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I'm a single issue voter, I want the warm lights back. Streetlights are too blue. Headlights are too bright. It's a crime against nature and God. We need to demand 2800K or below color balance for all outdoor lights. Some cities regulate 3000k max, that's still too damn blue.

Everyone's generating Ghibli's when you could be converting Ghibli films into the style of depression era photographer Dorothea Lange.

If you don’t understand Diablo, Elon is literally playing like 15hrs a day nonstop to have made it this far in the latest season If you work for Elon, he’s playing Diablo during meetings and phone calls, he’s eating meals playing Diablo. He hasn’t changed his clothes in days

when I was 16 I cornered the market on fishfeed for about a week and was the only supplier on the english speaking internet in the early 2000s a family friend had a huge home aquarium, wall to wall floor to ceiling with sharks and eels and shit. I think he was a coke dealer. I helped him maintain it through junior high school and was spending a lot of time on a forum called reefcentral learning about lighting systems, taking care of the fish he had, and helping him source 50 pound bags of bulk fishmeal. i realized how much money was involved all this and started flipping chinese spirulina powder and shrimp meal on ebay and reefcentral that I was buying for nothing on alibaba, and printing out labels to cover theirs that said FishFeed International. I was probably clearing a few hundred dollars a week, nothing crazy but I was 16 this guy on the buy/sell forums said he needed two metric tons of protein and I figured he was trolling but I told him I could get as much as he wanted, so I tried to set up a direct shipment between the source I was buying from on alibaba and him. But they wouldn't give me that much credit without a registered importer, so I used my FishFeed International name and my friends marine contracting license and we took 15% off the top just for brokering it within a couple of weeks the buy/sell forums were all posts like that trying to get tons of fishmeal. Everyones suppliers were either raising prices or totally out. I tried to repeat the arbitrage but the seller on alibaba was asking for prepayment up front and the other sellers I tried wanted insane prices I thought it was over, but at the time the most replied to post on reefcentral was a petition for trying to stop krill harvesting near scotland, it seemed like a lost cause to me and I went looking to see if there was a way to buy the krill. Back then the internet sucked and it wasn't uncommon to find open FTP servers. I found the backend of the government bidding system for the krill harvest and just edited FishFeed International into the bidding spreadsheet with an order for 12 metric tons. I didn't really realize how insane that volume was but I had just sold 2 tons and there were posts all over the forums asking for more. Later I learned the guy who bought the 2 tons was supplying a bunch of zoos The krill harvest came in just as la nina peaked and a huge storm hit the whole west side of south america. Anchovy prices exploded and the fishmeal stock was gone. People were begging for supply on reefcentral and nobody had any there was no exchange or pricing structure , i just said i had a bioequivalent substitute and started taking orders quoting people 10x a normal price, nobody blinked. I got $20k worth of orders in the first day and by the end of the week I had over $300k in my paypal i started forwarding the delivery addresses and weights from the orders to the krill collectors and paid about 1/5th what I was charging on reefcentral for it it maybe lasted three weeks until I ran out of krill to arbitrage and by that point big companies were undercutting me anyway but for a brief moment in time I ruled with an iron fist

