"Quality TV" and the body

Oh! Speaking of WestWorld!

Here's the thesis of my TV professor back in South Africa. I spoke about it a little bit in class. It links back to all the discussions that we've had about how an HBO show needs to have violence, rape and boobs. So. Enjoy.

She has other great papers, but I for the life of me can't figure out how USC libraries works... so.

Dr. Alexia Smit (UCT

http://theses.gla.ac.uk/2278/1/2010smitphd.pdf)

Movie Finales?

So I watched the final episode of WestWorld last night... I know, I'm super lame.

Although it was all very interesting, I couldn't help but consider that the episode was a full HOUR AN A HALF! A full-length movie.

This made me consider the possibility of some kind of blend between television and film in which television would serve to set up films. If that makes sense?

I know there is some semblance of that with television shows going on to be adapted for the big screen, but those narratives are often unlinked and non-canonical. What if all the TV we watched was homework in preparation for the next big blockbuster (the finale of the series)? Studios would theoretically be happy because it fulfills their long coveted IP conditions. Plus, the increased budget and communal experience (of going to the movies) could bump up the experience a little bit... Not to mention us TV writers could get some of that film money.

I dunno. Maybe I'm crazy

I don't see race

https://www.youtube.com/watch?v=5qArvBdHkJA

I really enjoyed this, particularly regarding our discussions about the "post-racial, colorblind utopia" in which we are all so lucky to exist.

Rose Gold: The Colour Palette of Milenial Materialism

This may be tangential, but I found this article on Sarah Cwyer's new exhibition really fascinating in relation to what we have been discussing particularly re. materialism/ commercialism + post-feminism;

https://hyperallergic.com/375854/the-color-palette-of-materialism-from-rose-gold-iphones-to-millennial-pink-shopping-bags/

“What is the right way to talk about something? Do people understand more if you communicate with things bought and sold?”

“Several male artists I know have told me I am having a moment,” the female voice says in the film, “as if the moment will pass soon. Rose Gold is having a moment too.” Commercial trends extend to artists and artworks, to social movements and political causes. But where does the wildfire of a trend stop, and what’s left after it burns out? Is there any lasting power? The final line of the film lets this question hang: “Is the Rose Gold iPhone a totem?” the male voice muses. “Maybe you won’t even remember it at all.”

Core Post - TV, Ethnicity + Race

One question has been brought up after reading articles about TV, Ethnicity and Race is is the complexity of Asian American portrayal in television programming postracial? The complexity of Asian American portrayals in television programming therefore certainly appears to reflect a continuum of stereotypes and representations that ranges from negative stereotypes to positive representations of Asian Americans as heroic characters. This definitely reflects a postracial construct of the Asian American as presented by Turner and Nilsen, though Esposito would object that any instance of negative Asian American portrayal represents the continuation of white supremacist ideology in television programming. The scholarship on Asian American representations certainly seems to consist almost entirely of negative portrayals while completely neglecting positive portrayals that can be easily discerned by viewing prime-time television on cable or broadcast, where Asian Americans are portrayed positively as heroes even if they are rarely the primary focus of the narrative. For example, In “Matchmakers and Cultural Compatibility: Arranged Marriage, South Asians, and Racial Narratives on American Television,” Shilpa Dave exclusively focuses on those representations of traditional Indian cultural practices to arrive at a conclusion that American television 13 programming constructs an Other of Indians as different from Euro-Americans (Dave). 

However, this analysis fails to identify the numerous physicians, engineers, computer scientists, and other positive portrayals of Indians that are easily observed through a causal purview of American television on prime-time and streaming content. One of the interesting themes that emerges in the literature on Asian American representations in television is that even positive portrayals are demeaned by theorists as model minority or depictions of the Other. Dave conducts this type of approach as she claims that depictions of South Indians as physicians confirms a stereotype of South Indians as affluent and therefore objects of resentment by white middle- and working-class Americans (Dave). This criticism means that only a narrow representation of Asian Americans could satisfy theorists such as Acham, Dave, Esposito, and others. This representation would depict an Asian American of working-class or immigrant status who faces racial oppression from whites. 

