#V: Augmented Future

[xceltecseo]

AR/VR Development & Metaverse – What’s in the Box for 2022?

The previous two decades have been dominated by the development of the Internet and its effects on society. The golden age of AR/VR development has arrived in the realm of digital technology with Facebook Inc.'s recent launch of Metaverse.

The virtual reality parallel universe known as Metaverse will increase the immersion, interaction, and teamwork of AR/VR development.

This shift won't be primarily driven by immersive Extended Reality (ER) technologies (such as Augmented Reality, Virtual Reality, and Mixed Reality). The development of a seamless virtual environment will also benefit from other cutting-edge technology.

When combined with the power of 5G, wearable technology and IoT advancements, for instance, can help ensure effective communication between Metaverse residents. Contrarily, blockchain technology will enable the secure transfer of money and value from one member to another.

One thing is certain: the new Metaverse will have a significant impact on life as we know it, even though it is still too early to anticipate how it will affect real-world operations and the job market.

The Metaverse's Economy

Blockchain technology would probably be the foundation of the metaverse's economy. Users will be able to purchase, sell, and trade in virtual environments thanks to non-fungible tokens and exchanges built on distributed ledger technology. These brand-new markets, which are supported by the Ethereum blockchain, will gain traction as a crucial component of the Metaverse's economic structure.

For instance, the new coin VCORE will make its debut in 2022. The Metaverse's future will be accessible to users, according to the project's creators. VCORE is an ERC-20 token that rewards active, global Metaverse producers, earners, and participants. The Ethereum Request for Comments - 20 (ERC-20) standard or guideline should be adhered to when developing tokens using smart contracts.

However, the process has already begun for cryptocurrencies. It might end up being the Metaverse's most valuable currency. Customers will be able to use cryptographic tokens issued by businesses supporting these virtual worlds to buy digital avatars, rent virtual properties, and even arrange parties for loved ones.

In the Metaverse, AR/VR development can be used as a stage for performances by artists and as a marketplace for the sale of NFTs by traders. Payments made using tokens and cryptocurrencies are accepted.

Last Thoughts

The examples in this essay just scratch the surface. AR/VR development is the way of the future. In the upcoming years, technology like stretched reality, 5G, wearable devices, and 5G will make the distinction between real and virtual more hazy.

Visit to explore more on AR/VR Development & Metaverse – What’s in the Box for 2022?

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[ask-the-praetors]

Bit of a broad question but

Do the praetors have any favourite creations ?

Anything from a particularly graceful monument to an incredibly powerful specimen. Just something they’ve made/helped make that they feel proud of

Atraxa, of course. The divine symbol of my unity is glorious to behold, and she has proven herself a potent weapon in Phyrexia's hand. -E

My larvae bear the blueprints of my own prodigious intellect and serve as ideal templates for future augmentation. -J

Everything's just a piece of a whole, dear~ I am my own favorite creation~ -S

There is a... sculpture, that I made once. The artisans in my furnace dabble in what they call art, and I sought to emulate them. It depicts a Phyrexian in the process of creation. I did not know what to make of it, but my servitors enjoyed it. They titled it "The Great Work." It feels like less of a mockery than the images that rise on the Facade, for certain. -U

I "CREATE" NOTHING BUT THE MAZE ITSELF. EVOLUTION DOES ITS OWN WORK ON THE PREDATORS WITHIN. -V

[mistresscitrusslice]

Well Cyberpunk 2077 takes place in a future where mega corporations rule the world and all and there’s rampant cyber augmentation that lead to cyber psychosis (the cause of insanity). I can imagine Jinx/V just living the mercenary life and the events of the game kick in (as in she slots a bio chip containing rocker and terrorist Johnny Silverhand played by Keanu Reeves overriding her brain) which I can imagine a dying Jinx being more erratic now.

I see! So Vi would be hunting her down to get the chip out of her head and restore her sister to her normal self (if removing it is something possible). Unlike in Arcane, though, she’d know for a fact that this isn’t who her sister really is as opposed to the “is she Powder or is she Jinx” that we have in the show.

What about the Witcher? What ideas do you have for that crossover?

[being-mughal]

5.Exploring Cyberpunk 2077 Semiotics: Relevance of Symbols in a Dystopian Future

Relevance of symbols in a dystopian future Symbolism is very common in video game narration and realistic backgrounds to make the player credulous and interested in the perceived plot. A clear example of how semiotics through the use of signs, symbol, and visual language to educate and to convey a particular culture can be strongly seen in CD Projekt Red’s Cyberpunk 2077. The game is full of semiotically rich aspects that add to its deeper meaning and purpose, from the neon-lit streets to the rugged individuals that inhabit Night City. n this blog post, we will explore the semiotics of Cyberpunk 2077 and reveal the construction of these characters, their function and how they are "hidden" from the player.

Image Inshght: Neon-lit streets of Night City, portraying a dystopian aesthetic.

Cyberpunk 2077: Semiotics in a Dystopian World

Semiotics: Visual Narrative in a Dystopian World is a futuristic environment, in which high-tech system is mixed with social decay. The game takes players to Night City (an open-world with bad gangs, corporations, and cyber tech body modifications). The game world is full of semiotic markers that express deeper political, social and existential concerns in addition to the aesthetics of the cyberpunk genre.

The game environment acts as a "text" that the player decodes, in semiotic terms. Every building, shop and street corner has a purpose, supporting the dystopian plot and encouraging the player to consider contemporary social issues including inequality, corporate dominance, surveillance and human enhancement. A "sign" can be a written, visual or audio element that conveys a message, as Chandler (2002) notes in Semiotics for Beginners. In Cyberpunk 2077, these characters are complex and multi-layered.

Image Inshght: A neon advertisement illustrating consumerism and identity commodification.

Urban Jungle and Neon Signs: The Significance of the Signs

Significance of the Signs The advertisements and neat lights of Night City form one of the most profound semiotic features of Cyberpunk 2077. Neon signs seem to be part of the game and they are always illumining with pink, blue or green colors. These indicators are firmly linked with the semiotic plane within the studying game and are not mere concern of raciness. Neon is a major sense of Cybertpunk media in portraying the battle between urban decay and technology. The vivid, almost artificial glow of neon lights contrasts with the gritty, dreary streets of Night City, signifying a society that thrives on excess, materialism, and delusion.

But the underlying message of these neon displays is more than just eye candy. This is because most of them are products that relate to technology or physical prowess, which is the tagline for Cyberpunk 2077. This environmentalist civilization, which is captive to a hyper-capitalist aesthetic of sellable products and purchasable personae, is the result of corporate entities which sell identities alongside products. The neon signs are unmissable symbols of the consumerist societies where one can acquire and exchange physical appearance as well as spiritual disposition. Here the semiotic motive is to express threat of uncontrolled corporate and technical authority, as well as objectification of the human being.

Image Inshght: The contrast between urban decay and technological neon glow.

Characters and Identity

Some work has been done to decode these elements, but there is still one last semiotic layer: the Meaning of Humanity and Augmentation The characters of Cyberpunk 2077 particularly, and their physical add-ons, add another layer of meaning. Together with the practice of increasing one’s own body with cybernetic implants, augmentations are used in the game as markers to discuss identity, humanity and transhumanism.