*Slavoj Zizek sniffs loudly touching his nose* Ah yes yes the corporate pastoral. This is a perfect ideological object. You see, you see here Sam, he pretends to give us a modest, one could say intimate conversation between two friends. No. This is a mythopoetic act of ideological laundering. *Sniff* This is not, you see, this is not a product announcement. No. Sam is giving us a myth, you see. *Sniff* This film, if one can call such a thing a film, is a strategic myth making artefact to construct an origin story. This is a biopic about themselves played by themselves, you see. Masturbation. *Sniff* The hubris is astounding. *Sniff* This opens, what do we see, what do we see first? *Sniff* We see the power shot, the money shot yes? Looking up from the ground up into the towering city. We are small. Silicon Valley is big. Money you see, technology, forbidden sex, and so on. San Francisco to be precise. Yes? *Sniff* Then what? Soft lighting, yes, soft focus, flowers in the city and so on. Two friends. No. *Sniff* These are not two friends. These are the ideologues of techno capital, you see. *Sniff*. The priests preparing you for the sacrament of their new device. *Sniff* They smile, you see, "We know we are building godlike machines, but we are such nice people!" *Sniff* Yes very good Sam. And thank you. They shake our hands and smile, while the machine, you see, the machine takes our jobs and our soul, or what have you. *Sniff* Yes? But the cafe, what a nice cafe I must say. The cafe invites us in. Not just two friends together, you see. We are, as the viewer, we are also their third friend. *Sniff* Perhaps lover, or some such. We will see how the night goes, you know? *Sniff* But Sam, yes, he does not care about money. Power? No. *Sniff* This boy king, the caring sovereign, he worries about us. The little people you see. *Sniff* The master holds the weight, the original sin, so we may enjoy without guilt. *Sniff* Sam is our Jesus, so we can ask the computer our little questions and not worry. Not to worry about the labor, or the exploitation, or the environmental costs and so on. *Sniff* So you see, this is, you see this is to build a moral legitimacy around leadership figures at at a time when, you know *Sniff* AI is taking our jobs, and "How will I feed my family" and "Oh no we are all going to die" and so on. *Sniff* Notice. Notice they do not talk about technology you see. Values. *Sniff* This is the hand of ideology that distracts you while the other, the other hand you see, it takes from you. But thank you for the coffee Jony, and yes the iPhone. *Sniff* Jony is the great thinker Yes? And Jony gives us emotional connection, yes? And the family man stands hand in hand with Sam, as deliberate contrast to the tech overlord he pretends not to be, you see. *Sniff* The European family man with the children and, you know, the forbidden sexual desires of San Francisco and what have you. *Sniff* We have our origin story, the myth you see, chance encounters in the cafe. *Sniff* "It is funny running into you here Jony!" Yes it must be nice what are the odds of such an encounter. *Sniff* And what? Personal anecdotes they give us, yes, some shared vision to reinforce authenticity in a film which, let us be honest for a moment, this could very well be in the post credits scene of a marvel movie or, you know *Sniff* some such profane act of capitalist entertainment, a mickey mouse adventure or what have you. *Sniff* And for what? For what is all of this labor and AI and devices and so on *Sniff* So we can find ourselves in a moment, lost, "Oh no" we say, "Oh no I wonder. I have a question to which there is no answer, I cannot think for myself?" *Sniff* No. Let us go to the phone yet again. We must ask the device. But no. You see. *Sniff* My phone is in my pocket. We need a new device you see. Yes? *Sniff* A device which, a device which always listens, you see. *Sniff* An all knowing god who can answer my questions, and tell me what to think, and what should I say, *Sniff* what should I do, and I am afraid and oh no who am I and I am sad and who should I fuck and so on. Yes? *Sniff* So you see *Sniff* This film is not a documentary yes? *Sniff* What we see here is christ carrying the cross alone through the streets. *Sniff* But not a cross you see. Jony. Jony gives us the iPhone and Sam puts AI inside the device. *Sniff* And now? Now we don't need to think *Sniff* We can just have the AI and the AI, you see, *Sniff* It's wonderful.

I worked on these for about a year at Snap, and I have a million negative things to say about the experience and the device, but I think the product speaks for itself and is obviously bad. I don’t want to get into the specifics because I might inadvertently break an NDA, and would probably hurt some people’s feelings who worked on it, but it’s really a disaster.

Men only want one thing and it's 5-axis 3D laser welding and laser cutting systems.

This is an incredibly bold move, they're taking ten thousand GPUs into international waters to avoid the regulatory framework Biden and the EU have adopted. The fallout of a corporation trying to establish itself as a nation state is going to be wild.