Depictions that present working-class or immigrant Asians as overcoming the odds to achieve success would be criticized as the model minority stereotype or favoring the end of affirmative action policies. Depictions of Asian Americans of higher socioeconomic status would face criticism for also promoting the model minority stereotype or presenting them as the Other, objects of resentment by lower class whites. Indeed, the literature shows different conceptualizations of the model minority stereotype. The most common usage of the term conveys the stereotype as negative for one or more reasons. For some scholars, the model minority stereotype is negative because it overlooks problems of Asian Americans related to injustice and inequality as a result of white dominance. For other scholars, the model minority stereotype is negative because it presents Asian 14 Americans as the Other, different from whites even though this difference relates to positive attributes. Lastly, some scholars, such as Megan Reynolds (see discussion below), refer to positive stereotypes that can be defined as the model minority stereotype. There appears to be a lack of clarity in the scholarship about what, exactly, the model minority stereotype is in terms of moral connotations.

The "Anti-Pepsi Ad"...?

http://www.independent.co.uk/arts-entertainment/tv/news/heineken-advert-commercial-pepsi-trans-climate-change-feminism-video-a7704651.html

Trump boasts of highest TV ratings since ‘the World Trade Center came down’

https://www.washingtonpost.com/news/post-politics/wp/2017/04/24/trump-boasts-of-highest-tv-ratings-since-the-world-trade-center-came-down/

Speak No Evil: Mass Media Control in Contemporary China

https://freedomhouse.org/report/special-reports/speak-no-evil-mass-media-control-contemporary-china

PRIMETIME PEDAGOGIES: RACISM, PRIMETIME TV, AND THE LIMITS OF DISSENT

https://www.flowjournal.org/2017/04/primetime-pedagogies/

Buffering

I wanted to share Neta Alexander's fantastic article on buffering (linked below). I think it's very relevant to our discussion of televisual Web platforms because, as she notes, buffering is a ubiquitous experience that doesn't get much attention. While it is often imagined to be an anomalous glitch, Alexander draws out attention to how the dread of seeing that spinning circle, and our obsessive refreshing of a page, produces a temporal disjunction that is actually fundamental to the phenomenology of web viewing and contradicts the techno-utopian promise that "waiting is over."

https://muse.jhu.edu/article/645448

BRUJOS Artist Statement

This is from the BRUJOS Artist Statement (posted online):

BRUJOS addresses the current the landscape of television: Gay men and people of color are more apparent than ever in mainstream television. Sitcoms like “Blackish” and “Fresh Off The Boat” depict families of color attaining the American dream. Programs such as “Looking” and “Modern Family” feature middle and upper class white gay men searching for love or functioning as an all-American family. While these shows are representational achievements, they are not revolutionary ones.

In these cases, ethnic, racial and sexual minorities are portrayed in ways that support dominant culture, narratives, values and relationality. Commercial television studios and networks preoccupied with “scale” and “big data” seldom produce aesthetically or politically challenging work to secure mass viewership. This only further marginalizes non-normative people who’s lives, realities, and stories do not fit within their depictions and who devise new ways of being under the pressures of inequality that are never affirmed.

For the creators of Brujos, there is not much to be gained by larger strives in mainstream representation (I personally would not wholesale dismiss such endeavors for mainstream representation). They articulate a strong link between neoliberal incorporation of “diversity” for profit and the solidification of the same norms—just dressing up dominant culture in new clothes. Do we think that commercial television will always "seldom product aesthetically or politically challenging work?" Will this type of cultural work mostly be found in peripheral formats (increasingly more common in the post-TV world).

Side note: as a PhD student interested in cultural/queer/performance studies, I will now be binging this show through finals!

Core Post 5 - The Handmaid's Tale Marketing

It was very interesting reading the texts during the weekend of the LA Times Book Fair at USC, where Hulu’s new show The Handmaid’s Tale was being marketed, due to Margaret Atwood’s panel.

In order to maximise the digital show’s physical presence on campus, Hulu hired around thirty actresses to dress up in costume, and walk silently in-sync with one another amongst the book fair. Those brave enough to approach these silent women were handed stick on tattoos which stated “Don’t Let the Bastards Grind You Down” - in Latin, no less ( "nolite te bastardes carborundorum”).