For Example, several characters like the protagonist V, people around him, and even certain antagonist such as Johnny Silverhand have got themselves modified beyond just the cosmetic level in terms of augmentations. These implants represent the game narrative as constructed around the body and the ways in which it is a site of control and domination. In Cyberpunk 2077, augmentations are not only the organs’ substitutes that make the character physically capable; they are semiotic. More complex or developed the character is, the more we observe he is losing his humanity: for instance, Johnny Silverhand’s transformation is a slow process when his digital mind starts to overpower his body. His slightly glowing eyes and metallic mechanical parts are the visual incarnation of battle between technology and spirituality.

This symbolism is not a small thing:.ReadKey In this case, the body is not mere biology but a means through which other people can alter and design externally. Cyberpunk 2077 uses this to subtly critique current tendencies towards digital trust and body modification, where identity can be controlled and commodified.

Image Inshght: Johnny Silverhand as a transhumanist symbol.

Ideological Control and Corporate Logos

The Semiotics of PowerCyberpunk 2077 uses corporate emblems and symbols to critique systems of power in a game environment ruled by large corporations. Throughout the game, players will encounter businesses and brands that represent monopolistic control over technology, society's resources, and even individual lives. Companies like Arasaka and Militech have highly stylized logos meant to evoke ideas of power, militarism and technological superiority.

These corporate symbols described above play semiotic functions and emphasize the deserved play’s key topics of oppression, control, and watching. For instance when using the Arasaka logo, it is just a letter A surrounded by some lines to indicate an international affiliation as well as a firm grip on the world politics and economy. This emblem is familiar in adverts and corporate hierarchy, and its message for the audience is that corporate power is unescapable and omnipresent.

Into advertisement hoardings and billboards, Cyberpunk 2077’s corporate symbols are not mere aesthetics; but echoes and references to current problems of corporate appetite, oppression, and the weakening of democracy. These semiotic markers work behind the scenes to make a point that the war in Cyberpunk 2077 is not only with gangs or rogue artificial intelligence but also with ever-existent corporations which shape the society in which the player is thrown into.

Image Inshght: Arasaka Corporation’s logo, symbolizing corporate dominance.

Ideological Layers and Hidden Meanings

Be it through commentary on contemporary populism, state surveillance and data privacy, through melodramatic architecture, bumpy car chases and gang warfare, night city is undeniably rich with semiotic content even if the more explicit elements are easy to identify. Players are forced to deal with ethical dilemmas that are typical for the game’s setting where the division between black and white is not always clear-cut. In one mission, for example, players must decide whether to support a gang of rebels against corporate exploitation of the population, or a corporate executive. This choice has a deep semiotic meaning, as it forces the player to examine their own beliefs regarding justice, authority, and rebellion.

The game also has subliminal allusions to contemporary concerns, including the commodification of identity, the degradation of privacy, and surveillance. These are often not immediately apparent, but become apparent through subtle interactions with non-player characters, hints of the game world, and the overall plot. Through incorporating these ideologies critiques into semiotic landscape of the Cyperpunk 2077, the player is made to reflect on impact that capitalism and technology has on his or her society.

In conclusion, semiotics is used as a way of expressing social criticism and telling a story. One of the best examples of how semiotics may be used to interpret meanings associated with a video game is the Cyberpunk 2077. The game conveys its apocalyptic themes and critiques of contemporary society. using visual components such as neon lights, character designs, company logos and subliminal environmental footprints. In addition to enhancing the story, these semiotic components inspire players to critically interact with the game's environment and underlying themes of identity, power, and technology.

Semiotically therefore, Cyberpunk 2077 rebuilds its environment into a semiotically meaningful book whose meaning players need to decode, search for additional concealed messages, and think about broader meaning of the game. thanks to this the game offers fun and one of the most powerful messages about the challenges and dangers living in the technological world.

References:

Chandler, D. (2002) Semiotics for Beginners. Available at: http://www.visual-memory.co.uk/daniel/Documents/S4B/sem01.htm (Accessed: 2 November 2024).

Naughty Dog (2020) The Last of Us Part II. Available at: https://www.naughtydog.com/games/the-last-of-us-part-ii (Accessed: 2 November 2024).

Game Informer (2020) 'The Last of Us Part II: An In-Depth Character Analysis'. Available at: https://www.gameinformer.com/2020/06/23/the-last-of-us-part-ii-an-in-depth-character-analysis (Accessed: 3 November 2024).

Pocket-Lint (2020). 'Cyberpunk 2077 Review: Decisions, Dilemmas, and Darkness'. Available at: https://www.pocket-lint.com [Accessed 3 November 2024].

Ars Technica (2020). 'Cyberpunk 2077 and the Semiotics of Dystopia'. Available at: https://arstechnica.com [Accessed 3 November 2024].

Express.co.uk (2020). 'The Symbolism of Cyberpunk 2077’s Corporate Logos'. Available at: https://www.express.co.uk [Accessed 3 November 2024]

Gaming.net (2020). 'Cyberpunk 2077 Review: A Neon-Soaked Dystopia'. Available at: https://www.gaming.net [Accessed 3 November 2024].

[leonhorn]

In 2054 Capitalism Dies in Space | In 20xx Scifi and Futurism by In 20xx Futurism When people in space are cut off from Earth an imbalance of owner vs. customers comes to a breaking point. The people in space believe no one is left alive on Earth. As far as they know, the (around) 12,000 in space is all that's left of humanity. Those living on and near the moon form Luna Nation. Space refugees scattered near Earth must find a way to insure a future for themselves and their children. AI that in many ways exceed human intelligence play a part in a skirmish for resources. What does it take to outsmart an AI that can make you think you're having a video call with a co-conspirator when it's the AI you are talking to? An finally, if AI can make a six part miniseries staring Drew Barrymore and Crispin Glover about using DNA banks to spawn a new human race, what parts would the two actors play? Here's a list of the technology mentioned in the story: 1. Orbital stations and space habitats 2. Micro-gravity adapting robots (e.g., vacuum bots) 3. Smart glass walls 4. Satellite cameras 5. AI assistants (e.g., Butler AI) 6. Augmented Reality (AR) glasses 7. Canal links (brain-computer interfaces) 8. Virtual Reality (VR) equipment 9. Life support systems for space 10. Automated mining and manufacturing in space 11. Fusion-powered spaceships 12. Electric thrusters for spacecraft 13. Legacy tracking systems for spacecraft 14. Ejection systems for spacecraft 15. Motion stabilizers for space suits 16. Emergency beacons in space suits 17. Artificial wombs 18. DNA banks 19. Brain scanning and digital copying technology 20. Robots capable of performing complex tasks 21. Centrifuges for simulating gravity 22. Terraforming technology (theoretical, for Venus) 23. Advanced medical automation 24. Custom cell cultivators 25. Organ printing technology 26. Stasis technology for long space journeys 27. Laser tight-beam communication 28. Rockets and missiles (mentioned as being disabled) 29. Closed-circuit TVs in spacecraft 30. Space construction vehicles (e.g., "spider") 31. Delivery cruisers 32. Research ships 33. Hologram-producing screens Many of the characters in this project appear in future episodes. Using storytelling to place you in a time period, this series takes you, year by year, into the future. If you like emerging tech, eco-tech, futurism, perma-culture, apocalyptic survival scenarios, and disruptive science, sit back and enjoy short stories that showcase my research into how the future may play out. This is Episode 56 of the podcast "In 20xx Scifi and Futurism." The companion site is https://in20xx.com where you can find a timeline of the future, descriptions of future development, and printed fiction. These are works of fiction. Characters and groups are made-up and influenced by current events but not reporting facts about people or groups in the real world. Copyright © Leon Horn 2024. All rights reserved. Episode link: https://ift.tt/k06LA7S (video made with https://ift.tt/pO3bjSh) via YouTube https://www.youtube.com/watch?v=7tFJVPfQw2k

[velaraffricate]

Hi everybody! This is, finally, a proper showcase of my conlang Ke'eloom!

