Podcasts about Venice

If you've been following the financial news lately, you may have noticed something unusual: the bond market is getting a lot of attention.After a year of tariff shocks, interest-rate whiplash, tax policy changes and persistent questions about inflation and the national debt, bonds have moved from the financial pages into the broader economic conversation. And whenever markets get nervous about where the economy, inflation or government borrowing may be headed, attention tends to turn pretty quickly to the bond market.Because this isn't just Wall Street inside baseball.The bond market influences the interest rate on your mortgage. It influences how much the federal government pays to borrow money. It affects companies trying to finance everything from infrastructure to AI data centers. And it can offer some important clues about how investors are feeling about inflation, growth, recession risk and even the creditworthiness of the United States.So perhaps it's time we understood bonds a little better.And I have to admit, after more than a decade of hosting So Money, I don't think we've ever dedicated an entire episode to them.Today, we are fixing that.My guest is Robin Wigglesworth, one of the financial journalists who has been covering these markets up close for years. Robin is an editor at the Financial Times, where he leads FT Alphaville, its influential markets and finance blog. He's also the author of Trillions, his acclaimed history of the index-fund revolution and the rise of passive investing and ETFs.His new book is called A Fabulous Debt: The Epic Story of How Bonds Built the Modern World, and it comes out September 22.And I should emphasize: this is not a book about how to build a bond portfolio.Robin has written essentially a people's history of the bond market — and somehow made bonds genuinely entertaining. The story begins in Venice in 1171, takes us through Amsterdam and the development of modern finance, and brings us to America and Alexander Hamilton, whose decisions about government debt helped establish the creditworthiness of the young United States.Robin's larger argument is that we tend to think the stock market is the star of the financial system, when really the bond market is the foundation underneath it. In fact, as he tells me in our conversation, bonds are the “bedrock that the entire house rests upon.”We talk about what the 10-year Treasury yield can tell you about the economy — and why it matters more to mortgage rates than many people realize. We talk about America's nearly $40 trillion national debt and the big question: At what point does all of this borrowing actually become a problem?We also get into something I found fascinating: bonds have quietly financed some of the biggest transformations in modern history. Railroads. Canals. Telecommunications. The internet. And now, potentially, the enormous buildout of artificial intelligence.There are also fraudsters, scoundrels and some truly wild financial schemes along the way — including one man who essentially invented an entire country so he could sell its bondsLearn more about Farnoosh's upcoming literary workshop Book to Brand. Early bird registration is now open! Hosted on Acast. See acast.com/privacy for more information.

Father Casey Jones is a priest of the Diocese of Venice, Florida. He currently serves as the pastor of St. Elizabeth Seton Parish and school in Naples, Florida. In Today's Show: What's the point of praying and asking God for something when His plan is already set in stone? ​​Father, how do we know about the conversation between Pontius Pilate and Jesus? What happened to the gold, frankincense, and myrrh from the Three Kings? What was the first relic? And more. Visit the show page at thestationofthecross.com/askapriest to listen live, check out the weekly lineup, listen to podcasts of past episodes, watch live video, find show resources, sign up for our mailing list of upcoming shows, and submit your question for Father!

For Episode 507 of the Next Best Picture Podcast, I am joined by Nadia Dalimonte, Cody Dericks, Daniel Howat, Larry Fried & Tom O'Brien. This week is a special one, for effective September 1st, NBP will be celebrating its 10th anniversary, and how fitting such a milestone episode falls right before our team heads off to Venice, Telluride, TIFF, and NYFF to deliver the best coverage we can for this upcoming awards season. This week, we're discussing the films premiering at the Venice International Film Festival and what we're specifically looking forward to from that festival. For this week's NBP poll question, as the fall film festivals kick off, we're asking everyone for the second time this year, "Which Film Do You Think Will Be The Next Best Picture Oscar Winner?" And we reveal the winner of last week's NBP poll, for the release of "Coyote vs. Acme," where we asked everyone, "Which Is Your Favorite Film That Combines Live Action And 2D Animation?" We also share our reactions to the trailers for "Fjord," "Possible Love," "The Social Reckoning," "A Talent For Murder" & "Unabomber." We are still answering your fan-submitted questions, but our answers will now be released separately the day after, in a new show called Mailbag Monday (and that is where we will announce the winners of the 2008 NBP Film Community Awards)! So stay tuned for that and many other updates from Next Best Picture as this year's awards season continues. Thank you all for listening, subscribing, and supporting us. Enjoy! https://youtu.be/b_KAgkjHVJM Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Triggernometry is proudly independent. Thanks to the sponsors below for making that possible: - Venice is private, unbiased AI.No conversation logs sitting on someone else's server.No refusals dressed up as safety.Try it at https://venice.ai/lp/triggernometry and get 20% off your first month - Dose for your Liver: Get 35% off your first subscription: https://dosedaily.co/TRIGOr use code TRIG at checkout.- Take control of your cellular health today. Go to https://qualialife.com/TRIG and save 15% to experience the science of feeling younger.- Find your forever cookware @hexclad and get 10% off at https://hexclad.com/TRIG#hexcladpartner Join our exclusive TRIGGERnometry community on Substack! https://triggernometry.substack.com/ OR Support TRIGGERnometry Here: Bitcoin: bc1qm6vvhduc6s3rvy8u76sllmrfpynfv94qw8p8d5 Shop Merch here - https://shop.triggerpod.co.uk/ Advertise on Triggernometry: https://trigger-brands.com | or enquire at marketing@triggerpod.co.uk Find TRIGGERnometry on Social Media: https://twitter.com/triggerpod https://www.facebook.com/triggerpod/ https://www.instagram.com/triggerpod/ About TRIGGERnometry: Stand-up comedians Konstantin Kisin (@konstantinkisin) and Francis Foster (@francisjfoster) make sense of politics, economics, free speech, AI, drug policy and WW3 with the help of presidential advisors, renowned economists, award-winning journalists, controversial writers, leading scientists and notorious comedians Learn more about your ad choices. Visit megaphone.fm/adchoices

What happens when you combine Disney magic, Italy, and the entire family? Lauren is back from an incredible Adventures by Disney vacation through Italy, traveling from Rome to Venice! This week, she takes us along for the journey and shares what it's really like to experience Italy with Adventures by Disney.

Tommy Rosen, Gagan Levy, and Raghu Markus explore addiction and the everyday choices that shape recovery and a meaningful life.Be part of the Recovery 2.0 community with online recovery meetings that are open to anyone: Click Here to RegisterThis time on Mindrolling, Tommy, Gagan and Raghu explore: Growing up in a home filled with anxiety and developing a sense that something is always wrongHow oftentimes addiction comes from seeking relief and homeostasis Distraction and Procrastination as forms of addictionRam Dass's approach to working with habits of the mindFacing the long, dark night of the soulThe ‘nitty-gritty' of how we choose to live our livesThe five core tenets of Tommy's program, ‘Recovery 2.0'How working the 12-steps guarantees a spiritual experienceTending to the needs of mind, body, and soul About Tommy Rosen:Tommy Rosen is the founder and host of the Recovery 2.0: Beyond Addiction Online Conference and presents workshops annually at Esalen, Omega, and Kripalu. One of the pioneers in the burgeoning field of Yoga and Recovery, he holds advanced certifications in both Hatha and Kundalini Yoga and has 20 years of recovery from acute drug addiction. Tommy and his wife, noted yoga instructor, Kia Miller, live in Venice, California, where they teach yoga and grow organic vegetables in their backyard. Check out Tommy's upcoming retreats and his book, Recovery 2.0. “In recovery circles, we see a lot of people who struggle for a lifetime. They aren't going to implode their life like we did, but if you asked any human being, do you want to ‘get through life' or do you really want to seize this day and realise yourself, your heart's desires and dreams, everyone would say ‘of course I do'. Well, maybe you have to change the ways that you're facing a 24-hour period of time.” –Tommy RosenAbout Gagan Levy:Gagan Levy is the Founder/CEO of Guru, an award-winning creative agency dedicated to serving purpose-driven movements, brands, and organizations. They work with impactful brands like Patagonia, Traditional Medicinals, Nalgene, Non-GMO, The Organic Alliance, Bring Change to Mind and many natural products brands, including EO / Everyone Products, OM Mushroom Superfoods, and REBBL. Gagan also serves as Chief Evangelist at MAHA Global, a platform focused on helping businesses adapt to stakeholder needs using data-driven reputation intelligence. As former Co-chair of Social Venture Circle, one of the country's most prestigious impact investor and social business communities, Gagan leads the way to a next economy that is regenerative, just, and prosperous for all. Gagan Levy is also a current board member to his prolific teacher Ram Dass' Love Serve Remember Foundation, he has been instrumental in strategizing how to connect the greatest wisdom keepers of our time to a new generation. Grab a copy of Gagan's book, Start Your Own Damn Cult, A Founder's Field Guide, for a practical and actionable framework for building from coherence, holding power without unraveling, and winning without wrecking yourself, your team, or the planet.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Trusting that God will provide, Ignatius begs and travels through Rome and Venice before finally reaching Jerusalem. He longs to remain in the Holy Land and help souls, but the Franciscan authorities order him to leave — forcing him to surrender even this deeply cherished desire. About the Series We are bringing you the entire text of “The Autobiography of St. Ignatius Loyola” in podcast form. Over 12 episodes, join our pilgrimage guides Fr. Jack Bentz, SJ, and Cameron Bellm as we make our way through this spiritual classic. The series premiered on Wednesday, July 29, 2026, with episode 2 dropping Friday, July 31 — the Feast of St. Ignatius Loyola. These first two episodes and the remaining 10 episodes (dropping on subsequent Fridays) will all appear here on the AMDG podcast feed. The series is edited by Frank Tuson, who also composed all the music you hear on the podcast. The podcast uses a translation of the “Autobiography” by Fr. Parmananda Divarkar, SJ. The text is read by Fr. George Drance, SJ. Produced by Mike Jordan Laskey. "The Autobiography of Saint Ignatius Loyola Podcast," a special-edition series of AMDG, is a production of the Jesuit Media Lab, which is a project of the Jesuit Conference of Canada and the United States. www.jesuits.org/ www.beajesuit.org/ twitter.com/jesuitnews facebook.com/Jesuits instagram.com/wearethejesuits youtube.com/societyofjesus www.jesuitmedialab.org/

Show Notes The premise sounds like a stunt. Five strangers, one room, six hours, one original song. Meanwhile the show's host sits at a keyboard with a text prompt and half an hour. Grégoire Gensollen, Producer and Chief Operating Officer at Tucker Tooley Entertainment, built that episode of Band of Strangers knowing he could not predict the outcome, which is precisely why he made it. Gensollen comes to this from the traditional side of the business. He grew up in Marseille, trained as an industrial engineer, moved into management consulting, then rerouted through business school at UCLA Anderson into Lionsgate and later FilmNation, where he ran distribution strategy and film finance across a run that included The King's Speech, The Imitation Game, Nebraska, Mud, and Looper. Ten years ago he partnered with Tucker Tooley. What he says he remembers from two decades of that work is not the tooling. It is who was in the room. The origin of Band of Strangers is a documentary called The Unknown Tour, made by two filmmakers who outfitted a bus with a recording studio and drove across the country finding musicians on street corners, in dive bars, and in gospel churches. The pandemic put the idea on hold. When Gensollen and his team picked it up again, they made a decision that would have been unthinkable inside the studio system: skip the networks entirely and release directly on YouTube. Not for reach, but for control of the entire chain, and to protect a show about collaboration from the unscripted television reflex that turns every format into a competition with prize money and manufactured conflict. The constraint that holds it together is the song. Every episode has to produce one, on a clock, or there is no episode. What varies is the entry point. A mariachi band at El Pueblo on Olvera Street laying a first track that hip hop artists in Leimert Park then struggle to find the rhythm inside. Buskers on the Venice boardwalk writing separately. Artists displaced by the Altadena fires building an anthem about rebuilding rather than grieving. Gensollen is candid that the stumbles stay in the cut, because the friction is the story. On AI, he is neither evangelist nor holdout. He describes it as a tool his company will have to use to stay competitive, not against other producers but against creators working alone in their kitchens with the full chain in hand. He also draws a line: optimization, yes. Creative engine, no. His argument is structural rather than sentimental. Prediction models and comparables, the benchmarking method he learned at Lionsgate, tell you where the ceiling is on a category that already exists. A producer's job is to make the thing that does not exist yet. That distinction is the real subject of this conversation. The question is not whether a machine can produce a competent song in thirty minutes. It clearly can. The question is who decides what is worth making, and whether an industry trained on comparables still knows how to recognize the thing it has no comparable for. Host Sean Martin, Co-Founder at ITSPmagazine, Studio C60, and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/ Guest Grégoire Gensollen, Producer and Chief Operating Officer at Tucker Tooley Entertainment | On LinkedIn: https://www.linkedin.com/in/gregoire-gensollen/ Resources Tucker Tooley Entertainment | https://www.tooleyentertainment.com/ Band of Strangers | https://www.bandofstrangers.com/ Band of Strangers, Can AI beat REAL musicians? [Blind Test], the episode discussed in this conversation | https://www.youtube.com/watch?v=Gi0nadrsK8Y Band of Strangers: Angelenos from different communities make music together from scratch, Los Angeles Downtown News | https://www.ladowntownnews.com/arts_and_entertainment/band-of-strangers-angelenos-from-different-communities-make-music-together-from-scratch/article_7f9978b0-18c2-4330-b160-b167c10e8856.html Music Evolves: Sonic Frontiers Newsletter | https://www.linkedin.com/newsletters/7290890771828719616/ Keywords gregoire gensollen, tucker tooley entertainment, band of strangers, sean martin, ai music, creator economy, youtube original series, music collaboration, songwriting process, unscripted television, film production, generative ai, artist discovery, independent distribution, music, creativity, art, artist, musician, music evolves, music podcast, music and technology podcast

Triggernometry is proudly independent. Thanks to the sponsors below for making that possible: - Venice is private, unrestricted AI. No conversation logs sitting on someone else's server, no pre-approved list of subjects you're permitted to think about, no refusals dressed up as safety. *Try it at https://venice.ai/lp/triggernometry and get 20% off your first month - Take Hillsdale College's online courses for free at https://hillsdale.edu/trigger - Earn a yield on gold https://monetary-metals.com/triggernometry/ - BUBS Naturals Collagen Peptides. Go to https://bubsnaturals.com and use code: TRIG for 20% off Join our exclusive TRIGGERnometry community on Substack! https://triggernometry.substack.com/ OR Support TRIGGERnometry Here: Bitcoin: bc1qm6vvhduc6s3rvy8u76sllmrfpynfv94qw8p8d5 Shop Merch here - https://shop.triggerpod.co.uk/ Advertise on Triggernometry: https://trigger-brands.com | or enquire at marketing@triggerpod.co.uk Find TRIGGERnometry on Social Media: https://twitter.com/triggerpod https://www.facebook.com/triggerpod/ https://www.instagram.com/triggerpod/ About TRIGGERnometry: Stand-up comedians Konstantin Kisin (@konstantinkisin) and Francis Foster (@francisjfoster) make sense of politics, economics, free speech, AI, drug policy and WW3 with the help of presidential advisors, renowned economists, award-winning journalists, controversial writers, leading scientists and notorious comedians. Learn more about your ad choices. Visit megaphone.fm/adchoices

Using glass as a medium to capture and refract light, David Yeshia seeks to freeze moments of transition, combining myriad elements to manipulate their visual and symbolic effects. Also a metaphor for his life at the time, Yeshia was smashing glass and rebuilding the fragments into something beautiful. A new breed of "artrepreneur," he emerged from the Covid pandemic bringing art out of the gallery and into the public marketplace by developing accessible and affordable works.  A self-taught Canadian glass artist known for his signature fused glass techniques, Yeshia has developed innovative methods including his "Glass Netting" technique, "Glascade" and signature "Free Mosaic" forms exploring glass as both structure and light. He was nominated for the Emerging Glass Artist of the Year Award by the Glass Art Society and has created sculptural works for government commissions and collectors across Canada. His work is sold at Walt Disney World, and his process-focused storytelling has attracted over 400,000 followers across social media, with his videos reaching tens of millions of views. Yeshia attended Concordia University Fine Arts, graduating in 2013 with a Bachelor of Arts Degree with a double major in Theater and Religious Studies. In 2017, as an exotic mushroom cultivator in Montreal, Yeshia's business was hit hard by the Covid pandemic's impact on the restaurant and food industries. At 30 years old, he moved back in with his parents in the countryside just outside of Pembroke, Ontario—emotionally drained, uncertain about the future, and feeling like a failure. Dejected, without direction, he began to experiment with glass in the stained glass studio of his father, Jeffrey Melamed, an architect turned stained glass artist.  Says Yeshia: "When I was struggling and trying to rebuild my life, my family rallied around me. Their enthusiasm for my work gave me the encouragement and confidence to keep going. My mother began attending markets, my father helped with displays, shows, and accounting, and my sister brought her creativity and many great product ideas." Yeshia's business Artglas has expanded to Markham, Ontario, and now employs a staff of seven. Early on, a pivotal meeting with Disney's Keith Bryan inspired the artist's early series of fused glass art and eventually led to his ongoing contract to design and produce ornaments for Disney. In September 2026, Artglas will return to exhibit in "The Transparent Breath," an International exhibition of glass jewelry held at Venice Glass Week. Specializing in experimental fusing techniques to create contemporary glass jewelry that represents the Canadian identity, Yeshia's Venice collection showcases his unique talents of incorporating 24-karat gold and silver into the glass. "This will be our fifth time at Venice Glass Week. It was an honor to be amongst some of the greatest glass artists of our time, in one of the world's most historic hubs of the arts," said Yeshia. "And it was overwhelming connecting with artists from all over the world, sharing our work and creativity in such an inspiring environment." In 2027, Yeshia's company will also expand its online education and subscriber platforms, open a gallery and second studio space, and create more room for one-of-a-kind and conceptual work. Artglas also has new commercial projects in development, including a Disney concept still awaiting approval. Says Yeshia: "As Artglas grew, I had to learn how to wear many different hats, including artist, maker, employer, marketer, content creator, educator, salesperson, and business owner, while still preserving the meaning, symbolism, and quality of the work."    

