The presence of Virtual Reality (VR) technology in arts education is growing. From museums to live music to healthcare and more, VR is beginning to change how we perceive the arts and learning. After all, this immersive experience has been proven to enhance the learning experience and achieve a higher retention of knowledge, quickly changing the learning environment. This research study investigates the opportunities presented by VR for arts education as well as the practical hurdles that need to be overcome to successfully use VR in K-12 educational settings.
Virtual Reality technology is increasingly more sophisticated and powerful, and it’s predicted to fully hit the mainstream within the next year. In the performing arts VR has been adopted slowly, most commonly used for immersive experiences. However, there may be a lost opportunity: institutions can use VR simply to grow audiences.
If you are creating a VR experience for your institution there is a reasonable chance it will be your guest’s first VR experience. Crafting an experience that is intuitive, has a well designed introduction, and an appropriate time to readjust to the “real” world afterwards can help make their first experience a great one.
Do you think virtual reality is all the rage? Or not? Here's some insight from Microsoft designers for arts managers.
In 2014, Google Glass had emerged as the leader in wearable technology available on the market. Today, while Google Glass has receded to the fringe of conversations about Augmented Reality and Virtual Reality, wearables have re-entered the mainstream consciousness, and wide-spread adoption feels inevitable.
These trends considered, today's featured white paper from 2014, Performing Arts in the Wearable Age by Thomas Rhodes and Samuel Allen, is a fascinating look back at predictions and projections from just two years ago.
While many things have changed since 2014, this paper's focus on current uses of wearable technology, future implications, opportunities and concerns for performing arts organizations are as useful as ever. The authors' discussion of the hardware specs of wearable devices is particularly nuanced. Equally relevant are the various uses and exciting windows for wearable implementation in music, theatre, and beyond.
While many of the projections cited in this publication might not hold water today, today's current events indicate that widespread adoption of AR/VR is near. From Pokemon Go to continuing developments in Oculus, it is clear that arts organizations will soon have no choice but to confront this exciting and game-changing trend.