Before Ubiquity

ubiquitous AR

I’ve been developing for augmented reality head-mounted displays for about eight years. I first tried the original HoloLens in 2015. Then I got to purchase a developer unit in 2016 and started doing contract work with it. Later I was in the early pre-release dev program for Magicleap’s original device, which led to more work on the HoloLens 2, Magicleap 2, and Meta Quest Pro. I continue to work in AR HMDs today.

The original community around the HoloLens was amazing. We were all competing for the same work, but at the same time, we only had each other to turn to when we needed to talk to someone who understood what we were going through. So we were all sort of frenemies, except that because Microsoft was notoriously tight-lipped with their information about the device, we helped each other out on difficult programming tricks and tricky AR UI concepts – and this made us friends as well.

In those early days, we all thought AR, and our millions in riches (oh what a greedy lot we were), were just around the corner. But we never quite managed to turn that corner. Instead we had to begin devising theories around what that corner was going to look like, what the signs would be as we approached that corner, and what would happen after we made the corner. Basically, we had to become more stringent in our analyses.

Out of this, one big idea that came to the fore was “AR Ubiquity”. This comes out of the observation that monumental technological change happens slowly and incrementally, until it suddenly happens all at once. So at some point, we believe, everyone will just be wearing AR headsets instead of carrying smartphones. (This is also known, in some quarters, as the “Inflection Point”.)

Planning, consequently, should be based less on how we get to that point, or even when it will happen; and more about how to prepare for “AR Ubiquity” and what we will do afterwards. So AR Ubiquity, in this planning model, can come in 3 years, or in 7 years, or maybe for the most skeptical of us in 20 years. It doesn’t really matter because the important work is not in divining when it will happen (or even who will make it happen) but instead in 1) what it will look like and 2) what we can do — as developers, as startups, as corporations — once it arrives.

meta-history

Once we arrive at a discourse about the implications of “AR Ubiquity” rather than trying to forecast when it will happen, we  are engaging with a grand historical narrative about the transformative power of tech – which is a happy place for me because I used to do research on philosophical meta-history in grad school – though admittedly I wasn’t very good at it.

“AR Ubiquity”, according to the tenets of meta-history, can at the same time both be a theory about how the world works and also a motif in a story about how we fit into the technological world. Both ways of looking at it can provide valuable insights. As a theory we want to know how we can verify (or falsify) it. As a story element, we want to know what it means. In order to discover what it means, in turn, we can excavate it for other mythical elements it resembles and draws upon. (Meta-history, it should be acknowledged, can lead to bad ideas when done poorly and probably worse ideas when it is done well. So please take this with a grain of salt (a phrase which itself has an interesting history, it is worth noting).

I can recall three variations on the theme of disruptive (or revolutionary) historical change. There’s the narrative of the apocalyptic event that you only notice once it has already happened. There’s the narrative of the prophesied event that never actually happens but is always about to. And then there’s the heralded event, which has two beats: one to announce that it is about to happen, and another when it does happen. We long thought AR would follow model A, it currently looks like it is following model B, and I hope it will turn out that we are living through storyline C. Let’s unpack this a bit.

A or B

Model A

Apocalyptic history, as told in zombie movies and TV shows, generally have unknown origins. The hero wakes up after the fateful event has already happened, often in a hospital room, and over the course of the narrative, she may or may not discover whether it was caused by a sick monkey who escaped a viral lab, or by climate change, or by aliens. There’s also the version of apocalyptic history that circulates in Evangelical Christian eschatology known as The Rapture. In the Book of Revelations (which New Yorker writer Adam Gopnik calls the most cinematic Michael Bey ready book of the Bible), St. John of Patmos has a vision in which 144,000 faithful are taken into heaven.  In popular media, people wake up to find that millions of the virtuous elect have suddenly disappeared while they have been left behind to try to pick up the pieces and figure out what to do in a changed world.

In the less dramatic intellectual upheavals described in Thomas Kuhn’s The Structure of Scientific Revolutions, you can start your scientific career believing that an element known as phlogiston is released during combustion, then end it believing that phlogiston doesn’t exist and instead oxygen is added to a combusted material when it is burned (it is oxidized). Or you might start believing that the sun revolves around the earth and end up a few decades later laughing at such beliefs, to the point that it is hard to understand how anyone ever believed such outlandish things in the first place.

It’s a bit like the way we try to remember pulling out paper maps to drive somewhere new in our car, or shoving cassette tapes into our Walkmans, or having to type on physical keys on our phones – or even recalling phones that were used just for phone calls. It seems like a different age. And maybe AR glasses will be the same way . One day it seems fantastical and the next we’ll have difficulty remembering how we got things done with those quaint “smart” phones before we got our slick augmented reality glasses.

waiting for godot

Model B

 The history of waiting might best be captured by the term Millennialism, which describes both Jewish and Christian belief in the return of a Messiah after a thousand years. The study of millennialist beliefs often cover both the social changes that occur in anticipation of a Millennialist event as well as the consequent recalculation of calendars that occurs when an anticipated date has passed and finally the slow realization that nothing is going to happen, after all.

But there are non-theistic analogs to Millennialism that share some common traits such as the Cargo Cult in Fiji or later UFO cults like the Heaven’s Gate movement in the 90’s. Marxism could also be described as a sort of Millenarist cult that promised a Paradise that adherents came to learn would never arrive. One wonders at what point, in each of these belief systems, people first began to lose faith and then decided to simply play along while lacking actual conviction. The analogy can be stretched to belief in concepts like tulip bulb mania, NFTs, bitcoin, and other bubble economies where conviction eventually becomes less important than the realization that everyone else is equally cynical. In the end, it is cynicism that maintains economic bubbles and millenarist belief systems rather than faith.

I don’t think belief in AR Ubiquity is a millenarist cult, yet. It certainly hasn’t reach the stage of widespread cynicism, though it has been in a constant hype cycle over the past decade as new device announcements serve to refresh excitement about the technology. But even this excitement is making way, in a healthy manner, for a dose of skepticism over the latest announcements from Meta and Apple. There’s a hope for the best but expect the worst attitude in the air that I find refreshing, even if I don’t subscribe to it, myself.

the silver surfer

Model C

The last paradigm for disruptive history comes in the form of a herald and the thing he is the herald for. St. John the Baptist is the herald of the Messiah, Jesus Christ, for example. And Silver Surfer is the herald for Galactus. One is a forerunner for good tidings while the other is a harbinger of doom.