Ke'eloom has a bit of a troubled history. It was my very first conlang, but has since undergone two whole reworks. I'm rather happy with it now though, and this version will (hopefully) be the final one!

For some basics, it's agglutinative, SOV, nom-acc, adjectives and adpositions go after the noun but adverbs go before the verb. Also keep in mind that naturalism is not at all a priority for my projects.

The phonology and romanization is as follows:

Ke'eloom has a (C)(C)V(V)(V)(C)(C) syllable structure. The glottal stop only occurs in "glottalized" vowels, /V₁ʔV₁/ sequences that are treated as one syllable. Plosives are generally aspirated. There's no significant allophony happening with the consonants, vowels vary a bit more: i u e o > ɪ ʊ ɛ ɔ / [-stress], i u > j w / $_V. All diphthongs except /ou/, /uo/ and those containing /ə/ are legal. Additionally, there are a few triphthongs: /aia eia oia uia aua/. All sounds are allowed in the onset except for long and glottalized vowels, and prenasalized consonants and /h/ can't appear in the coda. Stress typically falls on the penultimate syllable of a root.

As for the pronouns, there's a distinction in the third person between proximate - obviate and animate - inanimate. The animate is used for all animals and living things, including deities but excluding plants, and the inanimate is used for everything else.

Ke'eloom has nominative - accusative alignment and twelve cases in total: nominative, accusative, dative, genitive, locative (at/by), allative (to), illative (into), ablative (from), elative (out from), benefactive (for), comitative (with) and abessive (without). Case is marked with a suffix that also indicates the number of the noun: singular, dual, or plural. So you can easily express that there are exactly two of something: my eyes are brown is translated as uheni kil mbor, with the dual nominative suffix -(i)ni attached to uhe, meaning eye. But if you have five cats and all of them have blue eyes, my cats' eyes are blue is translated as uhesa miamal kil slëñ, using the plural nominative -(s)a suffix.

And that bring us to the verbs: Ke'eloom has zero copula in the present perfective indicative. Notice that the verb to be, rome in Ke'eloom, is not present in the example sentences above. Now, if you were to say my eyes were brown, it would get added, as this sentence is in the past tense: uheni kil mbor romu.

Ke'eloom only distinguishes three tenses, past, present, and future, but there are several aspects - continuous, habitual, inchoative, and cessative - and moods - imperative, optative, interrogative, and potential. These all are marked with suffixes that can combine together to convey a lot of information in just one word. Modal verbs such as can, would, must, or want can also be suffixed onto the main verb.

Ke'eloom is also pro-drop, if the subject is a nominative pronoun it gets prefixed onto the verb, in which cases the sentence structure could be analysed as OSV. Negative, passive and causative constructions are also constructed with prefixes. So we can have whole sentences condensed into very few words: fai onorego'oŋatsuzhiŋat means I probably can not finish eating this. Note that the uncoloured -ŋa suffix doesn't correspond to english -ing, as it is the present tense and not continuous aspect marker.

There are no articles in Ke'eloom, however, definiteness can be shown with demonstratives such as fai. There are nine total demonstratives, as three distances - proximal, medial, and distal - and three numbers - singular, dual, and plural - are differentiated.

There are four special prefixes that can be attached, where it makes sense, to nouns, adjectives, and verbs. These prefixes are typically stressed for emphasis. The first is e(n)-, a general intensifier and augmentative. Some usage examples: big tree - embom, a very cute cat - mia enëtii, I really want this - fai eregutsaŋa.

The second, ek(e)- means always, or all. Examples: all cats are cute - ekemia ëtii, i am always tired - re ekenoets, you always bring me flowers - kit shiŋkha eketshandaiŋa.

on(o)- means no, none, or not, seen here: no cats are green - onomia zhud, i am not wise - re onala, they don't eat meat - skurkhe onoduzgo'oŋa.

The final one, ok(o)-, meaning never, is typically only attached to adjectives and verbs: he is never kind - ndis okodzhoe, you never learn - okotshahiŋa.

Ke'eloom uses a seximal number system. The numbers zero to six are tshi, tsun, nif, dur, khe, ira, sati.

And that's all for now! I hope this was an interesting and understandable read. I've already written a [post about the writing system], where you can also see more of the language in action. I'd be happy to answer any questions!

[omnipicureans]

# OMNIPURICEANS ━━━ private, roleplay blog for APONIA of HONKAI IMPACT 3RD; interpreted & loved by BARELY ( any pronouns & eighteen ); affiliated with GNOSTIC HYMNS.

NAVIGATION.

i. lawbook ━━━ includes mun information, blog rules, shipping availability, art credit, writing specifics, & more! ii. portrait ━━━ includes muse information, lore, support system, headcanons, & more! iii. abilities ━━━ necessary talents / stats page, as of the affiliated group's rule. iv. interview ━━━ the interview of the muse, better read on desktop instead of mobile. v. pinned post ━━━ notes on both the character's portrayal and interaction information, found below the cut of this post with the explained tags.

PORTRAYAL & INTERACTION NOTES.

within the crux of the elysian realm's chapters, APONIA is said to have committed suicide by sacrificing herself wholly to merge with the realm; hence, her later death when the elysian realm is destroyed in the final battle. since her simulation, too, has been deleted by the herrscher of corruption, aponia is hardly more than a remnant of what she once was. now, the issue of context.

in the theory of her giving the whole of herself to augment the elysian realm, i am taking the liberty of implying that being brought back by elysia to fight in the final battle with the other flamechasers allowed a fragment of her real body to exist outside the augmentation. thus, this aponia is ONLY HER SIMULATION, boosted by the quarter fragment of her real body; hence, the recreation of a more fragile, unstable elysian realm ( as she cannot exist without or outside of it, because of how wholly she sacrificed herself into its being ) .

