Exploring Computational Creativity in AR/VR
Written by: Alegria Haro
In the rapidly evolving world of technology, Augmented Reality (AR) and Virtual Reality (VR) are driving creative processes in unprecedented ways. These immersive technologies are not only transforming industries but also pushing the boundaries of what is possible in design, storytelling, and interactive experiences. To further explore the intersection of computational creativity and AR/VR for my MBA thesis, it’s essential to gather firsthand perspectives from experts who can provide detailed explanations of the subject. As a result, I had the opportunity to sit down with Sikaar Keita, a visionary at the forefront of these innovations. During our discussion, we explored Computational Creativity in AR/VR and how it is reshaping creativity in the industry. In this article, I will be sharing the key insights obtained from this discussion.
Sikaar’s Role in AR/VR and the Metaverse
Sikaar’s work spans across multiple sectors, from entertainment and fashion to architecture and education. Most importantly, his main focus is on bringing innovative ideas to life using AR and VR technologies. He emphasizes that his role is not confined to just one field; rather, it involves creating immersive experiences across different industries. Moreover, Sikaar is especially passionate about spatial computing, a concept that refers to how digital content interacts with the physical world in 3D spaces.
« Creativity is no longer just visual, » he explains. « With AR/VR, you’re talking about multi-sensory experiences—there’s haptics, audio, and visual inputs. We still don’t have taste or smell integrated, but we’re getting closer. » In addition, he adds that the technology is still in its infancy but holds enormous potential to transform how we perceive and interact with our surroundings.
Defining Computational Creativity in AR/VR
When it comes to computational creativity in the context of AR and VR, Sikaar describes it as a three-fold process. The first phase involves ideation—the early stages where moodboarding and wireframing take place. In contrast, instead of using traditional 2D tools, Sikaar employs 3D greyboxing to create rough sketches and sounds. This allows him to experiment with different textures, shapes, and audio elements before moving to the next phase.
« The second layer is where the real technical work happens. »
« This is where everything becomes digitized, and we move from rough ideas to more polished outputs. » Consequently, the need for high computational power is key to make these creations come alive. At this stage, tools like RunwayML and Adobe Sensei play crucial roles, helping to automate tasks and refine the design.
Additionally, Sikaar also mentions the importance of non-linear thinking in his creative process. He frequently uses Mapify.so, an AI-powered tool that enables him to create mindmaps and organize his ideas. « This tool is perfect for creativity, » he says, « because it allows me to structure my thoughts in a way that’s not confined to a straight line, which is often how creativity works in AR/VR. »
Exciting Developments in AR/VR
Sikaar believes we are at a tipping point in AR/VR technology, with several exciting developments on the horizon. « One of the most exciting innovations I’ve seen recently is the Apple Vision Pro, » he says. « It’s making AR/VR more accessible to a broader audience. » Another breakthrough is the rise of holographic displays, which offer immersive experiences without the need for headsets or wearable devices. Sikaar notes that while the technology is still in its early stages, it holds significant potential.
Holographic and Lenticular Displays
« Holographic displays, particularly lenticular displays, allow you to compress multiple images into one, depending on the viewing angle. This creates a layered, immersive experience that changes as you move, » he explains. The implications for artistic direction are profound, as these technologies offer new ways for creators to engage users in a multi-dimensional space.
Consequently, the future of artistic direction in AR/VR is not just about how we see the world, but about how we design spaces that users can experience. « The way you design objects in a 3D environment has to be more thought-out. For instance, if you’re designing a table in VR, you have to consider how people will interact with it spatially, including the fact that no one can walk under it, » he adds.
Computational Creativity in Action: Projects and Applications
Sikaar has been involved in numerous projects that harness computational creativity within AR/VR environments. One of his standout projects involved working on the Apple Vision Pro, where he explored the limits of the technology, especially in the absence of haptic feedback. « Even with great visuals and audio feedback, the lack of haptics can be a limiting factor, » he says.
During this project, he experimented with creating contemplative applications that use AR/VR for more reflective purposes. One such project placed users in a submarine, navigating through an underwater world filled with sea creatures. The experience was designed not just as a visual spectacle but also as a tool for breath regulation. « I started by playing with rockets and planets, but eventually, I moved into more meditative experiences like navigating a submarine, » he recalls.
Sikaar’s approach to computational creativity is deeply rooted in exploration. He believes that everything we create is a remix of something else—a concept famously illustrated in the video series, « Everything is a Remix ». « In AR/VR, we’re taking ideas and transforming them, sometimes with just a few lines of code. It’s much easier to remix and evolve in the digital world than in physical reality, » he notes.
Enhancing User Experiences in the Metaverse
Sikaar is cautious about overhyping AR/VR technologies without a clear use case. « The technology is impressive, but it has to solve real problems or enhance user experiences in meaningful ways, » he says. He points to the failure of Google Glass as a cautionary tale of technology that was ahead of its time but failed to find widespread adoption.
For Sikaar, computational creativity in AR/VR is about finding that sweet spot where innovation meets usability. « We’re early adopters, but we need to bring everyone along with us. If we introduce something too disruptive, people may not understand or accept it, » he warns.
Challenges and Ethical Considerations
Despite the excitement, Sikaar acknowledges that there are challenges in implementing computational creativity. One of the biggest hurdles is producing something that resonates emotionally with users. « People react based on low-level emotions, and immersive experiences can amplify those emotions, » he explains. Bridging this emotional gap is crucial for the successful adoption of AR/VR technologies.
Ethically, Sikaar takes a nuanced approach. « I don’t believe in intellectual property, » he says, explaining that much of human creativity is based on copying and evolving existing ideas. However, he acknowledges that immersive content can be manipulative and stresses the need for responsible use of these technologies.
Future Trends and Advancements
Looking ahead, Sikaar predicts that the next five years will bring significant technological advancements but fewer societal shifts. « We still have a long way to go in educating people about AR/VR, » he says. However, as AI and machine learning continue to improve, he believes that creating high-quality, immersive experiences will become easier and more accessible.
In conclusion, computational creativity in AR/VR is still in its early stages, but it holds the potential to revolutionize how we create, interact, and experience digital content. With pioneers like Sikaar leading the charge, the future of AR/VR promises to be both exciting and transformative.
Read my other article on AI and Fashion here.