The forerunner isn’t necessary for the revolutionary event itself. That will happen in any case. The forerunner is there to let us know that something is coming and to point out where we should be looking for it. And there is just something very human about wanting to be aware of something before it happens so we can more fully savor its arrival.

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Model C is the scenario I find most likely and how I imagine AR Ubiquity actually happening.

First we’ll have access to a device that demonstrates an actually useable AR headset with actually useful features. This will be the “it’s for real” moment that dispels the millenarist anxiety that we’re all being taken for a ride.

The “it’s real” moment will then set a bar for hardware manufacturers to work against. The forerunner device becomes the target all AR HMD companies strive to match, once someone has shown them what works, and within a few years we will have the actual arrival of AR Ubiquity.

At this time, reviews of the Apple Vision Pro and the Meta Quest 3 suggest that either could be this harbinger headset. I have my doubts about the Meta Quest 3 because I’m not sure how much better it can be than the MQ2 and the Meta Quest Pro, especially since it has removed eye tracking, which was a key feature of MQP and made the hand tracking more useful.

The AVP, on the other hand, has had such spectacular reviews that one begins to wonder if  it isn’t too good to be true.

But if the reviews can be taken at face value, then AR Ubiquity, or at least a herald that shows us it is possible, might be closer than we think.

I’m just proposing a small tweak to the standard model of how augmented reality headsets will replace smartphones. We’ve been assuming that the first device that convinces consumers to purchase AR headsets will also immediately set off this transition from one device category to the other. But maybe this is going to occur in two steps. First a headset will appear that validates the theory that headsets can replace handsets. Then a second device will rotate the gears of history and lead us into this highly anticipated new technological age.

AWE Presentation

My colleague, Astrini Sie, and I delivered a talk called Porting HoloLens Apps to Other Platforms at AWE 2023. Astrini is an AI researcher, so we threaded AI and AR together to see what AI can teach AR.

Here is the synopsis and a link.

https://www.youtube.com/watch?v=BkE3y_uSfa8

“Although Microsoft has substantially withdrawn from its Mixed Reality and Metaverse ambitions, this left behind a sizable catalog of community built enterprise apps and games, as well as a toolset, the MRTK, on which they were developed. In this talk, we will walk you through the steps required to port a HoloLens app built on one of the MRTK versions to other platforms such as the Magic Leap 2 and the Meta Quest Pro. We hope to demonstrate that, due to clever engineering, whole ecosystems can be moved from one platform to other newer platforms, where they can continue to evolve and thrive.”

Tip: Update your Magic Leap SDK the easy way

In the early HTK and then MRTK days, updating a project with the latest version of the HoloLens software dev kit was always a little scary, and most developers tended to avoid doing it. Because the toolkit was often volatile, updates were hard to do, sometimes involved breaking changes, and then were extremely hard to back out of. As a rule, the version number of the MRTK you started a project with was going to be the version number of the MRTK you would be finishing it with.

Magic Leap has been coming out with SDK updates at the rate of about one a month in 2023. Fortunately they came out with a tool last month, the Magic Leap Setup Tool published in the Unity Asset Store, that makes this pretty painless, both for upgrading and downgrading.

https://assetstore.unity.com/packages/tools/integration/magic-leap-setup-tool-194780

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Once you’ve installed the Setup Tool in your Magic Leap project, it will appear in your Unity toolbar. Magic Leap just came out with a their new v1.2.0 SDK yesterday. I used the Magic Leap Hub tool to download all the latest bits and also update my Magic Leap headset. To update one of my projects built on the previous v1.2.0-dev2 SDK, all I did was go to the project menubar, pull down the Magic Leap tab, and select Project Setup Tool.

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Next, I clicked on the “Update SDK” button to set a new Magic Leap SDK folder.

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I switched my SDK folder from “v1.2.0-dev2” to “v1.2.0”. I got a small dialog asking if I wanted to switch out my Magic Leap package. I replied OK.

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Next step, go into Package Manger and update the Magic Leap Unity SDK package if you need to (the picture above shows upgrading from 1.5.0 to 1.6.0).

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The last step is to go into your Preferences and check the External Tools | Magic Leap tab. You’ll want to reference the right Magic Leap directory here in order to make sure you have the right ML Simulator associated with your Unity editor.

As a long time admirer of the HoloLens MRTK, I have to say this is a distinct improvement.

What the heck just happened to HoloLens?

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Last Wednesday, on January 18, Microsoft laid off 10,000 employees, or 5% of its workforce. That same day, Bloomberg reported that some of the cuts were targeting the HoloLens hardware team, which had just been moved under Panos Panay in June, 2022 while the software team had been placed under a different organization and the previous head of the HoloLens combined group, Alex Kipman, was maneuvered out of the company.

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Over last week, further announcements on social media indicated how thoroughly Microsoft’s MR and VR commitments had been deracinated. It turned out that the entire MRTK engineering group, which created and maintained the SDK and tools for developing on the HoloLens, had been laid off. This was problematic, because if you remove the team supporting the tools people use to develop on the HoloLens, people will stop developing for the HoloLens. It was hard to see this as an accidental by product of cost cutting moves and easy to see it as part of a larger strategic shift at Microsoft.

Microsoft also laid off the employees of AltSpaceVR, central to its Metaverse ambitions, announcing that the site would be shut down on March 10. Microsoft had acquired AtlSpaceVR in 2017.

Various announcements claimed that the work that had been done at AltSpaceVR would be taken up by the Microsoft Mesh team, which is under the Microsoft Teams organization. At the same time, however, there were rumors going around that up to 80% of the Mesh team had also gotten the axe, including some of their product community evangelists.

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So to sum up, Microsoft cut deep into HoloLens hardware, the MRTK team, the AltSpaceVR business, and its Mesh team. In addition, they pushed out the organizational exec of the HoloLens team in the summer of 2022 and split his people between two other divisions where they no longer had his protection as the head of a Microsoft fiefdom. The HoloLens – and in turn Microsoft’s investment in Mixed Reality and the Metaverse – was probably already dead at that point. There was hope from the HoloLens developer community that they were simply pausing to see how Apple’s MR strategy would pan out. If there was some possibility that a successful marketing push by Apple would encourage Microsoft to move forward with their headsets, those hopes are now dashed. The cuts have been too deep. There will never be a HoloLens 3.