to bind the flexibility of this, in the hopes of benefiting her place in gnostic hymns, meager lines of aponia’s code have been scattered across worlds to supplement a larger foundation of the elysian realm’s stability. with this, DIVISIONS OF APONIA'S SIMULATION ARE ALLOWED TO APPEAR OUTSIDE OF THE REALM, though they are weaker than the original and are bound to only remember the memories they make within that specific world, not including whatever memories they may already hold. ( for example, if your muse makes friends with the aponia in teyvat and travels to jarilo - vi, the aponia of that world will not recognize them, nor remember being their friend. )

in a similar light, aponia's DISCIPLINE and HEAVEN'S EYE are very significant to her character and thus, are usually difficult to avoid the usage or discussions of, even if done subtly. here's two quick(?) explanations of each;

aponia cannot control her HEAVEN'S EYE, as the threads of fate are always visible to her from where they sprout on people's foreheads. she describes these threads as silk, which break off once out of her peripheral; a limit she doesn't have when seeing the future in glimpses. of course, i will not assume anything of your muse in these cases, since i'd like to play around with that power narratively in more introspective threads. otherwise, it will be up to us whether or not it's fair to imply that she'll become somewhat aware of both your muses' past and distant future upon their first or second meeting.

however, with her DISCIPLINE, that power is more interactive. by default, even without it, aponia is a convincing soul, usually hardly refused; paired with discipline, she is never refuted nor refused, even if the person is aware of what's being done to them. as you can tell, this is beyond godmoding at its core. so, this boundary will only be crossed to make a thread or interaction crazier. to utilize discipline, all aponia must say is please, though i will italicize and adorn the word with brackets so it's clear when she does and doesn't compel it. similarly, discipline isn't simply mind control; it's the process of introducing an order unto another, the manner in which they abide by it depends on their wish. don't worry, it's complicated and can be further discussed later.

CONTENT WARNINGS for this blog, as introduced in the interview, are discussions, mentions, and examples of, but not limited to, child death, mass murder, canon - typical violence, suicide, misunderstood & heavy survivor’s guilt, dehumanization of self, heavy existential - questioning concepts, abstract & concrete religious themes, and morally skewed ideations & thoughts of a religious "prophet".

TAGS EXPLAINED.

: ̗̀ ʚїɞ :: ❝ 𝐖𝐈𝐋𝐓𝐄𝐃 𝐖𝐈𝐍𝐆𝐒 𝐀𝐍𝐃 𝐒𝐔𝐋𝐋𝐈𝐄𝐃 𝐅𝐀𝐈𝐓𝐇 ・ / in character . ( all posts that are "in character", hence the tag )

: ̗̀ ʚїɞ :: ❝ 𝐒𝐄𝐕𝐄𝐍𝐓𝐘 - 𝐓𝐇𝐑𝐄𝐄 . 𝐏𝐑𝐄𝐃𝐄𝐓𝐄𝐑𝐌𝐈𝐍𝐄𝐃 ・ / out of character . ( all posts that are "out of character", ex. shitposts, maintenance, meta, etc )

: ̗̀ ʚїɞ :: ❝ 𝐄𝐍𝐕𝐘 𝐇𝐄𝐀𝐕𝐄𝐍'𝐒 𝐎𝐌𝐍𝐈𝐏𝐎𝐓𝐄𝐍𝐂𝐄 ・ / gallery . ( reblogged art, including possible art by the mun, of the muse )

: ̗̀ ʚїɞ :: ❝ 𝐓𝐎 𝐄𝐗𝐈𝐒𝐓 𝐈𝐒 𝐓𝐎 𝐑𝐄𝐆𝐑𝐄𝐓 ; 𝐓𝐎 𝐑𝐄𝐆𝐑𝐄𝐓 𝐈𝐒 𝐓𝐎 𝐒𝐈𝐍 ・ / headcanons . ( posts centered around a muse's headcanons, meta, etc )

: ̗̀ ʚїɞ :: ❝ 𝐆𝐈𝐅𝐓𝐒 𝐀𝐃𝐎𝐑𝐍𝐄𝐃 𝐅𝐑𝐎𝐌 𝐆𝐎𝐃'𝐒 𝐅𝐀𝐋𝐒𝐈𝐓𝐈𝐄𝐒 ・ / prompts . ( all reblogged posts with prompts, ask memes, sentence starters and the likes )

: ̗̀ ʚїɞ :: ❝ 𝐒𝐈𝐌𝐏𝐋𝐄 𝐇𝐔𝐌𝐀𝐍 𝐋𝐔𝐗𝐔𝐑𝐈𝐄𝐒 𝐎𝐅 𝐀𝐍𝐎𝐓𝐇𝐄𝐑 𝐄𝐑𝐀 ・ / inbox . ( all posts that are replies to an ask, excluding threads made from certain asks )

: ̗̀ ʚїɞ :: ❝ 𝐀 𝐓𝐇𝐑𝐄𝐀𝐃 ・ / thread name . ( the threads tag )

[vordenburg]

I have too many alternate timeline options for my Star Trek “evil empire” ‘verse, and now I can’t decide which one to run with...

Confederation of Earth

Project Khan  — a project involving the creation of augmented Humans carried out at the Noonien-Singh Institute for Cultural Advancement — culminates in the Eugenics Wars with Khan becoming absolute ruler of Earth. 

When the Vulcans make first contact, Khan rejects their greeting, kills them, and boards their vessel, appropriating any item of value. This action results in the early expansion of the Confederation of Earth, allowing Humans to drastically increase their technological capability and begin a campaign of warfare and conquest.

Mirror Universe 

By the mid-23rd century, the Terran Empire is the dominant power in the Alpha Quadrant. Made up of a small number of Great Houses sworn directly to the Empire, ruled at the time by Emperor Philippa Georgiou, one such noble lineage was the House of Khan. At some point in the past century, the Empire conquered Qo'noS; defeated the Romulans, and made the Vulcans their vasals after Khan’s brutal execution of Sarek on the steps of the Vulcan Science Academy in front of a crowd that included his wife and son.

In rebellion against the Terrans’ rule formed a resistance movement made up of Andorians, Vulcans, Tellarites, Klingons, and even Humans, including Khan’s own descendant, La’an Noonien-Singh, who operated an underground intergalactic alien network that sought to provide refuge for persecuted species and fight back against the Empire’s rule.

Star Trek Prime

Timeline fuckery by the Romulans and the Department of Temporal Investigations alters certain events, moving them up and around, which results in Khan’s successful capture of the Enterprise circa “Space Seed” and her crew being marooned on Ceti Alpha V. 

Over a period of time, he conquers Earth and establishes his former empire, gaining a further reputation as the most bloodthirsty, merciless, ruthless tyrant to ever set out to conquer the galaxy. Remoulding the Federation in his image to further his goals, Starfleet becomes his personal army as opposed to the peacekeeping  and humanitarian armada it once was. 

Federation-Romulan War 

The SS Botony Bay is discovered by Captain (possibly Admiral) Christopher Pike instead of Captain James T. Kirk. Pike awakens him, hoping he will join their cause. Khan agrees, however, the price of his aid results in the destruction of Remus and the end of the entire Romulan Star Empire, with the Romulans committing (TW) mass suicide after their defeat rather than make peace with their enemies and be subjugated by them. An even darker timeline then transpires with Earth being divided about whether Khan is a hero or a villain, resulting in a splintering of the Federation (and Starfleet) with Khan ultimately seizing power.

