 Okay. All right. And you're still seeing my screen, right? Yeah. Okay. So what I want to say is this is the first of four workshops. The second one will be two weeks, September 30th. And it'll be, you know, kind of in a similar vein, but talking more specifically about different techniques of representation. We'll have a guest who's really, really kind of an expert experimenter and very awesome, you know, just generally in terms of theoretical ideas around it and also practice. Yeah, both when she's currently teaching at Syark as a graduate from there. And then in a month from now on, we'll have a workshop about hybrid activism or sort of what does, you know, how does activism, how does political engagement look in these disconnected times and times of blended learning. And we'll have like 16, which probably a lot of you know, she's teaching at G7 and she's teaching ADR-1, which is something I've also been taught for a few years prior to this. So that should be really interesting one. And then the final one, you know, given that a lot of you are, some of you are graduating, the idea is that we'll talk about hybrid practice. So, you know, once you enter the world of, let's say, of work or business or outside of school, you know, you can encounter very different environments than what the, maybe what you expected going into school and that's something to discuss, but I think that this moment in crisis, it's not just something that will go back normal, but things will definitely change for you and influence how architectures practice in some ways. And so even just reliving through this experience. So, yeah, that last combination is sort of talking about how this sort of hybrid moment we're experiencing now is blended learning is going to affect architecture practice. So, you know, kind of talking also about my own experience and talking about how send you off with hopefully some ideas of how you can go into the world after this. So, this is just to give you an overview of the whole thing. So, now, I want to start this, this lecture about, you know, they are a virtual connection actually through a very physical phenomenon asking, you know, what is what, you know, how can replicate the water pool effect. If you guys know what the water pool effect is, anybody has heard this before? It's very common. Okay, this is like too much pressure. Anyway, the water pool effect just in case is this idea that, you know, when people have sort of meeting points where they are forced to encounter because they have to back something very functional like getting water or coffee. They have to exchange gossip and information in this point. And so this is a Harvard study where they were basically analyzing sort of the height of the building indicates the number of citations that a publication got. And then the color indicates how close or how many water pools were actually placed in this building. So there was actually a correlation that was found between sort of this kind of places of encounters. So basically, if the two scientists actually worked in the same building and not in like a totally different location. So basically it seems to prove that this was, you know, done when there was already internet was already a thing. So, but still this idea that basically the people who are working together, if they're physically very close, there were more citations on this paper. So they were basically better papers. And another physical phenomenon is the Alan curve, which was studied in the in the 70s. And that basically says that the closer you are to somebody, the more face to face communication you will have which is the, I mean, makes sense right like you probably talk more to a person who like happens to sit very close to you pretty far away. So in this sense, but I think what's interesting about the curve is how extreme the changes so you know when you're very very close to somebody you'll be talking to them all the time essentially and even at eight meters, just like 20 feet away, basically the curve drops out really drastically. And, you know, once you get to like 60 meters, 24 meters, basically there's almost no communication anymore like below the 5% line so so physical proximity, at least in 1977 had an extreme impact on how much people communicate. So, in that sense, you know, my question today and view is sort of how, how does virtual technology impact the anchor, of course, now you know we're talking to people. And not just now, since, since decades now at this point, we're talking to people all the time every day that are interested, but in the very far away or you know it doesn't really matter how far away they are so and that's at the anchor, the anchor still still holds right when you're in a physical space, you'll still be talking to people closer to you so you might actually be talking to somebody who's physically close to you a lot more and somebody who's at a random distance because they're connected to you through the internet but somebody who's in the same space right now in an office space that you know people on the other side that are 16 meters away from me. I don't talk to them at all, even though they're much easier, even though they're physically in the same space as somebody who would be on the other continent so this is just an important framework for this conversation. And finally, the third concept is pretty pretty which is this idea of, you know, the more often you run into somebody, the more likely you are to marry them or to, you know, be friends with them or to have like to like them. And so, again, a very simple concept very intuitive, but it has a huge impact on how societies work, you know, in terms of like if you how you design cities, how you design intersections, how do you design, again, sort of like accidental places of encounter, because it's simple as running into somebody every day increases your risk, your, your, not your risk, but your, the likelihood of liking them, you know, by a really, really high percentage. So, it's a fancy word, you can also just throw it out. Oh yeah, I want to increase the perpetuity in that design. Again, these three physical concepts, you know, I guess, as a starting point that have proven to be so useful. Kind of can access a framework for us to think about how we can recreate or think of those in VR. But before we get into the area right away, there's obviously a lot of communication tools online right here's just some kind of a personal section of things that I use that I'm really familiar on an everyday level but you know there's there's an even much larger ecosystem. But there's today we're going to talk about 3d tool specifically because you know, we're architects that I think it has like a particular personation to how we're working and also because 3d tools actually bring back some of these phenomena that, you know, that I've just talked about and they can bring in this idea of distance and space. So, in three dimensional environments, we can actually maybe perhaps recreate some of these physical phenomena that I just mentioned because they're entirely removed from something like what's up right that we did doesn't matter how close you are physically to somebody. So, I'll browse over this, it's mostly just, you know, have super, super brief history of VR. So, essentially, in 1838, this guy with stone kind of invented the stereoscope and that was essentially just the idea that if you look at two images at an angle, your eyes start to project a three dimensional image between these two planes. And actually, a concept that's related to, I mean, some of you, my daughter, I'm really obsessed with photogrammetry and the same idea that if you have two planes, you know, and you put them at an angle, you essentially start creating a three dimensional image. And this is really the foundation of VR up to today, you know, when you, in the end, everything you create from the computer comes from a flat image that is just projected at a certain angle. And, you know, fast forward, more than 100 years later, there are some more highly considered the father of photogrammetry. And again, those are just very beautiful images, you know, sort of this is a patent of something he called the sense Rama and the deal is that it would be like a fully immersive theater or something where you basically have, you know, a 3D movie and he really believed in that that that would be the future of movies and that's how everyone's going to make most reasonable and obviously that didn't happen. But, you know, in terms of VR, it was definitely a very visionary concept and he even had smell integration. He had sort of, I think this chair as you see was kind of moving so you really had like a full full immersive experience when you were watching these. I think there are only six movies actually made for that for that device. So this same guy wouldn't have created these patterns here. And, you know, this looks very much like a VR headset as we know it today and he calls it the telescope mask and it didn't really do that much like it wasn't tracking you it didn't know where you are in space, you know, so it wouldn't move with your head, but it did have, you know, three dimensional effect when you were looking for. And then even Sutterland, which, you know, some of you might know from Sketchfab, I love talking about him every year in ADR, but he's essentially kind of the person who really invented graphical user interfaces. He also experimented with VR and built this slightly dangerous looking device and he also called it a sort of damacus, some kind of engineering joke, I guess, but, you know, again, advancing this idea of VR from a technical perspective. And at the same time the military already started using VR in training and actually in, you know, military applications which actually to this day is being very heavily used by the military for on one hand training purposes but actually also in combat. And, you know, in this was, I think, 37 years later because an Austrian architect who created this kind of prototype so they were actually working there were more conceptual pieces but they, you know, projected I guess an architectural kind of projected this idea of, of an architecture that can be worn at this like the smallest possible space and that can also then, you know, be literally inhabited and kind of transported to different worlds and so