On the bright side…

Microsoft was first out of the gate to set a standard for what high-end augmented reality headsets would be like – even adapting an old unused term, “mixed reality”, to emphasize the difference between phone based AR and what they were doing.

Previously they had done a similar thing with the Kinect by creating a new market for low-cost 3D depth sensors, which in turn created an ecosystem of alternative vendors, which in turn created a supply chain for 3D components as well as competing technology for 3D capture such as photogrammetry and computer vision, which finally led to the world sensing components today that make untethered VR and self-driving cars possible.

With the HoloLens they helped forge a developer community, changed the priorities of 3D game engine companies like Unity and Unreal, provided competition for up and coming MR vendors like Florida-based Magic Leap, tested out the limits of mixed reality scenarios and proofed out the appetite for passthrough AR, used in the Meta Quest Pro, HTC Vive Elite, and the upcoming Apple MR device, while we all wait on advances in waveguide technology and its alternatives.

In a large sense, Microsoft, Alex Kipman, the thousands of people who worked on the Microsoft HoloLens team as well as the thousands of developers who helped to build out MR experiences for enterprise and commercial products, accomplished their mission. They pushed the tech forward.

The truth is, Microsoft has often been extremely good at helping to build out promising technology but has rarely been good at sticking with technology to the viability phase. The biggest example is being early to tablets and phones, realizing they were waaay too early, and then trying to pick them up again after other tech giants had already cornered the market on these devices. With some notable exceptions, like the Xbox, hardware just isn’t Microsoft’s game and they aren’t comfortable with it.

Which is okay since thanks to their work, Meta, Magicleap, HTC, NVidia and others are stepping into the gap that Microsoft is leaving behind. Advances in MR and VR (“metaverse”) tech and experience design will be made at those companies. The laid off HoloLens workers will be snatched up by these other companies and the developer community will adapt to building for these other hardware devices.

While more work needs to be done, the MRTK in both its version 2 and version 3 flavors, provide a good way for MR developers and companies invested in mixed reality to pivot and port to new devices.

Pivot and port

There are several constructive steps that can be taken over the next few months to continue to push MR forward. The first is renaming and refocusing the HoloDevelopers slack community. This has been the most successful and lively meeting spaces over the past six years for sharing mixed reality news, knowledge and gossip. Thank goodness it never got moved over the Teams, as was once proposed. But it does need to be renamed, since it now covers a much broader MR ecosystem than just the Microsoft HoloLens, and it needs some financial support to enable searching of the archives for past, now hidden information, about how to get things done. No one should be re-inventing the wheel simply because we can’t search the archives.

The next thing that needs to be done is to unravel the MRTK situation. In principle the MRTK is an API layer that will target multiple devices. One of the targets of the MRTK developed over the past couple of years is OpenXR, which in turn is also an API layer that targets multiple devices. (It’s confusing, I know, and I’ve been planning to write a Foucauldian analysis of soft power exercised through API dominance for about a year to explain it.)

There are also two versions of the MRTK, v2 and v3, both of which work with OpenXR. In principle, if you have an app that sits on top of MRTK, and it targets OpenXR, then you should be able to repoint your app at another device, such as the various Meta passthrough AR devices or the Magic Leap 2 MR device, and have it mostly work.

Here are some kinks.

  1. An OpenXR implementation requires that particular hardware device vendors create plugins that map the OpenXR API to their particular HMDs. This can be done more or less well. It can be done in its entirety or only partially. Magicleap, for instance, has a beta plugin available for the Unity implementation of OpenXR, but this still isn’t done, yet (please hurry Magicleap!).
  2. There are platform specific features that haven’t been generalized in OpenXR. For instance, Microsoft has a World Locking system that worked with its World Anchors system to make world anchors not drift so much. But the world locking system sits outside of OpenXR.
  3. MRTK3 hasn’t been published in anything other than preview versions. The team has been laid off a couple of weeks before the first planned release.
  4. For this reason, not many apps are using MRTK3. Also for this reason, it is unlikely that anyone will try to port their apps from MRTK2 to MRTK3, which is an untrivial task.
  5. Some have expressed a hope that the community will pick up the work and support of MRTK3, which was an open source project almost exclusively managed and worked on by Microsoft employees. The problem here is that this hasn’t historically happened. Open source projects are rarely community supported, but require someone to be paid to do it. When Microsoft dropped support of the early HoloLens Toolkit in 2017, it was only two independent developers, rather than a large pool of indie devs sharing the work, that did the majority of the labor involved in expanding it and rearchitecting it into MRTK2.
  6. A re-porting strategy is vital for the MR ecosystem to thrive. Startups need to be able to show that they are not hardware dependent and can get up and running again on a new device over the next three to six months.
  7. Additionally, there are hundreds of HoloLens apps, most not on any public store, available to be ported to alternative headset platforms. And every HMD platform currently has a strong need for more apps.
  8. But none of this can happen without a consensus on whether the ecosystem will be adopting MRTK2 going forward or MRTK3. And it can’t happen unless there is an ongoing commitment to support the MRTK source code.
  9. There are two aspects to the MRTK that make it vital to the ongoing progress of mixed reality. I’ve already discussed the importance of a porting strategy.

Hand Interaction Examples 1

The second key feature of the MRTKs is the interaction samples. These are for all practical purposes the best and in some sense only user interfaces available in MR and VR. If you need to enter data or push a button in either mixed reality or the metaverse, these are the tools you should use. They were carefully designed, following user research, but a team at Microsoft led by Julia Schwartz. They are amazing.

But they are also in a big sense reference samples. They need further work to optimize performance and to smooth out usability on a variety of platforms.

It is possible that another company – Unity, Meta, Mgicleap, etc – could step in and develop a new set of tools with ongoing maintenance. But at this point there isn’t.

