the exhibition.
Our artworks usually consist of paintings, traditional Chinese papercut (Jian Zhi) images, bamboo paper collages, electric circuits of LED/TFT screens, sound/motion sensors, speakers, controllers and media players. Everything is handmade and everything is created in our M50 Shanghai workshop by our artists and technicians. It takes 6 to 8 weeks to make an artwork from concept to finish. 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/062K6024.jpg" alt="" /></figure>The paintings and papercut images are based on photographic research on the given themes, while the animations are video performances shot in a life-sized chroma-key stage in our studio. Our creative method is similar to film production where everybody has a special role - director, actor, cameraman, scriptwriter, costume designer, lights technician, editor, etc. Similarly, collaboratively producing artworks involves many individuals with various disciplinary skills and abilities, creating a multifaceted result. Here at island6, everybody does what he/she does the best, and even though each artist only makes a fragment of each artwork, the art directors and the curators are able to organize all the pieces of the puzzle together. 
 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/5fde1f71-a6e1-4fd3-b807-9da7e8558ef2_rw_1920.jpg" alt="" /></figure>Considering all of the steps involved that is a pretty speedy turnaround time from concept to execution! Over the last 15 years what sort of shifts have you noticed as far as humans relationship to technology? 
Looking at new media art from a broader perspective, it has developed from experimenting with the medium itself to experimenting with “each other”. Nowadays, it feels natural to be surrounded by technology. The question is: what is the most essential thing in art that technology changes? We think it’s that it invokes collaboration on different levels. Its multidisciplinary nature makes artists work together, while sensorial technologies engage the audience in interaction. One of our favorite art groups, the Japanese Team Lab collective creates non-object-oriented interactive experiences while Random International, another group creates interactive sculptures. We feel very close to us what these multimedia artists do, not only because they are groups just like us, but because this is the very nature of contemporary art: the artwork is not what you see hanging on the wall, but what happens between the object and the audience within a certain environment. Liu Dao uses interactivity in a similar way. When you enter our M50 space, you never know which artwork’s animation is going to change if you move closer, <a href="https://island6.org/sunnydaysuddenrain" target="_blank" rel="noreferrer noopener">"Sunny Day, Sudden Rain"</a> or which sculpture is going to speak to you, <a href="https://island6.org/takemeout" target="_blank" rel="noreferrer noopener">"Take Me Out"</a>. This environment confuses the audiences, leading to awkward moments when they wave at non-interactive artworks or disassembling sculptures, not knowing where the artwork begins and ends, what you can do and what you can’t do. We can’t blame them for that.
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/16island6.gif" alt="" /></figure>Many members of island6 are based in China. What is your perspective on the artists' role when it comes to activism and social critique?
island6 is not political in nature. The best way to read the news is by reading the news. Seeing anything like that through the eyes of an artist isn’t relevant in China. We don’t need to be political for our art to speak. Not because we think it’s dangerous in any way in terms of censorship but because we don’t feel it’s the correct voice. We’ll leave that kind of thing to people like the Guerrilla Girls because they’re good at it. Social change can happen in other ways but we’re here to make art. We focus on intimate feelings and cultural phenomena. We are interested in combining and expressing the feelings of the past, the present, and the future. We approach art in an “art first” manner. We are trying to examine and express feelings and aesthetics that are more intimate and perhaps less obvious than politics. We’re exploring the relationship of things in regards to art, technology, and science. 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/20island6.gif" alt="" /></figure> In that case do you feel like it is significant that your members come from all over the world? There is something powerful in groups of artists working together to create one final product. There is a momentum in this process that expands the imaginative horizons of those involved. The cross-cultural elements of the process only strengthen this expansion of imagination.
For example, <a href="https://island6.org/allthethingsiwishwedlearned" target="_blank" rel="noreferrer noopener">"All The Things I Wish We'd Learned"</a> is inspired by photographic references from many streets in Shanghai. In fact, our creative team shot each hanging garment separately from Shikumen Lane Houses off Changping Road. A Shanghainese artist hand painted the street scene. A Hong-Kongese performance artist was then video recorded walking a tightrope. An LED animation of that recording was then created by the art director. After, our technicians from Jiangsu province assemble all the components in our workshop, and the final piece was documented and a blurb was drafted by one of our creative writers who come from places such as Budapest, Shanghai, and Illinois. 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/18island6.gif" alt="" /></figure>Looking at a seemingly familiar object as an outsider allows one to look with fresh eyes, and maybe realize that what was once a familiar object actually has more depth and nuance than previously thought. A perfect example of this is our vending machine inspired pieces like <a href="https://island6.org/sodadorinku" target="_blank" rel="noreferrer noopener">"Sodadorinku"</a> or <a href="https://island6.org/sweethanbaiki" target="_blank" rel="noreferrer noopener">"Sweet Hanbaiki"</a>, wherein the art collective take something from everyday life and transform it into something almost extraordinary. 
It is important to note that the outsider perspective is not limited to an East/West dichotomy. Liu Dao tries to bring a versatile group of different artists with different styles together in order to create a wide arrangement of well-crafted artworks. Perhaps in this type of environment, everyone has a chance to be an outsider, and to look at their own work with fresh eyes. 
Thank you so much for taking part in this interview! We look forward to checking in again in the coming years. 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/2island6.gif" alt="" /></figure><a href="https://island6.org/liudao" target="_blank" rel="noreferrer noopener">island6</a> The art collective <a href="https://island6.org/liudao" target="_blank" rel="noreferrer noopener">island6</a> produces cutting-edge art that constantly contemplates the future of Asia, engages sights and scenes from old and new China, and elevates the skills of new talents by working from a communal forum. Liu Dao's art is visual, interactive, conceptual, humorous, and somber - but always striking, always involving fresh takes on modern technology, and always the product of collaboration. Since Liu Dao's beginning, painters, sculptors, photographers, filmmakers, new media artists, software and digital imaging artists, dancers, writers, engineers, and curators have worked together to produce original and intriguing shows. The island6 art collective (Liu Dao 六岛) has appeared in acclaimed art fairs around the world, including Art Paris, KIAF Seoul, the Hong Kong Art Fair, SHContemporary, Scope New York, Miami &amp; Basel, Art Stage Singapore, Art Dubai, Contemporary Istanbul, KIAF Seoul, and many more…
Special invitations for solo and group shows include Louis Vuitton Cultural Space in Taipei and Macao, The Andaz Collection and Rockbund Art Museum in Shanghai, Opposite House and Green T. House in Beijing, Temple House permanent collection in Chengdu, The Arts House in Singapore, Chongqing Museum of Contemporary Art, Smithsonian Anacostia Museum in Washington D.C., Art Seasons Singapore, K11 permanent collection Shanghai, and the China Art Museum.
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/f60b18f9-4b9b-471d-8a52-e3c9fae77289_rw_1920.jpg" alt="" /></figure>