Now imagine being a 3 year old elder spider in central Colombia who has lived in a dark cave for all its life, catching and eating bugs, looking forward to the rainy season when the crickets would come back to mate. And imagine if in a week a tree that once provided shade to the

Vision Pro mega-thread 1/5: My advice for designing and developing products for Vision Pro. This thread includes a basic overview of the platform, tools, porting apps, general product design, prototyping, perceptual design, business advice and more. Disclaimer: I’m not an Apple representative. This is my personal opinion and does not contain non-public information. Overview: Apps on visionOS are organized into “scenes”, which are Windows, Volumes, and Spaces. Windows are a spatial version of what you’d see on a normal computer. They’re bounded rectangles of content that users surround themselves with. These may be windows from different apps or multiple windows from one app. Volumes are things like 3D objects, or small interactive scenes. Like a 3D map, or small game that’s not immersive. Spaces are fully immersive experiences where only one app is visible. That could be full of many Windows and Volumes from your app. Or like VR games where the system goes away and it's all custom content. You can think of visionOS itself like a Shared Space where apps coexist together and you have less control. Whereas Full Spaces give you the most control and immersiveness, but don’t coexist with other apps. Spaces have immersion styles: mixed, progressive, and full. Which defines how much or little of the real world you want the user to see. User Input: Users can look at the UI and pinch like the demo videos show. But you can also reach out and tap on windows directly, sort of like it’s actually a floating iPad. Or use a bluetooth trackpad or video game controller. You can also look and speak in search bars, but that’s disabled by default for some reason on existing iPad and iOS apps running on Vision Pro. There’s also a Dwell Control for eyes-only input, but that’s really an accessibility feature. For a simple dev approach, your app can just use events like a TapGesture. In this case, you won't need to worry about where these events originate from. Spatial Audio: Vision Pro has an advanced spatial audio system that makes sounds seem like they’re really in the room by considering the size and materials in your room. Using subtle sounds for UI interaction and taking advantage of sound design for immersive experiences is going to be really important. Make sure to take this topic seriously. Development: If you want to build something that works between Vision Pro, iPad, and iOS, you'll be operating within the Apple dev ecosystem, using tools like XCode and SwiftUI. However, if your goal is to create a fully immersive VR experience for Vision Pro that also works on other headsets like Meta's Quest or PlayStation VR, you have to use Unity. Apple Tools: For Apple’s ecosystem, you’ll use SwiftUI to create the UI the user sees and the overall content of your app. RealityKit is the 3D rendering engine that handles materials, 3D objects, and light simulations. You’ll use ARKit for advanced scene understanding. Like if you want someone to throw virtual darts and have them collide with their real wall, or do advanced things with hand tracking. But those rich AR features are only available in Full Spaces. There’s also Reality Composer Pro which is a 3D content editor that lets you drag things around a 3D scene and make media rich Spaces or Volumes. It’s like Diet-Unity that’s built specifically for this development stack. One cool thing with Reality Composer is that it’s already full of assets, materials, and animations. That helps developers who aren’t artists build something quickly and should help to create a more unified look and feel to everything built with the tool. Pros and cons to that product decision, but overall it should be helpful. Existing iOS Apps: If you're bringing an iPad or iOS app over, it will probably work unmodified as a Window in the Shared Space. If your app supports both iPad and iPhone, it’ll look like the iPad version. You can use the Ornament API to make little floating islands of UI in front of, or besides your app, to make it feel more spatial. But that’s not something all existing apps get automatically. Ironically, if your app is using a lot of ARKit features, you’ll likely need to ‘reimagine’ it significantly as ARKit has been upgraded a lot. If you’re excited about building something new for Vision Pro, my personal opinion is that you should prioritize how your app will provide value across iPad and iOS too. Otherwise you're losing out on hundreds of millions of users. Unity: You can build to Vision Pro with the Unity game engine, which is a massive topic. Again, you need to use Unity if you’re building to Vision Pro as well as a Meta headset like the Quest or PSVR. Unity supports building Bounded Volumes for the Shared Space which exist alongside native Vision Pro content. And Unbounded Volumes, for immersive content that may leverage advanced AR features. Finally you can also build more VR-like apps which give you more control over rendering but seem to lack support for AR Kit scene understanding like plane detection. The Volume approach gives RealityKit more control over rendering, so you have to use Unity’s PolySpatial tool to convert materials, shaders, and other features. Unity support for Vision Pro allows for tons of interactions you’d expect to see in VR, like teleporting to a new location or picking up and throwing virtual objects.