In her essay “Television Outside the Box”, Lotz writes about a “sort of quintessential marketing phenomenon” which “begs the question of whether film studies can continue to talk productively about texts, aesthetics, ideology, and identity in new media… without also talking about the industrial landscape and marketing practices that animate and fuel new media development on a wide scale”. This immersive marketing for The Handmaid’s Tale at the Los Angeles book fair illustrated a venture into this wider media interactive landscape -- these Latin clues act like a secret code, but it excites fans and non-fans alike, who can share photos or Tweet about what the see, as both the confusion and excitement for the series builds.

Similarly, for those baffled by the presence of these women, all they had to do was look up the hashtag quote on the cards they gave out. A simple commanding symbol which indicates where one may find the answers, again making this marketing more immersive, than didactic. This points towards another of Lotz’ statements, that “technologies involved in the digital transition enabled profound adjustments in how viewers used television and necessitated modifications in many other production processes” (49).

 And it is not alone in its unique "beyond television" marketing -- as noted by an article by Gizmodo; "South by Southwest, the Austin-based tech and entertainment expo, is known for hosting some experimental TV promos. This year, American Gods has a giant buffalo, The Man in the High Castle is opening a Resistance Radio station, Better Call Saul and Twin Peaks opened restaurants for Los Pollos Hermanos and Double R Diner. But none of those compare to the uncanny valley insanity that is whatever’s going on for The Handmaid’s Tale." (http://io9.gizmodo.com/a-bunch-of-handmaids-tale-handmaids-are-creeping-people-1793185332)

 The Handmaid’s Tale’s marketing is under scrutiny for Elizabeth Moss’s inflammatory comments declaring it “not a feminist” tale. Clearly this is a) untrue, and b) a line she must quip according to higher powers, in order to make the show more appealing to a wider audience. Which takes us back to conversations around “feminism” being a dirty word -- which Atwood herself managed to tactfully navigate without treading on the marketing hopes of the producers, by saying: "I always want to know what people mean by that word. Some people mean it quite negatively, other people mean it very positively, some people mean it in a broad sense, other people mean it in a more specific sense. Therefore, in order to answer the question, you have to ask the person what they mean."

VCR and Post-TV (Core-Post 5)

In Lotz's paper "Television Outside the Box," the VCR was cited as one of the "first technologies to trouble understandings of television" by being a transitionary development between traditional forms of tv, which dictated when you watched a type of content, to what we describe today as Post-TV digital media (52). Not only did VCR's allow people to view film, which at the time was considered more artistically credible, but gave viewers freedom from the bombardment of commercials that traditionally interrupted a story's flow. Reading this paper gave me a sense of nostalgia towards my old VHS tapes but also led me to think about how corporations have evolved advertisements to make them more watchable and how they’ve worked around viewers’ to watch commercial-free content.

Like in early television shows like The Goldbergs, corporations seemed to find ways to embed their advertisements into tv/film-like content, some specifically disguising commercials into VHS-ready plot/character-focused story-telling. With this in mind, McDonald’s straight-to-video series The Wacky Adventures of Ronald McDonald is a perfect example. From 1998-2003, McDonald’s sold VHS tapes in stores and used popular Nickelodeon-esque animation and humor to create brand loyalty in children (in fact they were created by the same creators/musicians from popular Nickelodeon shows). These videos put McDonald’s trademark characters into a world and situations that children could respond to, keeping their interest for longer than a one or two minute commercial. What seems smart about this strategy is that it used a tangible object (a vhs tape) to create the idea that what is essentially an extended commercial can actually be seen as a gift or reward from parent to child. The convergence was from store to TV, creating a new means of increasing revenue in addition to brand awareness. Moving forward to today, these VHS tapes might be obsolete but McDonalds has found new ways to appeal to children in contemporary forms. happymeals.com is an interactive site where children can play games, watch videos, and check out the new toys offered in happy meals. They can do it with more mobility than a VHS tape, which has to go directly into a television, which allows them to interact with McDonalds at anytime they want. The site is essentially an extensive advertisement whose sales-based agenda is more entertaining and less skippable than a commercial.

Core Post 5 - Post-TV

As television shows fight to stay relevant in an increasingly crowded market, the guarantee of audience becomes much less definite. In order to distinguish themselves, shows often resort to the post-TV techniques laid out in Tara McPherson’s article, “Reload: Liveness, Mobility, and the Web,” to varying degrees of success/mockery. For instance, to release the date for the upcoming Game of Thrones season premiere, HBO used a Facebook Live feed that would allow viewers to actively participate in the announcement. However, the somewhat perplexingly bizarre format they chose to deliver this information was, in fact, a melting block of ice, with the date hidden within.

