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#436550 Work in the Age of Web 3.0
What is the future of work? Is our future one of ‘technological socialism’ (where technology is taking care of our needs)? Or will tomorrow’s workplace be completely virtualized, allowing us to hang out at home in our PJs while “walking” about our virtual corporate headquarters?
This blog will look at the future of work during the age of Web 3.0, examining scenarios in which artificial intelligence, virtual reality, and the spatial web converge to transform every element of our careers, from training, to execution, to free time.
To offer a quick recap on what the Spatial Web is and how it works, let’s cover some brief history.
A Quick Recap on Web 3.0
While Web 1.0 consisted of static documents and read-only data (static web pages), Web 2.0 introduced multimedia content, interactive web applications, and participatory social media, all of these mediated by two-dimensional screens.
But over the next two to five years, the convergence of 5G, artificial intelligence, VR/AR, and a trillion-sensor economy will enable us to both map our physical world into virtual space and superimpose a digital data layer onto our physical environments. Suddenly, all our information will be manipulated, stored, understood and experienced in spatial ways.
In this blog, I’ll be discussing the Spatial Web’s vast implications for:
Professional Training
Delocalized Business & the Virtual Workplace
Smart Permissions & Data Security
Let’s dive in.
Virtual Training, Real-World Results
Virtual and augmented reality have already begun disrupting the professional training market. As projected by ABI Research, the enterprise VR training market is on track to exceed $6.3 billion in value by 2022.
Leading the charge, Walmart has already implemented VR across 200 Academy training centers, running over 45 modules and simulating everything from unusual customer requests to a Black Friday shopping rush.
Then in September 2018, Walmart committed to a 17,000-headset order of the Oculus Go to equip every US Supercenter, neighborhood market, and discount store with VR-based employee training. By mid-2019, Walmart had tracked a 10-15 percent boost in employee confidence as a result of newly implemented VR training.
In the engineering world, Bell Helicopter is using VR to massively expedite development and testing of its latest aircraft, FCX-001. Partnering with Sector 5 Digital and HTC VIVE, Bell found it could concentrate a typical 6-year aircraft design process into the course of 6 months, turning physical mock-ups into CAD-designed virtual replicas.
But beyond the design process itself, Bell is now one of a slew of companies pioneering VR pilot tests and simulations with real-world accuracy. Seated in a true-to-life virtual cockpit, pilots have now tested countless iterations of the FCX-001 in virtual flight, drawing directly onto the 3D model and enacting aircraft modifications in real-time.
And in an expansion of our virtual senses, several key players are already working on haptic feedback. In the case of VR flight, French company Go Touch VR is now partnering with software developer FlyInside on fingertip-mounted haptic tech for aviation.
Dramatically reducing time and trouble required for VR-testing pilots, they aim to give touch-based confirmation of every switch and dial activated on virtual flights, just as one would experience in a full-sized cockpit mockup. Replicating texture, stiffness, and even the sensation of holding an object, these piloted devices contain a suite of actuators to simulate everything from a light touch to higher-pressured contact, all controlled by gaze and finger movements.
When it comes to other high-risk simulations, virtual and augmented reality have barely scratched the surface.
Firefighters can now combat virtual wildfires with new platforms like FLAIM Trainer or TargetSolutions. And thanks to the expansion of medical AR/VR services like 3D4Medical or Echopixel, surgeons might soon perform operations on annotated organs and magnified incision sites, speeding up reaction times and vastly improving precision.
But perhaps most urgent, Web 3.0 and its VR interface will offer an immediate solution for today’s constant industry turnover and large-scale re-education demands. VR educational facilities with exact replicas of anything from large industrial equipment to minute circuitry will soon give anyone a second chance at the 21st-century job market.
Want to be an electric, autonomous vehicle mechanic at age 15? Throw on a demonetized VR module and learn by doing, testing your prototype iterations at almost zero cost and with no risk of harming others.
Want to be a plasma physicist and play around with a virtual nuclear fusion reactor? Now you’ll be able to simulate results and test out different tweaks, logging Smart Educational Record credits in the process.
As tomorrow’s career model shifts from a “one-and-done graduate degree” to continuous lifelong education, professional VR-based re-education will allow for a continuous education loop, reducing the barrier to entry for anyone wanting to enter a new industry.
But beyond professional training and virtually enriched, real-world work scenarios, Web 3.0 promises entirely virtual workplaces and blockchain-secured authorization systems.
Rise of the Virtual Workplace & Digital Data Integrity
In addition to enabling a virtual goods marketplace, the Spatial Web is also giving way to “virtual company headquarters” and completely virtualized companies, where employees can work from home or any place on the planet.
Too good to be true? Check out an incredible publicly listed company called eXp Realty.