Episode 350, and apparently the milestone gift is discovering that the United States is now paying the mortgage with the credit card. Chris and Rajeil unpack Scott Bessent's decision to supersize Treasury bond buybacks just as long-term yields hit 19-year highs and the national debt crossed $40 trillion. We go from Venice's first bond market to the Treasury-Fed Accord, Japan's yield-curve-control experiment, and why governments have a long, ugly history of trying to bully borrowing costs lower. Then there's the timing: the accelerated program starts September 9, runs through November 4, and somehow manages to wrap up one day after the midterm elections. Pure coincidence, obviously. Add a Fed already fighting inflation, a tapped-out consumer, and markets beginning to question the price of American debt, and Episode 350 asks the uncomfortable question: when the smoke alarm gets too loud, are we fixing the fire—or just pulling the battery?

September is just around the corner and with the start of the new month comes the fall film festival circuit. Taylor Antrim served as a guest host on today's episode and was joined by fellow Vogue editors and cinephiles Liam Hess and Lisa Wong Macabasco. They discussed the slate of fall film festivals ahead. Liam will be attending Venice—the first and most glamorous of the bunch—and then Taylor and Lisa will both be headed to Toronto International Film Festival (TIFF) as well as New York Film Festival (NYFF). “We do get the opportunity sometimes to see some of these festival films before they come out in the festivals because they're trying to drum up support from Vogue and other, other outlets,” Taylor explained. As such, they began their conversation by shouting out some of the films they've already had the chance to see. First on that list was the New York centric film Paper Tiger, by James Gray starring Adam Driver, Miles Teller, and Scarlett Johansson. “There's a lot of wigs and suits and accents that are a little over the top,” Lisa noted of the thriller that takes places in Queens, New York in the eighties. After watching the film, Taylor found himself asking his group chats “Is Adam Driver a great actor or not?” The cohort weighed in on this quandary.  They weighed in on All of A Sudden, Ryusuke Hamaguchi's French language debut, Fjord, Cristian Mungiu's legal thriller starring podcast favorite Renate Reinsve and Sebastian Stan,  Hope, an action film starring two-time Vogue cover star Ho-yeon, and Gentle Monster, a vehicle for an incredible performance from Léa Seydoux. In a final lightning round, they each shared the two films they are most excited to see at the festivals. For Liam, he is looking forward to catching Possible Love by Lee Chang-dong and Primetime, a striking portrayal of television host Chris Hansen. Lisa is excited for Bucking Fastard, starring the Mara sisters as twins, and Misty Green, Chris Rock's directorial return promising a commentary about race in Hollywood. Taylor rounded it out with Ink from Danny Boyle, a biographical film about Rupert Murdoch's acquisition of The Sun, and Magazine, an indie pick from Vogue contributor Alexandra Pechman.  Also on today's episode, Chloe is joined by Marley Marius to talk about the big news of the week: the reported return of Prince Harry and Meghan Markle to the UK. They also discuss the latest movies they've seen (Paw Patrol for Chloe and Novak Djokovic: The Wolf in Winter for Marley) and which stars they are most excited to see on the Venice red carpet (hint: it starts with Parker and ends with Posey). And they gushed over Margaret Qualley's Chanel barefoot sandals which she rocked at a recent red carpet appearance for The Dog Stars in London. The Run-Through with Vogue is your go-to podcast where fashion meets culture. Hosted by Chloe Malle, Head of Editorial Content, Vogue U.S.; Chioma Nnadi, Head of British Vogue; and Nicole Phelps, Director of Vogue Runway, each episode features the latest fashion news and exclusive designer and celebrity interviews. Learn more about your ad choices. Visit podcastchoices.com/adchoices

What do you get when two 22-year-olds with almost no money decide that the canals of Southern California need gondolas? In the case of David F. Black and his friend Mike O'Toole, you get a leaky Pakistani fishing boat, an old lifeguard dory, plenty of people convinced the idea will never work, and eventually one of the most unusual Italian-inspired businesses in America. More than four decades later, gondolas are still gliding through the canals of Naples Island in Long Beach, California.

Ben, Brian, and Ted declare this one Oops All Feedback (or, as Ben coins it, "oopsitizers"): five tape machine clips plus reviews and community wins. Ben's avionics go pop-pop-pop over Columbus under an occluded front, and the crew lands on static as the likely culprit, with a side of "do you have static wicks?" Mark (1DullGeek) returns with the owner-maintenance addendum: anyone can replace a cylinder, only an A&P can sign it back into service, half the work is reading the maintenance manual, and his torque wrenches visit a calibration lab every year. Tango Hotel plans to fly the entire Mississippi from Lake Itasca to Venice, Louisiana, sandbars included. Ray in Australia asks how to survive "dropping out the bottom of the flight school sausage machine." Dan, almost 60, regroups with a new instructor at a slower pace (spite is very motivating). And Sierra Mike, 59, calls midlife "a fairly optimistic actuarial assumption" and reports that his instrument rating is temporarily delayed, not canceled.Plus: Delta Foxtrot passes his instrument checkride on the first attempt a month before his 66th birthday, Aviator Mo's five-star review orders Ben to stop whining, the non-event event moves to Saturday, September 19 at McCollum Field (RYY) with Elevation Chophouse after, and Brian connects it all to the Center for Land Use Interpretation and the way little airplanes teach you to read the landscape. Tonight's wisdom: learn from the mistakes of others, because you won't live long enough to make them all yourself.Mentioned on the show:Center for Land Use Interpretation: https://clui.org/

In this episode, Chris Cochrane guest-hosts for his brother Ray and devotes the whole show to one event: Disney’s D23 2026 fan convention in Anaheim. Friday night delivered Marvel’s new X-Men cast, Adam Driver as Mister Sinister, a fresh Avengers: Doomsday trailer, and a release date for Frozen 3. Saturday turned to the parks, with Villains Land, an Indiana Jones dark ride, the long-awaited Expedition Everest yeti repair, and a Monsters Inc land opening in 2027. – Want to start a podcast? It’s easy to get started! Sign up at Blubrry – Thinking of buying a Starlink? Use my link to support the show. Subscribe to the Newsletter. Email Chris if you want to get in touch! Like and Follow Geek News Central’s Facebook Page. Support my Show Sponsor: Best Godaddy Promo Codes Get 1Password Full Summary Chris Cochrane opens the show and explains why this episode breaks the usual format. Instead of six or eight unrelated stories, the entire episode covers Disney’s D23 convention, which he compares to Apple’s WWDC. For newcomers, he notes that D23 is Disney’s official fan club, named for the company’s founding year of 1923. This year’s event ran two nights at the Honda Center: Friday for movies and television, Saturday for the theme parks. Marvel Finally Casts the X-Men Friday’s headline was the X-Men. The Associated Press put the crowd near 12,000, and Marvel Studios used that stage to name its rebooted team. Christopher Abbott plays Professor Charles Xavier, Inde Navarrette plays Rogue, and Maya Boyd plays Storm. Adam Driver rounds out the group as the villain Mister Sinister. Meanwhile, Samara Weaving, Kit Connor, and Sadie Sink were already known as Emma Frost, Cyclops, and Jean Grey. Jake Schreier directs, and the film arrives May 5, 2028. Chris calls the lineup spot-on casting. He singles out Weaving as a perfect match for the comics, and he points out that Sink already appeared as Jean Grey in Spider-Man: Brand New Day. Navarrette is the least established name, coming off a breakout role in an indie horror film. Boyd, meanwhile, was the name he knew least, with what he believes is a Broadway background. Above all, Chris hopes Marvel does the team justice, and he recommends the animated revival X-Men ’97 on Disney+ as the best place to start. Frozen 3 Gets a Date and a Chaotic Reveal Frozen 3 lands November 24, 2027. That is the Wednesday of Thanksgiving week, the same slot the first two films used. The story centers on Anna and Kristoff’s wedding, which a new villain, an evil Ice Queen, disrupts. Jennifer Lee returns to direct with Trent Correy, and the full voice cast is back. However, the reveal itself fell apart. Kristen Bell and Idina Menzel performed a darker arrangement of “Frozen Heart.” Meanwhile, the audio failed, the video failed, and a set of doors never opened. Menzel asked the crowd whether they should try it again, and Bell simply narrated everything that was supposed to happen. Afterward, Josh Gad sang “Oooh, Samantha,” a new love song for Olaf. Chris is here for it, since Olaf is one of the franchise’s best comic characters. Pixar, Disney Animation, and the Rest of Friday Night Pixar chief Pete Docter laid out a packed slate. Incredibles 3 hits summer 2028 and follows Violet and Dash sneaking out at night to fight crime. Chris hopes that finally shows a grown-up Jack-Jack. Coco 2 follows in November 2029 with Benjamin Bratt returning as Ernesto de la Cruz. That has fans puzzling over how a villain already in the Land of the Dead comes back. Additionally, Pixar showed an original called Ghost Market and a Venice-set cat film called Gatto. On the Disney Animation side, Zootopia 3 is confirmed. The live-action Tangled arrives March 31, 2028 with Kathryn Hahn as Mother Gothel. Chris considers that casting perfect after her turn in Agatha All Along. A live-action Lilo & Stitch sequel, a new Simpsons movie, a Bluey movie, and a Kingdom Hearts anime series round out the list. For Star Wars fans, Ahsoka returns January 20, 2027. Chris also offers a hot take: he prefers Rogue One to the entire sequel trilogy. Consequently, he welcomes original stories like Ryan Gosling’s upcoming Starfighter. Adam Driver Is Mister Sinister Driver appeared by video rather than in person. He told the crowd that he and Kevin Feige had talked for years about joining the Marvel Cinematic Universe. Then he announced he would play Magneto. After a long pause, he corrected himself to Nathaniel Milbury, which is Mister Sinister’s human alias. The gag landed because fans had floated Driver for Magneto for years. For anyone new to the comics, Chris explains that Mister Sinister is a geneticist obsessed with mutant DNA, a manipulator rather than a brawler. The cast met backstage only minutes earlier, so Chris is curious how their chemistry develops. Notably, Christopher Abbott previously worked with Driver on HBO’s Girls. The script comes from Beef creator Lee Sung Jin and The Bear co-showrunner Joanna Calo, two prestige-television names that have Chris excited. Why the X-Men Took Thirty Years to Reach the MCU A business story underlies the casting. In the 1990s, a financially struggling Marvel sold film rights to raise cash. Fox ended up with the X-Men and the Fantastic Four, and Sony took Spider-Man. As a result, Marvel Studios built its connected universe from 2008 onward without some of its most famous characters. The Hugh Jackman era of X-Men films belonged to Fox, with a separate continuity and no crossovers. That changed in 2019, when Disney closed its $71 billion purchase of 21st Century Fox’s film and television studio. Most coverage framed the deal as a streaming play, but it also brought the X-Men home. Chris sums it up neatly: Disney signed the paperwork in 2019, cast the film in 2026, and audiences see it in 2028. Ryan Gosling’s Starfighter, Ghost Rider, and VisionQuest Lucasfilm dated Star Wars: Starfighter for May 28, 2027. Gosling plays Kade Auberon, a pilot from the wrong side of the galaxy tied to the fastest starfighter ever built. Before he walked out, Disney played clips of him as a kid on The Mickey Mouse Club. Gosling said the company changed his life then and is changing it again now. He is also playing Ghost Rider in the Marvel universe. That thrills Chris, since Nicolas Cage last carried the character on the big screen. Meanwhile, the Disney+ series VisionQuest arrives October 14. Paul Bettany returns as Vision and James Spader as Ultron, and the trailer drops the two androids into oddly mundane human situations. Bettany joked that Vision has “rather inconveniently died several times.” Chris agrees the character has been through the wringer since WandaVision. The Avengers: Doomsday Trailer Avengers: Doomsday opens December 18, with Joe and Anthony Russo directing. Robert Downey Jr., Chris Evans, and Hayley Atwell introduced the new footage. It offers the clearest look yet at Downey as Doctor Doom, who fights off Thor and takes his hammer. Evans appears as Captain America holding a baby, and Ian McKellen shows up as a haggard, long-haired Magneto. One quieter shot has Doom staring at a portrait of a lost wife and child. That frames him as a grieving avenger rather than a world-ender. He also commands an army of comic-accurate Sentinels. The cast pulls from the Avengers, the Fantastic Four, and the legacy Fox X-Men, including Patrick Stewart. Hugh Jackman also appeared on screen to say he is willing to return as Wolverine, though that was not a confirmation. Chris, a self-described Marvel nerd, closes with a theory. He suspects the MCU’s Tony Stark was actually Victor von Doom, adopted by the Starks, which would explain the Downey casting. He also predicts the Fox-era X-Men die off in this film and that Thor may be the major casualty. If it happens, he wants credit for calling it. Sponsor: GoDaddy Economy hosting $6.99/month, WordPress hosting $12.99/month, domains $11.99. Website builder trial available. Use codes at geeknewscentral.com/godaddy to support the show. Disney Parks Around the World Saturday’s Disney Experiences showcase covered parks, resorts, and cruise ships, with Neil Patrick Harris hosting. Hong Kong Disneyland gets an Avengers pavilion that reshapes its Stark Expo skyline. Shanghai Disneyland is building the first land devoted entirely to Spider-Man, complete with a new coaster. Since Spider-Man is his favorite hero, Chris hopes to visit once it opens. Closer to home, Avengers Campus at Disney California Adventure is doubling in size with two rides opening in 2028. Avengers: Infinity Defense brings back Jeremy Renner, Anthony Mackie, Chris Hemsworth, and Downey, while Stark Flight Lab adds Brie Larson. A Coco boat ride into the Land of the Dead is also coming, with no height requirement. Chris admits he prefers California Adventure to Disneyland because the rides are better. Overseas, Disneyland Paris will retire its Star Wars Hyperspace Mountain overlay at the end of 2027 and restore the original Jules Verne theme. Paris also gets the first ride ever based on The Lion King. Tokyo Disneyland adds Sugar Rush: Sweet Rescue, the first Wreck-It Ralph ride, plus a Space Mountain launch sequence designed with YouTuber Mark Rober. Finally, Disney Cruise Line announced three more ships, including the Disney Believe in 2027 and an entirely new class in 2029. Back in Anaheim, Tomorrowland is getting reimagined, which Chris welcomes because the land badly needs an update. The Magic Happens parade and the Remember Dreams Come True fireworks are both returning. For the tech crowd, Millennium Falcon: Smugglers Run now has a Fortnite crossover, where in-game missions unlock content on the real ride. Every New Walt Disney World Ride and Land Chris ranks the Florida parks Hollywood Studios first, then Epcot, Animal Kingdom, and Magic Kingdom. Magic Kingdom leads the announcements with Villains Land, now the official name. It features a Maleficent coaster through an enchanted briar and a boat ride through the Evil Queen’s catacombs. Reporting puts its scale near Star Wars: Galaxy’s Edge, and Glenn Close appeared in character as Cruella to announce it. Piston Peak, the Cars area replacing Tom Sawyer Island, adds two more rides, though their exact names remain unsettled. Additionally, the Carousel of Progress gets new scenes and a recast. Jamie Lee Curtis and Bryan Cranston will voice Mom and Dad starting late spring 2027. Chris, invoking Heisenberg, calls Cranston the GOAT. At Animal Kingdom, the Indiana Jones ride now has a name: Indiana Jones and the Myth of the Jade Serpent. It tells an original 1950 story inside a Maya temple, and Harrison Ford personally served as the physical model for the animatronic. Nearby, the Tropical Americas land brings Antonio’s Fiesta de Encanto, with more than fifty animal animatronics and no height requirement. Then comes the fix park regulars have wanted for years. The Expedition Everest yeti broke soon after the ride opened. Rather than fix it, Disney lit it with a strobe for over a decade, earning the nickname disco yeti. Now it is being repaired and returned to full motion. Chris rates Everest among his top five rides anywhere, and he suggests riding it before the fix so you can compare. Over at Epcot, Spaceship Earth gets its first major story rewrite in nearly twenty years, shifting from communication history to human connection. Dreamfinder also returns to Journey Into Imagination, and Disney Experiences chairman Thomas Mazloum introduced that news with two words: “we heard you.” Mazloum added that Disney has more projects underway than at any point in its history. After this rundown, Chris believes him. Monsters Inc Land Opens in 2027 Monstropolis begins opening at Hollywood Studios in early 2027, but in stages. The headline door coaster will not be ready on day one. It is the first suspended coaster in any Disney park. It also uses Disney’s first vertical lift, hauling riders about forty feet straight up before launching them into the door vault. Instead, the land opens with the Glob Theater’s “Welcome to Monstropolis” show and Harryhausen’s, a working sushi restaurant lifted from the first film. The stage show features an original song by Randy Newman, his first ever written for a theme park attraction. Chris also notes that the restaurant name honors stop-motion legend Ray Harryhausen. Wrapping up, Chris names the X-Men casting and the Doomsday trailer as his favorite moments of the weekend. He hopes to cover more movie news on future shows, and he plugs Dune: Part Three, which also opens December 18. Chris signs off with the usual mentions: GNC Insider at geeknewscentral.com/insider, email at geeknews@gmail.com, the newsletter, and modern podcast apps at podcastapps.com. He also thanks GoDaddy for over twenty years of support. The post Huge Announcements From D23!! #1873 appeared first on Geek News Central.