Summing up

To sum up:

  1. The HoloLens is dead. It has been for about six months.
  2. … but it helped to create a community as well as a device ecosystem that goes on.
  3. The community at HoloDevelopers needs some funding and a second wind, but it has grown organically to be a central repository of knowledge about the development and design of MR apps.
  4. The MRTKs require some hard choices and then a lot of love to make them work well across hardware platforms.
  5. The interaction samples of the MRTKs are a national treasure and also need a lot of love from the community.
  6. We need lots of blog posts and videos covering how to port HoloLens apps to the MQP (Oculus), HTC Elite, Magicleap, and eventually the Apple MR device. In the process we can identify the gaps and issues involved in porting and try to fix them.
  7. Go hug a laid off Microsoft HoloLens employee if you can. I have high confidence they will all land well because they are highly skilled people in a field Microsoft is dropping in favor of generative AI (a reasonable move) but it’s still going to be a tough few months emotionally until they do.
  8. While you are at it, maybe go join the Holodevelopers slack group and hug a non-Microsoft developer, too. They’ll all be fine, too, but its tough to see the work you’ve been doing for the past seven years suddenly drop out from under you.
  9. Off the top of my head, here are some great ones to reach out to: Sean Ong, Joost van Schaik, Dennis Vroegop, Jason Odom, Stephen Hodgson, Simon Jackson, Vincent Guigui, Rene Schulte, Lucas Rizzotto, Andras Velvart, Sky Zhou, Huy Le, Eric Provencher, Lance Larsen, Dwayne Lamb, Charles Poole, Dino Fejzagic, and tons of others I can’t recall right away but that you will hopefully remind me of. They are all heroes.
  10. The ride continues. Just not at Microsoft.

Immersion and the Star Wars Galactic Star Cruiser

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In the second week of March, I took my family to the Galactic Starcruiser at Disneyworld in Orlando, Florida, informally known as the Star Wars Hotel. The Starcruiser is a two-night immersive Star Wars experience with integrated storylines, themed meals, costumes, rides and games. For those familiar with the Disneyworld vacation experience, it should be pointed out that even though the Star Wars themed Galaxy’s Edge area in Hollywood Studios, it isn’t a resort hotel. Instead, it can best be thought of as a ride in itself.

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The design is that of a cruise ship, with a dining hall and helm in the “front” and an engine room in the “back”, and a space bar off of the main muster area. The NPCs and the staff never break character, but work hard to maintain the illusion that we are all on real space cruise. Besides humans, the “crew” is also staffed with aliens and robots – two essential aspects of Star Wars theming.

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In line with the cruise experience, you even do a one-day excursion to a nearby alien planet. I’ve had trouble writing about this experience because it felt highly personal, lighting off areas of my child brain that were set aside for space travel fantasies. At the same time, it is also very nerdy, and the intersection of the highly nerdy and the highly personal is dangerous territory. Nevertheless, it being May 4th today, I felt I could not longer put it off.

How you do Immersion?

“Immersion” is the touchstone for what people and tech companies are calling the Metaverse. Part of this is a carry over from VR pitching, and was key to explaining why being inside a virtual reality experience was different and better than simply playing a 3D video game with a flat screen and a controller.

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But the term “immersion” hides as much as it reveals. How can “immersion” be a distinguishing feature of virtual reality when it is already a built-in aspect of real reality? What makes for effective immersion? What are the benefits of immersion? Why would anyone pay to be immersed in someone else’s reality? Is immersion a way to telling a story or is storyline a component of an immersive experience?

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A Russian doll aspect of the starcruiser is the “Simulation Room” which, in the storyline of the ship, is an augmented area in that recreates the climate of the planet the ship is headed toward. The room is equipped with an open roof which happens to perfectly simulate the weather in central Florida. The room also happens to be where the Saja scholars provide instruction on Jedi history and philosophy.

Space Shrimp (finding the familiar in the unfamiliar)

I’m the sort of person who finds it hard to every be present in the moment. I’m either anticipating and planning for the next day, the next week, the next few years, or I am reliving events from the past which I wish had gone better (or wish had never happened at all).

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For two and a half days on this trip, I was fully captivated by the imaginary world I was living through. There wasn’t a moment after about the first hour when I was thinking about anything but the mission I was on and the details of the world I was in. I didn’t feel tempted to check my phone or know what was happening in the outside world.

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An immersive experience, it seems to me, is one that can make you forget about the world in this way, by replacing it with a more captivating world and not letting go of you. I’ve been going over in my head the details of the star wars experience that make this work and I think the blue shrimp we had for dinner one night is the perfect metaphor for how Disney accomplishes immersion.

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To create immersion, there can be nothing that references the outside world. The immersive experience must be self-contained and everyone in the immersive experience, from cabin boy to captain, must only reference things inside the world of the starcruiser. Fortunately Star Wars is a pre-designed universe. This helps in providing the various details that are self-referential and remind us of the world of the movies rather than the world of the world.

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A great example of this is the industrial overhead shower spout and the frosted glass sliding shower door in our cabin. They are small details but harken back to the design aesthetic of the star wars movies, which contain, surprisingly, a lot of blue tinted frosted glass.

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This extends to the food. All the food is themed, in a deconstructionist tour de force, to appear twisted and alien. We drank blue milk and ate bantha steaks. We feasted on green milk and salads made from the vegetation found on the planet Falucia.

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And here there is a difficulty. Humans have a built-in sense of disgust of strange foods that at some point protected our ancestors from accidentally poisoning themselves. And so each item of food had to indicate, through appearance or the name given on the menu, what it was an analog of in the real world. I often found myself unable to enjoy a dish until I could identify what it was meant to be (the lobster bisque was especially difficult to identify).

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What I took from this was that for immersion to work, things have to be self-referential but cannot be totally unfamiliar. As strange as each dish looked, it had to be, like the blue shrimp, analogous with something people knew from the real world outside the ship. Without these analogical connections, the food will tend to create aversion and anxiety instead of the sense of immersion intended.

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One take way is that as odd as the food sometimes looked, the food analogs were always meals familiar to Americans. Things common to other parts of the world, like chicken feet or durian fruit or balut, would not go over well even though they taste good (to many people).

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A second take away is that the galactic food has to be really, really good. In modern American cuisine, it is typical to provide the story behind the food explaining each ingredient’s purpose, where it comes from and how to use it in the dish (is it a salad or a garnish?). The galactic food can’t provide these value-add story points and only has fictitious ones.

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In the case of the food served on the starcruiser, then, each dish has to stand on its own merits, without the usual restaurant storytelling elements that contribute to the overall sense that you are eating something expensive and worthy of that expense. Instead, each dish requires us to taste, smell, and feel the food in our mouths and decide if we liked it or not. I don’t think I’ve ever had to do that before.