TL;DR: 

All of these alternate timelines result in a terrible, horrible, no good, very bad future under a repressive, tyrannical, interstellar rulership centered around an empire ruled by terror and an iron fist. 

It’s not all completely awful, though, because where there is darkness, there’s always a light, which in all of these timelines is a resistance movement fighting back (secretly and openly) to oppose everything Khan and his fellow augmented Humans stand for. 

[heibaicnpost]

Sneakers 2.0 A Quantum Leap into the Future of Footwear

In the dynamic realm of fashion, Sneaker aren't just shoes; they're the oil upon which invention, culture, and technology meet. This composition envisions the coming phase in the elaboration of Sneaker, exploring the possibilities of Sneaker2.0 — a futuristic world where Rep Sneaker Website footwear becomes a amount vault into style, sustainability, and unknown functionality.

Biofabrication and Sustainable Luxury

The future of Sneaker embraces fabrication, where slice-edge technologies cultivate sustainable and atrocity-free accouterments. From lab-grown leather druthers to eco-friendly fabrics deduced from fungi, Sneaker2.0 is poised to review luxury with an environmentally conscious morality. These bioengineered accouterments not only minimize the carbon footmark but also open new avenues for avant-garde designs that seamlessly blend style and sustainability.

Responsive Material Morphing

Imagine Sneaker that acclimatize to your replica Sneakers  terrain and conditioning in real-time. Sneaker introduces responsive accouterments that transubstantiate and acclimate their parcels grounded on external factors — temperature, terrain, and indeed the wear and tear's physical condition. This invention ensures optimal comfort, support, and performance, steering in a period where the shoe becomes an extension of the body.

Holographic Design Interfaces

The design process takes a futuristic turn with holographic interfaces that allow consumers to customize their Sneaker in a three-dimensional virtual space. Sneaker suckers can experiment with holographic patterns, colors, and textures, creating bespoke designs before committing to the physical product. This immersive design experience revolutionizes personalization, making each brace of Sneaker a truly unique and individualized artifact.

Cradle-to-Cradle Circular Design

The Sneaker2.0 revolution extends beyond sustainable accouterments to embrace indirect design principles. Manufacturers are developing Sneaker with end-of-life considerations, icing that each element can be fluently disassembled, reclaimed, or upcycled. This cradle-to-cradle Replica Sneaker approach minimizes waste, paving the way for an unrestricted- circle system that aligns with eco-friendly values.

Neuro-Connected Smart Sneaker

The integration of smart technology takes a vault forward with Neuro-Connected Smart Sneaker. These intelligent shoes not only cover physical exertion but also dissect neurological signals to enhance performance and well-being. tailored feedback, stress reduction features, and cognitive performance optimization make Sneaker2.0 a holistic tool for both physical and internal heartiness.

Augmented Reality Virtual Sneaker Drops

In the Sneaker2.0 period, the excitement of limited releases and exclusive drops is elevated through stoked reality( AR). Virtual Sneaker drops bring the retail experience into consumers' homes, allowing them to nearly try on and witness the rearmost releases Snk Sneakers before making a purchase. This immersive approach transforms the act of buying v into a digital event, blending the virtual and physical worlds seamlessly.

Space-Age Accoutrements for Extreme Surroundings

Sneaker2.0 is designed to conquer extreme surroundings, drawing alleviation from space-age accouterments and technologies. From anti-gravity accouterments for enhanced comfort to heat-resistant fabrics for civic explorers, these Sneaker review what's possible in terms of continuity, functionality, and style.

Sneaker 2.0 heralds a new period where footwear goes beyond conventional boundaries. With sustainability at the van, innovative accouterments, responsive technologies, and futuristic design interfaces, these Sneaker come further than just a fashion statement — they are an amount vault into the future of footwear. As we venture into this uncharted home, Sneaker2.0 invites us to revise our relationship with fashion, technology, and the world we walk in. Step by step, the unborn unfolds beneath our bases.

[tigerstrikesasteroidnetwork]

PHL / Seeing the Anthropocene

Seeing the Anthropocene curated by Julia Clift

On view: October 28-December 2, 2023, simultaneously at Tiger Strikes Asteroid and Cherry Street Pier, Philadelphia

Opening Receptions: November 4th, 5-8 PM at Cherry Street Pier, with a live performance at 6 PM, and November 9th, 6-9 PM at Tiger Strikes Asteroid

Artists and Collaborations: Austen Camille (with music by ENAensemble) | Lydia Cheshewalla | Matthew Colaizzo | Christopher McNulty | Ana Mosquera | Hui-Ying Tsai | Hui-Ying Tsai in collaboration with Jonathan Grover | Byron Wolfe | The Immersion Project: Austen Camille, Erik Cordes, Ph.D., Samantha Joye, Ph.D., Malte Leander, Christine Lee, and Rebecca Rutstein

Seeing the Anthropocene (StA) is a cross-venue exhibition curated by Philadelphia-based artist Julia Clift, featuring diverse artists and collaborative groups contending with the global climate crisis and other urgent environmental issues. Through wide-ranging media, the included artworks foster understanding of the moment we're in, inspire personal connections with the natural world, and imagine different potential futures depending on how we act today. The show features artists from across the country as well as international perspectives.  

Several artworks in StA shed light on the policies, conventions, and attitudes that led to the climate crisis and continue to sustain it today. Large-scale pieces by Matthew Colaizzo and Christopher McNulty document commonplace pollution and extractive industry in America, while smaller works by both artists subtly critique human efforts to dominate the natural world. In their own ways, Colaizzo and McNulty interrogate Modern ideals of “progress” that often underpin environmental destruction.

Byron Wolfe's Vanished Volcano Visualization Kit offers maps and models to help audience members envision Mount Tehama, an ancient volcano in Northern California that's almost entirely disappeared over the past 400,000 years due to natural erosion. The kit evokes the difficulty of processing environmental losses and imagining what once was, mental tasks required for contending with present-day issues like climate change and mass extinction. While Wolfe endeavors to see the distant past, Ana Mosquera envisions a dystopic climate future. Her Breathing Exchange Temporium, a woefully dysfunctional life raft and oxygen tank, forebodes mass climate migration and encapsulates life's precarity on a hotter planet, especially for those less privileged. 

A highlight of the exhibition is the first prototype of The Immersion Project, a collaboration between Austen Camille, Christine Lee, Rebecca Rutstein, Malte Leander, and oceanographers Erik Cordes, Ph.D. and Samantha Joye, Ph.D that incorporates large-scale coral-inspired sculptures, augmented reality animation and sound into a multi-sensory installation to educate the public about deep sea ecosystems. After a national exhibition tour, the sculptures will be installed in the Gulf of Mexico to help restore coral habitats damaged by the Deep Water Horizon oil spill in 2010. The project demonstrates one way that artists can contribute to climate solutions.

All of the artworks mentioned thus far will be on view at Tiger Strikes Asteroid. Two miles south of the gallery, at Cherry Street Pier, works by Lydia Cheshewalla, Hui-Ying Tsai, and Austen Camille encourage personal connection to the natural world and help audience members to see themselves as part of nature rather than above it. Such perspective can be a wellspring for environmentally-conscious action. Notably, Camille's large-scale augmented reality animation over the Delaware River, featuring music by Philadelphia's ENAensemble, will incorporate a live performance during the show's opening reception at Cherry Street Pier, on November 4th at 6 PM. At Tiger Strikes Asteroid, Camille’s AR animation within The Immersion Project and a second piece by Tsai—a collaboration with sound artist Jonathan Grover—tie the two venues together and bring notes of hope to the gallery.

