Book Review of Charlie Fink’s Remote Collaboration and Virtual Conferences: The Future of Work

I will be blunt: this is a rather perplexing (and downright irritating) book.

First, let’s deal with the irritating parts. In an afterword, a preface to the advertising sponsors (yes, this book has advertising, like a magazine), it reads:

There isn’t much of a business in books, especially if they are rushed to market in ten weeks by an academic team without the resources to pay for design, printing, the Kindle version, websites, and social media, which adds up to tens of thousands of dollars.

That rush to market is all too readily apparent in the final product. Here is an actual screenshot of one of the pages of the book, which I took using SnagIt from the Windows Kindle app at 100% zoom, because I had to share the horror of it with you all (the red notes are mine):

As you can see, it is riddled with typography and font problems, with parts of headings cut off or overlaid with diagrams. The text in the Windows Kindle app (even at 125% or 150% zoom) is frankly unreadable. Page 101 is mistakenly left blank, which means that somebody’s essay (Charlie’s?) starts off in mid-sentence.

This is a mess. Did nobody proof-read this before it was set to sale on Amazon? Test it out on a few Kindle devices to see how it actually looked? After paying CA$20.00 for this book, I feel like asking for my money back, just for the poor quality of the publication alone. You should know that, up front, before you pay for this book.

Thankfully, the text was somewhat more legible on the Kindle app on my iPad, so I settled in for a good read. And this is where we get to the rather perplexing part of the book: the content.

My understanding is that this book is the result of a undergraduate-level course Charlie Fink was teaching on virtual and augmented reality at Chapman University’s Dodge College of Film and Media Arts, which was interrupted by the coronavirus pandemic. The eight students in his class were sent home to practice good social distancing with Oculus Quest VR headsets, and collaborated to write the one-page profiles of each of the companies which appear in this book. And this book still feels somewhat like a class project; some profiles are better written than others, and the coverage is a tad uneven.

And, as I said when I first reported on the publication of this book last weekend:

Now, the problem with a book (even an electronic book) is that it only provides a snapshot of a rapidly-moving and evolving industry, and as such, it will very quickly become out of date.

And, as a book, it will indeed age very rapidly. Given the rapid rate of change in this industry, six to twelve months from now, it will likely already be out of date (is this why it was rushed out in such an hurry?). Frankly, I’m not sure I understand why this was published as a static book in the first place. (Why not a website, which could at least be updated in real-time or near real-time?)

As somebody who has spent the last three years writing a blog about social VR and virtual world platforms, I feel I am in a somewhat favourable position to judge how well a book covers the territory, to wit, “remote collaboration and virtual conferences”. (You can disagree with me. I’m not perfect. I probably would write a lousy book myself. But I’m not trying to write and sell a book. I’m a blogger who wants to disseminate accurate, timely news and my own personal editorial viewpoints, informed by my own perspective and experiences in the metaverse.)

Here’s another screenshot (this time from my iPad, since the Windows version has the same horrible, blurry font) to show you the list of companies selected for inclusion in this survey (and yes, the headings are all smashed together and cut off on this page as well):

Now, as you might expect, five of the six corporate sponsors of this book (Arthur, Flow, Nreal, Streem, The Wild, and VirBELA) have entries describing their products. Obviously, Nreal doesn’t have an actual collaboration platform to talk about (at least, not yet), but they did provide an advertisement that looks like it came straight from a fashion and lifestyle magazine:

Which leads me to another concern of this book: separating fact from hype. Too much of this book reads like it was cut and pasted directly from the company’s promotional copy or website, without any real independent critical assessment, or sometimes even without proper characterization and categorization, of the products discussed and where they fit in this rapidly-evolving marketplace. It’s a broad-brush approach, and sometimes unlikely things get lumped together under a category heading.

For example, under the heading Social VR in the book are listed seven platforms, all of which I have written about on my blog in the past:

  • Bigscreen
  • Fortnite (?!??)
  • Hoppin’
  • NeosVR
  • Rec Room
  • VRChat
  • Wave

Now this is a rather haphazard selection of social VR platforms, meant for different purposes, and at wildly different stages of development and deployment. It’s almost as if they were picked out a hat at random, and I know (I know, trust me) that there are many platforms missing. This is far from a complete survey of social VR; it’s more of a random sampling. Oh, and Fortnite is categorized as social VR? While yes, technically, it appears you can play Fortnite in a VR headset, I would hardly call it social VR. Again, a sign of a rushed process.