World building – (decrepit futurism)

The world of Star Wars is one of decrepit futurism. It is a world of wonders in decline.

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There are other kinds of futurism like the streamlined retro-futurism of the 30s and 50s or contemporary Afro-futurism. The decrepit futurism of Star Wars takes a utopic society and dirties it up, both aesthetically and morally. The original Star Wars starts off at the dissolution of the Senate marking a political decline. George Lucas doubles down on this in the prequels making this also a spiritual decline in which the Jedi are corrupted by a malignant influence and end up bringing about the fall of their own order. The story of the sequels (which is the period in which the galactic space voyage takes place) is about the difficultly and maybe impossibility of restoring the universe to its once great heights.

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As beautiful and polished as all the surfaces are on the star cruiser, the ship is over 200 years old and has undergone massive renovations. Despite this, the engines continue to provide trouble (which you get to help fix). Meanwhile, the political situation in the galaxy in general and on the destination planet in particular is fraught, demanding that voyagers choose which set of storylines they will pursue. Will they help the resistance or be complicit with the First Order? Or will they opt out of this choice and instead be a Han Solo-like rogue pursuing profit amid the disorder?

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The metaphysics of the Star Wars universe is essentially fallibilist and flawed – which in turn opens the way for moral growth and discovery.

The decrepit futurism of Star Wars has always seemed to me to be one of the things that makes it work best because it artfully dodges the question of why things aren’t better in a technologically advanced society. Decrepit futurism says that things once were (our preconceptions of what the future and progress entails is preserved) but have fallen from the state of grace through a Sith corruption. In falling short, the future comes down to the level where the rest of us live.

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It’s also probably why Luke, in the last trilogy, never gets to be the sort of teacher we hoped he would be to Rey. The only notion we have of the greatness and wisdom of a true Jedi master comes from glimpses we get through Yoda in The Empire Strikes Back, but he is only able to achieve this level of wisdom by losing everything. Greatness in Star Wars is always something implied but never seen.

Storytelling (narrative as an organizing principle)

Much is made of storytelling and narrative in the world of immersive experiences. Some people talk as if immersion is simply a medium for storytelling – but I think it is the other way around. Immersion is created out of world building and design that distract us from our real lives. The third piece of immersion is storytelling.

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But one thing I discovered on the Galactic Starcruiser is that the stories in an immersive experience don’t have to be all that great – they don’t have to have the depth of a Dostoevsky novel. Instead they can be at the level of a typical MMORPG. They can be as simple as go into the basement and kill rats to get more information. Hack a wall terminal to get a new mission. Follow the McGuffin to advance the storyline.

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Narrative in an immersive experience is not magic. It’s just a way of organizing time and actions for people, much the way mathematical formulas organize the relationship between numbers or physics theorems organize the interactions of physical bodies. Narratives help us keep the thread while lots of other things are going on around us.

The main difficulty of a live theater narrative, like the one on the starcruiser, is that the multiple story lines have to work well together and work even if people are not always paying attention or even following multiple plots at the same time. Additionally, at some point, all of the storylines must converge. In this case, keeping things simple is probably the only way to go.

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Crafting a narrative for immersive experiences, it seems to me, is a craft rather than an art. It doesn’t have to provide any revelations or tell us truths about ourselves. It just has to get people from one place in time to another.

The real art, of course, is that exercised by the actors who must tell these stories over and over and improvise when guests throw them a curve ball while keeping within the general outline of the overarching narrative. And being able to do this for 3 days at a time is a special gift.

Westworld vs the Metaverse (what is immersion)

Using the Galactic Starcruiser as the exemplar of an immersive experience, I wanted to go back to the question of how immersion in VR is different from immersion in reality. To put it another way, what is the difference between Westworld and the Metaverse?

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There seems to be something people are after when they get excited about the Metaverse and I think it’s at bottom the ability to simulate a fantasy. Back when robots were all the rage (about the time Star Wars was originally made in the 70s) Michael Crichton captured this desire for fantasy in his film Westworld. The circle of reference is complete when one realizes that Chrichton based his robots on the animatronics at Disneyland and Disneyworld.

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So what’s the difference between Westworld and the Metaverse? One of the complaints about the Metaverse (and more specifically VR) is that the lack of haptic feedback diminishes the experience. The real world, of course, is full of haptic feedback. More than this, it is also full of flavors and smells, which you cannot currently get from the Metaverse. It can also be full of people that can improvise around your personal choices so that the experience never glitches. This provides a more open world type of experience, whereas the Metaverse as it currently stands will have a lot of experiences on rails.

From all this, it seems as if the Metaverse aspires to be Westworld (or even the Galactic Starcruiser) but inevitably falls short sensuously and dynamically.

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The outstanding thing about the Metaverse, though, is that it can be mass produced – precisely because it is digital and not real. The Starcruiser is prohibitively expensive dinner theater which I was able to pull off through some dumb luck with crypto currencies. It’s wonderful and if you can afford it I highly encourage you to go on that voyage into your childhood.

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The Metaverse, on the other hand, is Westworld-style immersion for the masses. The bar to entry for VR is relatively low compared to a real immersive experience. Now all we have to do is get the world building, design, and storylines right.

I’m going on a cruise

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In mid-March, I’ll be headed to the planet Batuu with may family on the galactic starcruiser Halcyon.

In other worlds, I’ll be staying at the new Disneyworld Star Wars hotel in Orlando, Florida. We’ve wanted to go since the concept for the hotel was first announced several years ago. In part, this is because both my wife and I are of an age that the original Star Wars trilogy had a huge impact on how we saw things and approached even fundamental matters like ethics, religion, and purpose. We never ascribed these cultural substructures to Star Wars directly – but that was what lines the bottom of Plato’s aviary for a lot of people.

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A second reason I am personally fascinated by the idea of the Star Wars hotel is that I’ve been working on technological installations for over a decade, starting with large touch screens and now in VR and Spatial Computing (MR, AR, whatever you want to call it). The world I work in is the opposite of the prescription that form should follow function. In the world of using technology to augment reality, form is playful and function is whatever you happen to find in it – which we also call “experiences”.

The Star Wars hotel is the ultimate “experience”, recreating through sensory tricks something many people have imagined in their mind’s eye since childhood. This is the ultimate goal of all the “V” and “A” and “Meta” realities. But as most insiders know, the best fake reality always has a bit of real reality in it to heighten the effect.