For more information, please visit www.StAPhilly.com.

[xceltecseo]

Understand Metaverse & Gaming’s Future in AR/VR

The next big thing in virtual reality, Metaverse, has the potential to give users a better online experience. It enables interaction between users from all over the world by utilizing HCI (human-computer interaction) hardware and software. In this virtual environment, people can perform actions they are unable to in the real world. They can engage in social interaction, play games, work, create digital assets, and purchase land.

About Metaverse

With a highly scalable virtual environment and its own economy, the metaverse is regarded as the next major advancement after computers and the internet. The metaverse uses artificial intelligence (AI), augmented and virtual reality (AR and VR), and gaming to give players a realistic experience. Virtual reality gaming now offers a 360-degree perspective and sensory experience and is available as a standalone application for VR headsets, smartphones, and desktops. Contrarily, Metaverse offers a centralized site where users can connect to a selection of virtual reality games. It creates the illusion that you are actually present in the virtual environment.

Metaverse Game Prototypes

In the field of video games, the term "metaverse" is not new. Several video games already feature a metaverse prototype. Battle Royale is a good illustration of the metaverse prototype. In the gaming industry, digital avatars and bitcoin have progressively gained popularity. The security and safety of transactions in the metaverse are guaranteed by blockchain technology. Users have the option to buy and sell virtual products. Renting out these resources is another option.

Providing Real Engagement

To enter the metaverse, you would require a method of identity. To authorize oneself to utilize different social media websites and apps, we require an account. For metaverse authentication, the same is true. In some instances, such as YouTube and Instagram live broadcasts, we may already observe human interactions. Despite the fact that we provide it through text or emoticons, true engagement is lacking. Additionally, metaverse can add that dimension. For instance, in the game Fortnight, a player was interviewed about another game while other players engaged in other gaming activities, and the interviewee responded to questions using his avatar.

The Example of Fortnite

A free-to-play cross-platform game called Fortnite is in charge of uniting several enterprises under one roof. The inventor of Fortnite, Tim Sweeney, wants various companies to collaborate and close the gap between the real and virtual worlds. Tim wants a product to be available in the virtual world if it is released in the physical world so that players may have a similar experience and feel.

Possibility to Interact

Many gamers who participate regularly in international competitions work in the online gaming sector. As a result, customers can interact with brand representatives and find out more about what the metaverse has to offer. Numerous gaming companies have switched their attention from conventional game genres to future-oriented crypto-based gaming.

The Features of Metaverse are as Follows:

Online multiplayer games

Gameplay in the Metaverse is fundamentally social, setting it apart from VR gaming in general. In a multiplayer gaming setting, you can invite your friends and other familiar faces, strike up conversations with strangers, and widen your social circle.

Games with portable assets

The design of the metaverse allows for the movement of virtual objects. The value of the resources associated with a particular player is preserved between situations. Weapons, aesthetics, and related features can all be easily ported, as well as avatars and their features. The NFT regulations that regulate the economy enable it.

Earn and play

Another significant aspect of the metaverse in the game industry is the conversion of assets into bitcoin. You can trade your valuables with other players in the games for recognized cryptocurrencies.

Games as a medium

This is just one more feature that makes the metaverse appealing. Once you've logged into the game's virtual environment in the metaverse, you can create your own content there. The game's submodules can be made. Simply said, the gaming platform enables you to produce content that may be connected to the game.

Conclusion

A metaverse is a concept used in video games to represent several universes. Technology not only offers a completely new dimension, but it also opens up new job options. Living in a virtual environment free from the problems that afflict the real world might be tempting. For the metaverse to flourish, new insights, concepts, rules, and technologies are required. Without a doubt, the future of gaming is in the metaverse. Gaming companies like Meta, Sandbox, Epic Games, and Decentraland are among the early adopters, and large online organizations have made considerable investments.

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[midnightactual]

Verse: SHADOW GUARD (Halo)

Yoruichi is a SPARTAN-IV. Yoruichi was an ODST. Yoruichi was a Phase 2 SPARTAN-I. Yoruichi was an ONI operative. Yoruichi was a Phase 1 SPARTAN-I. Yoruichi was on the Odyssey when it arrived at Reach. Yoruichi was born before the Shaw-Fujikawa Translight Engine was invented.

Yoruichi is the closest thing to biologically immortal that humanity has yet created.

Yoruichi is an ONI Rear Admiral.

Timeline

"That's all well and good, Doctor, but I'm almost as old as the M319, and just like with it, you still haven't come up with something more experienced than me." —Yoruichi Shihōin to Dr. Catherine Halsey

C indicates chronological age, A indicates apparent age, but note that neither is perceptual age from Yoruichi's point of view. (She's spent a lot of time in cryosleep in addition to having a dramatically reduced aging factor.)

2271 - (C-000, A-000): Yoruichi is born to the Shihōin family, which is highly influential within the Office of Naval Intelligence (ONI), particularly Section Three

2286 - (C-015, A-015): Yoruichi is accepted to the Academy at Mare Nubium (Luna OCS Academy), becoming the youngest person to have ever attended the school (followed by Miranda Keyes at 16 in 2541)

2290 - (C-019, A-019): Yoruichi graduates from the Luna OCS Academy and joins ONI Section One

2291 - (C-020, A-020): Yoruichi receives her first illicit prototype longevity enhancement prior to first assignments in outer Solar System requiring cryosleep

2321 - (C-050, A-023): Yoruichi enrolls in Project KYKLOS given family connections in Section Three; the only successful test subject and survivor of the program, she is extensively studied as the basis for future research; it's established that her genetic makeup (due in part to Shihōin illicit modifications both past and present) have made her uniquely predisposed to accepting augmentation; this research is hidden from official records by the family to cover up their complicity, directly causing the long interval until the ORION Project is undertaken

2330 - (C-059, A-023): Yoruichi is released from the continuing study program for use as a "novel" ONI asset under the auspices of Section One sub-unit Chi-9 Division, which essentially consists of her and token support staff

2361 - (C-090, A-024): Yoruichi is planted within the Colonial Military Authority (CMA) to monitor the colonization efforts of the Colonial Administration Authority (CAA); she is aboard the CAA Odyssey during its maiden voyage to Reach

2437 - (C-166, A-025): Yoruichi is first contacted by The Assembly, which is aware of her existence and recognizes her as "unique" among humans; she is not aware of their true nature for some time

2490 - (C-219, A-026): Yoruichi serves as the prototype for the ORION Project of modifications as colonial rebellions spiral beyond the CMA's ability to control; this data is subsequently passed to the CMA by ONI

2497 - (C-226, A-026): Yoruichi is attached to the rising Orbital Drop Shock Troopers to provide her actions with greater cover and opacity

2548 - (C-277, A-027): Yoruichi is brought in for research related to the genesis of the SPARTAN-IV Program, Project ORCHID