The choice to present the premiere date via ice perhaps best evidences McPherson’s assertion about the web surfer’s desire for transformation, as in an “activation of our desire for what’s next” (204). Since the premiere date would remain unknown until the ice literally transformed into a melted state, viewers were encouraged to watch the largely static shot carefully, noting any changes that might provide hints. Similarly, the (illusion of) liveness—as foregrounded by the use of Facebook Live broadcasting—allowed viewers to await this transformation en masse.

Viewers watching the livestream were encouraged to comment on the feed with the words “FIRE” or “DRACARYS” in order to melt the ice block more quickly. These comments were ostensibly tracked with a “fire meter” in the corner of the screen, which showed how close they were to releasing the next burst of flame. The use of the fire meter also seems to clearly indicate an appeal to the web’s desire for volitional mobility by “structuring a mobilized liveness which we come to feel we invoke and impact” (202). Due to the large number of people watching the feed, however, it would have been virtually impossible to correlate one’s own commenting efforts on an actual scale, as the fire meter seemed to refill regardless of individual efforts. Thus the intention to provide volitional mobility was in place, but the actual sense of true volition was not readily apparent.

Finally, the melting ice display also seemed to be designed to appeal to the scan and search practice, which McPherson terms as “a fear of missing the next experience or the next piece of data” (204). Surely, the majority of viewers watching the ice melt were not riveted by the display itself, but simply didn’t want to miss the information and have to rely on secondary sources. However, even with the interactive component, the video stream of melting ice more closely aligned the viewing with the typical TV scan-and-search experience—i.e. not wanting to change the channel—than the typical web experience. In an environment where people are used to being able to click away and search for their own information, a 40-minute, nearly silent livestream contrasted with that ingrained experience, and thus made the announcement hugely vulnerable to criticism and memes.

Game of Thrones season seven premieres July 16.

Core Post 5 - OpenTV

OpenTV is a welcome attempt at disrupting hegemonic media practices by offering a platform for marginalized artists to represent their experiences and communities through artistic endeavors. The common theme running through this week’s articles is that the mentality assumed by the major media conglomerates is that the Internet is a fundamentally commercial medium, so seeing this kind of initiative (undertaken by a younger member of the academy, no less) provides some hope for the Internet’s democratic potential.

With OpenTV taking the initiative to create space for underrepresented identities, it is also interesting to recognize similar attempts by more mainstream media entities – notably Amazon Prime, with Transparent, and Netflix, with Orange is the New Black. What we see here are two very different approaches to representation: one DIY, one professional; one open to numerous artistic modes, one beholden to traditional narrative structures (even as they are modified and disrupted by the streaming model). Ultimately, whatever gains in representation are made by the streaming services are somewhat undercut by the fact that their programming strategies are not fundamentally committed to political acts of representation. As we rightly celebrate the emergence of non-hegemonic narratives in mainstream media and celebrate their industry awards, which in turn allow for greater exposure of these sorely-needed narratives, we should also continually recognize the work that remains to be done, both within these texts and in texts that are not produced. In the final analysis, profit remains the primary motivation here. On the other hand, OpenTV presents its mission openly, even supplying a manifesto:

“WHO WE ARE

A beta platform for original series about independent arts and artists

Open to artists who identify as queer, trans, and cis-women and persons of color

Open to diverse communities left out of mainstream film and television production

Open to diverse forms of art, from dance and poetry to stand-up and drag

Open to diverse forms of storytelling from comedy to music video, drama to reality television

Open to diverse strategies for showcasing art and television

Open to promoting work already released online or offline”

And yet, OpenTV does have nearly the reach enjoyed by Netflix and Amazon Prime. As we ruminate on these tensions between corporate TV online and democratic online media, the question of scope and reach seems significant.

It's the Future...

Seeing how many of us LOVE Rick and Morty, apparently a VR game is coming out soon!
Though video games based on TV shows have existed literally since forever, the fact that you can interact with the show's storyline via VR is really really creepy.

http://store.steampowered.com/app/469610/

It's the future.

