Staging the new retail drama: at a metaverse near you!

Consumers have traditionally looked for products that could fulfill their needs and retailers responded to demand by initially adopting product-oriented, and then more recently, customer-oriented strategies. This shift was heavily underpinned by technology, which enabled retailers to implement more intelligent approaches that evolved around consumers based on their profiles. The next step in this transformation is now towards a “unique” experience creation, with retailers providing a retail theater experience that is different and special and consumers enjoying an increased opportunity to interact and participate in the overall experience. In this paper, we examine how metaverses, i.e. Internet-based virtual worlds, and more specifically Second Life, can potentially provide the stage for this retail theater experience. Our discussion takes place in the context of two cases that are used to highlight the implications of retail theater for both consumers and retailers and illustrate the opportunities and challenges they face

Synthetic worlds, synthetic strategies: attaining creativity in the metaverse

This text will attempt to delineate the underlying theoretical premises and the definition of the output of an immersive learning approach pertaining to the visual arts to be implemented in online, three dimensional synthetic worlds. Deviating from the prevalent practice of the replication of physical art studio teaching strategies within a virtual environment, the author proposes instead to apply the fundamental tenets of Roy Ascott’s “Groundcourse”, in combination with recent educational approaches such as “Transformative Learning” and “Constructionism”. In an amalgamation of these educational approaches with findings drawn from the fields of Metanomics, Ludology, Cyberpsychology and Presence Studies, as well as an examination of creative practices manifest in the metaverse today, the formulation of a learning strategy for creative enablement unique to online, three dimensional synthetic worlds; one which will focus upon “Play” as well as Role Play, virtual Assemblage and the visual identity of the avatar within the pursuits, is being proposed in this chapter

Journalism in Second Life

Our research seeks to understand the emerging journalism practiced in Second Life—a computer-generated alternative reality. Framed by postmodernism, this study uses an ideological analysis to evaluate the three Second Life newspapers: the Alphaville Herald, the Metaverse Messenger and the Second Life Newspaper. We suggest that journalism in Second Life focuses on community building and education, considers the influence of the on-line world to resident members\u27 off-line lives and raises important questions about freedom of expression

Further dimensions: text, typography and play in the metaverse

In this text I wish to delve into the creation of textual content as well as its visualization through typographic design mechanisms inside three dimensional virtual worlds, which are known as the metaverse. I am particularly focused upon the way in which such virtually three dimensional environments may place the usage of text within a context that stands in contradiction to its traditional one by creating an unexpected novel purpose which takes a marked departure from the intrinsic attribute with which text has inherently been associated – namely the attribute of readability. In such environments readability, or indeed even legibility, may often be displaced through the usage of text and typography as a playful device, as artifacts which may manifest in puzzle-like configurations, or as visual structures the contents of which are meant to be understood through means other than straightforward reading; thus bringing about states of heightened engagement, wonder and ‘play’ through their manipulation or indeed simply by being immersed within the spaces which are brought about through their very agency. I also wish to expand upon this subject by talking about my own experiments with this material and will conclude by positing that further virtual dimensions can be instrumental in eliciting exciting alternative usages of text and typography which bring to the fore the allographic properties of text as an artistic/creative expressive media that may well bear further scrutiny and exploration

Embodied in a metaverse: "anatomia" and "body parts"

In this paper, the artist/author wishes to examine corporeality in the virtual realm, through the usage of the (non)-physical body of the avatar. Two sister art installations created in the virtual world of Second Life®, both of which are meant to be accessed with site specific avatars, will provide the creative platform whereby this investigation is undertaken. While the installation “Anatomia” wishes to propel the visitor towards reflections of an introverted nature, involving the fragility of the physical self; “body parts” seeks to challenge the residents of virtual environments into connecting with the virtual manifestations, i.e., avatars, of others in an emotionally expressive/intimate manner

Neal Stephenson’s Readme: a critique of gamification

Neal Stephenson’s writing has in many ways shaped post-cyberpunk science fiction as well as having a massive influence on real-world technology, so his move to realism with 2011’s Reamde offers an opportunity to understand science fiction’s changing relationship to realism in the twenty-first century. Stephenson is considered a core cyberpunk writer thanks to 1992’s Snow Crash, a novel that depicts an online virtual world known as the ‘Metaverse’. This novel is based on the premise that the actions of an online world could have a material impact on participants outside of the game: namely, gamers can be brain damaged by a computer virus. Stephenson has continued to explore these themes throughout his career, but recently through contemporary settings, rather than the futures of his science fiction. Stephenson’s Reamde could therefore be considered an example of ‘science fiction realism’, a term coined by Veronica Hollinger to describe William Gibson’s Pattern Recognition (2003), a novel which also uses science fictional tropes and techniques, but in a contemporary setting

Body parts

In this project, the artist wishes to examine corporeality in the virtual realm, through the usage of the (non)-physical body of the avatar. An art installation created in the virtual world of Second Life®, which is meant to be accessed with site specific avatars, will provide the creative platform whereby this investigation is undertaken. Thus, “body parts” seeks to challenge the residents of virtual environments into connecting with the virtual manifestations, i.e., avatars of others in an emotionally expressive/intimate manner

Avatar actors

In this text I wish to discuss, as well as illustrate through pictorial examples, how the Live Visuals of three dimensional online virtual worlds may be leading us into participatory and collaborative Play states during which we appear to become the creators as well as the actors of what may also be described as our own real-time cinematic output. One of the most compelling of these stages may be three dimensional, online virtual worlds in which avatars create and enact their own tales and conceptions, effectively bringing forth live, participatory cinema through Play

Virtual World, Defined from a Technological Perspective, and Applied to Video Games, Mixed Reality and the Metaverse

There is no generally accepted definition for a virtual world, with many complimentary terms and acronyms having emerged implying a virtual world. Advances in systems architecture techniques such as, host migration of instances, mobile ad-hoc networking, and distributed computing, bring in to question whether those architectures can actually support a virtual world. Without a concrete definition, controversy ensues and it is problematic to design an architecture for a virtual world. Several researchers provided a definition but aspects of each definition are still problematic and simply can not be applied to contemporary technologies. The approach of this article is to sample technologies using grounded theory, and obtain a definition for a `virtual world' that is directly applicable to technology. The obtained definition is compared with related work and used to classify advanced technologies, such as: a pseudo-persistent video game, a MANet, virtual and mixed reality, and the Metaverse. The results of this article include: a break down of which properties set apart the various technologies; a definition that is validated by comparing it with other definitions; an ontology showing the relation of the different complimentary terms and acronyms; and, the usage of pseudo-persistence to categories those technologies which only mimic persistence.Comment: 36 pages, 2 figure

Acquisitions for creativity: 'Produsage' in the metaverse

In this text I will attempt to delineate my thoughts on how virtual economies impact creative output in online virtual builder’s worlds, particularly by examining their relationship to the principles of ‘produsage’, a term coined by Axel Bruns to describe creative, collaborative, and ad hoc engagement with content in user-led electronic online spaces. While this process can be observed in all types of artistic metaverse output, I am particularly focused upon how it may come into effect whilst creating novel representations of ‘self’ and identity through the avatar. After a survey of the context and the terms related to my inquiry, I will present an example of it by recounting my observations on how the output of my virtual fashion store alpha.tribe is utilized and transformed by my customers whilst pursuing their own creative endeavors