10island6

9island6

An Interview with International Arts Collective island6

CES rises above 2020 and delivers this 2021! This year's Consumer Electronics Show took to featuring the future of tech online. The four day event with normally high-level high-tech presentations was virtual. CES often sets the tone for inspirations, insight into new tools, and reveals the scope of just how far futurist predictions have come. Britelite was in attendance at CES 2020 and we were struck by impressive inspirations ranging from LED screens, to VR headsets, to flying taxis. This year held the same excitement and inspiration, the only glaring difference was being able to attend in our pjs. 
<table><tbody><tr><td><h1> Sony Music Creates New Immersive Experiences</h1></td></tr></tbody></table> Every year presenters at CES put on a show, this year is no different. At CES on Monday, Singer songwriter <a href="https://madisonbeer.com/">Madison Beer</a> teamed up with <a href="https://square.sony.com/">Sony Music Entertainment</a> and <a href="https://www.verizon.com/">Verizon</a> to put fans in the front row of a groundbreaking virtual concert experience. It was executed using a virtual suit, <a href="https://www.unrealengine.com/en-US/">unreal engine</a>, and so much more, but looked as if it was filmed live at Sony Hall in New York before a virtual live audience on a virtual stage . While it still looks like an ultra-sophisticated animation, it’s getting closer every year to looking like real life. 
Fans will be able to view Madison Beer’s Immersive Reality Concert Experience on PlayStation VR and Oculus VR, and as a captivating immersive 2D experience, which will be broadly available on streaming music video channels later this winter. 
<figure><iframe width="860" height="515" src="https://www.youtube.com/embed/REc-COqWMxY" frameborder="0"></iframe></figure>Sony Music expands creative opportunities for artists by harnessing emerging technologies including spatial audio and immersive video experiences 
<figure><iframe width="860" height="515" src="https://www.youtube.com/embed/DmxHs5f0nWE" frameborder="0"></iframe></figure><table><tbody><tr><td><h2> What about VR Glasses?</h2></td></tr></tbody></table>With Covid taking over the last year VR has become an important and prominent tool in entertainment, training, and more. The problem with VR headsets is that they still look like VR headsets. Panasonic has a solution with their new VR Glasses, debuted at CES 2021. The Panasonic VR glasses have a steampunk look and a more comfortable ski goggle feel and look for the user and — they also offer technical improvements over other solutions in the market. The glasses have micro OLED panels and support HDR, with almost no hint of the “screen-door effect” that plagues most VR hardware. They are also the first VR glasses to support HDR, which was particularly impressive during a CG demo of the interior of a Japanese temple, with light realistically bouncing off golden decorations. 
 For audio, the product uses built-in headphones.
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/960x0.jpg" alt="" /></figure><figure><iframe width="860" height="515" src="https://www.youtube.com/embed/VGs0dWl3lf0" frameborder="0"></iframe></figure> 
<table><tbody><tr><td><h2>Do we have a crush on Samsung? Short answer: yes.</h2></td></tr></tbody></table><h2>A ‘Better Normal for All’</h2>
At CES 2021 this year, <a href="https://www.samsung.com/us/explore/experiences/ces2021/?cid=global_ow_social_youtube_none_p3_ces2021_video_event-highlight-cutdown_for-wellness">Samsung</a> was not short on presentations and innovations. Samsung showed off its modular fridge, smart appliances, and robotics, including a new robot vacuum and concepts for a pair of robot assistants, and so much more. 
Samsung built anticipation for their in-depth presentations at CES 2021 with a live-streamed press conference announcing the company’s new vision and some of their new innovations that are set to provide a ‘Better Normal for All’. The press conference opened with some powerful remarks from Sebastian Seung, President and Head of Samsung Research, who outlined how the company’s latest technologies have been informed by the changes brought about in recent times and developed to empower users to live more conveniently, intelligently and sustainably. 
<figure><iframe width="860" height="515" src="https://www.youtube.com/embed/JKI600hKhWk" frameborder="0"></iframe></figure><table><tbody><tr><td><h1>More cars take flight...</h1></td></tr></tbody></table><h2 dir="ltr">GM brings us closer to The Jetsons</h2>
After last year's showcase of flying taxis/cars we weren’t surprised to see it again. With robotics entering the home and flying cars on display for a second year, we have a real chance at a Jetsons future on the horizon. General Motors is helping us take a giant leap, <a href="https://www.cnet.com/roadshow/news/gm-surprises-with-cadillac-evtol-air-taxi-at-ces-2021/">showing off its concept for a flying car</a>. It's called the eVTOL, or (electric) Vertical TakeOff and Landing droid.
"We're preparing for a world where advances in electric and autonomous technology make personal air travel possible," said GM design chief Michael Simcoe. GM now joins the likes of <a href="https://www.cnet.com/news/archer-fiat-chrysler-automobiles-partner-to-build-evtol-flying-taxis/">Archer</a> and <a href="https://www.cnet.com/roadshow/news/aston-martin-volante-vision-flying-car-concept/">Aston Martin</a>, companies that are also working on flying vehicles. 
<figure><iframe width="860" height="515" src="https://www.youtube.com/embed/EQ5iJnctzLE" frameborder="0"></iframe></figure><table><tbody><tr><td><h1>We went a little back in time - Infinity Game Table</h1></td></tr></tbody></table>Gaming isn’t usually something we touch on but we couldn’t help but reminisce over classic board games, and arcade games with the <a href="https://www.kickstarter.com/projects/infinitygametable/infinity-game-table-by-arcade1up?ref=9mej8p">Infinity Game Table</a>. This intelligent setup takes classic board games and puts them in a designated hub on a large touchscreen table with wifi capabilities to connect with friends remotely. Will this replace stacking our board games wherever we can find space? Maybe! The price point is right for an at-home all-in-one gaming table. 
<figure><iframe width="860" height="515" src="https://www.youtube.com/embed/b8LuO4llt-E" frameborder="0"></iframe></figure> There is plenty more to write about from CES 2021 — AI and HUD are paving the way for smart cities, smart homes and smart cars, haptic technology in VR has improved, collaborative technologies are becoming the future instead of the hoaky upgrade of the same tech, and we will be featuring all of this in a series of upcoming blog posts. To keep up with our<a href="http://www.briteliteimmersive.com/blog/"> blog</a>, check in with us on<a href="https://www.instagram.com/briteliteimmersive/"> Instagram</a> where we post our latest updates! 
This year’s CES took place over four days from January 11 - 14. The all digital CES is open for registered attendees until February 15th so that you can engage with exhibitors, replay programming on demand, and connect with fellow CES attendees. 
When we look to grand events like CES to navigate us towards what to expect in the future, many people expect what is on display to already be finalized, when in reality they are working concepts being displayed in technologically advanced ways. 
At Britelite that is what we specialize in: we transform how brands engage with their audiences. As a Creative Technology company we build immersive and interactive installations within physical spaces – from customer experience centers to connected spaces, commercial real-estate developments, retail spaces, live events, and more. We combine strategic design with large scale technologies to create experiences that have a powerful and irresistible effect. Most importantly, we transform how brands engage with their audiences by applying creative thinking to experience design, spatial engineering, and application development. 
If you’re excited by the combination of:
<ul><li dir="ltr">Ambitious design and flawless execution</li><li dir="ltr">Visual impact</li><li dir="ltr">Alignment with an organization’s business goals</li></ul>Then check out our<a href="http://www.briteliteimmersive.com/work/"> work</a>, and<a href="http://www.briteliteimmersive.com/contact/"> contact us</a> page for a preliminary discussion on what we can do for you.