Launched on the heels of the 2008 financial crisis, eXp Realty beat the odds, going public this past May and surpassing a $1B market cap on day one of trading. But how? Opting for a demonetized virtual model, eXp’s founder Glenn Sanford decided to ditch brick and mortar from the get-go, instead building out an online virtual campus for employees, contractors, and thousands of agents.
And after years of hosting team meetings, training seminars, and even agent discussions with potential buyers through 2D digital interfaces, eXp’s virtual headquarters went spatial. What is eXp’s primary corporate value? FUN! And Glenn Sanford’s employees love their jobs.
In a bid to transition from 2D interfaces to immersive, 3D work experiences, virtual platform VirBELA built out the company’s office space in VR, unlocking indefinite scaling potential and an extraordinary new precedent. Foregoing any physical locations for a centralized VR campus, eXp Realty has essentially thrown out all overhead and entered a lucrative market with barely any upfront costs.
Delocalize with VR, and you can now hire anyone with Internet access (right next door or on the other side of the planet), redesign your corporate office every month, throw in an ocean-view office or impromptu conference room for client meetings, and forget about guzzled-up hours in traffic.
Throw in the Spatial Web’s fundamental blockchain-based data layer, and now cryptographically secured virtual IDs will let you validate colleagues’ identities or any of the virtual avatars we will soon inhabit.
This becomes critically important for spatial information logs—keeping incorruptible records of who’s present at a meeting, which data each person has access to, and AI-translated reports of everything discussed and contracts agreed to.
But as I discussed in a previous Spatial Web blog, not only will Web 3.0 and VR advancements allow us to build out virtual worlds, but we’ll soon be able to digitally map our real-world physical offices or entire commercial high rises too.
As data gets added and linked to any given employee’s office, conference room, or security system, we might then access online-merge-offline environments and information through augmented reality.
Imagine showing up at your building’s concierge and your AR glasses automatically check you into the building, authenticating your identity and pulling up any reminders you’ve linked to that specific location.
You stop by a friend’s office, and his smart security system lets you know he’ll arrive in an hour. Need to book a public conference room that’s already been scheduled by another firm’s marketing team? Offer to pay them a fee and, once accepted, a smart transaction will automatically deliver a payment to their company account.
With blockchain-verified digital identities, spatially logged data, and virtually manifest information, business logistics take a fraction of the time, operations grow seamless, and corporate data will be safer than ever.
Final Thoughts
While converging technologies slash the lifespan of Fortune 500 companies, bring on the rise of vast new industries, and transform the job market, Web 3.0 is changing the way we work, where we work, and who we work with.
Life-like virtual modules are already unlocking countless professional training camps, modifiable in real time and easily updated. Virtual programming and blockchain-based authentication are enabling smart data logging, identity protection, and on-demand smart asset trading. And VR/AR-accessible worlds (and corporate campuses) not only demonetize, dematerialize, and delocalize our everyday workplaces, but enrich our physical worlds with AI-driven, context-specific data.
Welcome to the Spatial Web workplace.
Join Me
(1) A360 Executive Mastermind: If you’re an exponentially and abundance-minded entrepreneur who would like coaching directly from me, consider joining my Abundance 360 Mastermind, a highly selective community of 360 CEOs and entrepreneurs who I coach for 3 days every January in Beverly Hills, Ca. Through A360, I provide my members with context and clarity about how converging exponential technologies will transform every industry. I’m committed to running A360 for the course of an ongoing 25-year journey as a “countdown to the Singularity.”
If you’d like to learn more and consider joining our 2021 membership, apply here.
(2) Abundance-Digital Online Community: I’ve also created a Digital/Online community of bold, abundance-minded entrepreneurs called Abundance-Digital. Abundance-Digital is Singularity University’s ‘onramp’ for exponential entrepreneurs—those who want to get involved and play at a higher level. Click here to learn more.
(Both A360 and Abundance-Digital are part of Singularity University—your participation opens you to a global community.)
This article originally appeared on diamandis.com. Read the original article here.
Image Credit: Image by Gerd Altmann from Pixabay Continue reading
Posted in Human Robots
#436484 If Machines Want to Make Art, Will ...
Assuming that the emergence of consciousness in artificial minds is possible, those minds will feel the urge to create art. But will we be able to understand it? To answer this question, we need to consider two subquestions: when does the machine become an author of an artwork? And how can we form an understanding of the art that it makes?
Empathy, we argue, is the force behind our capacity to understand works of art. Think of what happens when you are confronted with an artwork. We maintain that, to understand the piece, you use your own conscious experience to ask what could possibly motivate you to make such an artwork yourself—and then you use that first-person perspective to try to come to a plausible explanation that allows you to relate to the artwork. Your interpretation of the work will be personal and could differ significantly from the artist’s own reasons, but if we share sufficient experiences and cultural references, it might be a plausible one, even for the artist. This is why we can relate so differently to a work of art after learning that it is a forgery or imitation: the artist’s intent to deceive or imitate is very different from the attempt to express something original. Gathering contextual information before jumping to conclusions about other people’s actions—in art, as in life—can enable us to relate better to their intentions.