We had assumed that we’d never be able to book passage for at least the first year but then something funny happened. Three months before the maiden voyage of the Halcyon, people began canceling their reservations. Whether this was because of the COVID upsurge at the end of 2021 or because people were getting cold feet, I don’t know. In any case, openings started appearing on the cruise calendar and I was able to book a cabin.

So now we spend our evenings practicing Sabacc, printing greebles, and exploring the Star Wars fashion universe. We also watch the nanology (sp?) of films. We tell each other intricate back stories about our characters on the cruise, which may never come up. We debate whether we should support the resistance or the fascist New Order. We buy sensible walking shoes on Zappos that are in line with the Star Wars aesthetic. We eat lots of preparatory salad because the Galactic buffet is supposed to be extensive.

I feel fortunate to be in a position to do this with my family. It is supposed to be an interactive theatrical experience backed by lots of tech. Our cabin will have a large window with digital stars going by outside (for just this alone, I would have wanted to go).

As we pack for the trip, I’ll blog (a moribund medium, I know) about the preparation we are doing to get ready for our first cruise. Stay tuned.

Introduction to Critical Code Theory

Ever since I read an interesting but mostly inaccurate article on Plato and Object-Oriented Programming over ten years ago on Code Project, I’ve wanted to do a series of blog posts on the relationship between philosophy (once my vocation) and coding (my current passion). Partly this was out of laziness, since there aren’t many people are familiar with both the phenomenological tradition in philosophy and the practice of software programming, so I thought it would be an easy way to say some obvious things about philosophy that might impress coders who didn’t know anything about it, on the one hand, and obvious things about how software is made that might impress philosophers, sociologists and the the lit crit crowd, on the other. But that never really happened, except in occasional blog post here, due to the laziness I referred to above.

So I’ve finally started a substack devoted to discussing code and critical theory as a separate project to be pursued diligently, while this blog will start to be devoted more to the straight forward discussion of spatial computing and how to code for spatial computing. In effect, I am separating theory from practice.

If the notion of a new discipline of  Critical Code Theory sounds interesting to you (or if you want to give input as to what Critical Code Theory ought to be and what it should cover) then I invite you to subscribe to my substack at https://criticalcodetheory.substack.com/ .

I promise to be diligent about providing regular content through my substack newsletter. I also promise that in reading about critical theory applied to software code, you will gain a basic linguistic competence about the use of philosophical language in other critical disciplines and will gain a greater appreciation of the history and intricacies of these theoretical projects.

Please sign up for the newsletter; please tell your friends if you like what you read; please let me know in the comments to the Critical Code Theory substack if there are things you don’t like, or things you feel I get wrong about either the code or the theory. In other words, I invite you to be critical.

Simulations and Simulacra

In a 2010 piece for The New Yorker called Painkiller Deathstreak , the novelist Nicholson Baker reported on his efforts to enter the world of console video games with forays into triple-A titles such as Call of Duty: World at War, Halo 3: ODST, God of War III, Uncharted 2: Among Thieves, and Red Dead Redemption.

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“[T]he games can be beautiful. The ‘maps’ or ‘levels’—that is, the three-dimensional physical spaces in which your character moves and acts—are sometimes wonders of explorable specificity. You’ll see an edge-shined, light-bloomed, magic-hour gilded glow on a row of half-wrecked buildings and you’ll want to stop for a few minutes just to take it in. But be careful—that’s when you can get shot by a sniper.”

In his journey through worlds rendered on what was considered high-end graphics a decade ago, Nicholson discovered both the frustrations of playing war games against 13 year olds (currently they would be old enough to be stationed in Afghanistan) as well as the peace to be found in virtual environments like Red Dead Redemption’s Western simulator.

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“But after an exhausting day of shooting and skinning and looting and dying comes the real greatness of this game: you stand outside, off the trail, near Hanging Rock, utterly alone, in the cool, insect-chirping enormity of the scrublands, feeling remorse for your many crimes, with a gigantic predawn moon silvering the cacti and a bounty of several hundred dollars on your head. A map says there’s treasure to be found nearby, and that will happen in time, but the best treasure of all is early sunrise. Red Dead Redemption has some of the finest dawns and dusks in all of moving pictures.”

I was reminded of this essay yesterday when Youtube’s algorithms served up  a video of Red Dead Redemption 2 (the sequel to the game Nicholson wrote about) being rendered in 8K on an NVidia 3090 graphics card with raytracing turned on.

The encroachment of simulations upon the real world, to the point that they not only look as good as the real world (real?) but in some aspects even better, has interestingly driven the development of the sorts of AI algorithms that serve these videos up to us on our computers. Simulations require mathematical calculations that cannot be done as accurately or as fast on standard CPUs. This is why hardcore gamers pay upwards of a thousand dollars for bleeding edge graphics cards that are specially designed to perform floating point calculations.

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These types of calculations, interestingly, are also required for working with large data sets for machine learning. The algorithms that steer our online interests, after all, are just simulations themselves, designed to replicate aspects of the real world in order to make predictions about what sorts of videos (based on a predictive model of human behavior honed to our particular tastes) are most likely to increase our dwell time on Youtube.

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Simulations, models and algorithms at this point are all interchangeable terms. The best computer chess programs may or may not understand how chess players think (this is a question for the philosophers). What cannot be denied is that they adequately simulate a master chess player that can beat all the other chess players in the world. Other programs model the stock market and tune them back into the past to see how accurate they are as simulations, then tune them into the future in order to find out what will happen tomorrow – at which point we call them algorithms. Like memory, presence and anticipation for us meatware beings, simulation, model and algorithm make up the false consciousness of AIs.

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Simulacra and Simulation, Jean Baudrillard’s 1981 treatise on virtual reality,  opens with an analysis of the George Luis Borges short story On Exactitude in Science, about imperial cartographers who strive after precision by creating ever larger and larger maps, until the maps eventually achieve a one-to-one scale, becoming exact even as they overtake their intended purpose.

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“The territory no longer precedes the map, nor survives it. Henceforth, it is the map that precedes the territory – precession of simulacra – it is the map that engenders the territory and if we were to revive the fable today, it would be the territory whose shreds are slowly rotting across the map. It is the real, and not the map, whose vestiges subsist here and there, in the deserts which are no longer those of the Empire, but our own. The desert of the real itself.”