these prototypes are, you know, kind of humorous almost but they maybe wouldn't be included in our regular history of VR but obviously in architecture school I think they're relevant. And then in the late 80s 90s, they were the first actual sort of, you know, beyond sort of enthusiasts and researchers and nerds and people who are an architect. They were the first companies who were trying to make money with this so VPL research was kind of like the first company that, you know, really tried to develop headsets and also these gloves. And obviously that wasn't ready yet for the big consumer market but they actually did, you know, produce a lot of really interesting products. And it was used in a crystal river engineering for to train astronauts so that was also an early application and here you see the image. You know, it's always hard to know from images how those things work. I mean, they look really cool but they probably were like really green and black and white but maybe that would be another another kind of research or exhibition to actually figure out to replicate the experience within these. And in the 90s, you know, the virtuality group actually started producing larger quantities and made these devices for arcades so arcades actually had the R, you know, team in the 90s already and I guess they were the early adopters at the time for people playing games. Here nicely advertised I would like this, this image of this lady and so, you know, 2012 is the year that Kickstarter started developing, but not that they had started, not very, not very much earlier. So basically, one or two years prior to 16 year old guys and she started developing Oculus and really revolutionized the market through that and she started off, you know, more centuries hacking together headsets but really quickly gain traction and this is a Kickstarter he started and you can see here that the goal was $250,000 and he got 10 times more he got like two and a half million, because people were so convinced of his technology and he got all these backers and anyway, Oculus, you know, from become from being this like tiny independent company that barely made like, you know, that money was sold for billions to Facebook on the a couple years later and it's now kind of the flagship product of Facebook and what's interesting about that particular today was actually that so Facebook launched the Oculus Quest 2, which is a new headset, which really, you know, Mark Zuckerberg was live on streaming live on the internet on YouTube and he was basically just totally is a 100% believer in VR and thinks it's going to change everything. I guess we have that in common in some way, but, you know, he really wants Facebook to control the whole thing. And so, get into that into debate but here's, you know, another in that in that super quick history we can see how it went from sort of like a very niche thing to at the moment being something that's been about really, and this time I think really because it's definitely the technology that always seems like two years away, right? People in 2016 do quite excited when the first Oculus Quest came out. Okay, it's here, the hype, you know, and we'll see. I mean, maybe, maybe not this year, but definitely the next two years, I think it's time to live in a much bigger market. In any case, so here's some really funny images or images of the Oculus Quest sort of patterns. Also, you know, if you look at them closely kind of revealing this ideas of a lot of ideas about how that would be used to clear these people at home, and then they're dreaming of the beach and they're very, you know, you can sort of ask what kind of people they are and sort of like projecting a very specific kind of person to be using this. Also here, you know, we have this guy, it's always a guy kind of looking at this choices, would you like, who would you like to reach? You may say mom or Jane, so you can like choose between these two images and decide who she wants to reach with, you know, through his goggles, just to kind of kind of avatar of this other person. And again, here are very sort of conventional domestic interior or exterior in that case, like the dog in the little house. So yeah, here just some context for how this was imagined to be used. So we are in architecture today, it's actually already being used somehow and, you know, seems to be mostly by white men for some reason, like in all the images. So it's just just that kind of presentation using it. I mean, which is definitely not the case, but the marketing images for some reason. But it's actually used very much in sort of them, them engineering purposes. So there's, there's apps that are exporting months from Revit to VR. And here you can also there's a link, you know, there's this is a project by Big and UN Studio to kind of help not just to visualize projects in VR, but also use them for kind of quick prototyping and changes. But it's still in development. So this one's actually, you know, again, it's one of these technologies that's about to happen. But it isn't quite happening yet. So but some some apps are out there and working just maybe not super super likely adopted, I would say, I mean, there's maybe a few firms that are really, really active. So this is one part of the component that's leading up to what we're going to say there's, you know, just to get an idea. Okay, we are has pretty recent history of, you know, being more and more used and adaptive. But still isn't quite through on a consumer market fully like there's probably probably none of you have a VR headset. No, okay. So, see, it's even architects even people who are working with really are kind of like, it's not quite there. But so the other thing that that is interesting in terms of web based VR is, you know, it kind of this idea of creating worlds on the web and that has a long history too. So this is just just an image of an, you know, an 80s game just to kind of get into your head so how recently games looked very, very low res. And obviously now they have a much higher fidelity but this is actually 96 quiescent is the first or I don't know the first but a very popular web based world building games so you can see the people with a on on the city that you can be on the browser can interact with others so it was also a massive multiplayer game so basically they were like, you know, I don't know how many but definitely multiple people in there at the same time. And playing and kind of kind of seems like a kind of complex game I've never played it but just to kind of give you context that you know people have been doing playing games on the on the web for a long time just not really fully in 3D so this is still a flat image that you know is an axle and it can be moving around but it isn't actually fully dimensional and immersive. And that changed in 2003, 2003 was your second life came out. I mean it might have happened before but the second life was the first like really, really widely adopted game so you know, people who are already in architecture school at the time remember the second life was just like a huge thing and every every designer everybody was, you know, doing something in second life. People people thought that this is the future people. There was a huge business model around it people made money building building stuff for second life. And it, you know, as much as quickly as it sort of emerged as a trend that also faded away pretty quickly. And I think most people including me kind of forgot about it until really this year. So just 20 was sort of the year when everyone suddenly remembered the second life exists and I suppose even got more users than ever before so they call it a pandemic boost and all of a sudden, and it looks totally different you know, in the meantime they have developed with like much further than hundreds of war roles, I mean it's a massive still a massive massive undertaking. It feels kind of dated when you're in there but it's still fascinating just the fact that how what people have created because it's, I think the reason why this was successful. You know, I would say despite everything you can consider successful that 57 million people decided to make an account and people were in it for years and years. But that people really have a huge amount of, you know, say over how this was going to flag so this people really very few rules in the sense of what you could create and people could customize everything from their avatars to the world that they were in. And again, this was all three dimensional and on the web so basically everybody could access it everybody could access it from their computer. You didn't need any specialized calls or the headset or anything for it you could just you could just be in there. And yeah, most recently I mean this is this was something that you know really like young kids from Brooklyn parties for cringe that where they use second life and totally well not new way people have been throwing parties in there for a long time but it was kind of like an unexpected version of, you know, you know, very old technology almost 20 years old technology with like a really contemporary music and, you know, really have a new party that something migrated onto that platform, and they combine it with other platforms like Twitch and YouTube and, you know, I really love that that's from their website where they say party chat stream right so you have basically to have a full experience you have to have a twitch stream running and so you would have the audio from there and then you would have, you know, your avatar dancing in in second life so so so they're really combined different modes to create an experience. Fast forward to today, there is actually quite a few different web. So sorry about the VR platforms that are social. So, and most of them came out so you can see here I put in the dates within the last five years so the first one is actually office and office was, you know, really an experiment of how can people coexist in VR and very enthusiastic user base, small but very enthusiastic base and develop everyone kind of passion because it was something really new and exciting but as a definite, you know, a startup that was financed by by venture capitalists and so what happened in 2017 essentially only two years after its existence they ran out of money and actually closed the post office down and you know