The term “virtual reality” was first coined by Antonin Artaud to describe a value-adding characteristic of certain types of theatrical performances. The expression has more recently come to refer to a broad range of incipient digital technologies that many current philosophers regard as a serious threat to human autonomy and well-being. Their concerns, which are formulated most succinctly in “brain in a vat”-type thought experiments and in Robert Nozick's famous “experience machine” argument, reflect a fundamental misunderstanding of the way that (...) such technologies would probably have to work. They also considerably underestimate the positive contributions that virtual reality technologies could make to the growth of human knowledge. Here, we examine and critique Nozick's claim that no reasonable person would want to plug into his hypothetical experience machine in light of a broadly enactivist understanding of how future VR technologies might be expected to function. We then sketch out a tentative theory of the phenomenon of truth in fiction, in order to characterize some of the distinct epistemic opportunities that VR technologies promise to provide. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

Objects appear to causally interact with one another in virtual worlds, such as video games, virtual reality, and training simulations. Is this causation real or is it illusory? In this paper I argue that virtual causation is as real as physical causation. I achieve this in two steps: firstly, I show how virtual causation has all the important hallmarks of relations that are causal, as opposed to merely accidental, and secondly, I show how virtual causation is genuine according to one (...) influential metaphysical theory of causation: the mechanistic approach. (shrink)

It is commonly assumed that a virtual life would be less meaningful (perhaps even meaningless). As virtual reality technologies develop and become more integrated into our everyday lives, this poses a challenge for those that care about meaning in life. In this chapter, it is argued that the common assumption about meaninglessness and virtuality is mistaken. After clarifying the distinction between two different visions of virtual reality, four arguments are presented for thinking that meaning is possible in virtual reality. Following (...) this, four objections are discussed and rebutted. The chapter concludes that we can be cautiously optimistic about the possibility of meaning in virtual worlds. (shrink)

What is the status of a cat in a virtual reality environment? Is it a real object? Or part of a fiction? Virtual realism, as defended by D. J. Chalmers, takes it to be a virtual object that really exists, that has properties and is involved in real events. His preferred specification of virtual realism identifies the cat with a digital object. The project of this paper is to use a comparison between virtual reality environments and scientific computer simulations to (...) critically engage with Chalmers’s position. I first argue that, if it is sound, his virtual realism should also be applied to objects that figure in scientific computer simulations, e.g. to simulated galaxies. This leads to a slippery slope because it implies an unreasonable proliferation of digital objects. A philosophical analysis of scientific computer simulations suggests an alternative picture: The cat and the galaxies are parts of fictional models for which the computer provides model descriptions. This result motivates a deeper analysis of the way in which Chalmers builds up his realism. I argue that he buys realism too cheap. For instance, he does not really specify what virtual objects are supposed to be. As a result, rhetoric aside, his virtual realism isn’t far from a sort of fictionalism. (shrink)

Are the objects and events that take place in Virtual Reality genuinely real? Those who answer this question in the affirmative are realists, and those who answer in the negative are irrealists. In this paper we argue against the realist position, as given by Chalmers (2017), and present our own preferred irrealist account of the virtual. We start by disambiguating two potential versions of the realist position—weak and strong— and then go on to argue that neither is plausible. We then (...) introduce a Waltonian variety of ictionalism about the virtual, arguing that this sort of irrealist approach avoids the problems of the realist positions, fits with a unifying theory of representational works, and offers a better account of the phenomenology of engaging in virtual experiences. (shrink)

I argue that virtual reality is a sort of genuine reality. In particular, I argue for virtual digitalism, on which virtual objects are real digital objects, and against virtual fictionalism, on which virtual objects are fictional objects. I also argue that perception in virtual reality need not be illusory, and that life in virtual worlds can have roughly the same sort of value as life in non-virtual worlds.

It is controversial whether virtual reality should be considered fictional or real. Virtual fictionalists claim that objects and events within virtual reality are merely fictional: they are imagined and do not exist. Virtual realists argue that virtual objects and events really exist. This metaphysical debate might appear important for some of the practical questions that arise regarding how to morally evaluate and legally regulate virtual reality. For instance, one advantage claimed of virtual realism is that only by taking virtual objects (...) and events to be real can we explain our strong emotional reactions to certain virtual actions, as well as their potential immorality. This paper argues that emotional reactions towards, and wrongs within, virtual reality are consistent with its being merely fictional. The emotional and ethical judgments we wish to make regarding virtual reality do not provide any grounds for preferring virtual realism. (shrink)

Las nuevas tecnologías parecen estar cambiando radicalmente nuestro mundo. Analizamos aquí las condiciones para que esto sea así con relación a un grupo muy importante de fenómenos vinculados a las tecnologías computacionales y a las biotecnologías, que responden a denominaciones de uso ya muy extendido, en buena medida gracias a los medios de comunicación: realidad virtual, realidad aumentada, inteligencia artificial, humanidad mejorada e Internet de las cosas. Argumentamos que la inteligencia artificial ocupa entre ellos un lugar central y que la (...) constitución de un mundo realmente nuevo depende esencialmente de nuestras actitudes ante ella. (shrink)