Perhaps Fortnite would have fit better under the Virtual Worlds category? Here are the five platforms listed under Virtual Worlds:

  • Decentraland
  • Second Life
  • Teeoh
  • VirBELA
  • Somnium Space (which probably should be listed under social VR)

Again, it’s like these five platforms were picked at random from a hat. Again, a lot of virtual worlds are missing from this book. This is, at best, a very random sampling of the current marketplace.

The whole book is like this. For example, Coursera and EdX are listed under Remote Education, but they are vastly different beasts from all the other entries in this section: Victory XR (used for a variety of VR education purposes); Acadicus, Fundamental VR, Holo Anatomy, and Precision OS (all medical VR/AR teaching platforms); and Nanome (a VR platform for molecular chemistry).

As a librarian, all this miscategorization of platforms bothers me. A lot. This whole book reads like a rush job from start to finish.

And, tucked into the Telepresence category, is probably to me the most ludicrous inclusion of all: a page discussing the $2,000-to-$15,000 line of Beam robotic systems (basically, a video screen with wheels):

Beam is a robotic telepresence system that allows users to inhabit a distant location embodied—not as an avatar—but as themselves, piloting a 2D tablet computer through a 3D world and interacting with other people as if physically present.The robots have four wheels…a wide-angle navigation camera, a monitor to show the user’s face and a speaker to communicate with others.

Beam is lumped in with Avatour (which should have been categorized together with Hoppin’, since it’s another 360-degree video platform); and Spatiate (an augmented reality workplace collaboration app that should have been placed in that section). What the hell?

If this book were free, I would understand and forgive, but I paid good money for this and I’m feeling like I wasted that money. You will get an unpolished, uneven, uncritical, disorganized, and seemingly picked-at-random sample of what’s currently out there in the VR/AR/XR collaboration marketplace, written by undergraduate students for a course credit as a class project, in a format which will make it practically useless in six to twelve months. I feel like asking for a refund.

It might have made a great class project, but that doesn’t necessarily mean it makes a great book.

P. S. I hope that Charlie Fink shares whatever proceeds he earns from this ebook with the students who wrote all the company profiles!

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UPDATED! A New Book and a New Website Attempt to Cover the Rapidly-Expanding VR/AR/XR Collaborative Marketplace

May I invite you to join the RyanSchultz.com Discord server, the world’s first cross-worlds discussion forum? Over 400 people from around the world, representing many different social VR platforms and virtual worlds, meet daily to chat, discuss, debate, and argue about the ever-evolving metaverse, and the companies building it. We’d love to have you join us!


(Yes, I know, I KNOW, I am officially on vacation from the blog…but I had another pernicious bout of insomnia, and I’ve been up since 2:00 a.m., sooo…)


I wanted to alert my readers to two new resources I have only just discovered in the past couple of days. Both are different approaches to attempt to organize information about what I like to collectively call YARTVRA: an acronym which I am still, dearly hoping against hope, will eventually catch on in this nascent industry, which stands for Yet Another Remote Teamwork Virtual Reality App. (You can see all my blogposts tagged YARTVRA, including this one, here.)

A Rallying Cry: YARTVRA!

First, Charlie Fink, who writes about virtual and augmented reality for Forbes, is publishing an electronic book called Remote Collaboration & Virtual Conferences: The Future of Work. It’s not out yet, but it will be released on June 16th, 2020 (you can pre-order it on Amazon). According to the description of the book on Amazon:

Join Professor Charlie Fink and his Chapman University VRAR340 “XR Landscape” students who, in the Spring of 2020, explored the ascendancy of the video call during the Coronavirus crisis. Ultimately, they reviewed 120 companies, exploring options for conferences, training, education, and remote team collaboration. They made a profile for each platform, creating a comprehensive directory for these online applications. The resulting book, Remote Collaboration, Virtual Conferences, The Future of Work, shows how new tools, including VR and AR, can solve the problem of being together when we have to stay apart.