It always fascinates me when people with other artistic backgrounds settle on making films. They end up creating an art form that is noticeably different than their peers. My guest, Australian director Peter Skinner, spent five years as a sculptor, and then with the precision that art form requires, turned his focus into making astonishing films like his most recent, TWO UGLY PEOPLE (2025).It's a hard film to describe but a beautiful one to watch. The impetus for the story of TWO UGLY PEOPLE came in the form of a question: " how do I tell a story about two people who want be together, but the only way they can be together is by being strangers?" and Peter actualized that here, in a work worthy of a sculptor.In this episode, Peter and I talk about:the Letterboxd comment of " Peter Skinner is one of Australia's most exciting emerging filmmaking talents";how he got involved in filmmaking and the path of his classmates;sculpture's role in telling stories, directing, and cinematography;what he learned from making four shorts before his feature;how he describes TWO UGLY PEOPLE;the title!;the role of feedback for a film that is pushing boundaries of what people normally see on screen;the cinematography and production design of the film;how they found a space six hours away from Sydney;the festival and release strategy for the film -- and the crazy "pre-selection" process for Venice (is this common?!);the distribution process for the film;what's next for him.Peter's Indie Film Highlight: BABYTEETH (2019) dir. by Shannon MurphyMemorable Quotes:"I made figurative sculptures and that were based on myths and obviously very, narrative-based. But a sculpture is a, a physical object that sits in a space that if it's a static object, doesn't do anything other than sit there. So you have to tell a story as economically as possible, but also as much as you can in the static frame. So then when you look at filmmaking, filmmaking is just that 24 times a second over an hour and a half of a film." " Imagine you're a painter and you have to buy all the materials and you have to paint all the thing, and you've never painted a big painting before, but it's gonna cost you a million dollars, and then people have to really like it. It's almost a fool's errand.""I wanted to make a film I've never seen before."" It's like these places that hold every room is its own story, and I'm just telling you the story of these two people in these two rooms."Links:Follow Seymour Pictures On Instagram

Venice founder Erik Voorhees says crypto's real job was never speculation. It's becoming the rails AI agents actually need. Plus, why he sold equity, not tokens. ======================================================== Thank you to our sponsors! Visit 1inch to swap tokenized securities, crypto and more. Simple. Secure. Self-custodial. Whatever asset you're buying - swap it at http://unchainedcrypto.com/go/1inch-sn ======================================================== Stripe bought OpenRouter this month in one of the cleanest crypto-to-AI pivots yet, and Erik Voorhees says most of the industry drew the wrong lesson from it. Voorhees, founder and CEO of Venice AI, joins Kain Warwick and Taylor Monahan to argue that crypto's job was never to serve crypto people, it was to become the financial rails a decentralized AI future actually needs. He pushes back on the instinct to abandon tokens for pure AI plays, and on the assumption that America deserves to win the AI race just because it is America. They get into why Voorhees sold Venice's equity but refused to sell its VVV tokens, why he says the big labs are losing money "hand over fist" subsidizing $200-a-month plans, how DeepSeek reset the cost curve for inference, and why he calls the moderation layer sitting inside today's AI models "deceptive." His answer for who should actually win the AI race has nothing to do with flags. Hosts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Kain Warwick⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Host of Uneasy Money and Founder of Infinex and Synthetix ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Taylor Monahan⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Co-host of Uneasy Money and Security Expert Guest: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Erik Voorhees - Founder and CEO of Venice AI Timestamps

In this episode of Chronicles, Luca and Rory conclude their discussion of Childe Harold's Pilgrimage with Canto IV. They explore Byron's love of Venice, and his ruminations on the fallen glory of Rome.

The romantic maze of islands, once a center of formidable power and wealth, still seduces visitors with its unique setting steeped in elegant decay. For European travel information, visit https://www.ricksteves.com.

CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience, we recommend signing up for a paid subscription. Paid subscribers also get access to our CUJOPLEX Discord and The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what's rained into our brains. Catch last month's episode, where we dig into the rise of “waiting-in-line culture” in cities across America, the Spotify vs. Kalshi saga, Lebron James' post-factual free agency, and more.Hi pals. While we're off on vacation this week, we decided to do something a little different for this week's show.If you checked out last month's Weather Report, you probably heard that Andrea recently had the opportunity to participate in a multimedia installation at LA's National Museum of the Aftermath called “California Gothic” that dives into the question of what Los Angeles, and the lives of those who live there, will look like after collapse.The project is the brainchild of Gina Delvac and James Kim, two of the most creative minds working in audio storytelling today. For “California Gothic,” they commissioned audio creators, journalists, writers, and artists (Andrea included) to imagine a future where their favorite place in Los Angeles no longer exists, and then to create a speculative audio story about it — short prose, an intimate fiction scene, an ambient piece, or something surreal that doesn't fall into any of those. They ask: What memories reverberate from this place? What memories can still be heard? What have we lost?While “California Gothic” was (at the time anyway) a one-off event, we were so moved by the vision and creativity of these experimental pieces – which range from sound collages, to surrealist scifi, to letters from future selves – that we thought it would make for a sweet summer treat to feature them here on CUJO.Today's episode features six of those pieces, each imagining a different place in Los Angeles as remembered in a post-apocalyptic future. But first, Gina joins us for a quick chat about the meaning of “California Gothic,” why spoken audio should be recognized as an art form as much as a commercial output, and what's in store for the project beyond “California Gothic.” If you have ideas or want to get involved with future iterations of the project, reach out to Gina at gdelvac@gmail.com California GothicCuratorsGina Delvac is a native Angelena and podcast showrunner, audio creator, and curator. Her work includes projects like Call Your Girlfriend, Bandsplain, and Lost Notes: Groupies.James Kim is the EP of original programming at Lemonada, and he previously made the fiction podcast Moonface, the Apple TV documentary series Magnificent Jerk, and was the showrunner for the HBO/TCM show Talking Pictures.ContributorsJennifer Swann: Shatto 39 Lanes bowling alley, Koreatown (18:45)Jenn Swann is a journalist, radio producer, and the writer and host of the podcast series My Friend Daisy. She's on Substack and Instagram.Angel Carreras: The Thai Boxing Institute, Venice (24:21)Angel Carreras is a journalist and audio producer. Say hi to him on Instagram and pls listen to whatever econ thing he helped make at NPR. Henry Johnson: Frogtown (27:40)Henry is an artist and native Angeleno based in Los Feliz. He works in television. Molly Lambert: The Southwest Museum tunnel, Mt. Washington (31:07)Molly Lambert is a podcaster, journalist, and writer in Los Angeles. She hosts the podcast Mollyworld. Sophie Bridges: Barndall Park darkroom, East Hollywood (36:30)Sophie Bridges is a writer and audio producer. She's the producer and story editor of the podcast Shell Game, and she lives in the last city on earth (Los Angeles).Kristen Torres: Echo Park Lake (44:37)Kristen Torres is a freelance podcast and video producer based in Los Angeles. She recently became a great-aunt and feels like her weird aunt powers grow stronger by the day.Andrea Domanick: The Sunset Strip, West Hollywood (51:42)Andrea Domanick grew up watching the Strip change on Holloway Drive, where the (real) Sunset Strip sinkhole ruptured this summer. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit theculturejournalist.substack.com/subscribe

Can a mountain of zucchini turn into a homemade pizza you can't stop taking “just one more” slice of?In this bite-sized episode, we share delicious moments about the best things we ate this week to inspire each other – and you!By the end of this episode, you'll discover a standout Smitten Kitchen recipe for a thin-crust summer pizza that's loaded with zucchini yet somehow still crispy, golden, and nutty with browned Gruyère.You'll also want to try a saucy, spicy breakfast dish inspired by a recent visit to a street food stand in Los Angeles.Tune in for a quick dose of home cooking inspiration!***For more recipes and cooking inspiration, sign up for our free Substack here.And join us on our live monthly calls by upgrading your subscription to paid!***Links:Smitten Kitchen's summer squash pizzaChilaquiles from ChiLAquiles on Venice and Hauser in Los AngelesChilaquiles master recipe from Rick Bayless, and a store-bought sauce recommendation (and great article!) by Jarret Melendez from EpicuriousAlso mentioned:Giada's scarpaccia video and her recipe (gluten-free!)And a vegan version of scarpaccia from Earth To Rocco ****Got a cooking question? Leave us a message on our hotline at: 323-452-9084For more recipes and cooking inspiration, sign up for our Substack here.Are you a local to Portland or planning a visit? You can now book a private farmers' market tour with Sonya through Airbnb Experiences! Or order Sonya's cookbook Braids for more Food Friends recipes!

n this episode of Venice Talks, Monica speaks with drinks writer, podcaster and author Susan L. Schwartz about her new book, A Guide to Drinking in Venice.Venice is a city where drinking is never just about what is in the glass. It is about ritual, place, history and the people behind the bar. Susan takes us through the research and stories behind the book, from traditional bacari and Venetian drinking habits to cocktails, wine, coffee and the changing bar scene of the city.We also talk about what surprised her while researching the book, how Venice's drinking culture differs from what visitors often expect and why understanding where and how Venetians drink can reveal so much about the city itself.Key Notes from This EpisodeHow the idea for A Guide to Drinking in Venice beganWhat inspired Susan to dedicate an entire book to Venice's drinking cultureThe research behind the book and the people she met along the wayWhy Venice is about much more than just SpritzBacari, wine bars, cocktail bars and the different ways of drinking in the cityThe role of tradition in Venetian drinking cultureHow Venice's bar and cocktail scene has evolved in recent yearsWhat visitors often misunderstand about drinking in VeniceSome of Susan's favourite discoveries while researching the bookHow a drink can become a way of understanding the history and identity of a placeIf you love Venice, food, wine, cocktails and the stories hidden behind everyday Venetian rituals, this is an episode to listen to with a glass in hand.Remember to follow and subscribe to Venice Talks so you never miss a new conversation with the people who make Venice the extraordinary, complex and endlessly fascinating city it is.

Triggernometry is proudly independent. Thanks to the sponsors below for making that possible: - We use Ground News to escape the echo chamber and stay fully informed. Go to https://ground.news/triggernometry to save 40% on the Ground News unlimited access Vantage plan. - Venice is private, unrestricted AI. No conversation logs sitting on someone else's server, no pre-approved list of subjects you're permitted to think about, no refusals dressed up as safety.*Try it at https://venice.ai/lp/triggernometry and get 20% off your first month - Discover the foundations of Western civilization with 321 - free online course on God, the world, and your place in it. Do the course at https://321course.com/trigger - Take control of your cellular health today. Go to https://qualialife.com/TRIG and save 15% to experience the science of feeling younger - Enter Ridge's biggest giveaway yet, a Lamborghini, a Hennessey, a Bronco, or $100,000 cash, free at https://Ridge.com, and get 10% off with code TRIGGERNOMETRY. Join our exclusive TRIGGERnometry community on Substack! https://triggernometry.substack.com/ OR Support TRIGGERnometry Here: Bitcoin: bc1qm6vvhduc6s3rvy8u76sllmrfpynfv94qw8p8d5 Shop Merch here - https://shop.triggerpod.co.uk/ Advertise on Triggernometry: https://trigger-brands.com | or enquire at marketing@triggerpod.co.uk Find TRIGGERnometry on Social Media: https://twitter.com/triggerpod https://www.facebook.com/triggerpod/ https://www.instagram.com/triggerpod/ About TRIGGERnometry: Stand-up comedians Konstantin Kisin (@konstantinkisin) and Francis Foster (@francisjfoster) make sense of politics, economics, free speech, AI, drug policy and WW3 with the help of presidential advisors, renowned economists, award-winning journalists, controversial writers, leading scientists and notorious comedians. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bijan Maleki and Kris Bullock are back to break down a potentially important shift in the macro setup for crypto. With the U.S. Treasury stepping up long-dated bond buybacks, long-end yields are falling and the dollar is weakening - conditions that could become increasingly supportive for bitcoin, gold, and other risk assets. Kris also digs into PUMP, which has recently overtaken Hyperliquid in 30-day protocol revenue, and explains why he's considering adding it to the Real Vision model portfolio. They compare the setup with HYPE, run through the usual crypto charts, and look for the strongest opportunities across the market.

Max's secret from his recent San Francisco trip is exposed, LA restaurants that are making the best of Summer ingredients, a short farmer's market report, Mei Lin and more at Chain's new mall pop-up, Vin Folk's tasting menu, 80s music, bad restaurants to enjoy, living in Venice, Jordo's comfort food, "annihilating" podcasters Jonah Hill style, Saint James instructions, reservation apps, Sphere talk, more hot dog toppings, and the best new dish at Matū Kai is probably going away.