the small community that was in it was completely distraught. And one of the developers that have worked in all cities actually, you know, and was out of a job. He was a person that then moved on to start living with a house. And I'll get into the second but you know, in the meantime, again I said 2016 was a crucial year for VR this is when, you know, some of the first consumer habits came out the Oculus, the hgcv. So, Sansar and VR chat are two kind of universes that have, you know, slightly different labor basically a slightly different level of detail that they work quite similarly that you have downloaded a customized app you have to have customized gear, but they're also both work on the desktop. So you have kind of a mix of people who are using it on desktop and you have people who are using it in VR. But really, so on the desktop it kind of is actually very similar to Second Life and in VR you have a totally different experience because Second Life was never VR compatible right it was only on the desktop. And the hgcv art is a phenomenon it has like doing the pandemic at the 1600 concurrent users which is a lot for VR. And in any case this is sort of the current, you know, landscape which is also I think really interesting practice to explore just to go in and see what's up because anybody use any of these or is that new. Okay, you should try you should try because they're kind of fascinating world in themselves. So, but Mozilla helps again founded by this guy who was actually who kind of have not found that he was the main kind of the person leading the team. And so his mission is, you know, if you create a social space that people actually care about but that social space is depends on funding by a totally third party by you know some kind of investor. And that funding goes away then also to take away people's social connections. And so his mission was to kind of not let that happen and build a decentralized VR environment or VR circle environment that lives on the web. So that's where you don't where you're not required to, you know, download any proprietary software, but the idea is that it's open source anybody can take the code and do whatever you want with it, and build on it, add to it, change it. And also, that it's not running on a single server, but you know becomes kind of like the sort of this type of utopian idea to throw the early internet. And so, and Mozilla was actually, you know, interested in the same in the same ideas. They're kind of browser that was always interested in the same ideas of privacy and open internet and so they were done to help them build it and support infrastructure around it. So here's, there's a, I think, link. So you can also read the full I said but here's the history of how he is given just what I just summed up how he kind of went from, you know, a very, from developing outspace to going into Mozilla hubs. And one really important thing here, you know, when they're talking about social spaces is the intentional versus unintentional co presence where I kind of come back to the water cooler. And a lot of these online games and environments, you just go in and same for second life, and you just run into strangers and a lot of things can happen in that moment. So this would be unintentional co presence right it can be pleasant, but it can also be kind of liberating to talk to a stranger on on the Internet but it can also be weird. The idea was in the house is that actually you create private rooms for specific audiences. And then within these private rooms, you know, you can invite whoever you want and make it into into a mess with people that you actually already know. In some way it doesn't have to be actually know them in person but you know the part of a group, like for example, these up. So this is, you know, intentional co presence and he makes a really important point here which I think is relevant when thinking about these things is that, you know, this kind of social that whatever environment we're creating in VR is all by design so none of this is accidental it might be not in this is our map my intention or people don't think about it but like, all these ways that people encounter them so encounter encounter in in this basis is absolutely a design thing. So, another thing that's that's really important in my life that there's something called flexible identity. So we don't have to have one account with which you log in. So today when, when Facebook launched the quest basically they also talked about horizon which is their new social, social VR platform. And there your avatar is tied to your Facebook profile so basically you're always in the end. And they can always trace you back to yourself but in most of the hops you can log in with as many accounts as you want to have a flexible identity and so like, you know, there's this multiple versions of you that can enter and always have a different avatar so if there's really significant differences between between these type of social spaces that are just important to consider. So, let's go into the space real quick, all together and then, and then we'll start to have a little bit of a conversation with Matt and we'll kind of like, and actually all of you because there's not too many so we can, we can just chat about these issues. If you click, you can either click here in the presentation or also send the link in inside of the chat here. So you're anyway muted so you can probably hear the music from my. So here's the first link to send again was the hubs link and second one. Very good. Oh, here you are. So here's the kind of like a sort of spa environment. And you can filter my screen. So when you come in, you can, you probably already were asked to choose to have an avatar here on the left hand side. You can always click here and set that name and avatar, and you can change something with the rod. So it's nice when it's when you put your name in because then that allows you to know who you are but again, you can also be allowed to be prefer. And so you can also talk to other people and you can test it with your friends afterwards. You can talk to other people within the hubs and actually distance, the distance, the fight, the distance you are somebody actually matters. So you will share them larger for closer to them and to further away, they come right away. So the large groups actually like using zoom for some and then just kind of walk around in here. If you're a gamer, you're going to be familiar with it, but not you can just use W to move forward, D to move right and left and S to move backwards. So sort of pulling back and forth with the fingers. Or the same thing with arrow keys. If you press the G button, you can actually close. So with G, you can go up. You probably see that I'm just flying mode and floating up and I can see the whole scene from above. Yeah, so you're already fine. And the cool thing about this is that, you know, you can, if you have a VR headset right now, you could also enter in VR and interact with all of us, but we are on our browsers and you can actually look at it on your phone and well. So, that's, you know, a really exciting kind of hybrid model. Oh, did somebody put that. Oh, wow, I love that. I love that. It's really great. Well, yeah. Anyway, I just wanted everyone to come in. Yeah, you can start playing around you can, you can, you know, you can, you can capture emotions you can chat at the bottom of the page. And you can also bring in 3d models here in the create panel and bring in images bring in videos stuff like that. I'll go. I'll go at the end. I'll talk about how to work on how to upload model from right now. It's going to be a quick, quick demo. I'm going to go back to the presentation. Now everybody's distracted, which is good. So, go on my screen so one, one firm that have been doing really interesting work in that, in that area is called space popular or popular, I don't know, they're they recently did an exhibition of the rebuy model. And it got canceled midway, because it was open for February and then they built another hub, basically hoppers version for it and this is so far the best. I've seen the best kind of, you know, hops use a scene so far so I have the house room is linked to this image and the presentation. So if you're, if you're curious, just go ahead and explore this maybe after because it's really a nice way of staying with sort of, you know, real elements and then also virtual elements and kind of like, I mean there's a lot more to be done and hopefully some of you will play totally different things but you know, just in terms of now and everything's very fresh and they made this also, you know, very quickly in May, sort of like one of the first things that that was brought out in kind of social VR space. And, yeah, there's something interesting to explore. And they also created this room for a kind of an exhibition space. It's called a gallery and basically was just kind of an atrium in which you can walk around and look at different drawings and here another example. This is where I got my avatar. It's called area. And again, you can click up the link and they have this really cool thing. I don't know how they did that. I really want to figure it out but basically you can click on an avatar and become the avatar. So you could have really cute blocks and stuff. So if you're if you're interested in not having, because you know that Mozilla avatar is kind of not that pretty so you can become a little bit more artsy I guess. And this is actually the beginning of a large project. It's the Vinny's group and they're commissioning all these VR artworks and also have a Mozilla Hubs version for it. So you can really go to supporters videos, there's different worlds that you can enter. So one important thing what you can do in Hubs, you can link worlds, you know, you can sort of connect them to each other is basically like a portal or like a gate. So you can create a lobby space and then kind of enter all these other worlds to it. So, you know, for those of you, you know, who, who are thinking, okay, calculus, maybe I want to buy a headset. I would say that they kind of come at all price points really, you can, you can, you know, get a cardboard which is like a box and you need a bit of phone, and it gives you kind of a decent idea of VR and especially, you know, in architecture maybe you're just mostly