CES2021 2

CES 2021: rises above 2020 and delivers

<h3>BRITELITE IMMERSIVE ACQUIRES FABL TO CREATE FIRST-OF-ITS KIND EXPERIENCE MANAGEMENT PLATFORM</h3>
We are excited to announce that Britelite Immersive has acquired content management platform Fabl to create a first-of-its kind Experience Management Platform, effective immediately. As a result of the acquisition, Britelite’s proprietary software, Litehouse, will combine online, virtual and physical experience oversight into a single platform, launching an entirely new Experience Management category. Britelite clients include Fortune 500 companies, such as Amgen, Accenture and Capital One. The company has also produced immersive experiences for Super Bowl 50, FIFA World Cup, and Salesforce Tower.
Veteran tech industry marketing executive Daina Middleton has been named CEO of the newly expanded company. Prior to joining Britelite, Daina held executive and leadership roles across technology and service organizations including Twitter, HP, Performics and Ansira with a focus on rapid growth and innovation. She has a proven track record creating and growing market categories, driving thought leadership through partnerships and experiences, cultivating company culture, and executing operational excellence.
From smart cities to managing multiple experience locations, Middleton sees huge growth potential for Britelite in 2021 and beyond as more marketers, retail and tech facilities managers, event planners and real estate developers accelerate their plans to integrate online, virtual and live experiences in response to the COVID pandemic and its lasting impact on every aspect of work and life.
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/Screen_Shot_2021-01-06_at_12.59.30_PM.medium.png" alt="" /><figcaption>Daina Middleton, CEO of Britelite Immersive</figcaption></figure><h3>"BRITELITE’S SUPERCHARGED LITEHOUSE PRODUCT DOES FOR CONTENT EXPERIENCES WHAT AUTONOMOUS DRIVING DOES FOR CARS.”</h3>
“COVID has accelerated the demand for a single platform that enables experience management across online, virtual and physical environments,” said Middleton, who, prior to officially joining as chief executive, worked with Britelite over the course of the past year as an advisor. “Britelite’s supercharged Litehouse product does for content experiences what autonomous driving does for cars.”
Britelite founder John Flores, who has been acting CEO since the company’s launch in 2013, will assume the role of Chief Experience Officer; and Fabl’s outgoing CEO &amp; cofounder Taj Forer has been named Chief Product Officer, overseeing the new combined Litehouse technology solution. 
<figure><a href="http://www.briteliteimmersive.com/work" target="_blank" rel="noreferrer noopener"><img src="https://s3.us-west-1.amazonaws.com/blisf-website/DSC00102.JPG" alt="" /></a></figure><h3>“BRITELITE IS PIONEERING AN ENTIRELY NEW CATEGORY: EXPERIENCE MANAGEMENT"</h3>
“Britelite has revolutionized digital media within customer experience centers, retail environments, healthcare facilities, entertainment venues, and branded internet and mobile properties. Now we’re pioneering an entirely new category: Experience Management,” said Flores. “With its expertise empowering brands to create and distribute online content, Fabl is the perfect partner to help us achieve the Holy Grail of experience marketing: the merging of physical, virtual and digital realities.”
Britelite’s proprietary platform, Litehouse, automates the production, distribution, management and optimization of high impact content experiences. Litehouse leverages AI, machine learning, robotics, and spatial awareness to drive content to customers at the right time, at the right place, and on the right device. 
<h3>“LITEHOUSE CONNECTS BRANDS TO CUSTOMERS ACROSS MIXED REALITIES IN TRUE OMNICHANNEL FASHION"</h3>
“Litehouse connects brands to customers across mixed realities in true omnichannel fashion,” said Forer. “For the first time, brands and marketers will be equipped with the tools they need to seamlessly guide messaging across a sea of physical, digital, and virtual environments.”
Britelite Immersive is currently completing an investment raise to meet current market demand. The company is planning to leverage rolling capital investments moving forward as needed.
<figure><iframe src="https://player.vimeo.com/video/436566160?title=0&amp;byline=0&amp;portrait=0" width="800" height="450" frameborder="0"></iframe></figure> MEDIA CONTACT: 
LORI LEFEVRE WELLS
 <a href="mailto:press@briteliteimmersive.com" target="_blank" rel="noreferrer noopener">press@briteliteimmersive.com</a> OR 917.627.0803

Twitter Britelite Fabl announcement

BRITELITE ACQUIRES FABL AND HIRES CEO DAINA MIDDLETON

Capital One gave us the opportunity to take a closer look into their Experience Design org. At Britelite we are always in the mood for a fresh point of view and perspective on our industry from our clients and partners. Today I’m talking with Ripon DeLeon, Physical Experience Design and Fabrication Director at Capital One.
<h2>“it's a paradigm shift in a significant way to think about a space where people want to be, not need to be.”</h2>
 
Patrice: Could you describe what your team does at Capital One? 
Rip: I'm currently part of the Experience Strategy team which is part of Capital One Experience Design organization. We are focused on how we do the work of design, and improving on the practice of design. My old team, which was the physical experience design team, had a specialized subset of experience design skills. Those skill sets are super valuable and something that we want to make mainstream, which is why we merged it into Capital One’s Experience Strategy Team. 
 
