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b'The average concert is a tour de force for one\\u2019s sense of sound (and, if the bass is decent, one\\u2019s sense of their bones vibrating). But Anne McKinnon from The Boolean isn\\u2019t interested in \\u201caverage\\u201d concerts. She wants to use XR to make concerts a sensation for all the senses.\\n\\n\\n\\n\\n\\n\\n\\nAlan: Welcome to the XR for\\nBusiness Podcast with your host, Alan Smithson. Today\\u2019s guest is Anne\\nMcKinnon from The Boolean. Anne is a VR and AR consultant and writer.\\nShe is an editor and contributor to Charlie Fink\\u2019s book\\n\\u201cConvergence.\\u201d Charlie, as you may remember, was one of the\\nvery first episodes we had. Her consulting bridges the gap between\\nentertainment and technology. As an advisor, Anne grows and curates a\\ncommunity of digital artists to leverage new and emerging\\ntechnologies. Anne is actively engaged in the entertainment industry\\nat the intersection of music, arts, gaming, and tech. You can learn\\nmore about the great work that Anne and her team are doing at\\ntheboolean.io. Anne, welcome to the show.\\n\\n\\n\\nAnne: Thank you, Alan. I\\u2019m\\nreally excited to speak with you today, and also cannot wait to speak\\nto a lot of the listeners.\\n\\n\\n\\nAlan: Yes, it\\u2019s been a while.\\nWe\\u2019ve known each other quite some time, and you do some work with VR\\nDays and they\\u2019ve been on the show as well. And it feels like a\\nfamily, like a network of people that are all just kind of coming\\ntogether. So how did you get into this crazy world of technology?\\n\\n\\n\\nAnne: Actually, VR Days was one\\nof the major events I went to and I started working in tech. And it\\nwas as a blogger and just kind of looking at how can we solve\\nproblems in VR, what can we use it for, and how can we make\\nimprovements to every aspect of our lives? And VR Days was one of the\\nbest conferences that bridged the gap between technology and arts,\\nand also brought together everyone from military to education to\\nhealthcare, and also the creatives to drive that innovation. So that\\nway, I guess I met some of the teams that I work with now and we\\u2019re\\nlooking at how to solve all these problems and to bring it to\\naudiences around the world.\\n\\n\\n\\nAlan: Let\\u2019s unpack that. What\\nare some of the problems that you\\u2019re working on solving?\\n\\n\\n\\nAnne: I want you talk a lot\\ntoday about one of the projects we\\u2019re working on for almost two\\nyears, and that\\u2019s with Miro Shot. So Miro Shot is a band and we\\u2019re\\ntouring a virtual reality live concert around the world. So to kind\\nof put in detail about what that looks like, is that the audience is\\nphysically present and the band as also physically present. And when\\nthe audience enters, they have VR headsets on and they are immersed\\nin dreamscape visuals, and the pass-through camera\\u2019s a big part of\\nwhat we do to connect the realities, and to experience music in a new\\nway. And one of the problems that a lot of VR experiences have is how\\ndo you reach audiences around the world with live performance, and\\nalso how do you reach a large scale audience? A lot of what we\\u2019re\\nfocusing in business is how do you grow experiences from live to at\\nhome. And this is something we\\u2019re doing with the band, with up to 30\\npeople at a time for live concert.\\n\\n\\n\\nAlan: People simultaneously in\\nVR?\\n\\n\\n\\nAnne: Simultaneously in VR. So a\\nlot of it is based around the concepts of gaming. So we\\u2019re really\\nlooking at VR as something that\\u2019s not contained, taking from\\nclassical genres, from theater and cinema and gaming. So everything\\nstarts in a gaming lobby. And they start the experience together and\\ndepending on where they look, they\\u2019ll be able to experience different\\nparts of the world of the music. And they\\u2019re also because of the live\\nperf'