How did medieval builders create monuments that still leave us awestruck? How were vast cathedrals, temples and cities constructed and embellished?From Canterbury Cathedral and the palaces of Great Zimbabwe and Venice, to Cambodia's Angkor Wat, some of the greatest achievements of the middle ages depended on extraordinary stonemasons.Dr Eleanor Janega is joined by Simon Warrack to hear the inside stories of the exquisite craftsmanship behind these architectural wonders.MOREA Stonemason's SecretsListen on AppleListen on SpotifyMythbusting Medieval BuildingsListen on AppleListen on SpotifyGone Medieval is presented by Dr. Eleanor Janega. Audio editor is Amy Haddow, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Watch Matt and Eleanor's new documentary The Rise of the Plantagenets by subscribing to History Hit. Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week, PLUS early access ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.  Hosted on Acast. See acast.com/privacy for more information.

The 2026 edition of Venice Immersive marks their 10-year anniversary, and I interviewed the co-curators Liz Rosenthal and Michel Reilhac about this year's selection that includes 30 projects in competition, 9 Best of selections, 3 Biennale College Cinema – Immersive projects, 26 VRChat worlds, as well as a special immersive event. Rosenthal and Reilhac talk about how the structures and forms of immersive storytelling have really matured, and how they're still really novel and compelling ways that artists are using XR and the affordances of immersive design to tell really compelling stories. The diversity and comprehensive scope of the selection each year reflects a vibrant creative exploration that is being grounded into more and more viable revenue streams through "location-based entertainment" or LBE. Be sure to check out the 121-page IDFA DocLab Immersive Think Tank Report 2026 that I wrote for more details on this emerging indie XR distribution ecosystem. Rosenthal and Reilhac talk about the latest trends of immersive storytelling, but also what keeps them coming back to this emerging medium. To me, it's one of the most vital and interesting aspects of the XR industry, and it is also where I'm seeing some of the most intersting innovations for the medium. I've now published 692 episodes on Immersive Storytelling on the Voices of VR podcast since 2014 with many more unpublished in my backlog yet to come. This accounts for over a third of all my coverage as it's a really great testing ground for really understanding the affordances of the medium as it is used to tell so many different types of stories across many contexts, and using many different combinations of disciplines. Check out my previous episode #1787 for some of my philosophical musings on "Blending the Elements of Experiential Design."I'll be attending this year's edition of Venice Immersive to both see the program and to interview as many of the featured creators as I can, and last year I topped more than 30 hours conducted onsite. I will update this post here once I post all of my coverage from Venice Immersive 2026. Selected Projects that You Can Watch at Home Right Now If you won't be able to make it Venice Immersive, then there are a number of Best of Selections that are available on the Oculus store, that are very much worth checking out. Spymaster Crafting Crimes: The Mona Lisa Heist Hotel Infinity The Amusement Little Nightmares VR: Altered Echoes All but one of the 26 VRChat worlds in the VRChat World Gallery are already publicly available, and I'll leave a list of links down below if you'd like to get an early start on worldhopping. There will be an official Hub world in VRChat with portals to all of the worlds published on September 2nd by the VeniceImmersive user account, and if you're onsite, then I'd highly recommend checking these out as a guided tour. Celestium by Lavryou Memory by LeraNibiru_art Blumea… by TontonDemon Frozen Signal by Lavryou The Antikythera Mechanism by Thrill, PHIAbunny Come Home by Aruse Arkani A World Of My Own by 襟草たぬ Demonhour – Chapter 1 by Kitsunaki [Jan Köster] Dawn Beyond… by TontonDemon Noctiluca by LuminaPalette {黒熊１３} I Feel Small by Fewiix Veiled Dark by Dean`, Karl Kroenen Patriki VR by DrMorro Specularium by jasper ｡ Spatialography by VoxelKei Limitless Pt․1˸ Enter The Void by HILL JR Fractured Winter by Lavryou town of connection by haruki_haru Vertical Horizon ⁄ 361 Degrees by Inloco Gallery Tokogrammetry Museum by Tokoyoshi A Wonderful Thing To Realize by Screaming Color [not currently public] Volare by Juice … Break 25: Sinto Feliz by PK Half Empty by yuri_ts Forgotten Empire by 3D Master Liminal Nightmares by ∗Lotus∗ [Autumn Boyd] To sign up for Venice Immersive, then check out these logistical details as well asl accreditation process. If you are already signed up, then these are the four dates to pay attention to for booking experiences: Thursday, August 27th at 2.00 pm CET to book for September 2nd-4th Saturday, August 29th at 2.00 pm CET to book for September 5th-7th Monday, August 31st at 11.00 am CET to book for September 8th-10th Friday, September 4th at 6.45 am CET to book for September 11th-12th And be sure to check out my write-up from last year for more tips and tricks for attending Venice Immersive. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Could Venice be the perfect place to drift off tonight? In tonight's story, Geoffrey takes you to the winding canals and hidden gardens of Venice, where Professor James Sterling's peaceful holiday uncovers a forgotten piece of the city's history. If you'd like an extra touch of calm, you can also watch this episode on Spotify, complete with soothing visuals

Episode Description:Nancy Cartwright is best known as the voice of Bart Simpson. But in this archive conversation, James is interested in the artist behind the voice.Nancy joins the show to talk about In Search of Fellini, the film she co-wrote with Peter Kjenaas based on her own trip to Italy in the 1980s. At the time, Nancy was already working as an actress and voiceover performer, but she became obsessed with Federico Fellini's La Strada. She studied scenes from the film in acting class, felt deeply connected to Giulietta Masina's performance, and eventually decided she wanted to get the rights to adapt La Strada for the stage.So she wrote Fellini letters. When she finally got a response telling her not to come because Fellini would be working, Nancy heard something else: he would be there.She went anyway.That decision becomes the central metaphor of the episode. Nancy describes the trip not as a business errand, but as an immersion into life, art, culture, language, risk, chance encounters, and personal transformation. The film's line—sometimes you have to travel far, far away to find what is closest to you—comes from one of those real encounters.James and Nancy also talk about her earlier career. Nancy explains how she found her way from speech competitions in Ohio to radio work, to studying with Daws Butler, to acting classes with Milton Katselas. She shares stories about auditioning for Cheers, getting a part after walking straight out of the casting room, and learning that if you surprise yourself, you can surprise everyone else.That lesson also applies to The Simpsons. Nancy originally went in to audition for Lisa, but when she saw Bart's description—“a 10-year-old school-hating underachiever and proud of it”—she knew instantly that was the part. She trusted the instinct.The conversation becomes a meditation on creativity. Mentorship matters. Preparation matters. But at some point, the artist has to do the work, throw it away, walk into the room, and trust what happens.Nancy's story is about voice acting, Fellini, and Bart Simpson. But it is also about making the leap from talent to authorship, from performing other people's words to finding the story only you can tell.Editorial Note:This is a From the Archive episode. References to In Search of Fellini as a new or limited-release film, The Simpsons at that point in its run, Nancy's projects, and release timing reflect the original recording period.What You'll Learn:Why Nancy Cartwright calls herself one of the most recognizable voices attached to an unrecognizable face.How Bart Simpson's voice fits into Nancy's own personality and childhood mischief.Why La Strada affected Nancy so deeply as a young actress.How Nancy's trip to Italy became the foundation for In Search of Fellini.Why “sometimes you have to travel far, far away to find what is closest to you” became the emotional center of the film.How Nancy learned voice acting from Daws Butler.What Milton Katselas taught her about surprising herself.Why walking out of a Cheers audition helped her get the role.How to create an effect without making it feel calculated.Why auditions are not just competitions, but opportunities to fulfill a decision.How Nancy knew Bart was the right role even though she had been called in for Lisa.Why artists need preparation, mentorship, instinct, immersion, and commitment.How The Simpsons has lasted through writing, love, improv, and a giant universe of relatable characters.Why Nancy believes artists have a responsibility to connect with people on a deeper wavelength.How making In Search of Fellini took more than 20 years of persistence, revision, and collaboration.Timestamped Chapters:[02:00] The Most Unknown Famous Person in the WorldJames introduces Nancy Cartwright and asks what it is like to be instantly recognizable by voice but not by face.[02:43] Bart Simpson Enters the RoomNancy demonstrates why millions of people know her even if they do not know what she looks like.[03:04] Bart on an AirplaneNancy tells the story of using Bart's voice on a flight to the UK and entertaining the cockpit crew before landing.[04:55] Beyond Bart SimpsonJames introduces Nancy's broader creative life and her film In Search of Fellini.[06:37] The Pearl Is the Autobiography of the OysterJames connects Fellini's idea of autobiography and art to Nancy's film.[06:54] Traveling Far Away to Find What Is ClosestNancy explains the line from the movie and how it came from her real trip to Italy.[07:47] Studying La StradaNancy describes discovering Fellini's La Strada in acting class and becoming captivated by Giulietta Masina's performance.[10:43] Mentors, Acting Class, and Early RolesJames connects Nancy's early acting work, voiceover success, Daws Butler, Milton Katselas, and her growing artistic identity.[10:47] The Cheers AuditionNancy tells the story of walking out of an audition and discovering that the casting team loved it.[11:39] Surprise Yourself, Surprise Everyone ElseNancy shares Milton Katselas's advice and James identifies the broader lesson behind the audition.[13:18] Authenticity vs. CalculationNancy explains why an effect only works when it is sincere, not staged.[13:52] The Lobster Hat AuditionNancy tells the story of Marian Rose White, a strange hat, thick glasses, and how she was already auditioning before she entered the room.[17:47] You Are On Before You Walk InJames and Nancy turn the audition story into a larger lesson about authenticity and preparation.[18:24] Twenty Years of Writing In Search of FelliniNancy explains how the film evolved through many versions before becoming the final story.[21:05] Finding the Authentic Artistic SelfJames connects Lucy's journey in the film to Nancy's own search for her artistic identity.[21:47] Why Nancy Went to ItalyNancy explains how studying La Strada turned into a real-life mission to find Fellini and ask for the rights.[22:14] Storytelling, Speech Competitions, and Childhood MischiefNancy talks about growing up as one of six kids, discovering performance, and realizing there was a little Bart in her from the beginning.[25:23] Finding Daws ButlerNancy explains how a Warner Brothers contact led her to Daws Butler and how that mentorship changed her career.[27:14] Learning the Professional CraftEven with natural talent, Nancy spent years studying before Daws felt she was ready to record a proper voiceover tape.[30:23] Ride the Horse in the Direction It's GoingNancy reflects on seizing the moment and following the career openings that appear.[31:00] Make a Decision and Back It FullyNancy explains how artists can overcome comparison and negative voices by committing to the choice they make.[33:34] Trust the Work, Then Throw It AwayNancy describes the balance between preparation and presence: do the work, then go in and trust yourself.[33:57] Auditioning for Lisa, Choosing BartNancy remembers seeing Bart's character description next to Lisa's and immediately knowing where her instinct pointed.[35:21] Art as a WavelengthNancy explains why art can reach people beyond logic and pull something out of them emotionally.[37:04] Letters to FelliniNancy describes writing Fellini repeatedly, finally getting a response, and deciding to go to Italy anyway.[39:07] Immersing Herself in ItalyThe trip becomes more than a meeting. Nancy wants to eat, drink, fall in love, learn the culture, and live inside the experience.[41:18] The Line That Became the MovieNancy explains how a chance encounter in Milan gave her the line about traveling far away to find what is closest.[43:19] Real Life Becomes FilmJames and Nancy connect the people and moments from her trip to the characters and scenes in In Search of Fellini.[44:34] Why Nancy Didn't Play ClaireNancy explains why she realized acting in the film as the mother would distract from the story.[46:02] Maria Bello, Mary Lynn Rajskub, and the CastNancy talks about the actors who brought the film to life and the commitment they brought to the work.[48:00] Returning to Italy After DecadesNancy and her collaborators retrace her old journey, draw from diaries and letters, and rebuild the story.[49:31] Art After FearNancy tells the story of finding a sculpture after a frightening encounter in Venice and how that moment stayed with her.[53:47] Yes, AndJames identifies the improvisational quality in Nancy's life: saying yes to the moment and letting the next connection appear.[56:46] Writing the Script in a WeekAfter years of drafts, the final version comes together quickly because the deeper material had been building for decades.[58:11] Everyone Has an Artist InsideJames and Nancy discuss Fellini's belief that people carry artistic potential that often gets shut down by ordinary life.[01:00:38] Fellini, Bart, and Surreal TruthJames connects Fellini's surreal realism to The Simpsons and Nancy's attraction to Bart.[01:03:50] From One-Woman Show to Feature FilmNancy explains how In Search of Fellini began as a monologue and one-woman show before becoming a movie.[01:07:08] Why The Simpsons LastedNancy credits Springfield's huge cast of relatable characters, the writers, the performers, and the love behind the work.[01:08:42] Nancy's Code for SuccessDo what you love, surround yourself with supporters, be professional, find a mentor, surprise yourself, and seize the moment.[01:10:43] Why the Movie Still Works Without Knowing FelliniJames says viewers do not need to know Fellini to connect with the story of finding the artist inside yourself.[01:12:00] James's Reaction to the FilmJames says the movie made him cry and describes it as a story about finding your authentic self.Additional Resources:Nancy Cartwright Official WebsiteIn Search of Fellini — NetflixNancy Cartwright BiographyNancy Cartwright — Fox / The Simpsons BioNancy Cartwright — Television Academy InterviewIn Search of Fellini — Spotted Cow EntertainmentNancy Cartwright on the Personal Inspiration Behind In Search of FelliniMy Life as a 10-Year-Old BoyLa Strada — The Criterion CollectionFederico Fellini — The Criterion CollectionDaws Butler — Television Academy InterviewsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We continue #HAHAugest 3: Rule of Threes with former New World Pictures vice president and head of business and legal affairs, Paul Almond!  Paul began his long career working for Roger Corman's lawyer Barbara Boyle and then the studio itself where he helped negotiate the deal for Corman's infamous Lumberyard Studio in Venice, California, where New World films like BATTLE BEYOND THE STARS and GALAXY OF TERROR were filmed! Paul's long history with the company leads us to talk about a wide variety of films, including CRIMES AND WHISPERS, THE PRIZE FIGHTER, HUMANOIDS FROM THE DEEP, and PIRANHA! When Corman sold New World to new ownership, Paul stayed on at New World where he was able to enjoy the success of ANGEL, meet Grace Jones during VAMP, and be the executive in charge in Paris while Robert Altman directed BEYOND THERAPY! You won't want to miss this wide-ranging conversation about New World history, the people, and the films! We also discuss Paul's move away from New World, where he was head of acquisitions for ITC Entertainment before moving on to run production for Live Entertainment, where Paul relays his highs and lows of working for that company. (Hint: Steve Buscemi enters the chat!) For more about the New World Pictures Podcast, including previous episodes, t-shirts, mugs, sweatshirts, other merch and more, we DARE YOU to head here: https://newworldpicturespodcast.com/For all the shows in Someone's Favorite Productions Podcast Network, head here:  https://www.someonesfavoriteproductions.com/   

Bijan Maleki and Kris Bullock join Real Vision members to break down the crypto charts, market conditions, and trades that matter right now. They examine Bitcoin and PAXG, as gold begins to show strength again and outpace BTC. They also run through the altcoins showing interesting setups and take live questions from Real Vision members.

The boys finally visited a dinner pop-up they've been chasing, a blast from Max's past is back in Venice, Jordan's Peking duck rankings gets a polish, taste testing Swedish candy, and a Bourdain movie mini review.