Patrice: Your team was formerly the physical design team and now you're part of the a larger Capital One design team. Is this representing a shift at Capital One and how they approach design?
Rip: In a lot of ways it is a shift, but I think it's also a recognition of what was historically maybe at times seen as a niche, or a one off, now being a part of the holistic experience. Is it a digital experience? Is it a physical experience? The customer experience? or is it a social experience? If we want to have a perspective on the whole customer experience, you have to have both skill sets and you have to bring them both to the table. And so I think the shift is really a recognition of that; that this should be a core function of what we do as an experience design team. We had those skills before, but this way it's now part of the main conversation–if you will–as opposed to a small sort of a service that we would do in a one off capacity. 
<h2>“We want to elevate it &amp; have it be part of our broader approach to design.” </h2>
Recognition of that work and saying, OK, we've done this work, we've proved it out, and it's brought value toour organization, and now we need to just make this a core part of what we do. We can take that part and shift what we've been focused on as a small team to a bigger one. 
<h2>“It’s not digital or physical—It's an experience design.”</h2>
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/IMG_0447-1.jpg" alt="" /></figure> 
Patrice: Do you think other large companies would benefit from thinking about design in that way? 
Rip: Well, in a way, it all flows from the brand. The brand is how we show up in the world to our customers; that is the Capital One brand. I would also say that's a similar way we talk to our associates as well. Part of what we're trying to move toward is more of a unified brand experience, it's a Capital One experience. I think the future that we're moving towards is more of a hybrid one. We're going to see more and more experiences that are both digital and physical that are bridging that gap. 
The organization that we're a part of certainly comes from a digital first perspective in terms of design, but I think the recognition for us is that it's starting to increasingly bridge that gap into physical space. We have to understand the implications of that in designing physical experiences, but also our digital ones to say, “OK, if this is viewed in this real world place, what does that mean to the person that's actually interacting with it?” 
 
Patrice: What value does physical design add to a largely digital product suite?
Rip: The beauty of physical experiences is that's the language people communicate in. It is in that tangible emotion and that feeling that's really, really difficult for digital to do. 
 
 Patrice: How do we change and retrofit and redesign now for a touch-less society?
Rip: The thing that sticks with me, is that I feel an awareness all of a sudden towards our physical place, it is much more heightened. You now have immediate and visceral awareness of your space in a way that has been something we just haven't had really in a long time. I find it super fascinating and interesting and I think that has a lot of promise in a way, because that means to me, we're going to expect a lot more out of our space. 
In that same sense I think they're going to be fewer of these physical touch points. Therefore, the continued ratification of those is going to only increase the importance of getting them right, because they will be much more high value and prominent in your memory. Before COVID-19, there was certainly an increasing move to digital in physical space, and I think if anything, this [pandemic] has been an accelerator of that. 
 
Patrice: Has any technology come out that you're excited about or that you want to work with over the next year? 
Rip: Yes! No touch interfaces, obviously those are super relevant to the moment. Even more interesting is holographic and mid-air touch interfaces. They're super interesting, I'm not exactly sure where they fit in, butI'd like to drill into them a specific type of technology
 
Patrice: What is your favorite project that you thought did a great job of integrating physical and digital? Rip: I love all the projects I've worked on, how do you pick a favorite. I think it's part of being a designer, though, it's like every project you do, you can also see how it can be better. When we did an installation at South by Southwest for Capital One, it was pretty simple, it was a hand painted mural with some capacitive touch sensing hotspots and a projector overhead, with some animation embedded within that mural. It was really simple, not a big lift technology wise. It was an interesting level of detail that we zoomed into and it was just really fun. It was really engaging and it was a great learning experience in terms of how it was received. The part that I always enjoy the most about these experiences is actually watching people engage with them and genuinely enjoying that experience. 
<h1>"What I've learned is just try to keep it simple and then let people add the other complexity to it."</h1>
 Patrice: Any final thoughts or anything you want to share about the work you guys are doing? Rip: Rethinking how we present physical spaces based on what we do digitally, but also rethinking how we design digital based on what we know about physical design. It is an interesting Push-Pull, and thinking about the times we've used digital experiences to inform fabrication. We actively think about how we move someone through a digital experience in a 3D space, not in front of one screen but in front of multiple screens. There are some different ways that we approach that. Always start with a story, idea, concept, and then what is the physical piece to support that. But there are also instances where we come into a space and the physical is already determined and we have to come up with the next installation to leverage that and bring it to life. 
<h1>“Designers thrive on ambiguity, because we like solving tough, unknown challenges.”</h1>
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/DSC00045.JPG" alt="" /></figure> 
Thanks to Rip for sharing his insights with us. We look forward to seeing what innovative projects the Capital One Design team comes up with next. 
<figure><a href="https://www.linkedin.com/in/ripon-deleon/" target="_blank" rel="noreferrer noopener"><img src="https://s3.us-west-1.amazonaws.com/blisf-website/Ripon-DeLeon-Headshot.jpg" alt="Rip DeLeon" /></a><figcaption>Director of Physical Experience Design at Capital One, Rip DeLeon</figcaption></figure>

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AN INTERVIEW WITH CAPITAL ONE'S PHYSICAL EXPERIENCE DESIGN AND FABRICATION DIRECTOR

We have braced for and embraced the restrictions of COVID -19. It has done a number on the entertainment business but has brought out the best of creative technology, especially in the art sector. Now more than ever designers/artists must consider the personal boundaries of the end user. Here are some design/art trends that support social distancing...
<h1>Touchless Reactive Environments</h1>
The computer itself has become an interface to culture. Rather than requiring viewers to choose from a predetermined set of prerecorded outputs, the 'reactive artwork' poses a system in which viewers' actions constitute the art’s reactions. Reactive art/environments means nothing without you.
 