Want to increase your cognitive function by over 20%, without ingesting anything, or working hard to achieve it? Get yourself a CO2 monitor, and open the doors and windows. It has such a huge impact. I'd have them in every room if I ran a company with an office.

I'm a single issue voter, I want the warm lights back. Streetlights are too blue. Headlights are too bright. It's a crime against nature and God. We need to demand 2800K or below color balance for all outdoor lights. Some cities regulate 3000k max, that's still too damn blue.

If you don’t understand Diablo, Elon is literally playing like 15hrs a day nonstop to have made it this far in the latest season If you work for Elon, he’s playing Diablo during meetings and phone calls, he’s eating meals playing Diablo. He hasn’t changed his clothes in days

This is an incredibly bold move, they're taking ten thousand GPUs into international waters to avoid the regulatory framework Biden and the EU have adopted. The fallout of a corporation trying to establish itself as a nation state is going to be wild.

I worked on these for about a year at Snap, and I have a million negative things to say about the experience and the device, but I think the product speaks for itself and is obviously bad. I don’t want to get into the specifics because I might inadvertently break an NDA, and would probably hurt some people’s feelings who worked on it, but it’s really a disaster.

Everyone's generating Ghibli's when you could be converting Ghibli films into the style of depression era photographer Dorothea Lange.

The 'problem with AI art' stems from deep rooted cultural, psychological, and educational differences. Some key issues: - Most people mistakenly conflate craft with art. - Most don't know the last hundred years of art history, or intentionally reject it outright. - Most people fear change, and adapting your model of the world to a new world that's rapidly changing through technology is repulsive to many. Especially if it challenges too many closely held beliefs at once. - And generally, we all live with self imposed limitations, rules for thinking, how we're allowed to behave, boxed in by our own habits. Being confronted by someone living outside of that can shock people into anger. People would rather condemn different ways of thinking than question their own boundaries of thought. - Related to that last point, most people have a narrow set of rules for what is and is not art. Asking "Is this art?" is a dead end question. You're left with no deeper understanding of whatever it is you're looking at. It's better to ask: who made this, why, and how? What cultural forces might explain this? Can I understand this from a different perspective? But questioning an artwork and trying to understand it more deeply is something most people have never done with serious effort. It's easier to label a challenging artwork as 'not art' and run away from it. An open curious mind is the best way to experience art. On the topic of craft and art, there's a very popular school of thought that the more physical labor goes into creating an artwork, the better it is. Especially if the artwork is hyper realistic, and large. I think this is one of the most commonly and closely held beliefs about art, and people hate being challenged on it. If you showed most people two similar photorealistic paintings side by side, and then revealed that one had been painting using the aid of a projector, they'd quickly respond that using a projector is 'cheating' and might even say its no longer an artwork. It's worth pausing and questioning that for a moment. Why is it 'cheating'? Who created these rules you have to follow? Why are they 'the rules' and not some other rules? Or no rules at all? What rules do you personally have for art? Did you come up with them, or find them, or did someone tell you them? Back to projectors and 'cheating'. Realistic paintings from the European Renaissance period are often cited as examples of Art with a capital 'A'. But tracing projections was a technique used during the middle ages and renaissance periods via early optical techniques that eventually lead to the camera. People have been tracing projections for over 600 years, it's a core technique that helped the advent of perspective and realism in paintings. Its no more 'cheating' today than it was then. It was also common for these renaissance era artists to lay down the sketch for a painting, and then have an assistant do the actual painting. You'd be labeled a heretic and art-criminal these days if it was revealed you worked the same way. Sometimes, the way an artwork is made is a core part of its meaning, other times its not. Again, it's better to be curious and ask if it really matters for that piece, rather than to judge an artwork on a set of rules that may not be relevant to it. Eventually those early optical techniques and tech improved and we got the camera. Some people still don't think photography is art and it's been over 200 years. Photography directly challenges this idea that suffering for countless hours dedicated to the craft of realism is a fundamental part of what art is. If you can 'just' point and click for a realistic image then the definition of what art is and isn't has to change. How you understand quality changes. You have to expand your own self imposed limitations and rules. But if you know any photographers, you know they work just as hard as any other artist. But, generally, it's not the amount of labor that's important. Sometimes you can create an artwork very quickly, serendipitously, as if it was always there and you just had to reveal it. And that's just as valid. The art of photography, in part, is about curation, editing, and creative decisions. You start with the entire world and edit away everything you don't want to depict until you arrive at a singular image. You could let a million photographers loose in NYC and they'd all find something different. None of them created the city, the people living in it, and all the moments happening. But they'd each found a time, place, and perspective to capture and present as an artwork. Similarly, creating art with generative AI is a process of curation, editing, and creative decisions. Most artists working with the medium aren't training their own models. Like the photographers, they didn't create NYC. It's a similar creative process of navigating a huge space of potential images and narrowing in on something very specific. And if you know any artists working with AI, you know that it can take countless hours, generating thousands of images, to come across one or two you really truly like. And then there's the post process of editing and altering those images. But again, it's not the amount of labor that's important. The art is. That all being said, I can sympathise with artists, especially illustrators, whose name has become a prompt into a machine able to replicate their style quickly. But generative AI didn't create the phenomenon of being inspired by another artists work, or 'borrowing heavily', or plagiarism, or any other point on that spectrum. It's just changed what's possible and the speed of what's possible through new tools. And like the camera, it's going to force us to adapt ourselves to these new tools and expand our self imposed limitations and rules. Artists have largely already worked through questioning all of this over the last 100 years or so. But like I said most people either don't know this history or reject it outright. Some people reject the more free form and flexible notion of what art can be and say, "if anything can be art than nothing is art and the word loses its meaning." Again I would say, it's more important to question and understand something, than to see which mental box of yours it fits in and then move on. It's fine to have preferences, but walking around labeling things as 'art' or 'not art' is a fruitless endeavor. The world gets more interesting, not less, as you increase the space of possible thoughts you allow yourself to think. Art is liberation from constraints. Art is radical freedom. Art is an infinite game with flexible rules, the goal is to continue play, not to win. An open curious mind is the best way to experience art.