interested in premium spaces. This is totally not a bad investment. I would say just to even get a taste for it. Then there's kind of a mid-range type of VR where you can, there are also phone based, so if you put your phone that quits the image and then translates it into VR. And there's some of them that actually have controllers too, so you have like some level of interaction, because obviously the cardboard is not really, you know, interactive with your environment. At the moment, and again, I, you know, with all my critical calculus, it is the only wireless headset or the only one that I know, but there's probably more, but the one that I've done is kind of wired it up that is wired. That means you, you don't, you know, you don't need to be kind of tethered to a PC or you don't need to have any trackers installed. You just walk around freely and you have these controllers with which you can, you're fully interactive with your hands. So, for playing games, for navigating spaces, for all that stuff, that's a really, really good headset. And then there's the high end versions, which like, you know, the index and the HSE leave and those, they're really powerful and you can play like really high end graphics with them. Obviously the Mozilla Hopsis, it's a little bit lower as right, it's still sort of, because it's so, from independent because it works on so many different, different things, it also, you know, doesn't have such a great visual quality, but if you're, if you want to go for the high end stuff, and those are the headsets. But for me, it always felt like, you know, that's just too much of an investment. Yeah, I think even with the lower end, to kind of make ranches that you can really get a taste for it and start kind of thinking how we are kind of impact your practice. Okay, we'll talk about the workflow a little bit later. I'm actually going to now move over to Matt to talk a little bit about our project that we worked on in February. So I'm going to talk a little bit about his start and some of the projects that he's been thinking about in recent months. Thanks, Bika. Yeah. So, I've been kind of looking at this stuff, bubble up a little bit in the last couple of years before COVID, there was this kind of like alternative. I would say this like artists working this in alternative ways, using digital platforms to kind of get around the difficulty of displaying either commercial galleries or big institutions because they're just kind of difficult to penetrate. So they were trading their own sort of online spaces for displaying art and working with art. It's something that I've been kind of like paying a lot of attention to and now that, and now in some of my conversations with Bika as well, we've kind of gotten into this together now. And I wanted to explain, you know, talk a little bit about the exhibition that we did in February. And it was, I guess it kind of grew out of that interest in this renew this world of people kind of creating these like digital social spaces. And I don't know if can you play the website here. Yeah, so, I guess, first off, it's not linked but I can just open it up. This is the idea of digital social space kind of started with them before you do that. Yeah, it's okay. We can do that after actually so if you go to Josh's slide. Yeah, digital social space kind of started, you know, back in 2016 when the when the presidential election happened and there was all this kind of back and forth about the politics of information and how people are using information to influence politics and influence geopolitics. So, I mean we all like heard about how there were, you know, potentially or definitely information campaigns happening around the 2016 election to, you know, influence one way or the other. And it kind of comes from this idea that, you know, information is now kind of a new kind of new territory that people, you know, that's kind of one of the main ways now that the politics happens. We still see traditional warfare and people taking territory but a lot of it is now even more and more just information wars. And so I think this I this idea makes it super territorial and makes it spatial that there would be these like transnational kind of information wars. And so online that looks a lot like these the previous slide that's people on Instagram kind of make creating these like insane identities where they're like pro like, you know, anarcho primitivist communist traditional. They just make up all these, these crazy ideologies that that don't make sense together like libertarian monarchism or anarcho socialist syndicalist I mean it's almost like a game that they play to kind of like come up with the most weird identity. But I think it speaks to this kind of the spatial aspect of this stuff is that people are gathering online and spaces like Instagram and 4chan and basically anywhere on the Internet becomes this kind of like breeding ground for this sort of information to be exchanged and ideologies to be developed and disseminated and people to be radicalized and sort of building consensus so we no longer need to kind of like salon in Paris to gather to exchange ideas and exchange these types of things so a researcher named Josh Siderella kind of gets into this stuff and and I really see his work quite similarly to like forensic architecture or someone like I don't know if you're all familiar with like the 2016 most of those projects were kind of like mapping projects or these sort of like goldsmiths in London style forensic architecture style analysis of these territories and what's happening so these using spatial knowledge to like capture what's happening in the world and display it in a new way so I kind of see Josh's work as venturing into these new territories of social media of the dark recesses of the Internet to find these kinds of communities. So where these communities are being built and and fostered becomes a kind of territorial and like spatial research project. And so one of the works in the arsenal that we commissioned was he took that and sort of made it physical by using these flags or he had these flags made on Etsy. So he found these flags that these kids online and created these identities that they have been working together on and found these and made made them into physical objects. So these are real flags that were created by people and then he printed them out and people display these like it's actually a thing that kids do to they print these things out and display them in their rooms and stuff like that it's almost like concert posters now for kids. Generation Z kind of uses politics almost as a pop culture so I guess the spatiality of this project is what I wanted to kind of bring up because this online social space is what has been kind of fostering these new communities, especially in an era I think for social media is maybe losing some of its ground as a place for real discussion happens. I think people are getting a little bit tired of the toxicity of social media and the kind of like just the way people talk on the internet or something is I think people are less comfortable having and so people have been trying to find these kind of semi-public spaces you might say. So they're like places like discord where you need an invitation to join or the places and the spaces that Bika was describing I think are right along those lines where people are sort of in these new smaller online environments to foster community and bring together people in a way. So one example of that was actually if you go to the next one Bika I think maybe it makes more sense this way. So one example of that is this group of artists and you can find these videos on the FIDE website. This is Philip Kostick's work and we commissioned this one as well because he had been going on World of Warcraft and he and a bunch of his friends were walking around in World of Warcraft. And this is pre pandemic they just played World of Warcraft but it was a lot of art people. And so they were like hanging out on World of Warcraft and making art critique and talking about art in World of Warcraft so rather than getting together at like a bar like they would have in the 60s or something people are now doing this in these game spaces. And so gathering in this online environment. And you can see the video and see what it's about because it's very, it's pretty funny. I would definitely recommend watching it is really funny. You need to watch it together. It's like he's walking around the game and commenting, you know, as if it's like a fine art show. It's really quite a unique thing. It's really funny and that's why critical art world and kind of art speak and it's just, I mean, it's actually quite, quite produced through, you know, gathering in a game space. And so I think these kind of spaces are they're happening and that's why I think it's it's important for you guys to know about this stuff because it's these these kind of online communities are already forming whether or not architects are involved. And so it's not so much how architects can change this phenomenon or anything or what we can learn from it. It's more like how could we engage with it and use it to or be help it, like how can we make it better by using our architectural knowledge and skills to, you know, build out these spaces to be interesting places for people. So another example of the kind of work in the arsenal around these social spaces was this work with by Pierce Myers who was a student Strelka and he was working on taking some of Josh's work about these kind of eco futures and these these political futures and making it three dimensional with all this with using game engines and and narrative building and filmmaking. He's a student of me and young as well. So kind of building these worlds out into places that really places that, you know, hold these kind of political ideologies and these ideas with within them so similar to Phillips piece, it kind of creates these like online environments for social and political action and not necessarily activism but just kind of community building and political for like, you know, futurism, let's say. And so I think in those in those ways architects, you know, have an opportunity to see these spatial phenomenon and and kind of engage with them in an interesting way. Now through the tools that because showing you I think these kinds