The idea to write this essay came after I studied, almost in the same period, the works of two major contemporary philosophers: the US-American Michael Heim, known as the best theorist of virtual reality, and the French Gilles Deleuze. At the beginning of the new millennium, I have noticed many challenging transformations in art and literature, influenced by the emerging of the new technologies and the self-transformation that it is currently undergoing. This was the major reason I tried to launch (...) a new concept, post-literarure, in order to describe the complex forms of art in the contemporary culture. The concept of post-literature defines metamorphoses and tensions in the world of contemporary creativity, the co-existence, even merging of fields with autonomous profiles in the past. In my opinion the changes are so radical and quick that we can already talk about a new cultural paradigm in this post-literary epoch, with so many amazing projects imagined by kinetic and temporary organizations, focused on interdisciplinary work and hybridization, on substitution of confrontation between interfering disciplines by dialogue and cohabitation among them, on interchangeability and virtual textualism. (shrink)

How can we increase awareness and understanding of other cultures using interactive digital visualizations of past civilizations? In order to answer the above question, this book first examines the needs and requirements of virtual travelers and virtual tourists. Is there a market for virtual travel? Erik Champion examines the overall success of current virtual environments, especially the phenomenon of computer gaming. Why are computer games and simulations so much more successful than other types of virtual environments? Arguments that virtual environments (...) are impeded by technological constraints or by a paucity of evaluation studies can only be partially correct, for computer games and simulations are also virtual environments. Many of the underlying issues are caused by a lack of engagement with the philosophical underpinnings of culture, presence and inhabitation, and there are few exemplars that engage the public with history and heritage using interactive media in a meaningful and relevant manner. The intention of Playing With the Past is to help designers and critics understand the issues involved in creating virtual environments that promote and disseminate historical learning and cultural heritage through a close study of the interactive design principles at work behind both real and virtual places. Topics discussed include the design of virtual environments, and especially virtual heritage environments, virtual place-making, cultural presence, the pros and cons of game-style interaction, augmented reality projects, and appropriate evaluation methods. Virtual heritage environments discussed in the book include projects from Antarctica, Australia, Mexico, Malta, Egypt, Babylon, the Netherlands, Cambodia, and India. (shrink)

Despite what might seem to be the case, "Virtual" reality can be used to create fully "real" places with their own grammar and norms, where real events take place.

The relevance of different concepts of computer software (henceforth SW) rights is analysed from the viewpoint of divergent sociopolitical doctrines. The question of software rights is considered from the ontological assumptions, on one extreme, to the relevance of current practical applications of SW rights (such as copyright and patent), on the other extreme. It will be argued (from a non-descriptive/non-cognitive account) that the current expression of SW rights in Western societies (namely copyright, excluding patent) can be seen to be fair (...) from the viewpoint of the theses of agreed rights and universalisability. Finally, given that such practice is neither immoral, nor irrelevant-but fair (based on the ad ignorantiam argument)-we have good reason to respect it rather than violate or demolish it. (shrink)

Arguments from analogy are pervasive in everyday reasoning, mathematics, philosophy, and science. Informal logic studies everyday argumentation in ordinary language. A branch of fuzzy logic, approximate reasoning, seeks to model facets of everyday reasoning with vague concepts in ill-defined situations. Ways of combining the results from these fields will be suggested by introducing a new argumentation scheme—a fuzzy analogical argument from classification—with the associated critical questions. This will be motivated by a case study of analogical reasoning in the virtual friendship (...) debate within information ethics. The virtual friendship debate is a disagreement over whether virtual friendships are genuine friendships. It will be argued that the debate could move away from its current impasse, caused by unproductive metaphysical and logical assumptions, if extant arguments are reinterpreted as fuzzy analogical arguments from classification, and subjected to a new set of critical questions which would replace the quest for facts of essence about friendship with an emphasis on empirical data, persuasion, and definitional power. (shrink)

The author analyses the ways in which the perspectives of philosophy and sociology interact in the age of visualization and demonstrates how the image—the main object of the relevant academic research—connects them. The mediological approach, analysed as particularly useful for images created with the help of modern technologies, is presented. The analysis focuses on photographs of a crowd marching through the main streets of Vilnius as well as on video projections of augmented reality performed on the most representative buildings of (...) the city. The philosophical and sociological perspectives on represented images are presented and compared; the philosophical approach investigates the phenomenon of mass and modern technologies. Features of Vilnius’ public places and its citizens starting from the middle of the twentieth century are reconstructed and analyzed. (shrink)

In this thesis I will examine the construction of the concept of Virtual Reality. I argue that rather than a technology of liberation as it is often perceived, virtual realities' conception has been influenced significantly by a discourse of control and order. I examine books, articles and films concerning Virtual Reality to support this claim. Furthermore this discourse of control and order is born out of a larger ideology of Western culture that values order and control. Throughout modernity this ideology (...) has manifested itself through techniques and technologies of social and environmental control. I provide a brief historical outline highlighting some of these techniques and technologies focusing particularly upon surveillance. I suggest that under the guiding influence of the ideology of order and control one possible future use for Virtual Reality technology may be as a surveillance technology. The ideology of order and control is born out of a desire to transcend the unpredictable nature of life. This desire is reflected in the VR proponents aim to create a totally known and controlled artificial environment. I contend that an alternative way of thinking is needed so that objects such as Virtual Reality can be used for more appropriate purposes other than controlling and ordering. I draw upon the philosophy of Martin Heidegger to outline a thinking that is more open, and reflective, and that embraces the chaotic nature of existence. Such a thinking that is focused more upon the actual conditions of our everyday lives, may yield uses for technologies such as Virtual Reality that are more focused upon people's needs. (shrink)