Now, the problem with a book (even an electronic book) is that it only provides a snapshot of a rapidly-moving and evolving industry, and as such, it will very quickly become out of date.

A website is much easier to keep up-to-date, which is the idea behind a brand new website which I first learned about from the Educators in VR Facebook group, called XR Collaboration: A Global Resource Guide.

Image from the XR Collaboration Website

According to the website’s About page:

The Global Resource Guide to XR Collaboration is an interactive and comprehensive online tool that helps companies utilize XR collaboration and remote work tools for businesses.  The resource guide will serve as a central repository of detailed information about XR collaboration products and platforms and include an easy-to-use interactive tool for matching to specific business needs, a feature that will be available by the end of this month. All of this will be free to use and free to share.

A key feature of the XR Collaboration website is an interactive directory, where you can filter a listing of 64 YARTVRA platforms by:

  • the number of collaborators the platform supports (2 to 50+);
  • the VR/AR hardware brand names the platform supports;
  • the type of collaboration the platform supports (this is similar to my Venn diagram, Social VR Platforms Organized by Primary Purpose);
  • the operating systems the platform supports (e.g. Android, iOS, PC/Windows, Steam, WebXR, etc.);
  • the platform’s features (e.g. desktop sharing, avatars, etc.);
  • the industries the platform is intended to serve (which I think would overlap a bit with the type of collaboration, above).

Now, I must caution you that this is very much still a directory under construction! Clicking on any of the logos takes you to an undefined URL, at least so far. (UPDATE June 19th: Apparently, I was mistaken. This does work; I was just confused by the URLs that appeared at the bottom of my Chrome browser when I hovered over the links in this directory.)

Also, just a quick, cursory spot check of some of the websites for some of these XR collaboration companies pulls up a few errors (for example, Project Chimera by Pagoni VR is listed here as serving the arts and entertainment industry, when it really should be categorized under education). But it is still early days, and I assume these sorts of errors will be corrected as the directory is fleshed out. (By the way, there is a form for companies to fill out to request consideration for entry into this directory. I do see a number of platforms missing. And, if you’re going to include arts and entertainment platforms in this directory, you may as well throw Sansar on there…but I suspect that they want to focus more on the corporate market.)

Hmmm, I wonder if the team of VR/AR/AR experts behind this intriguing project needs a social-VR-obsessed librarian to help keep things organized? This would be a dream job for me, even if it were volunteer! I mean, this is essentially what I have already been doing informally on this blog for the past 2-3/4 years, even though my comprehensive list of social VR platforms and virtual worlds needs a serious reorganization and recategorization as it has grown to over 150 entries (hence my “Herding Cats” series of blogposts).

There’s also an introductory PDF guide to XR collaboration tools available if you provide your name, email address, and primary industry (all the better to create a mailing list, my dear! as the Big Bad Wolf used to say to Little Red Riding Hood).

Anyway, I think this website has the potential to be a very valuable resource, and I wanted to let people know about it (even if I am officially on a vacation from the blog!). If you want to follow the XR Collaboration project on social media, here are the links: Facebook, Twitter, and LinkedIn.


O.K. now I am going to go back to bed and try to get some much-needed sleep…

Image by Wokandapix from Pixabay

Linden Lab and Draxtor Despres Launch the Second Life Book Club

Yesterday was the first episode of a new, livestreamed weekly book club series called the Second Life Book Club, hosted by Draxtor Despres. If you missed it, you can watch it here:

Drax, the truly indefatigable video chronicler of both Second Life and Sansar, is also an avid reader and book lover. He has been hosting The Drax Files Book Club Show in Sansar for well over sixty episodes, interviewing various authors in his broadcast studio tucked away in the basement at 114 Harvest, every Saturday morning at 10:00 a.m. Pacific Time. So it was perhaps inevitable that he would become involved in this new initiative: a book club in Second Life!