<h3> <a href="http://www.briteliteimmersive.com" target="_blank" rel="noreferrer noopener"> Britelite Immersive</a><a href="http://www.briteliteimmersive.com" target="_blank" rel="noreferrer noopener"></a><a href="http://www.briteliteimmersive.com" target="_blank" rel="noreferrer noopener"> </a> </h3>
Britelite worked with Marpi to bring a series of four reactive environments to life utilizing a combination of Microsoft Kinect, 90” Screens, and 84” interactive screens for a total of four different experiences. The installation was tied together by a series of LED curtains providing a stunning backdrop for guests to create their own moments of interactive performance art.
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/355582541" frameborder="0"></iframe></figure><h2> </h2>
<h3> <a href="https://momentfactory.com/home" target="_blank" rel="noreferrer noopener"> Moment Factory</a></h3>
As long time admirers of Moment Factory, we have seen some amazing projects come out of their fortitude, and none of that has changed during COVID-19. The Moment Factory R&amp;D team combined projection mapping and tracking of real-time movement to create a unique interactive sports experience inspired by basketball. 
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/428142540" frameborder="0"></iframe></figure><h1> </h1>
<h1>Virtual Gatherings</h1>
The entertainment industry has seen major disruptions this year but responded by shifting toward streaming platforms. Performers of every discipline are supporting one another worldwide. For example The Weekend’s virtual concert on Tik Tok or virtual Burning Man 2020. These events were given a virtualized overhaul that gave the audience the performance they craved. 
<h3> <a href="https://www.theweeknd.com" target="_blank" rel="noreferrer noopener"> The Weekend</a></h3>
The Weekend’s virtual concert on tik tok is one of many virtual reality performances that has popped up during Covid-19, but with a twist of being presented on the Tik Tok platform. This performance was smart in the sense that it was made easily accessible, with the promise of an interactive and immersive performance. The vivid animations and experiences, mixed with the long awaited release of The Weekend’s new album, translated into a virtual gathering success. 
<figure><iframe style="width:500px;height:281px;" src="//www.youtube.com/embed/uViueiV8fME" frameborder="0"></iframe></figure> 
<h3> <a href="https://burningman.org/event/brc/" target="_blank" rel="noreferrer noopener">Burning Man</a></h3>
This year, Burners from around the world were welcomed into eight digital landscapes to celebrate the 2020 Burning Man Multiverse. Britelite took advantage of this event and we all joined in. As long time burners and in general fun in VR goers, we had to see… Can Burning Man really be as fun in VR? Our answer is a resounding yes! There was just as much shenanigans in fun to be had as there would be in person. 
<figure><iframe style="width:500px;height:281px;" src="//www.youtube.com/embed/7FmlUcuoAhI" frameborder="0"></iframe></figure> 
<h3> <a href="http://www.briteliteimmersive.com/work/westfield" target="_blank" rel="noreferrer noopener">SFMOMA VR Experience</a></h3>
Reactive Environments for the workplace
Even a virtual walk through can be helpful during this time. We see virtual reality being capable of bridging the isolation of quarantine by creating a team experience and function of keeping production rolling. For example: We created a hyper-realistic VR walk-through of the new SFMOMA that allowed the creative team to view and test content on virtual screens without actually being at the MOMA. 
<a href="http://www.briteliteimmersive.com/work/westfield" target="_blank" rel="noreferrer noopener">Vibe out to this SFMOMA VR Walkthrough.</a>
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/187124885" frameborder="0"></iframe></figure> There has never been a more important time in history to pivot towards creative technology for brands to engage their audience. The value seems more obvious now that we have to move towards a more touchless future, creating safer, more useful spaces with redefined audience engagement. We consider our industry to be a community and our community has really pulled together to bring some thoughtful user experiences to keep businesses lively and more exhilarating than ever in a time of need. At Britelite we are always looking for new technology and non-traditional uses of existing technology. If you are a retailer, a technology company, or otherwise interested in creating memorable experiences, please take a look at our <a href="http://www.briteliteimmersive.com/work/">portfolio of work</a> and <a href="http://www.briteliteimmersive.com/contact/">contact us</a>!

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Rethinking User Experiences for Social Distancing

The pandemic has decimated the trade show and conference industry. Many companies depend on presence at such events, and they can’t afford to sit back and wait.
Let's be real... When was the last time you tuned into a digital event and were actually blown away? More often, what our industry has seen are attempts to replicate a live production, but on the web and the results can be lackluster. What we crave is something novel - something personalized, something fun, something that captures our attention immediately and keeps us engaged over time.
<h1>Create virtual spectacle </h1>
Get attendees thinking, “this is something I couldn't experience before” instead of "this is replacing something." 
Digital mediums bring the most experience value when their strengths are leveraged, as opposed to when they attempt to recreate a physical space or - even worse - feature webinar-style content. The trick is to create larger (or smaller) than life environments and allow - even feature - behavior that isn’t possible in the real world. By leveraging digital tools and rethinking experiences from the digital ground up it is possible to create an event that is more impactful to attendees than the same conference year after year. Digital environments allow for larger groups than in person, more break out rooms as physical spaces do not need to be secured, and a wider breadth of attendees can join without the restriction of travel. Through the application of novel forms of interactivity a virtualized event can take your message to places that were never possible with traditional in person activations. 
<h1>Reimagining digital events and experiences</h1>
So you’re convinced and ready to plan your digital event, but what can you do to create the impact that we know is possible? 
PLAY WITH PHYSICS: 
Distort reality by manipulating size, scale, and perspective.
The most impactful digital events on the web to date are those that are visually arresting and are highly interactive or even experienced via a first-person point of view. In a virtualized event there are no bad seats and no overflowing keynote halls. Every participant has access to up close and personal interaction with the activations. By investing in special effects and 3D animation, you’re able to create hard hitting and pulse thumping content that keeps visitors glued to their seats and highly engaged. Whether it’s a keynote speech, live performance, or product launch; getting creative with how content is presented pays dividends. 
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/273578876" frameborder="0"></iframe></figure><figure><iframe style="width:500px;height:281px;" src="//www.youtube.com/embed/Q3oItpVa9fs" frameborder="0"></iframe></figure>
 