But the artist and you share something far more important than cultural references: you share a similar kind of body and, with it, a similar kind of embodied perspective. Our subjective human experience stems, among many other things, from being born and slowly educated within a society of fellow humans, from fighting the inevitability of our own death, from cherishing memories, from the lonely curiosity of our own mind, from the omnipresence of the needs and quirks of our biological body, and from the way it dictates the space- and time-scales we can grasp. All conscious machines will have embodied experiences of their own, but in bodies that will be entirely alien to us.
We are able to empathize with nonhuman characters or intelligent machines in human-made fiction because they have been conceived by other human beings from the only subjective perspective accessible to us: “What would it be like for a human to behave as x?” In order to understand machinic art as such—and assuming that we stand a chance of even recognizing it in the first place—we would need a way to conceive a first-person experience of what it is like to be that machine. That is something we cannot do even for beings that are much closer to us. It might very well happen that we understand some actions or artifacts created by machines of their own volition as art, but in doing so we will inevitably anthropomorphize the machine’s intentions. Art made by a machine can be meaningfully interpreted in a way that is plausible only from the perspective of that machine, and any coherent anthropomorphized interpretation will be implausibly alien from the machine perspective. As such, it will be a misinterpretation of the artwork.
But what if we grant the machine privileged access to our ways of reasoning, to the peculiarities of our perception apparatus, to endless examples of human culture? Wouldn’t that enable the machine to make art that a human could understand? Our answer is yes, but this would also make the artworks human—not authentically machinic. All examples so far of “art made by machines” are actually just straightforward examples of human art made with computers, with the artists being the computer programmers. It might seem like a strange claim: how can the programmers be the authors of the artwork if, most of the time, they can’t control—or even anticipate—the actual materializations of the artwork? It turns out that this is a long-standing artistic practice.
Suppose that your local orchestra is playing Beethoven’s Symphony No 7 (1812). Even though Beethoven will not be directly responsible for any of the sounds produced there, you would still say that you are listening to Beethoven. Your experience might depend considerably on the interpretation of the performers, the acoustics of the room, the behavior of fellow audience members or your state of mind. Those and other aspects are the result of choices made by specific individuals or of accidents happening to them. But the author of the music? Ludwig van Beethoven. Let’s say that, as a somewhat odd choice for the program, John Cage’s Imaginary Landscape No 4 (March No 2) (1951) is also played, with 24 performers controlling 12 radios according to a musical score. In this case, the responsibility for the sounds being heard should be attributed to unsuspecting radio hosts, or even to electromagnetic fields. Yet, the shaping of sounds over time—the composition—should be credited to Cage. Each performance of this piece will vary immensely in its sonic materialization, but it will always be a performance of Imaginary Landscape No 4.
Why should we change these principles when artists use computers if, in these respects at least, computer art does not bring anything new to the table? The (human) artists might not be in direct control of the final materializations, or even be able to predict them but, despite that, they are the authors of the work. Various materializations of the same idea—in this case formalized as an algorithm—are instantiations of the same work manifesting different contextual conditions. In fact, a common use of computation in the arts is the production of variations of a process, and artists make extensive use of systems that are sensitive to initial conditions, external inputs, or pseudo-randomness to deliberately avoid repetition of outputs. Having a computer executing a procedure to build an artwork, even if using pseudo-random processes or machine-learning algorithms, is no different than throwing dice to arrange a piece of music, or to pursuing innumerable variations of the same formula. After all, the idea of machines that make art has an artistic tradition that long predates the current trend of artworks made by artificial intelligence.
Machinic art is a term that we believe should be reserved for art made by an artificial mind’s own volition, not for that based on (or directed towards) an anthropocentric view of art. From a human point of view, machinic artworks will still be procedural, algorithmic, and computational. They will be generative, because they will be autonomous from a human artist. And they might be interactive, with humans or other systems. But they will not be the result of a human deferring decisions to a machine, because the first of those—the decision to make art—needs to be the result of a machine’s volition, intentions, and decisions. Only then will we no longer have human art made with computers, but proper machinic art.
The problem is not whether machines will or will not develop a sense of self that leads to an eagerness to create art. The problem is that if—or when—they do, they will have such a different Umwelt that we will be completely unable to relate to it from our own subjective, embodied perspective. Machinic art will always lie beyond our ability to understand it because the boundaries of our comprehension—in art, as in life—are those of the human experience.
This article was originally published at Aeon and has been republished under Creative Commons.
Image Credit: Rene Böhmer / Unsplash Continue reading
Posted in Human Robots