of these kinds of projects, these multimedia projects, these social spaces. They really need, you know, architects to engage with them and and work on them and there's a lot of potential out there. Because there's a lot of really innovative things happening in these spaces, especially, you know, in visible hubs and in VR chat and and just a couple other kind of fun examples of these kind of things I think you might enjoy these people gathered in Tom Clancy's video game called The Division, which is a kind of dystopian multiplayer game on set in New York City and they went around and this one guy gave a tour of New York City in the game to his friends. So they made this video of it and it's just kind of a fun video but it shows the kind of experimental nature of these spaces that these spaces actually are places that even though they're virtual and not built are incredibly urban and architectural. They're kind of public spaces in a way that I think deserve architects attention and and and could provide a kind of new platform for people to project a pretty radical architecture onto as it, you know, it does a lot of the things that paper architecture did where it can escape the limits of gravity and time and, you know, the time it takes to build something and and and the cost to build something so these worlds can be constructed quite elaborately and these narratives can be built using these new tools that I think opens up the possibilities for entirely new types of architecture. And also debate and also discussion I think what's interesting about this piece is the in that sense of a sort of context piece where these people talk about it in terms of like art historical terms like all of that is modernist building over there right where you're so used but then they look like first person shooter shooters could walk around in it so but I think that's also interesting how discourse suddenly is based on these games or you know so even if it's ironic I think it still has a second new angle on how you can even discuss a architecture that if you could also do it non-ironically it could also be a very interesting way to do it. Yeah, yeah it's like the most these examples are like extremely experimental because all this stuff's very early, but you can see as this thing that Beacot told showed you also they're starting to become more necessary in this, not only during COVID but I think, you know, I would never want to advocate for this as like the as like a new reality it would really suck if this is like mandatory now that we have to do everything in this virtual spaces but they do offer us an alternative and a really appealing alternative that can be you know I think there's a lot of opportunity in this space going forward to imagine new ways of building that as you said don't have to be ironic and they don't have to be so goofy because they're they're just they're kind of like that because they're super experimental I think at this early stage, similar to this next one it's a I can send it in the chat it's called New Art City and it's a whole platform it's a it's a it's a custom platform that they've had several shows in this platform but you can get a sense I think in here of kind of the potential of what these kinds of places can look like with into incorporating a lot of multimedia incorporating videos and sound and and text and kind of hyperlinks in space where people don't have to just move through a space linearly they can now jump from place to place as same as in Mozilla as you can mention but you can kind of get a sense if you put that link of all the different possibilities of how these things can be so kind of enriched by multimedia that physical space can't be it's here this one is linked also yeah this one is interesting so it's actually using a different framework than Mozilla but it also is has you know the same qualities of being on the web and being interactive and actually it has it's a little bit more elegant I mean the one thing about Mozilla if you use the default version use the default version you know it it can it just has a certain aesthetic to it which is somewhat limiting and so here you can see an example of somebody who will build a custom framework for it but which it's you know in itself great but not possible for every project I guess especially when you know you're an actor in school and you kind of make something something quick but it's definitely kind of pushing this is another level of sort of pushing web 3D you know to a new frontier which also this project is a very recent tool do you know when it came out they've been doing shows since April but this this one that's on the screen right now is super recent like last week yeah and I think that's also an interesting distinction too is like I mean I think that the VR stuff that you showed is is really one type of this kind of digital social space but there's also I think these these flat screen the the ones that are just on your browser are also another type as well so I don't know like really there's like big differences between them too but I think they kind of operate in the same way and bringing people in the ones in the browser may be a bit more anonymous I'm not sure and a little bit easier to enter and exit without kind of but that's something also that because you've been talking about it's like the how certain platforms I mean this is all kind of wrapped up in that form discourse as well like politics of each platform and how do they you've been talking a little bit about how Facebook is trying to get you to sign into your Facebook to use Oculus which then sort of keeps it I mean most cynical it you know reifies you know existing social relationships or existing hierarchies but at its most like you know maybe very least it holds it back I think from from being a place of real you know it just kind of holds it back from being a place of fantasy and holds back its potential as like a creative space where you could make up your own character or like not have a character and just float around I guess the platform is a big question here yeah and I think it will differentiate itself I mean the Internet also you know it again remind me of earlier versions of the Internet you know I guess I'm old enough at this point to remember when the Internet is kind of wild and unregulated in some way and or at least had the promise of it you know I don't know if it ever really was but it just had at least conceptually people saw it as the space that would have that kind of freedom embedded and never live outside of you know the cover pose a sort of alternate reality or not just virtual reality but also alternate because I think that interesting thing about virtual reality in a broader sense is you know you can define how much that virtual reality is actually replicating reality or totally disassociating from it and even in the examples we saw tonight you know I think there's such a range and but it can be I think that is still such a wide open field to be to be explored and I think with you know Facebook and social media as we know it now actually those those profiles are becoming almost more real than we are they're kind of replacing reality and I think that's where it gets really tricky right and so if we are I think those things are still to be defined a little bit and there's going to be you know for approaches but that's why it's an exciting moment in my so to you know think think things through it as an architect also think through the possibilities of how we can keep that imaginary space open for ourselves and use it in the moment of innocence or pretty you know almost yeah I mean it's a really interesting time for right now because it's kind of forced to develop it and it'll be interesting to see where it goes after like is it is it is it become like alternatives or is it become like are there uses of it that are like we need I guess is what I'm wondering like something that's going to be kind of like an art world phenomenon that yeah it becomes like a you know a genre or is it going to be like something like real that finance people feel like they need and it becomes developed listen to the people that are developing it right now you know they're really they're thinking of it in all kinds of ways like again that that guy who's developing was it a who you know I think it's very thoughtful about it but he sees it as he feels so responsible to create Mozilla not because it's a fun art project because he believes that you know the way that we are it's going to inhabit people's life is like it's going to be so essential that he's afraid of the power of the big companies that are the centralized privatized companies that are basically are going to able to control that personal life of people because essentially if socializing is if public life and socializing is happening in VR even if it's just one percent of it you know at some point in a few years and what if it's 10% what if you know what if like what if you spend the amount of time that we spend in social media on VR and then but then that is to control to even much higher degree but it's kind of by these kind of companies because they can track your know your bio data they can track your eye movement they can just it's just like open up so much more control from these companies and and so much more addictive kind of allows for so much more addictive behavior and emotional attachment to these worlds I mean even just from the amount of time I've spent in the last few months since I got at the R headsets you know I mean it's not as extreme as there's not that many people I know who are in VR but I can totally imagine at this point that people would get really emotionally attached to VR and I mean in the research for this process I found this old video which I really wanted to watch where people talk about internet addiction in the 90s about oh my god this person spends up to 30 hours a week on the internet like who does not today like that every person by that definition would be an internet addict so I do think that you know just thinking a little bit back historic thinking looking at historically and thinking where things go and seeing at least what they what the people developing intent to do you know as architects as special thinkers as designers it's absolutely crucial to address it and it's not anymore this sort of niche thing or you know