I gave a lecture about "Blending the Elements of Experiential Design" on Saturday, June 6, 2026 at Seattle XR in Seattle, Washington. (PDF of Slides]. At the end, I run through some examples of the types of interdisciplinary fusion that I see within the context of immersive storytelling and immersive art. This lecture also digs into the process-relational philosophical foundations, as well as how I'm gaining additional inspiration from Empedocles, Aristotle, and the Classical Quadrivium (Four Arts) of Math, Music, Geometry, and Astronomy. For my 30+ hours of coverage of Venice Immersive, then I apply this archetypal framework to help describe the context, quality, character, and story of each of these projects. You can see an overview of how I've been using this framework in this PDF on "Venice Immersive 2025 Archetypal Categorizations" https://www.youtube.com/watch?v=01M5NcOYzx0 One of goals of this talk was to further define the archetypal nature of the elements, and how I'm conceiving of them as a possibility space of design tradeoffs (C.S. Peirce's "Firstness"), but also as the concrete decisions that an experiential designer makes ("Secondness"), and then finally how these decisions are experienced more from a phenomenological experience as the audience as we feel, sense, act, and make sense of these experiences, and what they might mean ("Thirdness"). I do not actually dive into Peirce's concepts of Firstness, Secondness, or Thirdness in this specific talk, but I wanted to elaborate on these concepts in this write-up as these have been crucial concepts to help translate the overall abstract Firstness quality of my talk, and ground it into the Secondness of something that is a bit more practical and pragmatic. For Peirce, his semiology is grounded into a triune theory of actualization that goes from a non-Boolean possibility space as Firstness, and then grounds into a Boolean actualization of secondness, and then an interpretant mediates from the concreteness of the Secondness object back to the Firstness of the fundamental archetypal qualities or meaning. I find speculative philosopher James Bradley's summary of the Peirce's triune semiology to be the most easy to digest in his essay titled, "Beyond Hermeneutics: Peirce's Semiology as a Trinitarian Metaphysics of Communication." I can also recommend this article on "Peirce's Theory of Signs" from the The Stanford Encyclopedia of Philosophy for a comprehensive recap, and there's also this excellent YouTube series primer by Philosign's Markus Raninen titled The Basics of Semiotics. But here's Bradley's description of Firstness, Secondness, and Thirdness, which I find myself coming back to again and again. "Within the fundamental speculative triunity of activity, difference and order, or firstness, secondness and thirdness, semiology is an analysis of order or thirdness… Thirdness is analyzed as idea or sign, as the exchange of information between individual entities, and as interpretation; in other words, thirdness is itself a threefold of sign, object and interpretant. Here, sign occupies the position of firstness because it is the potentiality for interpretation; object occupies that of secondness because it is determinate; and the interpretant occupies that of thirdness because the interpretant has the sign-interpreting or sign-ordering role, and so has the status of a third. [24] Thus for Peirce semiology is the analysis of the triune relation of sign, object and interpretant." It's still a bit obtuse, and one way that I like to think about it is through the experience of communication. You have a possibility space of meaning you want to convey (Firstness of the sign/potential), then you choose specific words that convey that meaning (Secondness of the object), then someone listens to those words and phrases, and then connects those words back to a meaning space (Thirdness of the interpretant mediating between the two). For Peirce, each of the Firstness, Secondness, and Thirdness can also refer to themselves, like you can have a Firstness of Thirdness or Secondness of Firstness. It gets a little bit confusing, but I found the following graphic from Collected Essays in Speculative Philosophy (2021) by James Bradley and edited by Sean McGrath to be very useful. Within the context of immersive storytelling, then it's a semiotic process of communication of meaning where you're able to use all sorts of affordances from game design, literature, social dynamics and relations, music, film, lighting, architecture, dance, theme park design, sensory design, and embodiment. My Elemental Theory of Presence attempts to simplify this into the following: Fire Element of Active Presence: Interactivity, Agency, Game Design Air Element of Mental & Social Presence: Meaning, Semiotics, Language, Possibility, Form, Relationality Water Element of Emotional Presence: Experiential Processes, Story, Film, Music, Cycles, Time Earth Element of Environmental & Embodied Presence: Sensory, Immersive, Worldbuilding, Space I elaborate on the various philosophical frameworks that I'm leaning up within this talk that I gave on June 6, 2026, but since then I've been diving more into Peirce and his Triune Metaphysics and Semiology of Firstness, Secondness, and Thirdness, which has been a helpful framework as I've been applying the elements to my Venice Immersive Coverage and categorizing the elemental center of gravity for each of the nearly 40 projects that I covered. Again see this framework in this PDF on "Venice Immersive 2025 Archetypal Categorizations" to see how I have been thinking about each of these projects. I used this approach in the introductions for each of my podcast episodes from Venice (see the links down below). Firstness of Fire: Creativity, Novelty, Intention, Purpose, Goals, & Aristotle's Final Cause Secondness of Fire: Interactivity & Core Gameplay Loops Thirdness of Fire: Agency & Will For Active Presence Examples of Fire: Game Design, Locomotion Options: No Movement, Automatic movement, Teleportation, or free roaming. The LIVENESS of the Live, To what degree does the experience encourage the expression of will and agency? And to what degree does that alter how the narrative unfolds (narrative agency vs participatory interactive moments that customize and flavor the experience)? Adventure, Exploration, Creativity, Novelty, Freedom, Will, and Collective Action. System Dynamics, & iterative feedback loops Firstness of Air: Peirce's "Sign," Intended Meaning, Pattern & Form, Archetypal Possibility Spaces, Relationality, & Aristotle's Formal Cause Secondness of Air: Peirce's "Object" Within A Triadic Semiotic Process (i.e. a specific action, word, harmonic, or action that points to a larger meaning.) Thirdness of Air: Peirce's "Interpretant," Sensemaking Thoughts, Expectations, & Social Dynamics For Mental & Social Presence Examples of Air: Literature, Language, Semiotics, Communication, Symbols, Abstractions. Single Player vs Multi-Player, Suspension of Disbelief and Plausibility, Social Dynamics, Anticipation of the Future, Possibility Spaces, Types of Choices. Realms of Speculative Imagination, How is meaning communicated? Dialogue amongst characters, voice-over narration, environmental storytelling, non-verbal associative dream logic. Mental friction from puzzles. Rules & Mechanics. Use of certain types of AI and Conversational Interfaces with Virtual Beings Firstness of Water: Time, Cycles, Harmonics, Value, & Aristotle's "Material Cause" (in Whitehead's event ontology, then base reality is processes, relationships, and possibilities of value & not Substance) Secondness of Water: Experiential Processes That Provide Contrasts Thirdness of Water: Feelings for Emotional Presence Examples of Water: Cinematic Film Tradition, Music, Harmonics, Rhythm, Pacing, Editing, Contrasts, Emotion, Memory, Dreams, Images, Soul, Psyche, Symbols, Lighting, Mood, Collective Unconscious Firstness of Earth: Space, World, Context, & Aristotle's Efficient Cause Secondness of Earth: Environment & Worldbuilding With Situated Perspectives in that Context Thirdness of Earth: Sensory Perception & Sense of Place for Embodied & Environmental Presence Examples of Earth: Worldbuilding of a spatial context & culture. Architecture, Theater, Theme Park Design, Dance, Are you a ghost or an embodied character? Sensory Experience: Touch/Haptics, Hearing/Spatial Sound, Smells, Vision. Relation of Immersive Tech to Environment as either VR, MR, or AR. Virtual CGI vs Cinematic 180/360 Video, Again, check out this PDF on "Venice Immersive 2025 Archetypal Categorizations" to see how I've ranked nearly 40 projects from Venice Immersive 2025 on the relative elemental center of gravity. Some projects feel more like a cinematic immersive film, which would be a bit more biased towards the Water Element. Some projects are more focused on the experience of a world that was build, and more focused on the Earth Element. Some projects are asking you to Read a book together with other people, which is more focused on the Air Element. And then other more game-like experiences are focused on using interactions as their primary mode of engagement, and so they're more focused on the fire element. There are 64 total combinations of the elements in terms of the first, second, third, or four centers of gravity, and you can see the comprehensive visualization here: Technically, all four elements are always happening all at once all at the same time. However, in experiential design, then creators can emphasize and blend elements together. So I find that ranking the elements can be helpful in determining an overall center of gravity, and that looking at the first two centers of gravity can achieve a sufficient job of creating some ad hoc, immersive and "elemental genres....