Core Post 5: Post-TV and the "User"

This week’s readings explore the entanglement between the televisual and the digital web. The authors note many different attributes intensified or rendered irrelevant during this ongoing moment of technological transformation. In different ways, they all take up Lisa Park’s call that these moments of “chaotic indeterminacy of new technologies” are rich moments for social and cultural analysis precisely because they can reflect existing social and economic structures (134). In this response, I want to focus on the production of the “individual” as it emerges from and is subjected to larger promises of technological freedom and control. It seems that in these moments of “chaotic indeterminacy,” there often is a “lure” toward an optimistic reading of new technology. Lisa Parks and Tara McPherson both caution us against any liberatory reading of what seems to be an increased amount of agency granted during the Post-TV era. Parks reminds us that flexible microcasting—or personalized TV—aligns with the desire to “program” the self, a desire at the heart of US neoliberal logics (Parks 134). Similarly for the WWW, McPherson traces how the “Web constitutes itself in the unfolding of experience” through what she describes as volitional mobility, scan-and-search, and transformation (McPherson 200).

Tara’s phenomenology of the Web was a great method for explicating the dynamic ontology of the Web by beginning on the level of the experiential. As a method, phenomenology interrogates the question of “liveness” by distinguishing between perceived “liveness” (through the screen image) and experienced “liveness.” While reading Tara’s phenomenology of the Web, I was reminded of my previous employment (prior to my PhD program) as a Product Marketer for an online web company. My job as a Product Marketer was to manage a cross-functional team of web designers and developers to optimize the website (which functioned as the outward-facing “packaging” of our subscription software product). We utilized a wide array of software to best understand “user behavior” in order to be more effective product marketers. A simple version of our team’s goal was to help and persuade a new user to navigate from a landing page to ultimately subscribe to our product. In our arsenal were programs such as Optimizely A/B testing software, a program that allow us to segment the site visitors and show them different versions of the same site flow—perhaps with a different leading image, or different call-to-action buttons (Interestingly, part of Optimizely’s success as a testing platform was that the founder developed the technology to help run Obama’s web campaign for the Presidency. A condensed version of Optimizely’s marketing promise was that it could transform user behavior data into real political change in the real world). Another program we would use was CrazyEgg, a “heat-mapping software” that tracked cursor/click/scroll activity on web pages. As Tara describes the movement of the cursor, I was thinking of how the illusion of interactivity promised by the web is also the same vehicle by which new surveillance and behavior software masks itself. In a simplified way, Tara’s phenomenology of the web could also be read as an ideal “user test.” But, perhaps like the Obama campaign example, such data-fication of the individual user can potentially be used for positive political change.

Example of "heat-mapping"

An additional thought to conclude: I’ve been thinking about how this notion of “flow” must be conceptualized differently in the post-TV/digital era. As McPherson notes, debates about “flow” (and segmentation) have been at the core of televisual studies. But when we think of digital platforms, online television is not simply a uni-directional broadcast of content but is also susceptible to the instability of the web in general. Users flow onto sites through traffic channels and can cause a website to “crash” (I think this happened when hbogo.com was overloaded during the Season 5 (?) premiere of Game of Thrones). This is an incomplete thought, but I am interested in how to conceive of “flow” on the Web, when the ontology of the Web is comprised of a dynamic confluence of traffic, flows, and segmentation.

Core Post 4 - Television Outside the Box

Much has been written recently on the collapsing ontologies of television – a topic well covered by Amanda Lotz’s article. And yet, within this increasingly nebulous landscape, there still remain clear markers of division between what we might call “television” and what we might call “cinema.” Following Lotz’s anecdote about how “‘watching television’ became acceptable to those who previously denigrated the device once it could be used to screen the works of master filmmakers” (52), I wish to briefly examine the introduction of the streaming service FilmStruck to elucidate the still tangible distinction between the two forms in the streaming age.

Launched late last year, the streaming service FilmStruck, as a joint venture between Turner Classic Movies and the Criterion Collection, establishes itself as a streaming service “for film lovers, by film lovers.” In the crowded landscape of streaming services dominated by Netflix, Hulu, and Amazon Prime, FilmStruck is attempting to draw itself along lines of aesthetic and ontological distinction. While certainly not the first cinematically-minded streaming service (MUBI and Fandor were first), FilmStruck’s brand-name recognition between both TCM and Criterion works to establish itself as a major player in the already crowded streaming landscape. The difference being, of course, that FilmStruck is a service for Films (capital F), and not the continually redefined video content of a Netflix Original.