or again maybe maybe it's your foot me wrong and hoping they are completely to the pier but I'm curious I'm curious also from those listening right now if you guys have questions or thoughts on what you saw I guess I'm wondering if have you has have either of you thought at all about because I think the way we're speaking about using it using VR is we designed something you know in architecture school let's say we designed something that has you know the sort of idea of being in the real world and we kind of temporarily place it in VR to like test it out but do you think that that and we sort of like deal with the you know the sort of clunkiness and low res or whatever just because it's like a preview kind of as you're saying but do you think that in fact then when we go to the norm you know let's say we were building our school projects you know which we're obviously not but the VR would have no no impact essentially on the build form like is there a version like maybe in the future where it's less of like a you know one directional workflow and more like VR actually comes to inflect built form. Yeah I mean that's a really good question I would say that you know tools are always inflecting built form and tools are not agnostic and I mean you're right if it just becomes this very last step after you've fully designed it and you're it's really just a render button maybe a little different but as soon as it will become a little more integrated in the design process which I think it will work. I mean we're going to look at spoken a second which is the kind of editor to create the art. You know it's it's such a it's actually about to be a full 3D environment. So why would you actually do these things in Rhino if you could just do it online where you could do it in real time and then translate it straight into into a model that can be shared. So it's a little bit like it's a little bit of a reflection has Google Docs changed how we write. I would say yes. You know because all of a sudden we can we can we can share I can send it and share it and 10 people can write at the same time and where we are. Basically you know hopefully if they develop it this way or not it's going to be another company building something similar but the tools are all there they just need to get a little bit better and a little bit more stream and but so if you think of it that way and not just as a purely representational tool tool but think of it as like something that can interactively be used to design stuff with other people. I think it's definitely will have an impact on the environment just to just through the way way of using the tool and different this is from a deeper application as well you know but yeah but yeah it's a really good question for sure it's it's you know definitely would be yeah I didn't I actually didn't want to want this to kind of seem like oh it's just a representation tool because I do think that in the end in the end you know any any representation tool is also designed to work on that. I think also one thing that we've seen during covid and the space popular thing I think is a good example of this and our five-hour finale shows a good example of this. There's a lot of like kind of recreating things that already exist as a kind of stand in for it which maybe would have been funnier or more interesting before covid but now it's just like sad and scary but it's a but I don't know maybe it wouldn't but I think a lot of the discourse around that that sort of recreation of a place makes a lot of sense now that those that those recreations make sense now because let's say the Cooper Union final show got shut down so they had to rebuild it in and so essentially just the Couperin show in the Couperin building in unity and therefore they it was quite nice exhibition where you could see and click on the videos and see videos and see information it was sort of an augmented experience let's say but I think that the time for that would be would start to get it starts to get a little bit tiresome probably to have these like simulations or approximations of these spaces and probably the more powerful the more powerful examples of all of this in the future would be things like some of the other Mozilla hubs that you were showing Bika that kind of obliterate any reality and create these new places where digital content can be displayed natively and therefore it's not it's being seen as it should be seen or it's designed to be seen in that space so something like yeah I mean it just opens up a lot of possibilities for like how you display digital artworks and that's only I mean that's kind of only an art art world but I could see it applying to to like architect you know more traditional spaces to where maybe there's like a hybrid space or AR space or something where you start to think about not just like as you said Katie like approximating something that already exists but like fully using that medium to like bring out the qualities of the medium of the tools. Yeah, I was thinking I was also thinking the other thing that I think will become any more relevant is that you know people will design buildings but also the team think of digital twins it's not necessarily replicas but you know you would have a physical building and then you would also have a virtual version in some way that can be an adaptive work or expanded version of that physical space. So you know if you think of an art gallery or that's just for my mind or any really for our programs you can imagine I mean we're doing it with school right now right like our virtual spaces are zoom because we have a bit of a design anything better but you know we're inhabiting kind of default spaces at the moment but why don't we also design them and so but then I think with specific physical spaces, it's already happening in a form of websites right like most physical spaces have a lot of web address as well. So if you think it further in terms of spatial web VR you could also think of like a spatial representation on the web and I think that if you design these two together, they will also potentially influence the type of order or interfere with each other. And the other way that VR is influencing space right now which is really funny it may be a very temporary version but people are putting me removing furniture from their spaces to clear out the VR area right so suddenly you have totally redone your living room because you need to just open space for for the vastness of the internet. And so that's different right and so so make that could be I mean that's kind of small scale thing in a way that you can sort of think of larger VR interactions and if that becomes a centerpiece of people's lives then you would have to rethink how our partners are laid out and we would have to come anyway but this is not a physical you know hybrid condition between the physical and the virtual. Yeah I know that's interesting or the the twin concept I mean even like you know there's always an exhibition catalog book that goes with the physical exhibit and that seems to be a totally normal so why would there not be like this kind of digital twin with the feeling I think that's really interesting. Yeah, let's see. Actually in our case, maybe you could pull up the website because it's pretty raw. It's pretty raw but I think we we wanted to do this pretty well. Because the reason we wanted to do it is because the show was only allowed to be up for a month and we were like well we should build something online it'll last forever. Or more than a month. And so we wanted to build it out so people could see it. And so we built so be good 3D scan this video. And we wanted to do it because we wanted to do it because the show was only allowed to be up for a month and we were like well we should build something online it'll last forever. Or more than a month. And so we wanted to build it out so people could see it. So we could 3D scan the space and then some programmers made it into they used a unity to build it out into like a playable game online in the browser. And it's kind of a, it's actually an iris version of it, you know it's gray. So you go and visit all the artworks and you can kind of see the layout of the space so that relationship of the objects to the space and objects to each other kind of remain remains and you get the idea of the show more than you would just from a catalog. So I think in that, in that sense it is sort of a catalog actually a really hyper media catalog. So you can see, you know you can see exhibition documentation but actually most of the video works you can just see. And so in that regard, now it seems kind of annoying because it seems like just another one of these shows but it actually was meant to be more like it was more like a critique of how hard it is to have space for a long time. So we can't have the space for more than a month so we'll just make our own space with all the stuff, kind of stage it at the location for a month and then broadcast online. And then it's got everybody trying to do scrambling. Yeah, I mean as much as this was, you know, maybe something that I was trying to do I'm sure that people the next round is going to be a lot more interesting in terms of how people will approach it, you know, and how to learn from these approaches. Because I think that before the pandemic, it seems almost like we are and it's kind of for this sort of 3D worlds that the need wasn't so clear in a way and so, you know, kind of also not thinking, I think people were limited to what they could imagine that physically able-bodied people would do. So I think what I, and this is the first of all when I read this, okay, I would not be able to go to all these things physically I would always be in that situation and there's a lot of people who are, you know, in fact in that situation and so expanding access in that way I think is also a bigger, a bigger mission, a bigger question of this type of media. Oh, it's already 8 to 20. So I, so for those who are interested, I would quickly show the spoke workflow, but I can also, it depends a little bit, because it's already late, I can't just record it. I decided as a video, how do you guys feel, do you want to proceed or do you feel like we should just wrap it up slowly, because it's been one of my, I'm happy on your way. If you want to see the spoke, just do this. I want to see