A press release from Linden Lab about the project states:

As book publishers adjust to coronavirus-era restrictions, the virtual world Second Life is launching the Second Life Book Club, a new “virtual world book tour” initiative that enables authors to have real-time book readings, engage in meet-and-greets with their fans and promote their publications in front of a live audience within the Internet’s largest user-created virtual world.

The Second Life Book Club, which debuts April 8th at 10 a.m. (Pacific), will kick off with a multi-author panel that will discuss the new reality of writing and selling books in the age of COVID-19. The event will feature a live Q&A with best-selling authors Matt Ruff (“Lovecraft Country”), Ken Liu (“The Paper Menagerie and Other Stories”), SL Huang (the Cas Russell series) and CB Lee (the Sidekick Squad series).

Upcoming shows will feature guests such as Tad WilliamsChristopher BrownQiufan ChenKelly RobsonChana Porter and Premee Mohamed.

The Second Life Book Club is hosted by virtual world personality Draxtor Despres, who is also producing the series in partnership with Linden Lab (creator of Second Life).

“When I first reached out to authors, some of them very high profile, I was surprised to get super enthusiastic feedback like: ‘Of course I will come on the show. Can I be a tentacle monster? Can I be a parrot? Can I fly?’,” says Despres. “It’s a dream come true for a book nerd like me!”

Linden Lab CEO Ebbe Altberg adds, “Second Life offers a safe, fun retreat during a time of great anxiety, stress, and social isolation. Through the virtual world, people can stay connected and engage in friendly conversations and fun social activities such as visiting live music performances, virtual nightclubs and deejay events and now even book readings. Virtual world interactions offer a much deeper connection with other human beings than for example video conferencing: through the avatar and the shared space we feel as if we are fully present together.”

This is a win-win-win situation: a win for Linden Lab, a win for the authors, and also a win for Draxtor Despres, whom I believe to be the hardest-working man in virtual worlds, a non-stop whirlwind of activity! Drax is busy making promotional videos for Second Life, hosting regular shows and events in Sansar, running The Drax Files Radio Hour podcast—and on top of all that, he found time to complete and release a well-received, full-length feature documentary on virtual world use by the differently abled, titled Our Digital Selves: My Avatar Is Me. He’s truly an inspiration.

The Second Life Book Club will be every Wednesday at 10:00 a.m. Second Life Time/Pacific Time. And you can join the live studio audience on the new Book Club Island! (Be sure to pick up a stylish free Book Club T-shirt for your avatar at the entrance!)

See you there!

Book Review: Dr. Margaret Gibson Makes the Case for Second Life Being a Mature, “Haunted” Virtual World

After my recent cancer scare, I picked up a book that I had been reading, which I had set aside, titled Living and Dying in a Virtual World: Digital Kinships, Nostalgia, and Mourning in Second Life, by Dr, Margaret Gibson and Clarissa Carden (Palgrave Macmillan, 2018). I had promised earlier that if I had time, I would write a book review, and here is that review.

Living and Dying in a Virtual World

This book, which covers various issues of nostalgia, memorial, and mourning in the virtual world of Second Life, is highly recommended reading, particularly for those people who don’t “get” Second Life, or understand why over a half-million people still use the platform regularly after 15 years. Here is a lengthy excerpt from the final chapter of the book, which I found especially thought-provoking reading:

SL was one of a group of virtual worlds which came online in the early 2000s. Not all have survived. The Sims Online, later EA Online, is a notable example of a world which, despite being loved by its residents, did not make it. Of those that have continued, some, like World of Warcraft, are game-focused. The purpose of their existence, and for the continued interaction of users, is apparently self-evident. Second Life provides no such explanation for its own continuation. It continues to exist because it remains in use—but the reasons residents choose to live in SL may be as numerous as residents themselves.

Due to its age, SL, while no longer cutting-edge technology, is still a very new type of entity. Mature virtual worlds have not and could not have existed at any other moment in history. Never before has it been possible for residents to have engaged so extensively and for such long periods of time in a single digital environment. Our ideas of what constitute meaningful relationships, and the way in which these relationships should be remembered, have simply failed to live up to the rate of change. While there is a great deal of ubiquity to memorialisation online, it is easy to forget that there are still people who are surprised by this phenomenon and are not willing or comfortable participants.