GET UP CLOSE AND PERSONAL: 
Show the intimate, human side that people don’t normally get to see.
There's something special happening right now with digital experiences where audiences are getting intimate glimpses into the lives and homes of their heroes, celebrities, executives, and other public figures. The impact of intimacy is increased when you create interactions with virtual speakers and other content, which brings the added benefit of analytics that allow you to learn a great deal about what is striking a chord with your audience. 
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/299723835" frameborder="0"></iframe></figure> BETTER AND MORE TANGIBLE METRICS: 
With digital events you are able to keep an eye on attendee behavior like never before.
Through the integration of second screen polling and interactions it is possible to get a more complete picture of the audience, their interests, activities and what they want more of. The traditional exit poll can be replaced with easy to deploy instant feedback for speakers and event holders giving a better, more complete picture of attendees whether hosting an industry event, internal meeting or product launch. 
<a href="https://www.ceros.com/originals/breaking-down-seinfeld/" target="_blank" rel="noreferrer noopener">Ceros</a> makes a new and creative animated data visualization every Friday.
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/image-1.png" alt="" /></figure> 
BUILD A COMMUNITY 
Promote conversation and shared experience; amplify community buzz through serialized content.
People that share a <a href="https://www.losthorizonfestival.com" target="_blank" rel="noreferrer noopener">common interest, passion, or expertise</a> will not only engage with virtual experiences that resonate, they will engage their networks as well. Not enabling your audience to connect and converse is a massive missed opportunity. Additionally, roadmap content releases over time so that your initial engagement amplifies and grows organically. 
<a href="https://account.altvr.com/events/752493467564769721" target="_blank" rel="noreferrer noopener">BurningMan</a> will host their event in AltSpaceVR this year. 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/BMJ_2020ManBase-665x375.png" alt="" /></figure> 
YOUR OWN ADVENTURE
Personalized experiences on the web are easy to create (and are expected). 
Personalization for digital events can be accomplished via a simple approach - when visitors land on your event site, prompt them to answer a simple set of questions, then deliver a customized, tailored experience based on their background and interests. Layers of sophistication and creativity to personalize experiences within digital events only spark more engagement and interaction. 
<figure><iframe style="width:500px;height:281px;" src="//www.youtube.com/embed/AK54uQbiAIE" frameborder="0"></iframe></figure>
GAMIFY EVERYTHING: 
Tap into our competitive nature to create power users and evangelists. 
Enable simple game mechanics that reward people for going deep, make the experience competitive with a leaderboard, and turn power users into mentors or evangelists. 
Robotic surgery simulator
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/358177763" frameborder="0"></iframe></figure>BLEND PHYSICAL WITH DIGITAL: 
Instead of taking a web-only approach, explore what’s possible by mixing in physical layers.
Weaving in physical components can take a myriad of forms. Whether it is a mystery box you receive at home and are instructed to open when the digital event begins, or a completely untethered drive-thru experience, the creative possibilities are limitless. Think outside the screen and push into what’s possible with the power of the technology in our pockets or hardware that can be configured. This hybrid space is where there are the greatest possibilities for envelope-pushing experiences, especially over the long-term as public spaces and in-person events open back up.
<figure><iframe style="width:500px;height:281px;" src="//www.youtube.com/embed/Kx3wqBiJaQc" frameborder="0"></iframe></figure><h2>Distance as an Opportunity </h2>
As much as the world is changing right now it is also full of opportunity. In this era we are able to present truly never been done before experiences and give attendees a chance to participate in events like never before. By thinking about these events as truly new experiences and not just a replacement of an in person event we can create the next generation of compelling events. 
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/436566160" frameborder="0"></iframe></figure>

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How to stay relevant and create impact with virtualized content

Being stuck at home has led me down many rabbit holes, such as watching Tiger King, 90 day fiance, firefly again and has also expanded how I look for art and artists. The search for art that was being produced became difficult for a few months because nothing was being publicly displayed due to covid shutdowns. So as a creative, I got creative and tapped into the artists’ community on instagram. It may seem unorthodox to find creatives on Instagram, but the visual based platform is the perfect incubator for trailblazing artists. Experimenting with a gamut of creative tools and output, these artists have evoked wonderment and awe. These are the trailblazers everyone should be watching...
<h2><a href="https://linktr.ee/DonAlleniii">Don Allen Stevenson III</a></h2>Artist Instagram:<a href="https://www.instagram.com/donalleniii/"> @donallenii</a>
Spirited in fun and educational, Don Allen is one of the rising stars in animation right now. Spread out across <a href="https://www.youtube.com/channel/UCTdn5DOTtaZlBrB2K8y1Dzw">youtube</a>, <a href="https://www.tiktok.com/@donalleniii?language=en&amp;u_code=ca3bg4d8bf4b8&amp;utm_campaign=client_share&amp;app=musically&amp;utm_medium=ios&amp;user_id=272648951550586880&amp;tt_from=copy&amp;utm_source=copy&amp;source=h5_m&amp;sec_uid=MS4wLjABAAAAr-7GSsoI05IkqGObHV-KGSnlWC7MfAo9vGePaZ4Z_5Hc62MDyqziqov8HUAPyKbc">tik tok</a>, and <a href="https://www.instagram.com/donalleniii/">instagram</a> you can easily access his augmented reality animations, graphic design work, tutorials, fun games and more. First, let's ask the most logical question… How does he produce that much creative content?!?! From the outside looking in, I’d say it’s his pure love and joy for animation. I took a deep dive into his<a href="https://linktr.ee/DonAlleniii"> work</a> after watching this video on instagram: 
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/438050476" frameborder="0"></iframe></figure> Oftentimes I’ll see a great animation, but that’s just what it is -- just an animation. He has a mind that integrates various technologies into his stories and expands on what an animation can be, with Augmented reality. With versatile creative abilities and great storytelling , he has made sure to share his knowledge with the world. 
How to Shoot Augmented Reality Videos
<figure><iframe style="width:500px;height:281px;" src="//www.youtube.com/embed/UB1l_3McGrU" frameborder="0"></iframe></figure> 
Learn how to make an augmented reality riddle 
<figure><iframe style="width:500px;height:281px;" src="//www.youtube.com/embed/cEX62jVUox0" frameborder="0"></iframe></figure> <h1><a href="http://ueeism.co.uk/">Eugene Sharpe</a> </h1>
Artist Instagram:<a href="https://www.instagram.com/ueeism/"> @ueeism</a>
 Are you looking to calm TF down after a long day of looking at covid news articles? Well my friends do I have the artist for you… Eugene Sharpe is a Multimedia designer who is always looking to push and pull different aspects of new media art. What was decidedly different about his work, is that he also integrates his own music into his art. <a href="https://www.instagram.com/ueeism/" target="_blank" rel="noreferrer noopener">Check out his Instagram for more...</a>
Surreal for the feels
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/1b013781531585.5d0237ea78025.jpg" alt="" /></figure><figure><iframe style="width:500px;height:281px;" src="//www.youtube.com/embed/R8tHRQcTHz8" frameborder="0"></iframe></figure> <h1>Alda Boyd</h1>
Artist Instagram: <a href="https://www.instagram.com/aqua.grl/">@aqua.grl</a>
Originally I noticed Alda Boyd as one of the standout artists exhibited in the Digital Art Series zaz corner billboards from Lightbox in collaboration with Zaz10ts . Creating 3D, VR and creative technology works of art, she sets an aesthetically pleasing tone with her use of color, and unique representations. 
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/392838496" frameborder="0"></iframe></figure><a href="https://www.instagram.com/p/CBIHNqLFwD-/" target="_blank" rel="noreferrer noopener">Dreaming of places that don’t exist</a>...
 