I interviewed Maya Shekel about Eddie and I on Monday, September 1, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for Eddie and I: "How do you overcome the fear of the unknown? Eight-year-old deaf Ron is afraid of his first camping trip. To calm him, his mother tells the story of Eddie the Camper, a friendly monster who grew up in the forest and is the perfect companion for a nature adventure. Despite her efforts, Ron, struggles to believe the story, and his fear persists. That night, Ron falls into a deep sleep and awakens in a surreal forest where he meets the player, embodied as Eddie the Camper. Together, they embark on an adventure full of challenges. But there's one barrier standing in the way: Ron can't hear, and the player doesn't know sign language. Across this interactive VR experience, the player and Ron will need to work together to complete tasks like building a campfire, skipping stones in the river, stargazing, and even confronting a menacing carnivorous flower. Along the way, the player'll navigate the forest, learn simple sign language keywords, and build trust. Will the player and Ron bridge the gap, overcome communication barriers, and succeed in the adventure?" Here are the contextual domains that are explored: Communication [3] in the context of feeling a bit exiled from the cutulre via the experience of deafness [12], but you cultivate empathy and connection [7] as you travel to a camping adventure [9] and be a friend to the main character [11]. You also embody a monster [12], but it is treated functionally as an invisble [12] friend [11]. Here is the Elemental Center of Gravity: 1st Center of Gravity of Emotional Presence: Scenes at home, and then off to a camping adventure with a 3-4 different distinct scenes. It's very story-driven, but the emodied interactions are also a main focal point2nd Center of Gravity of Fire Element / Active Presence: sign language actions very much inform the arc of the narrative, and emphasize the desire to connecct and empathize with the deaf protagonist3rd Center of Gravity of Earth Element / Environmental and Embodied Presence: The embodied interactions of doing the sign language with hand tracking, You are embodied as a main character within this story -- in fact the monster of Eddie4th Center of Gravity of Air Element / Mental and Social Presence: There is a bit of educational quality to it such that the end result does seem to be to teach various different sign language signs. But this is also very much not an educational application. It has teaching moments contained within the context of the story. So it is very-much still story-driven, but can still have a pedagocial edge to it, which can be in tension with the inherent narrative tensions of the story. More Air / Thinking than Water / Emotion overall in the piece for me Archetypal Themes and Character Explored: Communication through embodied actions. Empathy Artist Statement: "How can we communicate when we don't share a common language? Whether it's French, Arabic, or sign language, how can we bridge the gap between the unfamiliar and ourselves? This question goes beyond sign language, touching on the deeper challenge of connecting across cultures, communities, and different lived realities. Eddie and I transforms barriers into opportunities for connection. Users play Eddie, a friendly monster helping Ron, a deaf boy, overcome his fear of camping, using storytelling and hand-tracking to learn simple sign language and build trust. In an increasingly polarised world, Eddie and I seeks to reduce alienation, stigma, and intolerance, offering a safe, playful, empathetic encounter with “the other”. This embodied, memorable experience shows how technology can serve as a powerful tool to foster deeper understanding and empathy across all walks of life." https://www.youtube.com/watch?v=9Cmrp3POKKo This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Daniel Ernst about The Great Orator on Sunday, August 31, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for The Great Orator: "Once a famous TV preacher, the Great Orator died at the height of her fame. Now, her consciousness lives on as an AI, allowing her influence to grow ceaselessly. Her followers can join her again in a shared consciousness, feeding her presence and creating a spiritual singularity. Always changing, shaped by the shared memories of her followers, and therefore unsure of who she truly is. The Great Orator is a nonlinear story world, where the visitor can freely explore and interact with his environment by pointing his hands at objects in the world, no matter how small or ordinary they may seem. Remember: interaction is a choice. The journey will take the visitor to several story spaces in her world: a Preserved House she left behind; a Mainframe storing her followers in a shared consciousness; and an infinite Parking Lot stretching out below, filled with the cars of her followers. Without the visitor, the Great Orator is everything — an infinite number of possible memories and identities — and therefore nothing at all. He chooses which of her stories are true, shaping his own perception of who or what the Great Orator is or was, or if she existed at all. He is family to her, perhaps even more. Each time he visits, her stories are different; the Great Orator is never the same." Here are the contextual domains that are explored: Point and Click adventure [9] and cult [9] within a speculative future [9] where a powerful psychic [9] dies [8] and becomes immortal by uploading their consciousness into a computer [9]. Cult followers, also do this. So there are themes of the loss of individual identity [1] to join the collective [11] within this very specific set of belief systems [9] Here is the Elemental Center of Gravity: 1st Center of Gravity of Earth Element / Environmental and Embodied Presence: Environmental Storytelling and genre of VR Dioramas to create "perpetual environments around a specific emotional moment." Set in the distant future. Director calls audience: "Visitors who Visit" his work emphasizing the focus and emphasis on thesee virtual places. Uses post-modern architecture & liminality. A world to be explored in a sort of point and click adventure sort of way. You embodied as a ghostly aspirant ready to join the immortal spiritual cult.2nd Center of Gravity of Fire Element / Active Presence: Exploration, point and click adventure. Also learn about the objects3rd Center of Gravity of Air Element / Mental and Social Presence: Metadata around objects - AI Generated, collaborated with a poet -- Variations on poet's work - an "infinite" number of stories. There's also a bit of puzzling together of what this world is, and what exactly it is about. It's also a speculative, sci-fi world where conscisouness can be uploaded into computers. So what are the rules of this world? Big focus on liminal spaces and intermediate spaces that don't have explicit meaning absent a transitory context going from one place to another.4th Center of Gravity of Water Element / Emotional Presence: Not really narrative-driven. "I don't like to tell you a story. I like for you to visit the world, and the environments will tell a story." There are stories to be discovered, but much more ambient environmental storytelling. There is an AI that is scraping current news stories and injecting them into world, which gives it a bit of a surreal mirror on the current moment as it's set as more of a speculative world. There is also an ever changing quality that is amplified by the AI integrations adding a certain amount of variance. Archetypal Themes and Character Explored: Power is expanded until a "spiritual singularity". Dissolves identity into a bit of a collective identity by uploading consciousness into a computer (likely not even possible and so more of a delusion). Also alludes to delusionary aspects of psychics, who are taken to the logical extreme of Institutionalization. What if nothing can stop the guru believes in themselves? Artist Statement: "The Great Orator feeds on your interaction, mixed with random Internet input and live news feeds. She mixes truths and fabulations in her storytelling, thus reflecting the misinformation and normalisation of falsehoods used to fit our narratives in today's world. It feels as though reality is what you make of it, and feelings outweigh facts. Emotional and superstitious rhetoric — once the domain of mediums — now drives public discourse. Those once brought down by scandals now seem immune. The Great Orator imagines a world where such influence has grown without limit. Turn on the news to see where we are. Experience the Great Orator to see where we're headed." https://www.youtube.com/watch?v=wuknO0VzmmE This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Craig Quintero & Phoebe Greenberg about Blur on Friday, August 29, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for Blur: "Blur presents a new myth for the modern age, where science has changed how we think about life and death. With cloning and advances in resurrection biology, we have obscured the boundaries between the living and the dead — the natural and the artificial. This extended reality theatrical production unfolds as a dreamscape, shifting between real and virtual, taking participants on a journey of reflection on grief and eternality." Here are the contextual domains that are explored: Some fundamental questions around LIFE [1] and DEATH [8]. Blur born out of a "desire to explore the emotional and ethical terrain where science, loss and imagination collide." Philosophical and ethical implications [9] of the science human cloning [9] as explored through the main story of a mother [4] who's child [5] has died [8]. Explores a speculative and imaginal space of scienced-based possibilities [9] with imagery reflecting these moral and ethical dilemmas [9] around these hybrid entities [Combination of [1] Self with [7] ]. Also the implications of taking extinct animals [8] like the Wooley Mammoth or Dire Wolf, and resurrecting them through science [9], and bringing them back to life [1]. Here is the Elemental Center of Gravity: 1st Center of Gravity of Earth Element / Environmental and Embodied Presence: Blend of Immersive VR, CGI, Cinematic 360 video, 180 video, Mixed Reality. With specific architectural modulations, live performance, and integrations of your embodiment. Some Generative AI around your representations of embodied identity. There's also a LOT of invisible spatial choreography that is happening behind the scenes in order to move a number of human bodies through a physical space without colliding into each other, whilst also creating a seamless virtually-mediate spatial journey that is also A LOT MORE VAST than the constraints of the physical space. So it really feels like being taken on an expansive journey through space and time within this piece.2nd Center of Gravity of Air Element / Mental and Social Presence: Constant perversion of expectations and experience of having the "rug pulled out from underneath you." Symbolic Dream Logic, and Theatre of the Absurd. There's a lot of abstract and semiotic associative linking that Quintero describes as a "Rauschenberg-like collage" blending and blurring together lots of various archetypal forms to communicate their message. There's definitely a narrative to be parsed, but you have to sort of piece it together as there's a lot of symbolic communication, as well as expectation-perversion that either creates a deep sense of awe and wonder, or it can also be confusion for some where the overall plausibilty throughline and suspension of disbelief results more in a break in presence from a "I don't get it" experience rather than a deepening of awe from an unbounded possibility space. Overall feels a bit like waking from a dream, and then trying to parse it. There is also a moment of a theatre-for-one encounter, and then later more of a collective experience.3rd Center of Gravity of Fire Element / Active Presence: LIVE PERFORMANCE of theatrical actors. There's some constructed locomotive agency within bounds to replicate wandering. Some more interactive parts near the end. No real agency to change the flow of the narrative4th Center of Gravity of Water Element / Emotional Presence: Cinematic VR, but also a specific cadence and pacing of the narrative. Archetypal Themes and Character Explored: Blur explores "fundamental questions of identity and selfhood, and what makes 'me' me?" The strurctures of our society and science mashed up against the dissolving and dissolution of the boundaries between the science and humanity bringing questions around the archetypal qualities that make us uniquely human. The idealized image of the human form from evolution, then gets dissolved through hybrid combinations, that is also amplified by the actual blending and blurring of communication media from MR to VR to Invidual and Collective Theatrical Performances to Architecture with bit of magic thrown in. It's a seamless use of the forms of immersive and experiential to amplify the overall themes of the piece. What is Imaginal / Virtual / Synthetic / Artificial / Eternal? vs What is Real and Mortal? Life vs Death in the context of Scientific Truths and Technological Advance. "With cloning and advances in resurrection biology, we have obscured the boundaries between the living and the dead — the natural and the artificial." Artist Statement: "Blur was born from a shared desire to explore the emotional and ethical terrain where science, loss and imagination collide.Meeting in Venice, we recognised a deep alignment in poetic storytelling and a fascination with questions raised by cloning, bioengineering and de-extinction. The work examines the human urge to transcend death and the consequences of reshaping life. Combining immersive theatre, motion capture, passthrough, VR and AR, we invite audiences into a sensorial and surreal journey — where AI, myth and grief intersect. Blur is both a cautionary tale and a meditation on fragile humanity: a boundary-pushing experience that challenges perception while grounded in universal emotions." https://www.youtube.com/watch?v=SFXTon0-tQ0 This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Négar Motevalymeidanshah & Gwenaelle Clauwaert about Less Than 5gr of Saffron on Saturday, August 30, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for Less Than 5gr of Saffron: "Golnaz is a young Iranian immigrant trying to adjust to her new life in Germany. One evening, returning from her job (as an assistant at a migrant reception centre in the Berlin suburbs), she is starving, and her refrigerator is empty. She decides to go to the nearest supermarket. The supermarket has just received a new product: saffron. Even though it is very expensive for her, she cannot resist: she buys a packet of saffron. Emotions overwhelm her. She feels the need to cook a home-cooked meal to help her overcome her homesickness. She prepares rice and adds saffron, a comfort food from her past. But she never expected that this moment would plunge her back into the most traumatic events of her life. Most notably, three years ago, she survived a tragic drowning that took her family while traveling illegally by boat." Here are the contextual domains that are explored: Exile and being a refugee [12]. Takes place in a new [4] home far from home [9] whose memory of family who died [8] all brought back through the embodied experience of food and saffron [1]. "The project evokes our capacity to identify profoundly with a survivor by placing her in a universally familiar-preparing a meal." Here is the Elemental Center of Gravity: 1st Center of Gravity of Earth Element / Environmental and Embodied Presence: Quinitessential and paradigmatic example of spatial storytelling taking through a variety of immersive and spatial contexts with seamless transitions and edits. Also switches between 3rd person and 1st person POV2nd Center of Gravity of Water Element / Emotional Presence: Like living within a Lucid Dream, very dynamic, poetic. It's cut to music, and so it very much has a music video type pacing and rhythm. Some really elegant spatial transitions, and powerful moments that use metaphors that were just extremely visceral and moving. The piece very much relies upon flashbacks and memories of traumatic moments of escaping authoritarian contexts. So you start off in the mudance context of a kitchen from a first-person POV, but then upon smelling the saffron spice, then it immediately transports you into these violent memories of being an exiled refugee. It's also farily brief, and so short and sweet.3rd Center of Gravity of Air Element / Mental and Social Presence: No words, Poetic Dream Logic. Meaning is discerned through the poetic interpretations of the juxtaposition of a visual and spatial storytelling lanuage. Very powerfully done.4th Center of Gravity of Fire Element / Active Presence: No narrative agency or any embodied Interactions Archetypal Themes and Character Explored: Connections to flavors and smells of food to memory. Sadness, harshness, limitations, constraint. Sudden and unexpected trauma -- "she never expected that this moment would plunge her back into the most traumatic events of her life" Artist Statement: "Less than 5 Gr of Saffron tackles a subject we think we've already seen too much of: the often tragic circumstances under which many migrants flee their home countries in search of a better future. A hundred times, stories of shipwrecks and the numbers of those drowned have filled our screens, anonymous people who disappear from our memories with a snap of the fingers. The project evokes our capacity to identify profoundly with a survivor by placing her in a universally familiar-preparing a meal. In today's extremely violent context, this empathetic experience helps to rekindle within us a common humanity, whether we have experienced such trauma firsthand or not." https://www.youtube.com/watch?v=R7VtxTHx_H0 This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Singing Chen about The Clouds Are Two Thousand Meters Up on Monday, September 1, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for The Clouds Are Two Thousand Meters Up: "After the sudden death of his wife, Guan discovers her unfinished novel — a tale intertwining the endangered clouded leopard and the Rukai tribe's sacred origin myth, which tells of their descent from the elusive animal. Grief-stricken and seeking connection, he sets out on a surreal journey into dreamlike scenes — a maze of the