Existing media discourses pathologise long-term engagement with virtual worlds such as SL. If SL is inherently and necessarily secondary, it can be redefined as a distraction, a space in which individuals unreasonably and unfairly spend time which could be more usefully employed elsewhere. This perspective has informed the salacious media coverage which accompanied SL’s early years and, arguably, has contributed to an almost complete refusal on the part of major media sources to engage with SL in more recent years. There are, of course, exceptions, such as The Atlantic’s 2017 article “The Digital Ruins of a Forgotten Future.” As the name implies, however, this article, while sensitive and extensive, ultimately positions SL as something that is not quite comprehensible. There is almost a sense of confusion that this virtual world, which is no longer new and which appears not to have lived up to its initial promise, has stubbornly refused to die.

However, this book has demonstrated that SL continues to be a space in which significant and valuable lives are lived. The distinction between “real” and “virtual” lives reflects a biological fact. Avatars cannot age, or die, or experience the sensation of touch. Avatar life cannot exist independently of physical embodied life. The avatar is in this sense secondary—its death cannot end the existence of the human operator, even though the opposite is true. This purely pragmatic view of firstness and secondness not only obscures the lived reality of second lives, it also speaks against a discourse which holds that the “true self” exists independent of the circumstances of our physical lives. This discourse has been powerful in shaping our understandings of the relationship between computers and mortality. Computers can only be understood as offering a potential salve for mortality if the “true” self can exist outside of the physical body. This understanding of the “true” self is also prevalent in the perspectives of SL residents, who see SL as a place in which they are freed from the constraints of their embodied lives and can finally live “truly.”

Dr. Gibson goes on to make the case that Second Life has indeed graduated into the ranks of a “mature” virtual world, and even goes on to say that it is, in a way, “haunted”:

This tenuous connection to significant objects and spaces is exacerbated by rumours of SL’s impending death. Linden Lab has been spruiking a new virtual reality project, Project Sansar, for a few years. It has gained support from prominent SL residents who have been invited to create spaces and objects within this new environment. It has, however, led to real fears among members of the SL population who suspect that SL will eventually be shut down. If this were to occur, it would follow a string of other virtual worlds—notably including The Sims Online—which have been destroyed after becoming unprofitable. This is a danger inherent in investing heavily in a virtual world, one which likely contributes to the ideas of firstness and secondness which remain an important part of the language of residents. However, residents do not act with a constant awareness of or fear of the possibility of SL’s impending death. The longevity of this virtual world has created a situation in which its life can be projected into the future—it has become a taken-for-granted part of individual biographies which is not understood as facing an imminent end unless residents stop to consider this as a possibility. It is this taken-for-grantedness, this association with individual memory and biography, which characterises SL as a mature virtual world.

Yet SL does not function independently or outside of the physical world. Its history is its own, but it is interwoven with the history of the world offline in both an individual and collective sense. There are spaces in which a resident is transported to an imagined version of a time and place in the history of Europe or the USA. In this book we have discussed 1920s Berlin, but there are also historical representations of Chicago, Texas, Rome, London, and others. In these locations the work of heritage associated with the upkeep of memories and physical places or objects is overtaken by a new kind of heritage work which is rooted in experience and emotion. The heritage sites one encounters in these spaces are not carefully preserved and contextualised in relation to a history which encompasses that which followed their moment of prominence. Instead, they are spaces in which one can live history devoid of context. In a way this allows for a more accurate understanding of individual biography in relation to historical metanarratives—these spaces provide one with a sense that those residing within them do not know what comes next—theirs is an unknown and unseeable future. Yet the users of the avatars do indeed know the future and are thus in a situation in which a future is known but not known, full of possibilities and yet constrained.

Second Life is a haunted virtual world with various forms of spectrality around lost and deceased lives, the persistence of memory, and the persistence of grievability, but it is also a world that regenerates itself. There are always new projects on the horizon. The extent to which these projects are likely to materialise in SL itself is open to question. The future of this world cannot be assured any more than could the futures of those virtual worlds that have gone before. What is certain, however, is that those residents who have developed important networks of relatedness and who have engaged in the acts of memory we detail in this book will find ways to maintain those networks and those memories.