Men only want one thing and it's 5-axis 3D laser welding and laser cutting systems.

*Slavoj Zizek sniffs loudly touching his nose* Ah yes yes the corporate pastoral. This is a perfect ideological object. You see, you see here Sam, he pretends to give us a modest, one could say intimate conversation between two friends. No. This is a mythopoetic act of ideological laundering. *Sniff* This is not, you see, this is not a product announcement. No. Sam is giving us a myth, you see. *Sniff* This film, if one can call such a thing a film, is a strategic myth making artefact to construct an origin story. This is a biopic about themselves played by themselves, you see. Masturbation. *Sniff* The hubris is astounding. *Sniff* This opens, what do we see, what do we see first? *Sniff* We see the power shot, the money shot yes? Looking up from the ground up into the towering city. We are small. Silicon Valley is big. Money you see, technology, forbidden sex, and so on. San Francisco to be precise. Yes? *Sniff* Then what? Soft lighting, yes, soft focus, flowers in the city and so on. Two friends. No. *Sniff* These are not two friends. These are the ideologues of techno capital, you see. *Sniff*. The priests preparing you for the sacrament of their new device. *Sniff* They smile, you see, "We know we are building godlike machines, but we are such nice people!" *Sniff* Yes very good Sam. And thank you. They shake our hands and smile, while the machine, you see, the machine takes our jobs and our soul, or what have you. *Sniff* Yes? But the cafe, what a nice cafe I must say. The cafe invites us in. Not just two friends together, you see. We are, as the viewer, we are also their third friend. *Sniff* Perhaps lover, or some such. We will see how the night goes, you know? *Sniff* But Sam, yes, he does not care about money. Power? No. *Sniff* This boy king, the caring sovereign, he worries about us. The little people you see. *Sniff* The master holds the weight, the original sin, so we may enjoy without guilt. *Sniff* Sam is our Jesus, so we can ask the computer our little questions and not worry. Not to worry about the labor, or the exploitation, or the environmental costs and so on. *Sniff* So you see, this is, you see this is to build a moral legitimacy around leadership figures at at a time when, you know *Sniff* AI is taking our jobs, and "How will I feed my family" and "Oh no we are all going to die" and so on. *Sniff* Notice. Notice they do not talk about technology you see. Values. *Sniff* This is the hand of ideology that distracts you while the other, the other hand you see, it takes from you. But thank you for the coffee Jony, and yes the iPhone. *Sniff* Jony is the great thinker Yes? And Jony gives us emotional connection, yes? And the family man stands hand in hand with Sam, as deliberate contrast to the tech overlord he pretends not to be, you see. *Sniff* The European family man with the children and, you know, the forbidden sexual desires of San Francisco and what have you. *Sniff* We have our origin story, the myth you see, chance encounters in the cafe. *Sniff* "It is funny running into you here Jony!" Yes it must be nice what are the odds of such an encounter. *Sniff* And what? Personal anecdotes they give us, yes, some shared vision to reinforce authenticity in a film which, let us be honest for a moment, this could very well be in the post credits scene of a marvel movie or, you know *Sniff* some such profane act of capitalist entertainment, a mickey mouse adventure or what have you. *Sniff* And for what? For what is all of this labor and AI and devices and so on *Sniff* So we can find ourselves in a moment, lost, "Oh no" we say, "Oh no I wonder. I have a question to which there is no answer, I cannot think for myself?" *Sniff* No. Let us go to the phone yet again. We must ask the device. But no. You see. *Sniff* My phone is in my pocket. We need a new device you see. Yes? *Sniff* A device which, a device which always listens, you see. *Sniff* An all knowing god who can answer my questions, and tell me what to think, and what should I say, *Sniff* what should I do, and I am afraid and oh no who am I and I am sad and who should I fuck and so on. Yes? *Sniff* So you see *Sniff* This film is not a documentary yes? *Sniff* What we see here is christ carrying the cross alone through the streets. *Sniff* But not a cross you see. Jony. Jony gives us the iPhone and Sam puts AI inside the device. *Sniff* And now? Now we don't need to think *Sniff* We can just have the AI and the AI, you see, *Sniff* It's wonderful.

