Metaverse: A Vision, Architectural Elements, and Future Directions for Scalable and Realtime Virtual Worlds

With the emergence of Cloud computing, Internet of Things-enabled Human-Computer Interfaces, Generative Artificial Intelligence, and high-accurate Machine and Deep-learning recognition and predictive models, along with the Post Covid-19 proliferation of social networking, and remote communications, the Metaverse gained a lot of popularity. Metaverse has the prospective to extend the physical world using virtual and augmented reality so the users can interact seamlessly with the real and virtual worlds using avatars and holograms. It has the potential to impact people in the way they interact on social media, collaborate in their work, perform marketing and business, teach, learn, and even access personalized healthcare. Several works in the literature examine Metaverse in terms of hardware wearable devices, and virtual reality gaming applications. However, the requirements of realizing the Metaverse in realtime and at a large-scale need yet to be examined for the technology to be usable. To address this limitation, this paper presents the temporal evolution of Metaverse definitions and captures its evolving requirements. Consequently, we provide insights into Metaverse requirements. In addition to enabling technologies, we lay out architectural elements for scalable, reliable, and efficient Metaverse systems, and a classification of existing Metaverse applications along with proposing required future research directions

The Hitchhiker’s Guide to the Metaverse

Non peer reviewe

The Engine Is the Message: Videogame Infrastructure and the Future of Digital Platforms

On January 18, Microsoft revealed its $68.7 billion deal to acquire videogame publisher Activision Blizzard. The acquisition was pitched as an investment towards “metaverse platforms” that gaming would play a key role in developing. Journalists speculated about the increasing consolidation of the videogame industry and whether blockbuster franchises would be locked into Microsoft’s platforms and subscription services. Commentary on the metaverse weighed in on how toxicity and harassment in game industry workplaces such as Activision Blizzard might relate to issues of trust and safety in virtual worlds such as Meta’s Horizon Worlds. Seemingly above the fray of platform strategy, market speculation, and corporate scandal, New Yorker writer Kyle Chayka (2022) tweeted as a matter of fact: “video game infrastructure and tools are increasingly going to take over all digital platforms”. This panel contextualizes discussions about the business and aesthetics of 3D platforms in the infrastructural work of game engines, which routinely integrate databases, file formats, web protocols, and translational algorithms. We trace public debates and corporate statements over representation and governance, equity and inclusion (Bosworth 2021) to the techniques, technologies, and practices that enable massive real-time 3D digital spaces to flow and transact. We also highlight the growing intertwinement between game engine development companies and related content ecosystems, such as the Epic Games Store and the Unreal Engine, and Epic’s and Unity’s Asset Stores. This panel investigates how digital systems are designed to regulate technical interoperability and its implications for creative practice and cultural production. Together, these papers map how power and capital become centralized and distributed throughout the back end of the metaverse, and politicize how social practices and subjectivities are negotiated through technological architecture

Enhanced waters 2D muscle model for facial expression generation

In this paper we present an improved Waters facial model used as an avatar for work published in (Kumar and Vanualailai, 2016), which described a Facial Animation System driven by the Facial Action Coding System (FACS) in a low-bandwidth video streaming setting. FACS defines 32 single Action Units (AUs) which are generated by an underlying muscle action that interact in different ways to create facial expressions. Because FACS AU describes atomic facial distortions using facial muscles, a face model that can allow AU mappings to be applied directly on the respective muscles is desirable. Hence for this task we choose the Waters anatomy-based face model due to its simplicity and implementation of pseudo muscles. However Waters face model is limited in its ability to create realistic expressions mainly the lack of a function to represent sheet muscles, unrealistic jaw rotation function and improper implementation of sphincter muscles. Therefore in this work we provide enhancements to the Waters facial model by improving its UI, adding sheet muscles, providing an alternative implementation to the jaw rotation function, presenting a new sphincter muscle model that can be used around the eyes and changes to operation of the sphincter muscle used around the mouth

The Nintendo Wii, virtualisation and gestural analogics

This paper examines the Nintendo Wii from a perspective informed by Martin Heidegger’s existential analysis of equipmental being in order to make some claims about thesignficance of the Wii’s innovative interface. The Wii enhanced the analogical, gestural component of user input in home game consoles which are (or were) based more firmly in digital, finger-based input. The Wii’s redefinition of interactive media engagement heralds a wider transition to a more embodied media technicity ofvirtual experience. I will advance some propositions about how to understand the Wii’s popularity, its place in advancing a mainstream program of the application of VR technics, and its potential to open up other programmings of ‘spatio-physicality.

Ubiq: A System to Build Flexible Social Virtual Reality Experiences

While they have long been a subject of academic study, social virtual reality (SVR) systems are now attracting increasingly large audiences on current consumer virtual reality systems. The design space of SVR systems is very large, and relatively little is known about how these systems should be constructed in order to be usable and efficient. In this paper we present Ubiq, a toolkit that focuses on facilitating the construction of SVR systems. We argue for the design strategy of Ubiq and its scope. Ubiq is built on the Unity platform. It provides core functionality of many SVR systems such as connection management, voice, avatars, etc. However, its design remains easy to extend. We demonstrate examples built on Ubiq and how it has been successfully used in classroom teaching. Ubiq is open source (Apache License) and thus enables several use cases that commercial systems cannot

Ubiq: A System to Build Flexible Social Virtual Reality Experiences

While they have long been a subject of academic study, social virtual reality (SVR) systems are now attracting increasingly large audiences on current consumer virtual reality systems. The design space of SVR systems is very large, and relatively little is known about how these systems should be constructed in order to be usable and efficient. In this paper we present Ubiq, a toolkit that focuses on facilitating the construction of SVR systems. We argue for the design strategy of Ubiq and its scope. Ubiq is built on the Unity platform. It provides core functionality of many SVR systems such as connection management, voice, avatars, etc. However, its design remains easy to extend. We demonstrate examples built on Ubiq and how it has been successfully used in classroom teaching. Ubiq is open source (Apache License) and thus enables several use cases that commercial systems cannot

On creative practice and generative AI:Co-shaping the development of emerging artistic technologies

In recent years, advances in artificial intelligence (AI) and machine learning have given rise to powerful new tools and methods for creative practitioners. 2022–2023 in particular saw an explosion in generative AI tools, models and use cases. Noting the long history of critical arts engaging with AI, this chapter considers both the application of generative AI in the creative indus-tries, and ways in which artists co-shape the development of these emerging technologies. After reviewing the landscape of generative AI in visual arts, music and games, we propose four areas of critical interest for the future co-shaping of generative AI and creative practice in the areas of communi-ties and open source, deeper engagement with AI, beyond the human and cultural feedbacks