it. Okay, let's do it for Matt. So, yeah, might as well. Five minutes to get a drink of water. We just take like a five minute drink of water. Oh, take a five minute water break. Yeah, let's take a, I'll just, you can just walk away. I'll just, I'm just going to start the rhino file just to fix it. Here's the scene that we saw earlier. And it's, you know, as you see, it's a pretty simple rhino file, pretty straightforward, actually. But basically texture maps all the materials onto these, onto these sort of primary shapes. And in this case, I mean, this is just because I wanted to have a little bit of a handwritten feel to it. Thanks for tuning in. So because I don't have a handwritten feel to it, I actually just wrote those by hand and put about them and texture map them onto the object. In VR, again, in this sort of hyper experience of connecting between the physical and the virtual of like, often just kind of have spaces that already are very abstracted. So I wanted to give it a kind of haptic touch. So, and this is a NURBS model. And so most of you when you're modeling in rhino, you're going to be modeling in NURBS. And there's a really, really important distinction. So when you want to upload stuff to the web, you have to use meshes. And I have a full one hour lecture on YouTube that I can send you if you're interested. And that you could watch where I talk about the difference between NURBS and meshes. And I feel like it's essential knowledge for every architect to know. But I feel unfortunately in architecture school, still a lot of people don't quite get the idea. But the main thing you need to know is that before you can upload this, you just need to turn into a mesh and there's a very, very convenient command in rhino, which is called mesh. So you can select your geometry. So you can really just select everything at once. It depends a little bit how heavy your model is. This is a pretty clean model. As you see, there's not much extra geometry. But this will go pretty quickly. And you just hit mesh. And you see the dial up, you see like how many polygons you'll get and can choose the preview to kind of see the density. So you can go for, you know, a high density of polygons or few programs. Basically, you just want to have a mesh density that is smooth enough that things don't look kind of jagged and low res, but high, but not too high. So you don't use high so it doesn't get too big. So here you start seeing that this is actually, you know, pretty good the medium range. So, you know, usually I go with the medium range and then if the file size is too big, then I start going down from there. But again, it depends on the model. So here I have an already mesh model. One thing that you need to be aware of when you create your mesh. So right now, in this original model, when I have the mesh and the surface, they're actually the mesh and they're actually overlapping. So right now it looks the same. But when you click on them, you can select mesh or poly surface. So when you're exporting it, you don't want to just export everything you want actually just selected measures and export these because, you know, otherwise you'll have everything double and it's going to make you file unnecessarily heavy. So as you see, this is a little, little Mozilla hub setup where I built an environment around it. You could also use that away and just have it open and like infinite space, but it's nice, you know, to be a little contained. So here you have, you know, I can build just a simple dome and put a texture on it. And here I'll use a water texture in Mozilla hub. So this will, this is just open up leaving it open and anticipating them by using kind of an iterative water texture that appears here. So, another important thing you have to think about in Rhino before you export it. Your model should be in scale one to one in meters. And that's not because I'm European. It's just a Mozilla thing. I don't know why they chose meter is the default scale. So if you have your model inches or whatever other units, just go to type units and then you can change it to meters in there. So, you know, it's a random meters here, but except whatever scale, you know, should I scale it tiny some so just accept that and then they'll be in the right scale and you come into a house and scale is important in hubs because you will be experiencing it in sort of first perspective. And so, you know, when your model is too small or too big, it's not going to be working for you. And that's really it. So that's, you know, those are the main things you need to understand before you're exporting it and the file format to export it. Actually, I'm going to go back to that slide really quick that I skipped over earlier because that one hopefully explains it. So here, you know, you're in vinyl, you turn it into a mesh and then you export it as an OBJ to Blender and Blender is a open source. So modeling software that, you know, is awesome and that allows you to export OBJ into a GLTF and the GLTF is a kind of web mesh format that can be readable by the spoke and spoke is sort of the editor, the kind of free web editor from which you publish into hubs. So it's really just, you know, these sort of, it's these two steps because this one is just, you just click and it goes, you don't have to do anything, any translation here, but it's, unfortunately, it's not just import, export, export, import, export, export, but anyway, this will soon hopefully be a little bit more streamlined. And I don't think that, you know, the reason that this is like that is because writers are the mesh modeler. And I looked on the forums and it seems like at least in the near future, GLTF is not in plan for right now, but we'll see, maybe if there's a critical mass, if everyone starts using a little help, maybe they'll build it as a plugin. So then, so you export it as an OBJ. I'm just going to assume that you know how to export stuff in line up. If not, you just select all, you say export selected and then choose OBJ as a file format. Then you open up Slender. And I will just save this file and make a new file. So one thing that happens. As you see, I'm not here. As you see, I'm not a Blender expert actually. But you don't need to do much in Blender actually. In this case, you it's really just kind of a travel. So in Blender you go to file, import, and then choose OBJ. And here, and I have here my tutorial. And I have my Island file that I exported earlier. So it will look something like this. And this is just a default box. You can delete that Blender kind of for some reason already put into your file. So here you see your object and it loses textures, but don't worry about it. The textures are just not previewed, but the textures are actually still there. For some reason, Blender doesn't want to display it. But if you know in spoke, you'll actually know if the textures have arrived or not. So next step, very simple, don't do anything just hit export. And here you have the GLB or GLTF exporter. So here I'm going to make a new folder for it. And then here, so you can say selected objects. If you don't want to export the whole model. And then if you're working with animation, you can also choose new settings here, but by default, you just export the whole scene. And so next thing in the spoke. So spoke is the web editor. So this is, this is where I already, this is the scene that we saw earlier, kind of like fully, fully ready. I just want to show you how it looks when the scene is done. I want to just make a new scene. Just so that you. So here, this is the web access, or dash spoke. So here you see my dashboard. I will have a few different scenes that tried out. So you just hit new project. And then you get a few defaults, which are usually not overly attractive. That's kind of weird. I recommend, I really like starting with the wide open space because if you just click new empty project, it actually gives you a weird landscape. So, you know, wide open space is kind of like the most neutral one. So here, and here we have a few things already in the scene. So we have spawn points. And they have a 3D editor that looks pretty familiar to what we, what we kind of know. What is the spawn point? So remember when we teleport, when we pick the hot link, you arrived into particular point. And that's the spawn point. So basically that's the kind of, you know, wherever people are arriving is going to be the spawn point. So this scene already has four points for some reason, but I don't need all four. I just want to have one. So here you see the hierarchy. So basically everything that is in this scene, it's going to be listed on in this tab, which is pretty nice because, you know, it's kind of like a simple overview and everything that's in there. So now I can, down here, I have all kinds of different elements. So there is, and that's actually kind of to Katie's question, or in terms of creating, you know, things in VR. So there's actually an architecture kit. So you could, you know, I mean, I don't know, let's say that you could technically build a design fully here. There's stairs, all kinds of people. But generally you have your own assets. And here you see things that I've uploaded in the past are all here archived, which is really convenient, you know. Once I've uploaded something, it's going to be here forever. And I have 3D models. I have images. Haven't uploaded any videos yet, but I could. And if I have custom audio for the scene, I can also upload it here. So my assets is basically everything I've uploaded is kind of collected. And elements includes all the kind of default elements that, you know, spoke is giving me to work with. But so to import my file, I saved out earlier. So you have to find a folder, tutorial. And so, sorry, I saved it in the other one. Should have cleaned the desktop. No, it, well, actually it doesn't matter. It's also an export kit. I did the same thing before. So here, so you can see the, so here are my GLB files. Here's the open shaver. And then here's the GLB file. So I can just drag and drop it in. And that's really the cool point. It's super easy. You don't need to do anything fancy. Just drag and drop stuff. And, you know, it's, it's like, so if you're under 20 megabytes, that's like a really good size. If you, you can probably get a little bit heavier. You saw that the scene that we went in earlier was loaded pretty