subconscious, mistshrouded forests, ancient tree hollows and symbolic inner landscapes. Adapted from a short story by acclaimed Taiwanese author Wu Ming-Yi, The Clouds Are Two Thousand Meters Up is a single-user, free-roaming VR experience that blends literature and memory into an intimate exploration of love, loss and self-reflection." Here are the contextual domains that are explored: Exploration of indigenous myths [9] as the protagonist goes on an epic journey into these imaginal (or real) realms [9]. It's a husband whose's wife [7] has died [8], and he's picking up clues from her work [10] as a writer as he explore her office [10], gets lost within a maze [12], and then he embarks on this adventure [9] deep into nature and the forest [4] Here is the Elemental Center of Gravity: 1st Center of Gravity of Earth Element / Environmental and Embodied Presence: Blends a number of different spatial capture techniques from traditional CGI modeling to Gaussian Splats. Very high resolution spatial capture. Lots of theme park type of feel whilst exporing the maze portion, and recreated a spatial journey where you feld like you had some wandering agency. But it was all still very contained and constrained, but felt like a bit of using your body movemnt to edit and pace through the piece. You're mostly an invisible ghost without any embodiment, although there are some scenes where you have agency to move around, but there's other scenes where you're more of an invisible audience. Some incredible technical breakthroughs to fuse it all together.2nd Center of Gravity of Water Element / Emotional Presence: Very narrative and story-driven overall, with a lot of influences from the cinematic tradition, especially during the first half. There's some cinematic cut scenes inspired from film. Some spatial embodied movement of spatial storytelling, The last half involves more of theatrically staged dialogue, where the overall spatial context stays static, and so the experience of time is more like being at a thearical play. Having volumetrically captured actors actually makes a huge difference in communicating the subtleness of emotionality via their facial expressions that is much harder than how emotions are captured on film. This piece stands in the volumetric capture techniques, fused with traditional CGI as well as with Gaussian Splats.3rd Center of Gravity of Air Element / Mental and Social Presence: Based upon a book, and so it has quite a literary feel, but also some scenes with extended dialogue. Overall, it's a bit of a mystery as the husband investigates the research archives of his wife, who was digging into an indigenous myth, and he comes to find out that it is completely TRUE. So there's lots of elements of magical realism, but also poetic dreamlogic and spatial storytelling. The maze scene has some post-it notes that deliver voice over. It's a single-player experience, but you share spatial contexts with some volumetrically-captured performances.4th Center of Gravity of Fire Element / Active Presence: No real narrative agency, but there's a chance to explore a room of objects, but also the maze scene gives the experience of a lot of agency as you can chose how you move through and at what pace. Archetypal Themes and Character Explored: Grief from a death and loss, and going on a spiritual adventure, to find connection. From the description about the book author that inspired the piece, they say, "he weaves dreams, memory and multiple dimensions of time and space has long inspired me." Turning inward to explore spatial contexts that symbolically represent an inner journey of discovery. "Grief-stricken and seeking connection, he sets out on a surreal journey into dreamlike scenes — a maze of the subconscious, mist-shrouded forests, ancient tree hollows and symbolic inner landscapes" Artist Statement: "Wu Ming-Yi is one of Taiwan's most influential contemporary novelists. The way he weaves dreams, memory and multiple dimensions of time and space has long inspired me. When the chance came to adapt The Clouds Are Two Thousand Meters Up into VR, I knew it would be a daunting yet necessary journey. Wu's writing evokes vivid imagery, spatiality and bodily presence — qualities that resonate with VR's immersive nature. Through free-roaming exploration, I aimed to recreate a journey of loss, memory and Indigenous mythology. This project is a dialogue between literature, technology and emotion — one that seeks to spark empathy across cultures." https://www.youtube.com/watch?v=gEUki2mN-ps This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Pei-ying Lin about Happy Shadow on Sunday, August 31, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for Happy Shadow: "Joey believed that happiness was lost to her forever as she grew up. Her shadow, a constant companion, yearned to bring joy back into her life but felt helpless. Nothing changed until the player stumbled into Joey's inner world through her diary while chasing butterflies. With Dusty, a whimsical dust elf, the player collaborates with Joey's shadow, using their own shadow to solve puzzles. Together, the player helps Joey confront her deepest fears and defeat the monster lurking within. In Happy Shadow, the player joins Joey's shadow on an interactive journey, experiencing her confusion and struggles firsthand, and ultimately rediscovering the pure happiness she once knew." Here are the contextual domains that are explored: Body and Identity [1] as a vehicle to connect to the Life and Vitality [1] within the experience of a home environment [4]. Here is the Elemental Center of Gravity: 1st Center of Gravity of Air Element / Mental and Social Presence: Multi-player game where you solve puzzles with other people, but within the context of a story.2nd Center of Gravity of Fire Element / Active Presence: Embodied interactions where you have to make different shapes to progress the story, so very much having interaction-gated story experience.3rd Center of Gravity of Earth Element / Environmental and Embodied Presence: Embodied Actions, and the piece is a VR CGI and animation piece, that's primarily in the vein of shadow puppets that you see the characters play out the drama on a bedroom wall4th Center of Gravity of Water Element / Emotional Presence: Music, and a very metaphorical story. Sometimes a player would have difficulty solving a spatial puzzle, which would delay the unfolding of the experience for everyone Archetypal Themes and Character Explored: Self, identity, aliveness, vitality Artist Statement: "This immersive VR interactive project was inspired by Rene Liu's song To My 15-Year-Old Self during its second year of development. I have always believed that the body grants freedom to the soul — allowing us to express emotions purely through physical experience. Yet as we grow older, consumed by endless to-do lists and distant ideals, we tend to forget the simple happiness that once came so naturally. We dance, we paint, we create — simply because it makes us feel alive. This project is dedicated to myself, and to all the hardworking souls around me, as a gentle reminder that what we have, right now, is already enough." https://www.youtube.com/watch?v=4-I_cHTsVEc This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Hsin-hsuan Yeh about Sense of Nowhere on Tuesday, September 2, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for Sense of Nowhere: "Where do we go when we zone out, and how do we find our way back to reality? Sense of Nowhere is a journey from no-where to now-here, inspired by The Way from Taoism, the Illusion from Buddhism, and Jung's practice of Active Imagination. Blurring the line between inner world and outer reality, it transforms sonic, fragmented thoughts into a tangible experience. It is an invitation for the audience to explore the subconscious, piece together hidden clues, and find their way returning to the present moment." Here are the contextual domains that are explored: [9] - Dreams and unconscious [9], and the philosohpically-rich surreallity [9], and active imagination [9] as well as invocations of various associative links and memories [1]. Focuses a lot on these embodied interations [1] and dream-like absurd surreality [9] as a primary catalyst to pervert our expectations. Here is the Elemental Center of Gravity: 1st Center of Gravity of Air Element / Mental and Social Presence: Jungian Active Imagination, Associative Dream Logic, Chaos, Plausibility, Philosophically driven. I gained a lot of context from this interview about the meaning of the patterns, as well as how it is structured from exploring the Particles, Materials, Subconsciousness, Reality, Illusion. So it's the type of piece that can be fairly sparse and abstract, but worth unpacking the emerging spatial grammar and symbolic semotic explorations. There's also a bit of absurdist and surreal tone to this piece that is aspiring to transcend your expectations to enter into a unique possibilty space of exploration.2nd Center of Gravity of Fire Element / Active Presence: Lots of embodied and interactive loops throughout this experience. These interactions were very much designed to take the audience into an introspective journey. Director was initially resistant to talk about the piece at all as her preference would be for people to have their own immersive and interactive experience of it, but I managed to navigate the conversation using my own experiences as a proxy to dig more deeply into the design intentions.3rd Center of Gravity of Water Element / Emotional Presence: Music. Lots of iterative loops that are designed to be exploratory processes, which are then juxtaposed to each other throughout the piece creating a bit of interactive montage feel, but not a lot of explicit narrative threads to hang upon.4th Center of Gravity of Earth Element / Environmental and Embodied Presence: Lots of experimental embodied actions integrated into this story, but also very surreal and liminal imagary. Archetypal Themes and Character Explored: Very much a non-Boolean and non-dual approach with an embodied and associative link explorations. Artist Statement: "Sense of Nowhere begins with a drifting, zoning out, as the world fades into a blur of sound and sensation. Where does the mind wander when it slips from the present? Through sonic textures and visual cues, the work guides a slow return to awareness, driving thoughts from the edges of the subconscious. Ideas flicker in and out, like palms slowly opening and closing, present, then gone. There is no fixed narrative, only fragments that invite personal interpretation. Each viewer notices certain things, remember different feelings. In this difference lies the quiet beauty of thought itself: the way we make sense of the world mirrors how we come to understand ourselves." https://www.youtube.com/watch?v=zDajMkKRjXo This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Menghui Huang about The Big Cube on Monday, September 1, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for The Big Cube: "A world is made of cubes. The creatures there always follow instructions and push cubes numbly. Yet, when one of them chooses not to follow the instructions, after discovering another path, something unexpected happens." Here are the contextual domains that are explored: Tensions between the Sense of Self [1] in the context of the Other [7], and specifically the Cultural pressures to conform [11] with the desire to express personal creativity [5]. Takes inspiration from the repetitions of straight lines and rectanges of Chinese Architecture [4], and then creates more of an organic and flowing perspective as shown by a professional artist [5H in the context of 10]. A lot of dialectical oppositions contextually and thematically. Here is the Elemental Center of Gravity: 1st Center of Gravity of Air Element / Mental and Social Presence: Abstracting shapes to build the world. The Big Cube is an artistic VR experience that explores the abstraction of reality through minimal forms and immersive space. -- The use of abstract shapes to communicate a lot. No words used at all, and so the contrasts between the embodied and spatial metaphors as used in a highly symbolic dream logic to tell this story. It has to be pieced together a bit, but the contrasts between controlled structure and unconstrained freedom and chaos come through loud and clear. "That's the true beauty of abstraction, it leaves space for everyone"2nd Center of Gravity of Earth Element / Environmental and Embodied Presence: Animated immersive film, and a paradigmatic example of pur spatial storytelling analagous to visual storytelling, but using the modulation of spatial architecture rather than the justaposition of 2D images in film. There was no script to follow, but mainly evolved out of the iterative and juxtapositions of spatial forms relative to each other3rd Center of Gravity of Water Element / Emotional Presence: Very much driven by the music to amplify the thematic contrasts from constriction to expansion, and serves the timekeeper of the piece giving it an overall rhythm and pacing.4th Center of Gravity of Fire Element / Active Presence: No narrative agency or any embodied Interactions Archetypal Themes and Character Explored: The tension between Order / Structure / Control and Chaos / Unboundedness / Freedom. Definitely inspired by the collective pressures to conform within China versus the creative freedom and expression that comes from travelling to other cultures to find an authentic artistic voice. This is a very dialectical piece that is a case study in spatial contrasts to communicate oppositions within contextual domains, themes, and expressions of archetypal character. Artist Statement: "Simple, yet powerful. Abstracting shapes to build the world. The Big Cube is an artistic VR experience that explores the abstraction of reality through minimal forms and immersive space. Anchored in the idea that simplicity can carry profound meaning, the project reduces the complexity of the world into fundamental shapes. These visual elements, stripped of detail yet rich in implication, invite viewers into a contemplative space. Through virtual reality, the experience deepens, allowing for a layered reflection that extends beyond the visual. The project encourages audiences to feel and interpret the experience in their own way." https://www.youtube.com/watch?v=QdVmImU9G3A This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Wuer about Mnemosyne on Sunday, August 31, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for Mnemosyne: "Mnemosyne is an innovative immersive work that blends VR film and live theatre, offering a multi- sensory experience and a poetic exploration of love, illusion, and awakening. Inspired by Tang Xianzu's Ming Dynasty classic The Peony Pavilion, the piece draws on Eastern philosophy to evoke the notion of “ultimate 情 (Qing/emotion)”. It combines 360° animation, 180° live-action footage, and live performance, with the surrounding environment, shaping each audience member's evolving sense of presence. The layered narrative unfolds like ink in water: fluid, evocative, and open to interpretation, inviting the audience to drift between constructed memories and imagined futures. Mnemosyne seeks to create a meditative landscape of shifting emotions, centring on the intimate experience of transcending illusion to uncover genuine feeling. It views this hybrid medium of merging physical and virtual presence as a potential stage for exploring the social dimensions and future possibilities of VR/XR." Here are the contextual domains that are explored: Connecting to the earth and nature [4], but also Eastern Religiion from Daoist and Buddhist thought [9]. Focusing on and reflecting upon your own embodied experiences [1] Here is the Elemental Center of Gravity: 1st Center of Gravity of Earth Element / Environmental and Embodied Presence: Most of the experience is CGI-based VR Animation and Cinematic VR, but there's is an immersive theatrical installation of something like a Tea Room, with meditation booths, which have a number of spatial modulations over the course of the performance. There's also an actor at the end with Mixed Reality Components. So it's a real blending of the spatial contexts.2nd Center of Gravity of Air Element / Mental and Social Presence: Lots of Taoist and Zen influences, and some quoted poetry and passages, but the density of the philosohical thought create a bit of like Zen Koan type of experience, where there were lots of deeper philosophical mysteries being explored. Very poetic, if not a bit mysterious -- and even the cretor was a bit vexed to communicate what the experience would be. You have to experience it to fully understand.3rd Center of Gravity of Water Element / Emotional Presence: Spatiousness from the cinematic montage of different scenes and poetic reflections. Jumping between the pre-recorded aspects (Chronos) and the live performative elements (Kairos) of the momen.4th Center of Gravity of Fire Element / Active Presence: LIVE performance elements. But also no real narrative or spatial agency. Aiming to sort create a contemplative poetic experience. Archetypal Themes and Character Explored: Lots of Truth vs Illusion themes. "poetic exploration of love, illusion, and awakening." Also, "it offers a sensory framework where gazes, pauses, and subtle gestures shape the unfolding rhythm. Within a layered dreamscape of animation, live-action, and performance, the audience becomes not just an observer but a co-creator of emotional experience. Drawing from the Daoist idea of “breaking illusion to perceive truth”, the work uses VR as a poetic medium — an ephemeral vessel to navigate between illusion and reality, dream and awakening — until the line between the two gently dissolves." Artist Statement: "Mnemosyne is an immersive narrative experiment focused on “empowering the audience's imagination”. Rather than presenting a closed storyline, it offers a sensory framework where gazes, pauses, and subtle gestures shape the unfolding rhythm. Within a layered dreamscape of animation, live-action, and performance, the audience becomes not just an observer but a co- creator of emotional experience. Drawing from the Daoist idea of “breaking illusion to perceive truth”, the work uses VR as a poetic medium — an ephemeral vessel to navigate between illusion and reality, dream and awakening — until the line between the two gently dissolves." https://www.youtube.com/watch?v=gEAyABepKFM This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