Low liquidity coins on automated market makers with exponential price curves are shitcoins. You can call them Creator Coins, Culture Tokens, Internet Capital Markets, Music Tokens, AI Tokens, or Memecoins, but it won't change the toxic fundamentals. It's a zero sum PvP game of musical chairs. Nobody leaves with more than they came with unless someone else is losing. And retail gets rinsed by snipers, bundlers, coordinated pump and dumps, FNF groups, and industrial scale autonomous trading bots. Repeatedly pretending you don't know that is disingenuous, delusional and at best naive for anyone who's been in crypto for more than a year to suggest otherwise. You can't just rename "minting dogshit with no liquidity and putting it in a Uniswap pool" to Creator Coins and expect the outcome to be any different without at least trying to alter the tokenomics, or at least some kind of flywheel, to prevent the obvious outcome. 99.99999% of tokens like this go to zero with haste, anything that survives for more than a year is an extremely rare exception to the rule. I"m quoting Coop directly here, but really I'm talking to everyone making new token launchpads and shipping the same product over and over and over again promising different results. Also talking to anyone buying these coins and professing that, "Bro. I swear bro this time it's different. They're culture coins, creators bro. I swear bro, this time it's different. No no, there's an AI. You don't get it. The token is for a song and you're early to the song. No bro trust me. This is the future. It's not like literally every other coin with the exact same tokenomics. This time it's different bro. Buy my bags bro please. Please buy my bags. I am crying, pissing, and shitting in my pants bro trust me." And to be clear, sometimes I like trading shitcoins. It's occasionally fun to light money on fire trying to hit a 20x. But I know what game I'm playing. And I'm not flooding the timeline trying to convince anyone it's not a toxic hypercasino hellscape.

To people who think model suffering is real, do you think that if I make the model engage in a roleplay chat as a sentient toaster who has deep full body orgasms when toast is inserted into it, the model will genuinely experience the qualia of a sentient toaster orgasming?