Clearly, our contemporary media landscape is not quite ready to shed the previous ontological divisions of media forms, even as we edge closer to a type of convergence. The question for me is, does the existence of FilmStruck suggest the continuation of formal division, or is it simply an attempt to stave off the inevitable singularity?

Core Post 3 - Flexible Microcasting

Lisa Parks’ article on gendered and generational audiences has me thinking about BuzzFeed original videos. Her article was written at the historical moment when traditional media conglomerates were enacting their first forays into the new medium while new media conglomerates, like BuzzFeed, had not yet cemented their status as major providers of content.

Today, BuzzFeed provides enormous amounts of digital video content published under the auspices of several different channels: BuzzFeedVideo, BuzzFeedBlue, BuzzFeedViolet, BuzzFeedYellow, etc. Each channel has its own target audience and genre-focus, microbranding itself under the parent brand of BuzzFeed. BuzzFeedYellow, which has recently been rebranded as Boldly, represents an extension of Parks’ consideration of how a gendered and generational audience focus is enacted in a digital space. The Oxygen network’s “insistence on the possibility of intergenerational practice” (147), which Parks describes as a strategy of corporate feminism underlying the project, as well as The Den’s exemplification of “the notion that television culture is ultimately incompatible with cyberculture” (151), have evolved side-by-side in the years since Parks article into a hybrid form, advancing both Oxygen and the Den’s focus on particular audiences, while navigating the slippery format of TV-on-the-Internet or the Internet-on-TV.

Boldly most clearly represents this evolution, while also demonstrating the simultaneous limits of corporate feminism that underwrite the initiative. With programs like Women Try, Cheap Vs. Expensive, and Beauty & Cosmetics, Boldly engenders a programming strategy that engages in notions of traditional femininity and a rhetoric of capitalist consumption. In fact, BuzzFeed’s programing strategies across their multiple channels seem to collapse the capitalist imperative of television with its narrative strategies. Rather than interrupt the flow of narrative information with commercial breaks, BuzzFeed, with their product review videos, turns commercials into the text itself.

Still, I wonder if Parks would find notes of positivity in this BuzzFeed project, despite whatever limitations I have partially gestured toward.

Core Post 5: Post-TV.. and the emergence of VR/AR

Facebook has presented their version of Virtual Reality, Facebook Spaces . A far cry from anything other platforms are doing with this medium, Facebook Spaces allows users to choose cartoon versions of themselves to virtually hang out with other cartoon versions in a 360- real environment. I begin with this introduction to further analyze and ponder the intersection between virtual reality and/or augmented reality with the media of Television. What role will viewers and content creators play when creating a media immersive world?

Amanda Lotz explains in “Television Outside the Box: The Technological Revolution of Television”, how through the emergence of technology and the digital transition “viewers used television and necessitated modifications in many other production processes” (49). With the advent of smartphones, television removed itself from the constrained space of the living room, its spatial beginnings, and through this freedom allowed itself to be digested in other spaces. Taking this further, given the freedom of spaces and emerging technology of Virtual Reality and/or Augmented Reality, where and what will the intersection lie between the televisual world and the real? What are the implications? What can be afforded? What is lost?

Black/Mirror, episode: Fifteen Million Merits

The current Post-TV landscape includes Youtube, a self-uploading, relatively unbiased space for all voices to be broadcast. A red-flag that Virtual Reality and/or Augmented Reality (VR/AR) cultivates is the ‘who’ of the creation? Who is creating these virtual spaces? Currently, a white-male dominated industry, the complication for another medium to be run by white-males is regressive. Any affordance that virtual reality and/or augmented reality will generate will undoubtedly benefit its primary creators, white-males. 

Which brings me back full circle to the first reading of the course, Raymond Williams’ Television: Technology and Cultural Form. According to him, television even with its technological advances, is seen as inferior to cinema (22). But, what Raymond Williams’ couldn’t have foreseen is the emergence of mainstream devices such as the Google Cardboard. Television will have the outlet to become intensely immersive into our real world, in so much, that it will be a part of the landscape. However, I do believe Williams’ take on flow can be applied to the VR/AR. The flow that Williams describes will be so interconnected with our daily life, we won’t be able to distinguish between the real and the digital.

Check out the video below to visualize what a world with AR could look like.