I was thinking of Baudrillard and Borges this morning when, by coincidence, Youtube served up a video of comparative map sizes in video games. Even as rendering versimilitude has been one way to gauge the increasing realism of video games, the size of game worlds has been another. A large world provides depth and variety – a simulation of the depth and happenstance we expect in reality – that increases the immersiveness of the game.

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Space exploration games like No Man’s Sky and Elite Dangerous attempt to simulate all of known space as your playing ground, while Microsoft’s Flight Simulator uses data from Bing Maps to allow you to fly over the entire earth. In each case, the increased size is achieved by surrendering on detail. But this setback is temporary, and over time we will be able to match the extent of these simulations with detail, also, until the difference between the real and the model of the real is negligible.

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One of the key difficulties with VR adoption (and to some extent the superiority of AR) is the falling anxiety everyone experiences as they move around in virtual reality. The suspicion that there are hidden objects in the world that the VR experience does not reveal to us prevents us from being fully immersed in the game – except in the case of the highly popular horror genre VR games in which inspiring anxiety is a mark of success. As the movements continue to both increase the detail of our simulations of the real world – to the point of simulating the living room sofa and the kitchen cabinet – and expand the coverage of our simulations across the world so there is no surveillable surface that can escape the increasing exactness of our model, we will eventually overcome VR anxiety. At that point, we will be able to walk around in our VR goggles without ever being afraid of tripping over objects, because there will be a one-to-one correspondence between what we see and what we feel. AR and VR will be indistinguishable at that exacting point, and we will at last be able to tread upon the sands of the desert of the real.

the New XR SDK Pipeline with HoloLens 2: Part 2

In the first part of this series, I provided a detailed walkthrough of setting up a project using new Unity XR SDK pipeline for HoloLens 2 development and how to integrate it with the HoloLens 2 toolchain.

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In this post, I will continue building on that project by showing you how to set up an HoloLens 2 scene in Unity using the Mixed Reality Toolkit. Finally I will show you how to set up and configure one of the MRTK built-in example projects.

Configuring a scene for the HoloLens 2

Use the project from the previous post in which you configured the project settings, player settings, build settings, and imported the MRTK to use with the new XR SDK pipeline.

Setting up a new scene for the HoloLens only takes a few steps.

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1. From the Mixed Reality Toolkit item in the toolbar, select Add to Scene and Configure.

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2. This will add the needed MRTK components to your current scene. Verify in the Hierarchy window that your new scene includes the following game objects: Directional Light, MixedReality Toolkit, and Mixed Reality Playspace. Select the MixedReality Toolkit game object.

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3. In the Inspector pane for the MixedReality Toolkit game object, there is a dropdown of various configuration profiles. The naming of these profiles is confusing. It is extremely important that you switch from the default DefaultMixedRealityToolkitConfigurationProfile to DefaultXRSDKConfigurationProfile. Without making this change, even basic head tracking will not work for you.

4. Next, click on the Clone button and choose a new pertinent name for your application’s configuration (if  you can’t think of one, then the old standby MyConfigurationProfile will work in a pinch – you can go back and change it later).

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5. The MRTK configuration files are set up in a daisy chain fashion, with config files referencing other config files, all of which can be copied and customized. Go ahead and clone the DefaultXRSDKCameraProfile. Rename it to something your can remember (MyCameraProfile will work in a pinch).

6. Save all your changes with Ctrl+S.

Opening an MRTK example project

Being able to test out a working HoloLens 2 application can be instructive. If you followed along with the previous post, you should already have the example scenes imported into your project.

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If you missed this step, you can open up the Mixed Reality Feature Tool now and import the Mixed Reality Toolkit Examples.

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1. After importing, the MRTK examples are still compressed in a package. In the Project pane, navigate to the Packages folder. Then right click on Projects > Mixed Reality Toolkit Examples and click on View in Package Manager in the context menu.

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2. In Package Manager, select the Mixed Reality Toolkit Examples package. This will list all of the compressed MRTK demos to the right.

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3. Click on the Import into Project button next to the Demos – HandTracking sample to decompress it.

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4. There are a few ways to open your scene. I will demonstrate one of them.Type Ctrl+O on your keyboard (this is equivalent to selecting File | Open Scene on the toolbar). A file explorer window will open up. Navigate to the Assets folder for your Unity project. You will find the HandInteractionExample scene under a folder called Samples. Select it.

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The interaction sample is one of the nicest ways to try out the hand tracking capabilities of the HoloLens 2. It still needs to be configured to work with the new XR SDK pipeline, however.

Configuring an MRTK demo scene

Before deploying this scene to a HoloLens 2, you must first configure the scene to use the XR SDK pipeline.

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1. Select the MixedRealityToolkit game object in the Hierarchy pane. In the Inspector pane, switch from the default configuration profile to the one you created earlier when you were creating your own scene.

2. Ctrl+S to save your changes.

Preparing the MRTK demo scene for deployment

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1. Open up the Build Settings window either by typing Ctrl+Shift+B or by selecting File | Build Settings from the project toolbar.

2. Click on the Add Open Scenes button to add the example scene.

3. Ctrl+S to save your build settings.

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4. One of the nicest features of the Mixed Reality Toolkit, going back all the way to the original HoloLens Toolkit it developed out of, is the build feature. Building a project for HoloLens has several involved steps which include building a Visual Studio project for UWP, compiling the UWP project into a Windows Store assembly, and finally deploying the appx to either a HoloLens 2 device or to an emulator. The MRTK build window lets you do all of this from inside the Unity IDE.

From the Mixed Reality Toolkit menu on the toolbar, select Utilities | Build Window. From here, you can build and deploy your application. Alternatively, you can build your appx file and deploy it from the device portal, which is what I usually do.

Summary

This post completes the walkthrough showing you how to set up and then build a HoloLens 2 application in Unity using the new XR SDK pipeline. It is specifically intended for developers who have developed for the HoloLens before and may have missed a few tool cycles, but should be complete enough to also help developers new to spatial computing get quickly up to speed on the praxis of HoloLens 2 development in Unity.