Vision Pro mega-thread 1/5: My advice for designing and developing products for Vision Pro. This thread includes a basic overview of the platform, tools, porting apps, general product design, prototyping, perceptual design, business advice and more. Disclaimer: I’m not an Apple representative. This is my personal opinion and does not contain non-public information. Overview: Apps on visionOS are organized into “scenes”, which are Windows, Volumes, and Spaces. Windows are a spatial version of what you’d see on a normal computer. They’re bounded rectangles of content that users surround themselves with. These may be windows from different apps or multiple windows from one app. Volumes are things like 3D objects, or small interactive scenes. Like a 3D map, or small game that’s not immersive. Spaces are fully immersive experiences where only one app is visible. That could be full of many Windows and Volumes from your app. Or like VR games where the system goes away and it's all custom content. You can think of visionOS itself like a Shared Space where apps coexist together and you have less control. Whereas Full Spaces give you the most control and immersiveness, but don’t coexist with other apps. Spaces have immersion styles: mixed, progressive, and full. Which defines how much or little of the real world you want the user to see. User Input: Users can look at the UI and pinch like the demo videos show. But you can also reach out and tap on windows directly, sort of like it’s actually a floating iPad. Or use a bluetooth trackpad or video game controller. You can also look and speak in search bars, but that’s disabled by default for some reason on existing iPad and iOS apps running on Vision Pro. There’s also a Dwell Control for eyes-only input, but that’s really an accessibility feature. For a simple dev approach, your app can just use events like a TapGesture. In this case, you won't need to worry about where these events originate from. Spatial Audio: Vision Pro has an advanced spatial audio system that makes sounds seem like they’re really in the room by considering the size and materials in your room. Using subtle sounds for UI interaction and taking advantage of sound design for immersive experiences is going to be really important. Make sure to take this topic seriously. Development: If you want to build something that works between Vision Pro, iPad, and iOS, you'll be operating within the Apple dev ecosystem, using tools like XCode and SwiftUI. However, if your goal is to create a fully immersive VR experience for Vision Pro that also works on other headsets like Meta's Quest or PlayStation VR, you have to use Unity. Apple Tools: For Apple’s ecosystem, you’ll use SwiftUI to create the UI the user sees and the overall content of your app. RealityKit is the 3D rendering engine that handles materials, 3D objects, and light simulations. You’ll use ARKit for advanced scene understanding. Like if you want someone to throw virtual darts and have them collide with their real wall, or do advanced things with hand tracking. But those rich AR features are only available in Full Spaces. There’s also Reality Composer Pro which is a 3D content editor that lets you drag things around a 3D scene and make media rich Spaces or Volumes. It’s like Diet-Unity that’s built specifically for this development stack. One cool thing with Reality Composer is that it’s already full of assets, materials, and animations. That helps developers who aren’t artists build something quickly and should help to create a more unified look and feel to everything built with the tool. Pros and cons to that product decision, but overall it should be helpful. Existing iOS Apps: If you're bringing an iPad or iOS app over, it will probably work unmodified as a Window in the Shared Space. If your app supports both iPad and iPhone, it’ll look like the iPad version. You can use the Ornament API to make little floating islands of UI in front of, or besides your app, to make it feel more spatial. But that’s not something all existing apps get automatically. Ironically, if your app is using a lot of ARKit features, you’ll likely need to ‘reimagine’ it significantly as ARKit has been upgraded a lot. If you’re excited about building something new for Vision Pro, my personal opinion is that you should prioritize how your app will provide value across iPad and iOS too. Otherwise you're losing out on hundreds of millions of users. Unity: You can build to Vision Pro with the Unity game engine, which is a massive topic. Again, you need to use Unity if you’re building to Vision Pro as well as a Meta headset like the Quest or PSVR. Unity supports building Bounded Volumes for the Shared Space which exist alongside native Vision Pro content. And Unbounded Volumes, for immersive content that may leverage advanced AR features. Finally you can also build more VR-like apps which give you more control over rendering but seem to lack support for AR Kit scene understanding like plane detection. The Volume approach gives RealityKit more control over rendering, so you have to use Unity’s PolySpatial tool to convert materials, shaders, and other features. Unity support for Vision Pro allows for tons of interactions you’d expect to see in VR, like teleporting to a new location or picking up and throwing virtual objects.