2553 - (C-282, A-027): Yoruichi is fully enhanced to SPARTAN-IV specifications and is thereby inserted into Spartan Operations

Details

Name: Yoruichi Shihōin (Yoruichi Shihouin) Allegiance: United Earth Government, United Nations Space Command, UNSC Naval Command (NAVCOM), Office of Naval Intelligence, Section One, Chi-9 Division Rank: Rear Admiral (O-7) Service Branch: Spartan Operations Role: Fireteam Leader (Fireteam Tiger) Nicknames: [CLASSIFIED] Armor: Upgraded (GEN3) Mark V [B]

Helmet: ODST - HUL[3]/BNR/COURIER PEARL - CNM/BNR/TYPHON - UA/Type C1

Visor: Helljumper

Armor Coating: Cinder Ring

Chest: UA/ODST

Shoulders: SAP/CQC

Gloves: Challenger

Wrist: TAC/MC5 TACPAD

Utility: M10 Tactical Soft Case

Knees: UA/Type GND

Yoruichi has served through half a dozen total personnel rotations at ONI and assumed hundreds of identities over her nigh three centuries of existence. Even her own staff don't know who Chi-9 Actual really is, as her record isn't just dipped in ink, but has been refabricated a dozen times over. The only consistent thing for the last good long while has been her rank. Ironically, she serves in Spartan Operations under her birth name���if anyone happens to know some trivia about Luna OCS Academy, she claims with a smile to have been named in honor of an ancestor.

[forblogmostly]

Board Meeting Highlights: Vikas Ecotech Embarks on Strategic Restructuring

On January 1, 2025, Vikas Ecotech Ltd., a company listed on both NSE and BSE, announced key outcomes from its recent Board of Directors meeting. The meeting, held at the company's registered office in New Delhi, marked a pivotal moment in the company's journey, showcasing a blend of strategic financial planning, corporate restructuring, and governance enhancement.

The Board meeting addressed several important resolutions. Foremost among these was the approval of a comprehensive plan to raise funds. This initiative aims to bolster the company’s long-term resources, supporting both organic and inorganic growth. The Board resolved to raise up to ₹200 crore through a variety of instruments, including equity shares, QIP, FCCBs, and other permissible modes, contingent on necessary approvals. The decision underscores the company’s commitment to expanding its operational horizons and exploring adjacent opportunities.

Another significant development was the decision to increase the company’s authorized capital from ₹200 crore to ₹235 crore. This move entails an amendment to Clause V of the Memorandum of Association, reflecting the company's growth ambitions and preparation for scaling operations in the future.

In a bid to strengthen corporate governance, the Board approved a reconstitution of its leadership. The restructuring involves a transition from promoter-led executive roles to a professional management structure, aimed at fostering enhanced governance and operational efficiency. Dr. Ravi Kumar Gupta, who previously served as an Independent Director, was appointed Chairman of the company. Dr. Dinesh Bhardwaj joined as an Executive Director, while CA Vijay Kumar Goel was inducted as an Independent Director. These appointments bring a wealth of expertise and professional acumen to the company’s leadership team.

Simultaneously, the company bid farewell to two key figures. Dr. Vikas Garg resigned as Managing Director and relinquished his role as Chairman and member of various board committees. This transition marks a reshuffling of roles within the promoter group entities. Additionally, Dr. Gyan Prakash Govil stepped down from his position as Chairman and Independent Director due to health concerns. Both leaders expressed gratitude for their tenure and pledged continued support for the company’s future endeavors.

The Board also approved the issuance of a postal ballot to seek shareholder approval for key decisions. This step ensures transparency and active participation from stakeholders in the company’s strategic direction. Furthermore, the Board authorized the appointment of a scrutinizer and related procedural matters, emphasizing its commitment to regulatory compliance and shareholder engagement.

In alignment with these changes, the company announced a new composition for its Board and various committees. Dr. Ravi Kumar Gupta will chair the Audit Committee, while CA Vijay Kumar Goel will lead the Nomination & Remuneration Committee. The Stakeholders and Share Transfer Committee will also see significant contributions from these seasoned professionals, ensuring robust oversight and governance.

The profiles of the newly appointed directors reflect the company’s strategic focus. Dr. Dinesh Bhardwaj, a PhD in Chemical Sciences with extensive research experience, brings expertise in organic synthesis and advanced technological applications. CA Vijay Kumar Goel, a Chartered Accountant with over three decades of experience, has a proven track record in project financing, corporate governance, and strategic financial management. These appointments signify Vikas Ecotech’s dedication to harnessing diverse skill sets to drive innovation and growth.

The Board meeting commenced at 12:10 PM and concluded at 1:35 PM, with the resolutions signaling a transformative phase for Vikas Ecotech. The company’s proactive steps towards financial augmentation, governance reforms, and strategic leadership transitions position it well to navigate the evolving business landscape and achieve its growth aspirations.

As Vikas Ecotech moves forward, the emphasis on professionalism, transparency, and innovation underscores its commitment to delivering value to stakeholders and solidifying its position as a leading player in its industry.

[pluugin]

Global Trends and Opportunities in Mobile Commerce

Mobile commerce (m-commerce) has rapidly transformed over the past decade, reshaping how consumers shop and interact with businesses. With the widespread use of smartphones, mobile apps, and mobile-optimized websites, m-commerce has become a key driver of the global retail industry. As mobile technology continues to evolve, so do the trends that are shaping the future of mobile commerce. This blog delves into key trends and emerging opportunities in the global mobile commerce landscape.

1. The Growth of Mobile Shopping Apps

Mobile apps have become essential to the m-commerce experience, offering businesses a personalized, user-friendly platform to engage customers. The convenience of shopping on the go has fueled the popularity of mobile shopping apps. Major global retailers like Amazon, eBay, and Walmart have optimized their mobile apps to provide seamless shopping experiences, allowing customers to browse products and make purchases with just a few taps.

Smaller businesses are also capitalizing on mobile apps to connect with customers directly. Features such as push notifications, loyalty programs, and personalized recommendations help strengthen relationships between businesses and their customers.

Opportunity: Retailers can enhance or create mobile apps to improve user experiences, foster customer loyalty, and utilize push notifications for targeted marketing campaigns.

2. Mobile Payment Systems and Digital Wallets

Mobile payment solutions like Apple Pay, Google Pay, and Samsung Pay have revolutionized how consumers make purchases. The ease of paying through smartphones, whether online or in-store, has contributed to the rapid growth of m-commerce. Consumers prefer mobile payments due to their convenience and added security features like biometric authentication.

In emerging markets, mobile payment systems dominate, enabling transactions even in regions with limited access to traditional banking. These systems offer unbanked populations a way to participate in e-commerce, broadening mobile commerce’s reach.

Opportunity: Businesses can integrate popular mobile payment options to ensure secure and seamless transactions, catering to tech-savvy and security-conscious consumers worldwide.

3. Social Commerce and Shoppable Posts

Social media platforms such as Instagram, Facebook, TikTok, and Pinterest are increasingly integrating e-commerce features. Through “shoppable posts” and “buy now” buttons, brands allow consumers to purchase directly from their social media feeds without leaving the app. This phenomenon, known as social commerce, is especially popular among younger consumers.