quickly. So overall had maybe like 30 megabytes data. Because I also have these animations basically animated this these objects loading up and down. Of course now, because it's a demo, it's loading really slowly. So, but that's why I kind of preloaded the scene. It kind of works a little faster before, but the important crucial point is for geometry to drag and drop it onto the scene. And then it will appear in the scene with texture. And even if it didn't preview properly. So, you know, in wide open space, you can set things like the fog. Here you see the power factor is something that is really helpful because, you know, the, there's not too much without fog. This whole scene looks a lot less romantic. So that is right here in the wide open space. So in assets, I guess it's one of these things where you just should play around a little bit. You know, I also just, there's not too many tutorials out there yet. But there's some, some videos you can, you can access. There's the particle emitters. That's how I generated these bubbles coming up. And the way it works is, you know, if you've been using any kind of free software, like three max is quite similar. You have here the stack, the hierarchy stack of all the different elements. And then you can upload an image, any kind of PNG, and then create particles within there. And you can play around the scale, randomness and how many emitters are coming out. And similarly down here, you have simple water, which is such a, just a plane to put in and automatically generate water. So it's still a kind of a little bit limited range of, of objects. So I've also created little animations, just simple sort of like up and down movements for these, for these volumes. If you want to get into animation, that's like slightly longer total. You know, hit me up. I'm happy to explain to you, but essentially you need to animate the object in blender and then take the animation in and bring them, bring it into hops. And then that's going to be part of your scene. So, yeah, but essentially, you know, if you really just want to get the geometry going, this is the step you bring in a glt. One thing that I really love is bringing music. So you have audio. So you can just click the audio button and drop it into the scene. And then, so I already have an audio in there. So this is my second audio. But the nice thing is it's so simple. You just copy paste the URL and I'm going to do this one because I already have one, but I can show you the one that I already had. So I just used a sound card, any sound card, public sound card link will work. So just like, you know, kind of mix better like that thought would take the sort of calm atmosphere. And that's it. And then the audio was important to know about the audio is that it's spatialized. So basically, if you get closer to the audio, you can notice if you're walking around that scene. When you get closer to that point where it is right now, that's why I put it kind of central. So if you're walking around that scene, it's going to be louder. And down here, you can actually, you can control the volume and you can make it louder. And it can even control the distance model and how far off it is. So here at the maximum distance is like, you know, 10,000, really far 10,000 meters. But you can also decide if you have complex models and multiple rooms, you could have the audio only in a very small radius and within a small room. Yeah. And then you have lights. You can play around with lights. Again, the lighting is not super advanced yet. There's like, you know, not too many shading options and there's no ambient occlusion stuff like that. So if you want to have more advanced lighting things like ambient occlusion, you would have to bake that into the textures and bring the textures in. But yeah. So when you're done, you know, kind of want to see a first word, you just hit publish to hubs. And then it will basically transfer the scene into hubs. And I think it's thinking too much. I hope it's my laptop. Okay. My book might be overloaded from all the things that are happening. But this is exactly the scene that I saw earlier. So, you know, once you hit publish to hubs, it just goes through. Okay. Okay. So, exactly. So when it comes to hubs. Turn off the co-op. Let's not do that. Bring the fuck back. So. It generates a little screen chart. You can give it a name. And then export the scene out. And, you know, again, you want to always be careful. Yeah. And, you know, we're doing the next part of making big files because it'll just. Amplify the problems. So here, you see, I, it gives you kind of feedback of how well you did in terms of. In terms of following guidelines. So my project is pretty good. I do have like 57 unique materials because I really want this hand, like, textures on everything, but that's fine. a little bit of cocaine, but it's okay. Medium is fine. Then with architects, you'll never have, you'll never be like a hundred percent of worship. But it's kind of nice that it gives you, you know, gives you great of how well you did. So now you can go on with your scene and you want to create a room with your scene. And that's it. And, you know, it loads it in hops and then you can enter your scene and share it with other people. Any questions from you guys about this? So you see this is the spawn point. This is where the little, and I can move the guy around, right? So here in my list, someone. Okay, so here's the spawn point. And you see here, if I move this character, and I can also decide the orientation, which way they're looking. So I can also have them, you know, connect for a way or whatever, whatever works for the scene. And this is, so if I republish it, this is going to be the spot where I would come out. Yeah, question. Oh, I landed in the water somehow. Yeah, I guess maybe we'll leave it at that. And then I am planning to make videos for this, for the skills trail so that, you know, we have kind of a permanent access to these videos. And I'll also take this, this lecture and demo on YouTube. Okay, I'll put it to YouTube so you can find it. Oh, the animation. Okay, so I could show it real quick if you guys are still, if you want to hold on. I was just worried it would be, it would get too long. But it's a small bit of captive audience here. So I did it in Blender. So here, I'm going to show you a fact of Blender, going to the OBJ. And here I just have these little, you know, just carbon add whatever I want to create. So this is one of the shapes that I animated. And so basically Blender, you know, I've never used it before, but I just looked up simple animation tools. And the way it works, you press, you have a timeline down here, you press I. And with I, you create a keyframe for location. And then you can go to like, you know, 100, or whatever, whatever type of you want to have, you move it. And then you press I again, and press location again. When you move it to, but you, you know, because you want to have a continuous movement, you want to move it back to its original position. Because then I need to loop. You move it back, you press I again, and you press location. So, but that's not enough. Just animating. So now it's animated in Blender. Yes, the demo effect just hit me. It was going pretty well so far, but oh, okay. Okay now, okay. I think the first keyframe didn't, okay, it's just moving very slowly. But you see, you see that this thing is slowly moving down. So it's animated, but you want to also bake the animation and you do that by going here. There's something called non-linear animation. And when you, when you click that, this sort of drop down menu here appears. I don't know what it does. It's called push. You push it, you press that button that I just did. And then it's baked in, into the object. So then you do the exact same thing you just did before. You say export, and then the gltf file again. And here I'll just call it export gltf. And oh, actually, never mind. Okay. So now I don't export. I just want to export that one thing I have selected, right? So here you want to make sure include just selected object and animation is already checked. So that needs to be checked just to make sure. And then when you go back to hubs, so you imported the exact same way that, you know, you import the other geometry just drag and drop it. But the one thing you have to make sure, because I actually ran into a problem and it was really annoying until I figured it out. The one thing you want to make sure is that before you publish, so this is one of the, one of these objects that I animated. So here, when you select the object, it gives you the position and gives you the URL, whatever it's uploaded. But by default, loop animation is not selected. It just says none. And when you publish it, it'll just won't, it won't do anything. And so you want to have that selected. So all of my models here, you see this one and this one, they all have that loop animation selected. So you have to do that for each piece. And then yeah, when you publish it, then it's gonna, should completely say, you don't see it and there's no preview in, in spoke, unfortunately, for the animation. So you kind of have to trust that it's there. And remember that you have to hit that button. So that's a trick. It's really, again, not a Blender animator. I've done a lot of 3D Max stuff. And I'm actually, one thing I work on right now is figuring out how to, there is a plugin for 3D Max to export Chillsia files, but somehow I've been able to get it to work. Because that would be easier for me because I know better how to animate in 3D Max. But it seems like the default software that a lot of people are using is Blender. So I'm not sure about the baking, animation part in Max and stuff like that. So at the moment, this is one workflow that works. So I recommend, you know, I'm sure there's going to be more different paths and different ways to do it, but this one then. Cool. All right. Any more questions or thoughts? Enough for today. Okay. Thank you so much for listening and, you know, being here and being engaged. And yeah, come to the next one in two weeks. We're going to get deeper into these things and talk about representation in a larger sense and also have a really awesome guest, Leah. So yeah, I'll stop it here. And if you have any questions, you all have my contacts, so just hit me up. All right. Have a good night.