In short, what makes SL a mature, still-thriving, and evolving virtual world is its strong community. Linden Lab might, perhaps, be a little surprised at the stubbornness and tenacity of SL’s userbase, some of whom (as this book excerpt alludes to) are adamantly opposed to the idea of a new virtual world, Sansar, “replacing” their beloved Second Life. (As I have stated often before on this blog, no matter what Linden Lab does with Second Life vis-à-vis Sansar, they can’t win.)

Galen, in his recent guest editorial, talks about how Linden Lab might choose to reinvigorate Second Life in the (unlikely, but still possible) case that Sansar fails to take off:

What if Sansar fails?

It’s a bit sad that there are many vocal Second Life users who are hoping for this outcome in the belief that Linden Lab will use the money saved to improve SL faster. Personally, I’m not ready to predict Sansar’s imminent or future demise. I still think Sansar has the best shot of success among all the social VR platforms right now.

But let me just speculate for a moment what would happen if LL were to give up on Sansar development and essentially shut it down. I’m going to imagine it from the perspective of what I would do if I were at the helm of Linden Lab and not make an actual prediction, per se.

What would cause me to shut down Sansar? Most likely, this would result from a series of very visible signs that people are preferring some alternative to Sansar and that doom Sansar to have a small niche audience. If, for example, someone made a YouTube video showing how you could create your own multiplayer VR social experience from scratch in Unity in 15 minutes, that would be a solid sign. Or if HiFi’s rendering engine was as good and their typical daily concurrency peak was over 10k and growing, while Sansar’s remained flatly under 1k. It wouldn’t be one single thing. It would be several devastating signs like these that would do it.

Assuming I just shut down Sansar, what would I do with the remaining staff, budget, and experience gained from Sansar? The obvious answer is: Improve SL. I would probably take a big gamble that would still be bold but not as dramatic as Sansar. In particular, I would turn SL into a “hybrid grid”. Let me explain what I mean.

SL is a fossil. Yes, there’s plenty of room to improve it, but the gradual improvements to it are always supposed to be backwards compatible with content going back to 2002. That hinders SL’s potential immensely. That’s why LL took the big leap into the Sansar project as a totally new world to begin with: for a fresh start. I think they know that Second Life’s days are numbered and that something will eventually draw most of SL’s population away.

To breathe new life into SL, I would engineer a significant and only partially compatible version of the Second Life viewer and servers. Let’s call the current technology “SL classic” and the new part “SL next-gen”. The next-gen part of SL would take advantage of many of the lessons learned and technologies pioneered for Sansar. Picture having a new SL client that supports both classic and next-gen sims. Those sims could live alongside one another, as though two grids in one. Your account would be good for both. So would your money. But maybe you would have to create a new avatar in the new grid. Or maybe there would be some conversion utility. And some assets you own in the classic grid wouldn’t be fully compatible with the new one. And assets made specifically for the next-gen grid would be largely incompatible with the classic one. The overarching goal would be to gradually migrate everyone over to the newer platform and eventually retire the old.

There are many possibilities that would open up if I were in damage control mode after Sansar had died and I wanted to know what to do next. But I would likely favour doing some sort of hybrid grid as described above and seeking to gradually migrate SL’s residents and ventures into the newer technology platform. That’s what would make SL’s population grow again and give SL many more years of life ahead.

In other words, Second Life as we know it may indeed evolve into some sort of “hybrid” grid system, as Linden Lab slowly moves its SL grids over to new technology (they are already hard at work on a project to move Second Life sims from physical servers to “the cloud”). While this latter work is far from Galen’s idealized “hybrid” grid system, Linden Lab would be wise to consider all its options, lest it lose its Second Life population to rival virtual world platforms such as High Fidelity and Sinespace.

The community fostered by Second Life, as a mature virtual world, “haunted” by the associations, memories, and aftereffects of its millions of users over the years, will continue to live on, in one way or another. I find Dr. Gibson’s book a reassuring academic treatise on the topic, and well worth a read.