In such 3D virtual environments (3DVEs) as Second Life, one can ‘be’ re-created as avatar in whatever form one wants to be, facilitated by extensive beauty and cosmetic industries to help the residents of this world achieve a particular kind of glamorous image – limited only by their imaginations and Linden Dollar accounts. Yet, others in 3DVEs are working hard to re-create their avatars to be replicas of their ‘offline’ selves, appearing as they do in actuality. Such phenomena provide a (...) rich opportunity to explore the cultural contexts of ‘self-making’, the process of ‘becoming’ and the transformative, often transgressive, processes of ‘beauty practices’ as bodily praxis and serious play. Drawing on their international ethnographic research undertaken in Second Life, the authors explore the phenomenon of image, affect, subjectivity and representation in this alternative arena. We focus specifically on three interrelated and paradoxical aspects of self-making in this 3D virtual world: first, the ways in which many of our respondents described their avatar personae as symbolically representing their ‘authentic inner selves’; second, the ways our respondents used photography and video to verify and authenticate these ‘inner selves’, through capturing representations of their avatar bodies in action; and, third, the ways ‘authenticity’, for many of our respondents, depended on their avatar image aligning as closely as possible with their bodily appearance off-screen. The concept of what residents of Second Life understand as constituting the ‘authentic inner self’ both in and outside of the virtual world becomes particularly pertinent here. (shrink)

This chapter explores the personal and professional obstacles faced by Humanities and Social Science scholars contemplating pre-publication of their scholarly work in an on-line network. Borrowing a theoretical framework from the radical educational theorist Ivan Illich, it also develops the idea that pre-publication networks offer higher education a bottom-up, decentralized alternative to business-modeled e-learning. If learners would only embrace this more anarchical medium, appreciating writing for pre-publication as a process of open-ended discovery rather than product delivery, then the prospect of (...) deinstitutionalizing e-learning could become an exciting new reality. The chapter’s methodology is a combination of normative-theoretical analysis and small sample (n=2) case study based on the author’s personal and professional experiences. While the generalizability (or external validity) of the conclusions is limited, the author hopes to motivate further inquiry into the connection between on-line pre-publication and e-learning. (shrink)

This paper is an attempt to develop a paradigm in problem solving where the notion of virtuality plays a central role. Following a brief discussion on virtual simulation, the paper attempts to identify a notion of virtuality based on the identification of the self (man or computer) with the problem solver. It is shown that such an identification/distinction possibly violates some general principle of the problem environment.To deal with this violation, a new problem is generated and a new virtualization act (...) is required, in order to attain a correspondence between virtuality and reality. A better understanding of this approach requires a combination of analog and digital reasoning: the analog being related to the environment in which the problem solving is required, and the digital to the problem solver's “mental” activities.We will briefly analyze the recursive approach to problem solving and suggest a possible problem solving methodology based on virtuality. The paper concludes with comments on the relation between etnology and virtual reality. (shrink)

Interactive media need their own idioms that exploit the characteristics of the computer based sign. The fact that the reader can physically influence the course of events in the system changes the author's role, since he no longer creates a linear text but anarrative space that the reader can use to generate stories. Although stories are not simulations of the real world, they must still contain recognizable parts where everyday constraints of time and space hold. AI-techniques can be used to (...) implement these constraints. In fact, we suggest that AI is probably best seen as an aesthetic phenomenon. (shrink)

In its forty years of existence, Artificial Intelligence has suffered both from the exaggerated claims of those who saw it as the definitive solution of an ancestral dream — that of constructing an intelligent machine-and from its detractors, who described it as the latest fad worthy of quacks. Yet AI is still alive, well and blossoming, and has left a legacy of tools and applications almost unequalled by any other field-probably because, as the heir of Renaissance thought, it represents a (...) possible bridge between the humanities and the natural sciences, philosophy and neurophysiology, psychology and integrated circuits-including systems that today are taken for granted, such as the computer interface with mouse pointer and windows. This writing describes a few results of AI that have modified the scientific world, as well as the way a layman sees computers: thetechnology of programming languages, such asLISP-witness the unique excellence of academic departments that have contributed to them-thecomputing workstations-of which our modern PC is but a vulgarised descendant-theapplications to the educational field-e.g., the realisation of some ideas of genetic epistemology-and tointerdisciplinary philosophy-such as Hofstadter's associations between the arts and mathematics-and the use ofAI techniques in music and musicology. All this has led to a generalisation of AI towards Negrotti's overallTheory of the Artificial, which encompasses further specialisation such asartificial reality, artificial life, and applications ofneural networks among others. (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)

El propósito de este trabajo es analizar los objetos digitales que pueblan nuestras pantallas y redes: vídeos de YouTube, perfiles de Facebook, imágenes de Flickr, archivos de Dropbox, correos electrónicos, podcasts, blogs, y demás. Estos objetos están codificados en binario (0/1) y, en su forma más elemental, son bits y bytes. Para desentrañar estas entidades intangibles, que son realidades insertas en el tejido de nuestra existencia cotidiana, se examinan los supuestos ontológicos y epistemológicos que las rodean. Desde esta perspectiva, se (...) analizan diferentes marcos conceptuales y definiciones, así como los enfoques filosóficos más representativos. También se explora el papel central de los nuevos paradigmas computacionales, la infraestructura TIC y las tecnologías emergentes. Se introduce un modelo de realismo integrativo que encapsula las tesis recogidas a lo largo del documento. El texto concluye con unas breves reflexiones sobre los hallazgos. (shrink)