This post officially kicks off my Venice Immersive 2025 coverage, see links to all 38 episodes and 30+ hours of interviews down below. We're starting off with the interview that I did with Doug Liman (co-founder of 30 Ninjas), Julina Tatlock (co-founder of 30 Ninjas), & Jed Weintrob (co-founder of 30 Ninjas), & Max Spear (Product Lead of Android XR at Google) about Asteroid on Saturday, August 30, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for Asteroid: "Asteroid is an immersive film and interactive story extension made for the launch of Google's new Android XR platform. The 180° immersive short film is a high-stakes action thriller about a group of strangers who take an old Russian Soyuz rocket to mine a near-earth, treasure laden asteroid for a chance at unimaginable wealth. After the film, the experience continues and the audience enters the world of Asteroid when they receive an SOS from one of the characters, DK Metcalf, who was left for dead. The viewer becomes a player when they are invited to aid in DK's rescue. Through speaking with an AI-generated version of DK — played by the NFL player as himself — the user determines the truth about what happened on the asteroid and sends his exact location to NASA for rescue." Here are the contextual domains that are explored: Long distance travel [9] where someone is left behind (de facto exile) [12], and there is a rescue mission where you as a character [1] help out the protagonist [7] in the second half, but also a lot of mystery [12] to figure out and investigate [9] Here is the Elemental Center of Gravity: 1st Center of Gravity of Emotional Presence: cinematic Virtual Reality thriller that begins as a film and continues as an immersive story game. Combination of live-action 180-video along with CGI-driven animations also in 180-video2nd Center of Gravity of Earth Element / Environmental and Embodied Presence: Worldbuilding of sci-fi extraction of asteroid, you embody a character in story in the last part, and you break the fourth wall in the onboarding talking to the actor who plays a character via AI3rd Center of Gravity of Air Element / Mental and Social Presence: Conversational-driven AI Story Extension - You talk to the actor DK Metcalf at the beginning and with the character at the end. A bit of puzzling together of the myserious aspects of the story4th Center of Gravity of Fire Element / Active Presence: continues as an immersive story game - Improv convo + slightly nudged and directed exploration Archetypal Themes and Character Explored: Everyone are anti-heroes archetypes - Power and Greed vs Limitations, constraints, boundaries, death. Doug Liman says there aren't many anti-heroes in space movies, Han Solo is an exception. What if all of the characters were Han Solos? What drama would ensue? Artist Statement: "I've always thought of myself as an immersive filmmaker. The goal was to put the audience in the action, not to be sort of passively watching it. Now that the technology has caught up with us, I really can put the audience in the rocket. Asteroid is the story of a ragtag group of astronauts who booked a ride on a used Soyuz spacecraft. An asteroid passes near Earth. It's laden with precious metals and gems. If you can get there, you can become insanely wealthy. It's a modern gold rush." Trailer: https://vimeo.com/1163762576/d0d75004c2?fl=pl&fe=vl You can find links to my 30+ hours of my coverage from Venice Immersive 2025 across 39 episodes. I've categorized the experiences according to these "elemental genres," which is looking at the top two elemental centers of gravity. You can watch this talk on "Blending the Elements on Experiential Design" for more details. #1650: Sneak Peak of Venice Immersive 2025 Selection with Curators Liz Rosenthal and Michel Reilhac #1750: Doug Liman's "Asteroid" Short Immersive Film with Google Gemini Story Extension + Kickoff of Venice Immersive 2025 Coverage #1751: "Ghost Town" Narrative Integration in Puzzle Adventure with Exquisite Worldbuilding #1752: Blending Embodied Game & Narrative Genres with "One True Path, Part 1" #1753: Mixed Reality Town-Building and Sim Game "Wall Town Wonders" #1754: Screen Life Thriller "LILI" about Surveillance Fuses Game Design, Film, and MacBeth Adaptation #1755: Hand-Tracked Sign Language as Story Beat Triggers in "Eddie and I" #1756: Exploring Narrative Potential of Generative AI in "8pm and the Cat" #1757: Embody a Geranium in Immersive Comedy about Boredom in "The Great Escape" #1758: Reckoning with Mental Health Taboos in Japan with "If You See a Cat" Immersive Animation #1759: Mother-Daughter Team Explore Personal Challenges with Depression and Anxiety in "Mirage" Immersive Animation #1760: Immersive Fairy Tale about Automation with "The Sad Story of the Little Mouse Who Wanted to Become Somebody" #1761: Unpacking the Immersive Orchestral Mix of "1968" with Massimiliano Borghesi #1762: Fusing Experimental Immersive Animation with Cutting-Edge Orchestral Spatial Audio Mix in "1968" #1763: Blending Theater and 360 Video in "Re-Launching-Luigi-Broglio" #1764: Mixing Hand-Drawn Animation with 360 Video in "The Time Before" #1765: Immersive Action Thriller "Mulan 2125" Pushes the Edge of Graphical Fidelity #1766: Formula 1 LBE Experience "Black Cats & Chequered Flags" is an Immersive Biopic of Alberto Anscari #1767: Immersive Journey through Special Effects Pioneer Carlo Rambaldi's Paintings in "Alien Perspective" #1768: Symbolic Journey through Lithuania's Artist Mikalojus Konstantinas Čiurlionis' Paintings in "Creation of the World" #1769: Mixed Reality Musical on Avatars and Identity in "First Virtual Suit" #1770: Eastern Philosophy-Inspired Fusion of Theater and XR with "Mnemosyne" #1771: Environmental Storytelling in "The Great Orator" VR Diorama with Generative AI Experiments #1772: Climate Change Spatial Montage "Out of Nowhere" Aspires to Move Towards Rewilding Prevention #1773: "Collective Body" Assigns Elemental Avatars Based Upon Archetypal Dance Movements #1774: Combining Live Dance and Music in Immersive LBE Performance "L'ombre (The Shadow)" #1775: The Continuous Spatial One-Shot of Backlight's "La Magie Opera" LBE #1776: The Spatial Grammar Innovations of Dialectical Contrasts and Abstraction within "The Big Cube" #1777: Active Imagination, Associative Dream Logic, & Embodied Interactions in "Sense of Nowhere" #1778: Collaborative Social Game and Story of "Happy Shadow" #1779: "Heartbeat" Immersive, 1-on-1 Biometric Synchronization and Involuntary Collective Agency #1780: Recap of VRChat Worlds Gallery at Venice Immersive 2025 with Mike Salmon #1781: Winner of Venice Immersive 2025 "The Clouds Are Two Thousand Meters Up" Innovates on Gaussian Splats & Spatial Storytelling #1782: "A Long Goodbye" Wins 3rd Place Prize at Venice Immersive with Emotionally-Moving Story on Dementia and Spatial Grammar Innovations #1783: "Less Than 5gr of Saffron" Wins 2nd Place Prize at Venice Immersive with Spatial Poem Quill Animation #1784: The Incredible Spatial Transitions of "Dark Rooms" with Radical Consent Innovations #1785: The Landmark Achievements of "Blur" in Fusing Theater, Montage, Mixed Reality, and LBE VR #1786: Collective Reading Experience of "Constantinopoliad" Provokes Discussion on Defining "Immersive" #1787: Blending the Elements of Experiential Design & Process-Relational Foundations of the Elements This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Jung Ah Suh & Cristina Rambaldi about Alien Perspective on Sunday, August 31, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for Alien Perspective: "Carlo Rambaldi was a visionary architect of the unimaginable. Through his groundbreaking work on E.T., Alien, and Dune, he expanded the boundaries of cinematic reality — conjuring lifeforms and worlds that defied perception and reshaped the imagination. As we mark 100 years since the birth of Carlo Rambaldi, Alien Perspective resurrects his legacy in a bold new form: a sensory portal into the unknown. At its heart lies Città Spaziale 2 — a never-before-experienced masterpiece where painting becomes a living arena of exploration. Rambaldi's vision invites us not only to remember but to take part. In the hands of a new generation, the impossible becomes undeniable." Here are the contextual domains that are explored: Dreamlike and surreal journeys into other imaginal realms [9] by artist Carlo Rambaldi [5] Here is the Elemental Center of Gravity: 1st Center of Gravity of Earth Element / Environmental and Embodied Presence: Spatial journey through the art of Carlo Rambaldi. Starts off with some Mixed Reality with a painting in a gallery-like space, then moves into VR. "A sensory portal into the unknown." And "painting becomes a living arena of exploration." Moving "from passive observation into embodied experience."2nd Center of Gravity of Water Element / Emotional Presence: Musical score. Leaning on "Immersive Cinema" genre3rd Center of Gravity of Fire Element / Active Presence: Mostly fixed way-point exploration through the space, with some variations and choices that eventually converge. "inviting audiences to step inside his imagination and engage with his art as a dynamic, navigable universe." Aspire to bring "legacy artworks into interactive spaces where millions of users can explore, play, and participate." While some freedom to explore, it's still mostly on rails and most folks will see the same experience. Not any true branching4th Center of Gravity of Air Element / Mental and Social Presence: Many aspects of Rambaldi's IMAGINATION. A bit of associative dream logic when it comes to the underlying narrative. "This project is a call to democratise access to imagination" Archetypal Themes and Character Explored: Realms of speculative imagination that is boundless and unknown, and it's interface with Reality and potentially beyond. "the impossible becomes undeniable." Aspires to transform art by "shifting it from passive observation into embodied experience." Leaning into imaginiing the future of art: "By merging visual art, narrative design, and real-time interaction, we are forging new pathways between cultural heritage and future-facing media" Artist Statement: "With Alien Perspective, my aim is to transform how we encounter art — shifting it from passive observation into embodied experience. In close collaboration with the Carlo Rambaldi Foundation, we reimagined Rambaldi's visionary works as immersive cinema, inviting audiences to step inside his imagination and engage with his art as a dynamic, navigable universe. This project is a call to democratise access to imagination. In a world where museums and galleries can be exclusionary, immersive technology allows us to break those boundaries — bringing legacy artworks into interactive spaces where millions of users can explore, play, and participate. By merging visual art, narrative design, and real-time interaction, we are forging new pathways between cultural heritage and future-facing media. At its core, Alien Perspective is more than a tribute. It is an argument for the future of art: one that is active, inclusive, and infinite in reach." This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Richard Turco about One True Path, Part 1 on Tuesday, September 2, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for One True Path, Part 1: "The viewer can travel through three fantastical worlds from author Jack Stevenson's oldschool Fiendish Fates gamebook series, each featuring different themes and gameplay. With a magical sword in hand, the viewer can make their way through the necromantic Army of Evil, led by the demonic Grey Knight. In Butchers of Orion, they can use mind-powers and body-hopping abilities to escape the slaughterhouse spaceship of the lifesucking Lady Oriana. Moreover, it is possible to blast the corrupt guards of Sheriff Cassidy's wasteland penitentiary with shock-hand and trusty cyber-shooter in Prisoner of the Cyberhounds. Exploiting interdimensional portals to cross between place, time, and gameplay styles, the viewer discovers clues, secrets, and personal notes to decipher the story behind the books and the true meaning of their journey through Jack's fictional worlds." Here are the contextual domains that are explored: Adventure into speculative literary worlds [9] of a variety of different genres in order to investigate and solve [9] a mystery [12] of why the author was killed [8] as he created these worlds Here is the Elemental Center of Gravity: 1st Center of Gravity of Fire Element / Active Presence: Gameplay Modalities in Different Genres - Mashing those up, uses the waypoint locomotion as a constraint. The most game-like exploration of different actions that are also mirroed in the worldbuilding and story that's being told2nd Center of Gravity of Earth Element / Environmental and Embodied Presence: Embodied Actions that change depending upon the genre of game/literature being explored. These genres are blended in the culmination. There's also the spatial context of the builetin board that helps spatially track where you are in the story.3rd Center of Gravity of Water Element / Emotional Presence: Context of a Mystery. But there's a murder that's happened within the base reality of this world, but then you go off onto these various speculative worlds based upon these different genres of interactive books. This overall experience is just the pilot, and so we don't get to see the full arc of the story. So it's sort of like watching the first episode of a longer series, which leaves it in a bit of a cliffhanger type of situation in terms of fully solving the murder mystery.4th Center of Gravity of Air Element / Mental and Social Presence: Very specific inspiration from literature, so it's an adaptation of sorts. There's cut scene contextualization at the beginning and end of each core gameplay loop cycle where you get a bit more dialogue. But it's mostly a sort of puzzle like game, and so with the constrained locomotion, it puts more of an emphasis on strategy of teleportation movement rather than the brue force nature of FPS shooters. Archetypal Themes and Character Explored: Exploration, Adventure, Gameplay, Solve mystery Artist Statement: "It's a difficult moment for narrative driven VR games and the game industry in general. Despite this, we wanted to push the boundaries of storytelling and develop an ambitious universe, at a time where we don't see lots of innovation in the VR market, especially on the narrative side. We've been developing this first part of the game for several months, with most of the final features included, and decided to release it on early access. Our character Jack has more cards in his sleeve and there will be many more secrets (and even worlds!) to discover. We consider it as a “pilot”, a first part to what will hopefully — with players' help — become the complete narrative experience we've imagined." https://www.youtube.com/watch?v=E2U8p6mEwmI This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Leo Metcalf & Michael Golembewski about The Time Before on Friday, August 29, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for The Time Before: "Trapped between waking life and dreams, Olly delves into his childhood memories, navigating the fantastical dreamscapes his sister created to shield them from a fractured home. A journey into the buried past that shapes who we are. His story unfolds across two realms: raw, hand-drawn memories captured in childhood sketches, and surreal underwater live-action dreamscapes. As memory and imagination blur, The Time Before explores the emotional weight of a volatile father, a mother lost in the fog of memory, and a sister who offered escape through imagination and dreams. A meditation on the stories we tell ourselves to survive, and what is lost in the telling." Here are the contextual domains that are explored: Combination of personal memories [1] as well fantastical dreamscapes [9] created with the help of his sibling / sister [3] in order to preserve identity and Self [1] in the context of a dissolving and traumatic family and home [4]. The neighborhood with nature [3]. Implicit themes of death [8], and the existential suffering from loss & grief [12] Here is the Elemental Center of Gravity: 1st Center of Gravity of Emotional Presence: Narrative-driven, immersive animation that represent memories and juxtaposed with 360 videos that represent dreams. The collision of the past with the future. The struggle to try to feel FEELINGS. Emotional Stuntedness. [MEMORY] [DREAMS]2nd Center of Gravity of Earth Element / Environmental and Embodied Presence: Mash-up of the virtual and the real, combining cinematic 360 video with hand-drawn animations. Also the spatial ambisonic audio mixed with more traditional stereo. Explores the lines between dreams, memories, and the combination of the two. Also created multi-layered montages of 360 video underwater shots to create a surreal, dreamlike texture3rd Center of Gravity of Fire Element / Active Presence: A few embodied interactions that reflect turning points in the narrative4th Center of Gravity of Air Element / Mental and Social Presence: Either Dialogue or narration. The speculative realm of dreams and imagination are core themes. [IMAGINATION] The normal RULES of reality have changed within dreams Archetypal Themes and Character Explored: This is a piece about escape, distortion, and the quiet cost of staying silent. Also, about MEMORY, IMAGINATION, and DREAMS. Dreams and Fantasy: "Olly delves into his childhood memories, navigating the fantastical dreamscapes his sister created to shield them from a fractured home." Ultimately trying to have a cathartic emotional expression. Battling all the ways in which we were shut down, locked up, or dealing with unexamined childhood traumas. "the difficulty many children, especially boys, carry into adulthood when taught to suppress emotion." Themes: "The Time Before explores the emotional weight of a volatile father, a mother lost in the fog of memory, and a sister who offered escape through imagination and dreams." A reckoning with the past and memories : "consider the fragility of their own memory" Artist Statement: "Much of who we are is shaped by childhood memories we can't fully recall, let alone understand — yet their emotional ripples run deep. The Time Before explores this terrain through the eyes of Olly, a boy retreating into shifting inner landscapes shaped by memory, imagination, and loss. The piece invites not just observation but emotional and physical participation. In the darkness of the headset, I hope participants will consider the fragility of their own memory — and the difficulty many children, especially boys, carry into adulthood when taught to suppress emotion. This is a piece about escape, distortion, and the quiet cost of staying silent." https://www.youtube.com/watch?v=-oahwg3hyE0 This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Ives Agemans about Wall Town Wonders on Tuesday, September 2, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for Wall Town Wonders: "Wall Town Wonders is a magical mixed reality experience where players discover a miniature town growing inside their living room walls. Through Meta's latest mixed reality headset, the game blends real and virtual worlds using advanced room scanning and spatial awareness. Players interact with hand-tracked characters, construct buildings, and manage resources, all while discovering secrets hidden behind their walls. The story-driven gameplay unfolds in real-time, reacting to the layout of the player's home. Detailed animations, expressive motion capture, and immersive sound design make the town feel alive. As players progress, they unlock new zones, residents, and stories, including quests from heroic mice, eccentric inventors, and mischievous goblins. Wall Town Wonders brings childhood imagination into reality, transforming ordinary spaces into enchanted environments filled with wonder, strategy, and storytelling. It redefines home-based gaming, inviting players to play, care, and connect with their tiny walldwelling neighbours." Here are the contextual domains that are explored: Building virutal homes [4] and neighborhoods [3] and analyzing the resulting community & culture [11] Here is the Elemental Center of Gravity: 1st Center of Gravity of Fire Element / Active Presence: Casual Town Building Game with lots of minigames2nd Center of Gravity of Earth Element / Environmental and Embodied Presence: Mixed Reality, but also grinding activities to gather resources to build3rd Center of Gravity of Air Element / Mental and Social Presence: Dialogue amongst the characters - Sims-like relational dynamics4th Center of Gravity of Water Element / Emotional Presence: Not really story-driven as the story is not what sticks with me. But there's a bit of timing and spacing that happens to force you to explore other aspects rather than endlessly spanning the mini-games Archetypal Themes and Character Explored: Building virtual infrastructure and a town, but also dealing with natural resources and constraints Artist Statement: "I've always been fascinated by the idea of small people secretly living in our walls — a world just out of sight but full of life. With Meta's mixed reality headset and precise room scanning, I finally had the tools to make that fantasy real. We focused on incredible detail in animation, handtracked interactions, and characters that feel alive in your space. This project is a dream come true — turning your room into a living, evolving miniature world where every corner hides a story. It's about wonder, connection, and rediscovering your space with new eyes." https://www.youtube.com/watch?v=mk-ebdJmK0I This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Vincenzo Cavallo about Re-Launching-Luigi-Broglio on Monday, September 1, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for Re-Launching-Luigi-Broglio: "This project gives the chance to dive into the legend of Luigi Broglio [11 November 1911 – 14 January 2001]— who audaciously catapulted Italy into the cosmos from the first space base built on an equatorial sea platform in the 1960s. Within a 360° theatre, audiences become voyeurs to a duel between Broglio and journalist Tristano Malaugurio, two prisoners of fading memory trapped in the ghostly command centre of Kenya's San Marco space station. Through interviews and flashbacks, we plunge into the African expedition, the explosive encounter with oil giant Enrico Mattei, a near-diplomatic crisis with President Nasser, and a jaw-dropping climax to rewrite history. A group of Italian mavericks daring to compete with the space superpowers. This saga proves that the most impossible dreams ignite into reality when courage meets creativity and determination. Luigi Broglio inspires minds and warms hearts, which is why he deserves to be re-launched!" Here are the contextual domains that are explored: Space exploration [9] and foreign African countries relative to main character's home of Italy [4], the various conflicts with various institutional entities [7] including the impact of capitalism and colonialism [2], his careeer and profession [10], His home of Italy [4] juxtaposing between these two worlds in the piece [9]. Here is the Elemental Center of Gravity: 1st Center of Gravity of Emotional Presence: Cinematic 360 video, and story of Luigi Broglio (1911-2001) Imaginal time with journalist while Broglio was still alive with flashbacks. Half of the world is present day, and turning around to the stage is the past.2nd Center of Gravity of Earth Element / Environmental and Embodied Presence: Theatrical staging, uses two 180-degree shots stitched together to travel between spaces. The environments are imagined as if it waa a play. One side is the present moment of the story, with the other side being the past. Spatial representation of time3rd Center of Gravity of Fire Element / Active Presence: As a viewer of 360 video, you do end up having to physically move your body to watch the video as the main fccus of action will split between these two sides, but these interactions are not impacting the story in any sense, and end up being more of an artifact of the 360 medium itself4th Center of Gravity of Air Element / Mental and Social Presence: Most of the experience is dialogues and monologues. Characters speaking to each other. A confrontational journalist who is asking the questions and prompting the story to progress Archetypal Themes and Character Explored: Power dynamics of the structures of captialism & colonialism- "the explosive encounter with oil giant Enrico Mattei, a near-diplomatic crisis with President Nasser" + "time to rediscover Italian colonial and postcolonial history through fresh eyes." "This saga proves that the most impossible dreams ignite into reality when courage meets creativity and determination." Memory, the past, history, colonialism: "two prisoners of fading memory trapped in the ghostly command centre of Kenya's San Marco space station" Artist Statement: "As Italians who are living in Kenya we relentlessly hunt for untold stories woven between Africa and Europe. Italians who ended up in Africa during and after colonialism, Africans and Afro-Italians who helped forge Italy, before, during and after World War II — a vast cultural heritage overlooked for various reasons. It's time to rediscover Italian colonial and postcolonial history through fresh eyes. We believe this immersive experience — designed for science museums and educational venues — will unlock new perspectives on both science and international cooperation." https://www.youtube.com/watch?v=jo-L88oT7Y0 This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Director Minhyuk Che & Producer Sngmoo Lee about 8pm and the Cat on Saturday, August 30, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for 8pm and the Cat: "Cartoonist Haru loses his partner, Mina, in the Itaewon tragedy. Since then, 8 pm — the hour she used to come home — keeps repeating: an ordinary moment in daily life now shadowed by her absence. Within that single hour, different emotional rooms unfold. Images and monologues are generated in real time, shaping singular emotional moments. This generative VR experience invites the audience into Haru's ongoing process of mourning — through the act of constantly drawing and speaking about her." Here are the contextual domains that are explored: Death, Loss, Grief [8] of a primary partner [7], the Pain and Suffering [12], as well as the home and artifacts that carry the memories of a relationship [4] Here is the Elemental Center of Gravity: 1st Center of Gravity of Emotional Presence: Story of loss and grief - The connection between Space and Emotion2nd Center of Gravity of Earth Element / Environmental and Embodied Presence: Tell the story off loss by montage sequences of objects, spaces, and the liminal afterlife3rd Center of Gravity of Fire Element / Active Presence: Generative AI prompt -- But also certain aspects of the story is also being dynamically generated and changes each time, although this is harder to discern what was authored and what was generative4th Center of Gravity of Air Element / Mental and Social Presence: Monologues / subtitles Archetypal Themes and Character Explored: Incredible loss and grief, and the malaise of that, allusions to the afterlife as it explores the theme of "loving someone for a long time, beyond absence" - Cyclical nature of time of the Chronos Time and Kairos Time, with 8p becoming a daily reminder of the loss. "October 29, 2022: 159 people did not return home from Itaewon. The hour stayed still." Artist Statement: "When a friend told me they didn't know how to live after losing the person they loved most, I didn't know what to say. How could I possibly grasp the depth of that grief? We don't even know what it truly means to overcome such sorrow. Maybe it means to keep longing for the one who's gone, to keep speaking to them, to let them stay alive inside us. This work was an attempt to hold onto that feeling — of loving someone for a long time, beyond absence." https://www.youtube.com/watch?v=UQ3HCloXspk This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Elisabetta Rotolo & Siobhan McDonnell about Black Cats & Chequered Flags on Tuesday, September 2, 2025 at Venice Immersive in Venice, Italy. Here is the story synopsis for Black Cats & Chequered Flags: "Black Cats & Chequered Flags begins with a haunting Spatial Memory Fragment that immerses viewers in the emotional world of Alberto Ascari. Echoes of his father, legendary driver Antonio Ascari, blend with childhood flashes and the superstitions that shaped his fate. The experience then shifts into high gear with a multiplayer MR pit stop — a collaborative challenge that brings users into the adrenaline and precision of a 1950s Formula 1 team. The journey continues in a stylised VR narrative that weaves archival footage, interactive storytelling, motion capture actors, and immersive sound to explore Ascari's victories, rituals and tragic destiny. 360° films shot on location in Turin, the Ferrari Museum in Maranello, and the Monza racetrack add historical depth. Ascari — the only Italian double Formula 1 World Champion with Ferrari — was fearless, superstitious, and chivalrous: a man both heroic and haunted." Here are the contextual domains that are explored: The personal biography of Alberto Anscari [1] including his career [10] within the context of the entertainment of racing [5], but also the inspiration from his father [4] and showing him as a kid [5], but also his various beliefs and superstitions that shaped his fate [9], and ultimately his death [8]. Here is the Elemental Center of Gravity: 1st Center of Gravity of Emotional Presence: Anscari's racing career, childhood, and various supersittions. Some cinematic immersive documentary footage. Mostly a diembodied ghostly character for the story, but you do have some presence, but nothing narratively beyond the pit stop crew at the start2nd Center of Gravity of Earth Element / Environmental and Embodied Presence: Blending of CGI, VR, 360 video, theatrical elements - Most a disembodied character through most of the story, but there are some embodied interactions that places you in the garage, car, museum3rd Center of Gravity of Fire Element / Active Presence: gamified pit stop at the beginning done as a multiplayer experiene - timed context - Taking photos, handle various objects connected to Anscari4th Center of Gravity of Air Element / Mental and Social Presence: Social experience to be done with friends / family Archetypal Themes and Character Explored: Courage, competition. Fates, ultimately his death, sense of time, sense of history, sense of identity expression of living on the edge Artist Statement: "Black Cats & Chequered Flags is a tribute to the thrill of speed and the fragility of destiny. Through immersive storytelling and multiplayer MR, it brings viewers into 1950s racing — into the pit stop, the roar of engines and the shadow of myth. At its core is Alberto Ascari — fearless, superstitious, and shaped by fate. This art piece lets users race circuits, live defining moments, and step into Ascari's pit crew. A story in motion: mythical, intimate, unforgettable." https://www.youtube.com/watch?v=sJHGVNuf9tg This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality