We can take nature’s superpowers and expand them across many more vectors that are interesting to humans: Across scale — far and near, binoculars, zoom, telescope, microscope Across wavelength — UV, IR, heatmaps, nightvision, wifi, magnetic fields, electrical and water currents Across time — view historical imagery, architectural, terrain, geological, and climate changes Across culture — experience the relevance of a place in books, movies, photography, paintings, and language Across space — travel immersively to other locations for tourism, business, and personal connections Across perspective — upside down, inside out, around corners, top down, wider, narrower, out of body Across interpretation — alter the visual and artistic interpretation of your environment, color-shifting, saturation, contrast, sharpness

Headset displays connect sensory extensions directly to your vision. Equipped with sensors that perceive beyond human capabilities, and access to the internet, they can provide information about your surroundings wherever you are. Until now, visual augmentation has been constrained by the tiny display on our phone. By virtue of being integrated with your your eyesight, headsets can open up new kinds of apps that feel more natural. Every app is a superpower. Sensory computing opens up new superpowers that we can borrow from nature. Animals, plants and other organisms can sense things that humans can’t

The first mass-market bicycle for the senses was Apple’s AirPods. Its noise cancellation and transparency mode replace and enhance your hearing. Earbuds are turning into ear computers that will become more easily programmable. This can enable many more kinds of hearing. For example, instantaneous translation may soon be a reality

For the past seven decades, computers have been designed to enhance what your brain can do — think and remember. New kinds of computers will enhance what your senses can do — see, hear, touch, smell, taste. The term spatial computing is emerging to encompass both augmented and virtual reality. I believe we are exploring an even broader paradigm: sensory computing. The phone was a keyhole for peering into this world, and now we’re opening the door.

What happens when put on a headset and open the “Math” app? How could seeing the world through math help you understand both better?

Advances in haptics may open up new kinds of tactile sensations. A kind of second skin, or softwear, if you will. Consider that Apple shipped a feature to help you find lost items that vibrates more strongly as you get closer. What other kinds of data could be translated into haptic feedback?

It may sound far-fetched, but converting olfactory patterns into visual patterns could open up some interesting applications. Perhaps a new kind of cooking experience? Or new medical applications that convert imperceptible scents into visible patterns?

In recent years Sketch’s Mac-ness has become a liability. Requiring every person in a large design organization to use a Mac is not an easy sell. Plus, a new generation of “internet native” users expect different things from their software than old-school Mac connoisseurs: Multiplayer editing, inline commenting, and cloud sync are now table-stakes for any successful creative app.

At the time of Sketch’s launch most UX designers were using Photoshop or Illustrator. Both were expensive and overwrought, and neither were actually created for UX design. Sketch’s innovation wasn’t any particular feature — if anything it was the lack of features. It did a few things really well, and those were exactly the things UX designers wanted. In that way it really embodied the Mac ethos: simple, single-purpose, and fun to use.

Apple pushed hard to attract artists, filmmakers, musicians, and other creative professionals. It started a virtuous cycle. More creatives using Macs meant more potential customers for creative Mac software, which meant more developers started building that software, which in turn attracted even more customers to the platform.And so the Mac ended up with an abundance of improbably-good creative tools. Usually these apps weren’t as feature-rich or powerful as their PC counterparts, but were faster and easier and cheaper and just overall more conducive to the creative process.

Apple is still very interested in selling Macs — precision-milled aluminum computers with custom-designed chips and “XDR” screens. But they no longer care much about The Mac: The operating system, the software platform, its design sensibilities, its unique features, its vibes.

The term-of-art for this style is “skeuomorphism”: modern designs inspired by their antecedents — calculator apps that look like calculators, password-entry fields that look like bank vaults, reminders that look like sticky notes, etc.This skeuomorphic playfulness made downloading a new Mac app delightful. The discomfort of opening a new unfamiliar piece of software was totally offset by the joy of seeing a glossy pixel-perfect rendition of a bookshelf or a bodega or a poker table, complete with surprising little animations.

There are literally dozens of ways to develop cross-platform apps, including Apple’s own Catalyst — but so far, none of these tools can create anything quite as polished as native implementations.So it comes down to user preference: Would you rather have the absolute best app experience, or do you want the ability to use an acceptably-functional app from any of your devices? It seems that users have shifted to prefer the latter.

Unfortunately the appeal of native Mac software was, at its core, driven by brand strategy. Mac users were sold on the idea that they were buying not just a device but an ecosystem, an experience. Apple extended this branding for third-party developers with its yearly Apple Design Awards.

for the first time since the introduction of the original Mac, they’re just computers. Yes, they were technically always “just computers”, but they used to feel like something bigger. Now Macs have become just another way, perhaps the best way, to use Slack or VSCode or Figma or Chrome or Excel.

visionOS’s story diverges from that of the Mac. Apple is no longer a scrappy upstart. Rather, they’re the largest company in the world by market cap. It’s not so much that Apple doesn’t care about indie developers anymore, it’s just that indie developers often end up as the ants crushed beneath Apple’s giant corporate feet.

I think we’ll see a lot of cool indie software for visionOS, but also I think most of it will be small utilities or toys. It takes a lot of effort to build and support apps that people rely on for their productivity or creativity. If even the wildly-popular Mac platform can’t support those kinds of projects anymore, what chance does a luxury headset have?