Instagram has introduced features like Instagram Shops, enabling businesses to set up online storefronts within the app. Similarly, TikTok has successfully integrated in-app purchases and live-stream shopping events, blending entertainment and e-commerce.

Opportunity: Brands can use social media to engage with their audience and directly sell products through integrated shopping features, simplifying the purchasing process for consumers.

4. Voice Commerce (V-Commerce)

Voice commerce, or v-commerce, is emerging as a key trend, driven by the widespread use of virtual assistants such as Amazon’s Alexa, Google Assistant, and Apple’s Siri. Consumers can now shop by simply speaking to voice-activated devices, making the experience even more hands-free and convenient.

V-commerce allows users to place orders, check on their purchases, or reorder frequently bought items using voice commands. While still in its early stages, v-commerce is poised to grow rapidly as more households adopt voice-activated devices.

Opportunity: Retailers can integrate product catalogs with voice assistants to simplify the purchasing process, enhancing convenience and efficiency for shoppers.

5. Augmented Reality (AR) and Virtual Try-Ons

Augmented Reality (AR) is transforming how consumers shop online, particularly in sectors like fashion, beauty, and home décor. AR allows customers to virtually try on products, visualize how furniture will look in their homes, or test makeup shades before committing to a purchase.

For instance, makeup brands like Sephora and L’Oréal use AR in their apps to enable virtual makeup try-ons, while furniture stores like IKEA help customers visualize how furniture would look in their living spaces using AR.

Opportunity: Brands can incorporate AR into their mobile commerce strategies to offer more interactive and personalized shopping experiences, boosting customer confidence and reducing return rates.

6. Mobile-First Websites and Progressive Web Apps (PWAs)

With mobile traffic now making up the majority of global website visits, businesses must ensure their websites are mobile-optimized. A mobile-first approach focuses on designing websites that provide seamless navigation, fast load times, and user-friendly interfaces on smartphones and tablets.

Progressive Web Apps (PWAs) are an innovative solution for mobile optimization. PWAs deliver a native app-like experience through mobile browsers. They load quickly, function offline, and can be added to a user’s home screen without requiring installation from an app store.

Opportunity: Companies should prioritize mobile optimization through responsive websites or PWAs to enhance the shopping experience and reduce cart abandonment.

7. Mobile-First Marketing Strategies

As mobile devices become the primary channel for consumers to interact with brands, mobile-first marketing is essential. This strategy tailors all marketing efforts, including content, ads, and promotions, for mobile devices.

Mobile-first strategies include creating ads optimized for small screens, utilizing location-based marketing to target nearby consumers, and launching mobile-exclusive promotions. It also involves ensuring email newsletters are mobile-friendly and all touchpoints are responsive.

Opportunity: Marketers can create mobile-optimized content and promotions to engage the growing mobile audience and maximize conversions.

8. AI and Personalization in Mobile Commerce

Artificial Intelligence (AI) plays a significant role in mobile commerce by helping businesses deliver personalized shopping experiences based on user behavior, preferences, and purchase history. AI-powered chatbots provide real-time customer service, while machine learning algorithms predict consumer interests, leading to higher conversion rates.

Opportunity: Companies can integrate AI into mobile commerce strategies to enhance personalization, improve customer service, and ensure their offerings are relevant to consumers.

9. Mobile-Only and Digital-First Retailers

Mobile-only and digital-first retail models are gaining traction, with many brands focusing exclusively on mobile platforms. These companies operate without physical stores and are designed to cater to mobile-first consumers who prefer shopping via apps or mobile websites.

These businesses rely on highly efficient mobile commerce systems and can scale rapidly, often offering competitive prices due to the lack of overhead costs associated with physical stores.

Opportunity: New and existing businesses can explore mobile-only models to meet the demands of mobile-centric consumers, reduce costs, and streamline operations.

Embracing the Future of Mobile Commerce

Mobile commerce is a crucial element of the global retail landscape and is set to continue growing. The rise of mobile apps, mobile payments, social commerce, voice shopping, AR, and AI-powered personalization is ushering in a new era of mobile-first, seamless, and personalized e-commerce.

For businesses, staying ahead of these trends and adopting the latest technologies will be essential to capturing the expanding mobile shopping audience. At Pluugin, we recognize the transformative power of mobile commerce. As an eCommerce consulting company, we help businesses leverage cutting-edge technologies and mobile-first strategies to enhance their digital presence, optimize mobile shopping experiences, and effectively engage their target audience.

[shanto1000]

Blog 02

The mixing of the media

In this Blog, I will discuss and analyze one of my own works Made while Exploring the CGI advertisement field and its future growth. Mixing the media is not just a new thing, it's been in the industry for a long time. But the recent days the use of it expanded rapidly due to the developments of hardware and software that are available to use by all people. 

Let's discuss a few key points before analyzing the video. Whenever the mixing media comes in one question comes to mind. Is Greenberg’s medium specificity no longer relevant? Well, my response to the question is yes and no. The thing is Media specificity is rich itself but combining few together is the 2nd phase of its form which we can call the mixing of the media. Which can also be called Gesamtkunstwerk (Total Work of Art). For example, in the past, we used theater to perform a show that is combined with multiple mediums. Nowadays we use multiple arts like 2D, 3D, and realistic footage to create unique art that exceeds reality and stands out. 

As we are using tools to make it a reality and using computers as a meta-medium where we keep developing new technology in the future who will be the artist? The technology itself, the operator, or the person who makes the tool? I think it's a separate topic to discuss but whoever that will be there will be a mix of media and it will have the Gesamtkunstwerk applied.

So About the CGI advertisement I made a mix of reality footage where I combine CGI elements with real-life video footage. Augmented reality is not too far from coming for day-to-day use. I think it's a Previous version of it. Where manipulating and altering real locations and adding commercial elements to advertise rather than using physical elements to create billboard ads or traditional posters which is becoming old. I can call it a Total work of art as it has a fulfilling story to show with different mediums as well and it contains the mixing of media to exceed reality and stand out in the core of traditional marketing.

Sources

Macpherson, B. (2012) ‘Embodying the virtual: ‘Digital opera’ as a new Gesamtkunstwerk?’, International Journal of Performance Arts and Digital Media, 8(1), pp. 49–60. doi: 10.1386/padm.8.1.49_1.

Koepnick, L. (2017) ‘Gesamtkunstwerk’, in V. Sherry (ed.) The Cambridge History of Modernism. Cambridge: Cambridge University Press, pp. 273–288.

Mitchell_WJT_2005_2007_There_Are_No_Visual_Media.pdf  W.J.T. Mitchell, "There Are No Visual Media", in MediaArtHistories, ed. Oliver Grau, MIT Press, 2007, pp 395-408.

Krauss, R. (2000). A Voyage on the North Sea: Art in the Age of the Post-Medium Condition.

How CGI Ads Are Revolutionizing Viral Marketing: Benefits and Top Examples - https://yordstudio.com/cgi-ads-are-the-new-viral-marketing-benefits-and-top-examples/