<h2>Feeling inspired yet?</h2>
 
<h1><a href="https://linktr.ee/stephyfung">Stephy </a></h1>
Artist Instagram:<a href="https://www.instagram.com/stephyfung/"> @stephyfung</a>
This self titled tech head has skills as a 3D motion designer, self taught in Cinema 4D, Adobe Suite, Unity, Spark, and AR. Her foundation is graphic design, she also has passion within interaction design and animation. Again her work caught my eye on instagram, her style is undeniably aesthetically pleasing. Her use of shapes and color bring her animations to life in a way I can’t describe, so take a look… 

Amazing work
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/343447881" frameborder="0"></iframe></figure> 
36 days of type
<figure><img src="https://lh6.googleusercontent.com/2WlnrMK3IxJuTit12OoEX3JdOh_z-6Bbl3jy1-7S_qxmiFDkX5t5eo5CDMQVsxtr_PH6QIyeGq8JE_IGxayQwgITExT97RI8GDdYYt1gCiNqPdpgonlUnfKrrJkc6mF7DwzGSTpN" width="600" height="600" alt="" /></figure> 
Wise words
<figure><a href="https://www.instagram.com/r2thespecialist/" target="_blank" rel="noreferrer noopener"><iframe width="500" height="281" src="//www.youtube.com/embed/_3hNabnsNC4" frameborder="0"></iframe></a></figure><a href="https://www.instagram.com/r2thespecialist/" target="_blank" rel="noreferrer noopener"> </a>
<h2><a href="https://www.instagram.com/r2thespecialist/" target="_blank" rel="noreferrer noopener">A Share from one of our very own Ryan Lotz</a></h2>
Our Experience Architect brings a lot to the table here at Britelite. This versatile artist has teamed up with <a href="https://www.instagram.com/sarahgriffenlotzart/" target="_blank" rel="noreferrer noopener">Sarah Griffin Lotz </a>to create beautifully composed videos and music. Sarah composited all the footage together in Resolume Arena and added tasteful overlay FX and crossfades.
The visuals are inspired by some of Gmunk's hybrid digital/analog work like his Adobe project and Microsoft. Experimenting with abstract light patterns through different prisms, etc. 
<figure><iframe style="width:500px;height:281px;" src="//player.vimeo.com/video/438325725" frameborder="0"></iframe></figure><h2> <a href="https://www.instagram.com/briteliteimmersive/" target="_blank" rel="noreferrer noopener"> </a><a href="https://www.instagram.com/briteliteimmersive/" target="_blank" rel="noreferrer noopener">Now Check out our Instagram! </a></h2>
Give us a like, follow, comment, ask questions, we'd love to have you! We want to bring good news to you every week focusing on creative technology and inspiration. Let us know what interests you by <a href="http://www.briteliteimmersive.com/contact/" target="_blank" rel="noreferrer noopener">contacting us</a>!

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Creative trailblazers you should be watching

<h2>“As white leaders if you aren’t making immediate changes you aren’t taking the urgency of the moment seriously.”</h2>
Those words from <a href="https://twitter.com/benishshah" target="_blank" rel="noreferrer noopener">Benish Shah</a> rang through me as I sat through the latter half of the first ever <a href="https://www.freelancercybersummit.com/events/allyship-and-action" target="_blank" rel="noreferrer noopener">Allyship &amp; Action Summit</a>, a live-streamed one day conference designed to meet the current moment of Black justice and the reckoning for agencies who have been ignoring the racist elephant in the room for too long. 
The summit, which was organized and executed in just barely two weeks' time, brought together leaders and changemakers to discuss what has gone wrong in regards to racism in agencies, what has gone right, and what we should do next. Organized by <a href="https://www.instagram.com/the_nichols/" target="_blank" rel="noreferrer noopener">Nate Nichols</a> and Steffi Behringer of the <a href="https://www.palettegrp.com" target="_blank" rel="noreferrer noopener">Palette Group</a> with virtually no budget, the Allyship and Action Summit was one of the highest quality digital conferences I’ve attended to date. With creative uses of breakout rooms and beautifully produced interstitial videos, it was a call to action for those who wanted to move beyond the performative black square posting into taking real action and making real change within their agencies. Throughout the day there were keynote speakers, panels, and seven breakout sessions to attend. Over a thousand people strong, the live stream kept everyone engaged for over four hours with hardly any drop off. 
<figure><img src="https://s3.us-west-1.amazonaws.com/blisf-website/screen_shot_2020-07-01_at_9.56.45_pm.png" alt="" /></figure><a href="https://www.instagram.com/jayanta/" target="_blank" rel="noreferrer noopener">Jayanta Jenkins</a> opened the summit with sage advice for everyone in the industry (no matter how junior) to bring leadership mentality to their jobs to create change. His call to build trust and to understand multiple perspectives was not only sound advice, but underscored the purpose of the entire summit. Jayanta also challenged white leaders to look at how they are bringing people into their companies and how they approach diversity &amp; inclusion to make sure it is equitable and holistic. The end goal of all this being to make agencies more creative and effective. 
Creativity is about risk taking. And if we, as agencies push our clients to take calculated risks, but don’t do the work internally to take risks and do better, our teams, our clients, and our work will suffer the loss. <a href="https://www.instagram.com/neptunesnachos/" target="_blank" rel="noreferrer noopener">Kathryn Guess </a>brought ideas in the second panel, “How Can White Leadership be Allies in the Ad Industry” moderated by <a href="https://www.instagram.com/bennettdbennett/" target="_blank" rel="noreferrer noopener">Bennett Bennett</a>. Proclaiming, “You are never a good ally, because you are never done doing the work to become a better ally,” she garnered a lot of approval in the chat. Doing the work is what it’s all about. 
Here at <a href="http://www.briteliteimmersive.com" target="_blank" rel="noreferrer noopener">Britelite</a> we work hard to maintain a culture where people can show up fully as themselves, but that’s not enough. After the summit we are auditing our hiring practices, job posting language, and onboarding documentation to make sure we are being truly equitable and setting everyone up for success. Our management team is making sure we are hiring, nurturing and promoting diverse talent. We’ve started an ID club for employees to unpack our biases and have tough conversations around race. Additionally, we're rewriting our policies so we have a shared understanding of what is expected of our employees in an Anti-Racist workplace.
In the words of <a href="https://twitter.com/kianamoods" target="_blank" rel="noreferrer noopener">Kiana Pirouz</a> from We Are Rosie in her breakout session on designing an equitable organization: “Buckle Up." This is a long-overdue call to action for agencies, not just in the US but around the globe to lean into discomfort. If you missed the summit all the sessions can be watched online here: <a href="https://www.freelancercybersummit.com/events/allyship-and-action">https://www.freelancercybersummit.com/events/allyship-and-action</a> 

The single event spawned a slack working group where people are already digging into how they can take action to improve their agencies. A second Allyship &amp; Action Summit is already in the works. We’ll see you there.

