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The quality of the VR experience at that time was primitive but still pretty good. All the key elements were there: head-mounted display, glove tracking, multiperson social immersion. The gear cost many scores of thousands of dollars. Over the following decades, inventors were able to improve the quality, but they were unable to lower the cost. Twenty-five years later a most unlikely savior emerged—the smartphone! Its runaway global success drove the quality of tiny hi-res screens way up and their cost way down.

Gyroscopes and motion sensors embedded in phones could be borrowed by VR displays to track head, hand, and body positions for pennies.

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The cheap ubiquity of screens and chips allowed a teenage Palmer Luckey to gaffer-tape together his first VR headset prototypes , launching a Kickstarter campaign for the Oculus Rift in And the Rift was the starting signal that many entrepreneurs were waiting for. Put on almost any synthetic-reality display and you enter a world born of billions of phones. O ne of the first things I learned from my recent tour of the synthetic-reality waterfront is that virtual reality is creating the next evolution of the Internet.

Today the Internet is a network of information. It contains 60 trillion web pages, remembers 4 zettabytes of data, transmits millions of emails per second, all interconnected by sextillions of transistors. Our lives and work run on this internet of information. But what we are building with artificial reality is an internet of experiences. What you share in VR or MR gear is an experience. What you encounter when you open a magic window in your living room is an experience. What you join in a mixed-reality teleconference is an experience. To a remarkable degree, all these technologically enabled experiences will rapidly intersect and inform one another.

The recurring discovery I made in each virtual world I entered was that although every one of these environments was fake, the experiences I had in them were genuine. VR does two important things: One, it generates an intense and convincing sense of what is generally called presence. Virtual landscapes, virtual objects, and virtual characters seem to be there—a perception that is not so much a visual illusion as a gut feeling.

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But the second thing it does is more important. The technology forces you to be present—in a way flatscreens do not—so that you gain authentic experiences, as authentic as in real life. People remember VR experiences not as a memory of something they saw but as something that happened to them. Travel experiences—terror at the edge of an erupting volcano, wonder at a walking tour of the pyramids—will be accessible to anyone with a VR rig. Experience is the new currency in VR and MR. This shift from the creation, transmission, and consumption of information to the creation, transmission, and consumption of experience defines this new platform.

We are building the internet of presence and experience.

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And yet we are about to recapitulate this accomplishment with the advent of synthetic realities. With a VR platform we will create a Wikipedia of experiences, potentially available to anyone, anywhere, anytime. Travel experiences—terror at the edge of an erupting volcano, wonder at a walking tour of the pyramids—once the luxury of the rich like books in the old days , will be accessible to anyone with a VR rig.

Or experiences to be shared: marching with protesters in Iran; dancing with revelers in Malawi; how about switching genders?


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Experiences that no humans have had: exploring Mars; living as a lobster; experiencing a close-up of your own beating heart, live. Kent Bye, founder of the podcast Voices of VR , has conducted over interviews with the people creating VR and has seen almost every possible prototype of VR there is. The most intense and complete sense of subconscious presence that I experienced occurred with a system called the Void, which debuted at the TED conference. For several hours I watched a line of people enter the Void.

Almost every person squealed with delight, screamed, laughed, and staggered away asking for more. The Void grew out of stage magic, a theme park, and a haunted house. Every year, Ken Bretschneider, one of the three cofounders, stages a gonzo haunted house in Utah that draws 10, people in two days. It occurred to him that he could amplify the interactions of his house with VR. Curtis Hickman , the second cofounder, is a professional illusionist, designed tricks for big-name magicians, and is also a visual-effects producer.

The third, James Jensen, started out developing special effects for film and unique experiences for theme parks.

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He came up with the idea of layering VR over a physical playground. The common factor among the three was their realization that VR was a new way to trick the mind into believing something imaginary is real. VR places the user in another location entirely. In theory, MR could become VR in a dark room.

The Void takes place in a large room. You wear a pound vest that carries batteries, a processor board, and 22 haptic patches that vibrate and shake you at the right moments. That relief heightens the effect of being present in the VR. Inside, you navigate an Indiana Jones -like adventure that seems to take place over a large territory.

As an example, whenever you turn 90 degrees in the room your VR will show you the room turning only 80 degrees. Redirected touching does a similar trick.

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A room could contain one real block but display three virtual blocks on a shelf—blocks A, B, and C. You see your hand grab block B, but the VR system will direct your hand to touch the only real block in the room. Stairs can be made to feel endless if they drop down as you walk upward. But in fact the real floor only sinks 6 inches.

You can easily imagine a room 60 by 60 feet packed with a minimal set of elemental shapes, ramps, and seats, all recycled and redirected for a variety of multihour adventures. Seeing, it turns out, is not believing.

We use all our senses to gauge reality. Most of the high-end VR rigs on sale this year include dynamic binaural—that is, 3-D—audio. This is more than just stereo, which is fixed in space. To be persuasive, the apparent location of a sound needs to shift as you move your head. Deep presence includes the sensations of motion from your inner ear; if the two are out of sync with what you see, you get motion sickness. Good VR also includes touch. Gloves are still not consumer-ready, so hardware makers are using simple controllers with a few easily operated buttons.

When you wave them, their positions are tracked, so you can manipulate virtual objects. As primitive as these stick-hands are, they double the sense of being present. Touch, vision, and sound form the essential trinity of VR. Andy Gilmore. W hile Magic Leap has yet to achieve the immersion of the Void, it is still, by far, the most impressive on the visual front—the best at creating the illusion that virtual objects truly exist.

The founder of Magic Leap, Rony Abovitz, is the perfect misfit to invent this superpower. As a kid growing up in South Florida, he was enthralled by science fiction and robots. He gravitated toward robots as a career and got a degree in biomedical engineering from the University of Miami. While still a grad student, he started a company that built robots for surgery. They are stream-of-consciousness doodles featuring alien creatures, annotated by tiny inscriptions that include secret messages to girlfriends.


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    6. They do not appear to come from the mind of an engineer. As it happens, though, good virtuality takes both fantasy and physics. Abovitz is heavyset, bespectacled, and usually smiling. He is warm and casual, at ease with himself. But he vibrates. He hums with ideas.