A Quote by John Carmack
At its very core, virtual reality is about being freed from the limitations of actual reality. Carrying your virtual reality with you, and being able to jump into it whenever and wherever you want, qualitatively changes the experience for the better. Experiencing mobile VR is like when you first tried a decent desktop VR experience.
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Usually, companies, when they approach other people to do VR, they're like, 'We're gonna offer a virtual reality experience' - to me, that usually means they're gonna put a bunch of 360° cameras in a room, film something, and wrap the video in a sphere so you can head-track and look around. To me, that's not virtual reality. That's 360° video.
If you're having a very high-adrenaline, high-movement experience in virtual reality, and then all of a sudden you're back in your office, that disconnect is pretty notable. Whereas if you're using it for virtual reality teleconferencing... there's really no kind of impact moving back and forth between the real and the virtual world.
A bad version of a virtual reality video makes you vomit in your headset in under 10 seconds. It's much easier to make bad VR than it is to make good VR.
What's really astounding to me is a lot of the guys at Oculus VR and other companies who were creating VR tell me that 'Ready Player One' is one of their primary inspirations in getting into virtual reality.
Virtual reality is a denial of reality. We need to be open to the powers of imagination, which brings something useful to reality. Virtual reality can imprison people.
VR is going to be defined by the content that is designed explicitly for virtual reality.
The park achieved a kind of reality. Like these virtual reality games the children are playing with. I told them we were doing this 40 years ago! Disneyland is virtual reality.
Virtual reality, to me, seems to have a number of different tiers. Entry-level-tier VR is this experience: on a phone, some simple head-tracking, and some quick and dirty, game-engine-quality stuff.
I'm surprised that VR has come about so quickly. It's lucky I just happened to write a book imagining virtual reality right on the cusp of it actually happening.
Today, the best way to communicate with someone is still face-to-face. Virtual reality has the potential to change that, to make it where VR communication is as good or better than face-to-face communications, because not only do you get all the same human cues as real-world communication, you basically suspend the laws of physics, you can do whatever you want, you can be wherever you want.
These new technologies try to make virtual reality more powerful than actual reality, which is the true accident. The day when virtual reality becomes more powerful than reality will be the day of the big accident. Mankind never experienced such an extraordinary accident.
The whole thing with VR is that it doesn't matter, local versus networked gaming. The goal in virtual reality isn't to have people sit in the same room with headsets on.
If you have perfect virtual reality eventually, where you're be able to simulate everything that a human can experience or imagine experiencing, it's hard to imagine where you go from there.
My interest in Virtual Reality (VR) films began for me when I began a fellowship with MIT's Open Documentary Lab. It was a profound experience to be on MIT's campus one day a week and to enter a new world of storytelling where breaking convention and traditional methods were expected. This was deeply challenging and inspiring.
Virtual reality started for me in sort of an unusual place. It was the 1970s. I got into the field very young: I was seven years old. And the tool that I used to access virtual reality was the Evel Knievel stunt cycle.
To someone like Zurbaran, who paints still lifes, lemons and pears are the objects of art. But to the electronics engineer who works on the technologies of virtual reality, the whole reality has become the object of art, with a possibility to substitute the virtual with the real.
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