The New XR SDK Pipeline with HoloLens 2: A Walkthrough

The HoloLens 2 toolchain is under continuous development. In addition, the development of the Mixed Reality Toolkit (MRTK), the developer kit for HoloLens, must be synced with the continuous development of the Unity Game Engine. For these reasons, it is necessary for developers to be careful about using the correct versions of each tool in order to avoid complications.

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As of February, 2021, I’m  doing HoloLens development with Visual Studio 2019 v16.5.5, Unity Hub 2.4.2, Unity 2019.4.20f, Mixed Reality Feature Tool 1.0.2102 beta,  MRTK 2.5.4 + MRTK 2.6.0-preview, and Windows 10 Pro 10.0.18363.

MRTK, MR Feature Tool beta,  and the new Unity XR SDK pipeline

The most accurate documentation on getting started with HoloLens 2 development, at this time, is found in the MRTK github repository and on Microsoft’s MR Feature Tool landing page. There are nevertheless some gaps between these two docs that it would be helpful to fill in.

The new Unity XR SDK pipeline is a universal plugin framework that replaces something now known as the legacy Unity XR pipeline. Because of all the moving parts, many people have trouble getting the new pipeline working correctly, especially if they have not kept up with the changes for a while or if they are new to the HoloLens 2.

You will want to download Unity Hub if you don’t have it already.  Unity Hub will help you manage multiple versions of Unity on your development machine. It is fairly common to switch between different versions of Unity if you are working in VR and Mixed Reality as you go back and forth between older versions for maintenance and pursue newer versions for the latest features. As a rule, never upgrade the Unity version of an existing project if things are working well enough.

Create a new unity project

Use the Unity Hub Installs tab to get the latest version of Unity 2019.4, which you will need in order to successfully work with the latest MRTK. Later versions of Unity will not currently work for developing HoloLens 2 applications with the MRTK 2.5.4. Versions earlier than Unity 2018.4 also will not work well.

Some of the documentation mentions using Unity 2020.2 with OpenXR. This is something totally different. Just ignore it.

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Start by creating a new Unity 2019.4 project.

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When you do this from Unity Hub, you can use the pull down menu to select from any of the versions installed on your development computer.

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When your Unity app has been created, open the Unity Package Manager from the Windows menu.

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In Package Manager, select the Windows XR Plugin in the left panel. Then click the Install button in the lower left corner of the main panel.

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This will also install the following components automatically: XR Interaction Subsystems, XR Legacy Input Helpers, and XR Plugin Management.

*** Notice that the component called Windows Mixed Reality is not installed. Don’t touch it. This is a left over from the legacy Unity XR pipeline and will eventually be removed from Unity. You will use a different method to get the MRTK into your project. ***

Configure project settings for HoloLens 2

You should now edit your project settings. Open the project settings panel by selecting Edit | Project Settings in the menu bar.

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1. Select XR Plug-in Management in the left-hand pane and then, in the main window, check off Windows Mixed Reality to select it as your plug-in provider. This lets the new XR SDK pipeline work with your MRTK libraries (which you will import in the next section).

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2. Under XR Plug-in Management, select the Windows Mixed Reality entry in the left-hand pane. Make sure Depth Buffer 16 Bit is selected as your Depth Buffer Format and that Shared Depth Buffer is checked off. This will improve the performance of your spatial computing application.

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3. Select Quality in the left-hand pane. To improve performance, click the down arrow under the Windows logo to set your default quality setting to Low for your spatial computing application.

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4. While you are configuring your project settings, you might as well also import TextMesh Pro. Select TextMesh Pro in the left-hand pane and click on the Import TMP Essentials button in the main window. TMP will be useful for drawing text objects in your spatial computing application.

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5. Select Player  in the right-hand pane to edit your player settings. Change the Package name entry to something relevant for your project. (The project name is how the HoloLens identifies your application. If you are quickly prototyping and deploying projects and forget to change the package name, you will get an obscure message about saying your Template3D package is already installed. This is just the default package name on all new Unity projects.)

You are now ready to import the Mixed Reality Toolkit.

Retrieve MRTK components with MR Feature Tool

The HoloLens team has created a new tool called the Mixed Reality Feature Tool for Unity to help you acquire and deploy the correct version of the MRTK to your project.

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1. After downloading the feature tool, you can go into settings and check off the Include preview releases box in order to get the 2.6.0-preview.20210220.4 build of MRTK. Alternatively, you can use MRTK version 2.5.4 if you are uncomfortable with using a preview build.

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2. Follow the wizard steps to select and download the MRTK features you are interested in. At a minimum, I’d recommend selecting the Toolkit Foundation, Toolkit Extensions, Toolkit Tools, Toolkit Standard Assets, and Toolkit Examples.

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3. On the Import features screen, select the path to your Unity project. Validate that everything is correct before importing the selected features into your Unity HoloLens 2 project.

4. Click on the Import button.

Configure build settings for HoloLens 2

As the MRTK libraries are added to your project, your Unity project may hang while it is being refreshed if you still have it open (which is very okay).

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1. When the refresh is done, the Mixed Reality Toolkit item will appear your Unity menu bar.

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2. At the same time, an MRTK configuration window will also pop up in the Unity IDE. Accept the suggested project setting changes by selecting Apply.

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3. Click on File | Build Settings… to open the Build Settings window. Select Universal Windows Platform in the left pane.

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4. Upon selecting Universal Windows Platform as your build target, you will be prompted to switch platforms. Click on the Switch Platform button to confirm that you will be building an application for the UWP platform. This will initiate a series of updates to the project that may freeze the IDE as the project is refreshed.

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5. After your switch to the Universal Windows Platform, MRTK may prompt you to make additional changes to your project. Apply the recommended changes.

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6. For a release deployment, you will want the following build settings:

    • Target Device should be HoloLens.
    • Architecture is ARM64. This is the processor used in the HoloLens 2.
    • Build Type is D3D Project. Any other build type will project a standard 2D UWP window into the HoloLens.
    • Build configuration is Master for a release build, rather than a Release, as odd as that seems. This is the most lightweight build you can deploy to your device, and consequently the best performing.
    • Compression Method should be LZ4HC for release builds. This takes a lot longer to compile, but is the most efficient in a deployed application.

You can close the Build Settings window.

Summary

This walkthrough is intended to get you through the initial steps for integrating the new Unity XR SDK pipeline with the Mixed Reality Toolkit. For completeness, I will walk you through setting up and deploying a HoloLens scene in the next post.