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Allyship & Action Summit Recap

<blockquote>Written by Kelsy Postlethwait Creative Strategist at Britelite Immersive </blockquote>
Planning workshops that spark novel ideas while instigating brand and business objectives is a key part of my job as a Creative Strategist at Britelite Immersive. In the past, getting a group of five to twelve people together in a conference room (along with gratuitous quantities of post-it notes and a whiteboard) to carry it out has been my bread and butter. Alas, among the countless professional and existential quandaries that “WFQ” (work from quarantine) has sparked, is the need to evolve and reconsider this practice. In doing so, I’ve come up with three essential categories of reconsideration which can help to inform or guide any creative who seeks to recreate the magic of an “IRL” workshop within a fully remote and digital stratosphere—they are: Materials, Structure, and Planning. 
I would recommend starting with Materials first, this is where the proverbial rubber hits the road—your whiteboard, sharpies, color-coded post-it notes, voting stickers—basically any tangible item you might leverage during a workshop falls under this category for reconsideration. 
Naturally, the digital platforms and features you call upon as stand-ins for these tangible items will play a pretty big role in the possibilities, or limitations, that your digital workshop must abide by. Conveniently, this is also the easiest category to redefine. Start by making a list of all of the items you typically use, then investigate the webosphere to find their digital counterparts! A favorite of ours at Britelite is called <a href="https://help.miro.com/hc/en-us/articles/360017730533-What-Is-Miro-">Miro</a>. Miro is a free platform that allows multiple teammates to collaborate simultaneously, and spontaneously, in an online whiteboard and comes fully loaded with digital post-its, writing tools, and flow-charts galore. If you’re looking to keep your whiteboard and your computer screen totally separate, and are open to making a larger investment, Google’s <a href="https://gsuite.google.com/products/jamboard/?utm_source=google&amp;utm_medium=cpc&amp;utm_campaign=na-US-all-en-dr-bkws-all-all-trial-b-dr-1003894&amp;utm_content=text-ad-none-any-DEV_c-CRE_330171022030-ADGP_Hybrid%20%7C%20AW%20SEM%20%7C%20BKWS%20~%20BMM%20%2F%2F%20Jamboard%20%5B3:1%5D%20Google%20Jamboard-KWID_43700037135188935-kwd-329327703739&amp;utm_term=KW_%2Bjamboard-ST_%2BJamboard&amp;gclid=Cj0KCQjw-_j1BRDkARIsAJcfmTEvW8gNubFT3JEYhIEchXkYqrbNEMBxDksQE4kzzmocszka7ZVcB34aAmacEALw_wcB">Jamboard</a> provides a robust suite of digital features attached to a physical whiteboard so intuitively designed you can almost smell that signature Expo dry-erase scent.
<h1>Start by making a list of all of the items you typically use, then investigate the webosphere to find their digital counterparts! </h1>
Next, let’s take a look at Structure. In many ways, this category boils down to the fact that traditional workshop etiquette—i.e. the inherent social contracts that we unconsciously rely on, and defer to, while in the physical presence of others—are no longer available to us when collaborating across a disparate network of home offices. In considering and redefining this dynamic, it’s important to recognize that the host will need to play an active role in reinstating a sense of etiquette and norms which help to guide social interaction and manage expectations. In her novel, The Art of Gathering, <a href="https://www.priyaparker.com/">Priya Parker</a> refers to this structure wielding onus as generous authority, and we’ve found that applying a healthy dose of it is sure to help coax free-flowing participation and generative energy from a sundry of sweatpants clad professionals sitting at home.
For example, your generous authority as host might begin long before the workshop does, with an expectation setting email that answers questions such as:Are there any homework questions that participants can answer ahead of time to get everyone in the right frame of mind? What topics can everyone come prepared to discuss?Should participants plan to have their front-facing cameras on during the session? During the workshop, generous authority might look like making statements such as: “Now let’s all take some time to introduce ourselves and say hello”—or even requesting that everyone on the call stand up, shake it out, and try a silly hand gesture. In the physical world, directions like these could make your conference table feel more like a kindergarten classroom, but in the digital realm they can significantly strengthen the emotional wellbeing and mental productivity of your workshop cohorts.



<h1>The inherent social contracts that we unconsciously rely on, and defer to, while in the physical presence of others are no longer available to us when collaborating across a disparate network of home offices.</h1>
Our third category for reconsideration is Planning, this is the strategic meat and potatoes, the gestalt, the blueprint, even the essence if you will, of the whole shebang! In my experience, this category takes the most sensitivity and thoughtfulness to recreate in a manner that traverses the digital divide. Here, traditional considerations such as the number of transitions, amount of topics covered, client mindset, project agenda, and physical needs (aka bio breaks) are now combined with new external and technological impediments such as crayon-wielding toddlers running through the background screaming, screen fatigue, and the game of chicken that ensues when multiple people start talking at once in digital conferencing platforms. 
This category is also the one which will vary the most in accordance with each unique client and project—so I won’t pretend to have a “one size fits all” solution up my sleeve. Instead, here are a few examples that we can share from our experience to use as thought starters: 
Pace yourself and support participant stamina by building time for independent thinking and screen breaks into your agenda. One method we’ve used is to assign a lower effort task for participants to do individually, and then giving them more time than they needed to complete said task. In a recent workshop, for example, we let participants know they’d have 20 minutes (10 minutes more than they actually needed) to simply select a few pre-populated post-its from the Miro board and prepare to present their selections upon reconvening. This gave participants some quiet time to think while completing the ask, as well as the opportunity to gracefully step away from their screens and recharge—using the extra moments for a bio break, coffee refill, or otherwise. 
The ability to leverage our digital conferencing platform’s built-in features in unconventional and strategic ways has been another useful nugget. For example, one could utilize <a href="https://support.zoom.us/hc/en-us/articles/115001286183-Nonverbal-Feedback-During-Meetings">Zoom reactions</a> as voting mechanisms in order to gain group consensus, or put them to work in combating the chaos of “who's going to talk next?” by framing them as a hand raising mechanism. Alternatively, simple suggestions such as encouraging participants to turn their video feed off while working in a Miro board—so that they only have to focus on one shared screen at a time—can also go a long way. 
<h1>Build time for independent thinking and screen breaks into your agenda. </h1>
Though we are still learning new things every day at Britelite, I can say with confidence that broadening our horizons to include robust remote workshop sessions has been well worth the time and effort. Finding digital versions of our favorite studio supplies, practicing generous authority, and actively training in ways to mitigate creative fatigue has evolved our practice and led to a more rewarding understanding of workshops as a whole.

Welcome to the Darkside