Aesthetics of Virtual Reality

A central debate in the philosophy of virtual reality (VR) focuses on the reality of virtual items. Broadly, there are two main disagreements. Some views accept a metaphysical orientation to VR, and disagree on the reality of virtual items. For instance, David Chalmers (Disputatio 9(46):309-352, 2017, Disputatio 11(55):453- 486, 2019, 2022) defends digitalism, the view that virtual items are real digital items. Neil McDonnell & Nathan Wildman (Disputatio 11(55):371-397, 2019), by contrast, defend fictionalism, which maintains that virtual items are unreal (...) fictions. Other views, like Grant Tavinor’s (2021), reject the metaphysical orientation, argu- ing that focusing on the reality of virtual items is a mistake. In what follows I evalu- ate these two disagreements. I argue that experiences of virtual items depend on episodes of picture perception. Recognizing this reveals that the current debates are either easily resolved in favor of one view, or are not disagreeing about the reality of virtual items, but about what virtual items are. (shrink)

This paper attempts to contextualize a philosophy of curation that is object-oriented or toward a “return to the object.” In the museum, three interrelated philosophical problems pervade curation practices that prevent access to the object as it is. Here, the subject-object relations or idealism-realism issues are reconsidered as a specific niche of the philosophy of curation. To address these issues, this paper claims that Jean-Paul Martinon and Graham Harman's philosophical return to the Heideggerian fourfold (das Geviert) can introduce creative pathways (...) for the curated object that is riddled with excess and tensions. Later, with some caveats, the paper addresses the issues and suggests a possible avenue for further research. (shrink)

How do we assign values to virtual items, which include virtual objects, properties, events, subjects, worlds, environments, and experiences? In this article, I offer a framework for answering this question. After considering different value theses in the literature, I argue that whether we think these theses mutually exclusive or not turns on our view about the number of value-salient kinds virtual items belong to. Virtual monism is the view that virtual Xs belong to only one value-salient kind in relation to (...) X. Virtual pluralism is the view that they belong to more than one value-salient kind. I argue for two claims. First, virtual monism is mistaken. Minimally some virtual Xs are Xs, while others are not. Second, dualistic virtual pluralism is also mistaken because it is too coarse grained. Instead, I argue for fourfold pluralism: virtual items either represent an original's properties or reproduce essential properties and do so to lesser or greater extents. This gives us four value-salient kinds of virtual X: virtual reproductions, simulations, representations, and simulacra of X. I apply this view to various debates in the literature and conclude with a discussion of less basic hybrid kinds. (shrink)

Augmented Reality combines the virtual and the real. It brings the virtual to the real and the real to the virtual. It is a technology that overlays computer-generated visuals, sensory input such as sound, and interactive atmosphere over the existing environment in real time. In Augmented Reality, real and virtual are simultaneously intertwined. That's why Augmented Reality has a greater impact on art than other virtual fields. Art in Augmented Reality has a counterpart in both the virtual and real world. (...) While the contents in the virtual world can be augmented with real contents, the contents in the real world can also be augmented with virtual contents. Therefore, art created with Augmented Reality can be called augmented art. (shrink)

The following paper attempts to look at virtual reality technologies—and the (dis)embodiment affected by them—through a phenomenological lens. Specifically, augmenting traditional discussions of virtual reality as a purely technical problem, this paper seeks to bring Maurice Merleau-Ponty’s embodied phenomenology into the discussion to try to make sense of both what body we leave behind and what body we gain as we enter virtual worlds. To do this, I look both at historical examples of virtual reality technologies and their methods of (...) (dis)integrating the body and speculative future examples of virtual reality where the corporeal body is fully sidelined through the lens of Merleau-Ponty’s account of the body schema, noting that habituation is an ever present factor that must be considered in virtual environments. Ultimately, I conclude that even in a scenario of one-to-one mind-computer transference, the virtual world will, like the physical world we currently inhabit, solicit a ‘phantom body’ thus forcing us to act and live in accordance with a mutual interplay between self and virtual world. (shrink)

Over a decade ago, Grant Tavinor’s first book, The Art of Videogames (2009), brought academic philosophy face to face with a seemingly alien artform. With The A.

A long‐standing aim of cinema – in particular of ‘extreme’, ‘unwatchable’ or ‘feel‐ bad’ cinema – has been to acquaint viewers with extreme suffering. In this article I first offer an explication of that aim in terms of recent work in philosophy of mind, then exploit the resulting framework to examine claims to the effect that a new technological development, Virtual Reality, provides cinema's best shot at achieving that aim.

The problem of aesthetic experience in a virtual environment could be reformulated as: what can we learn about aesthetics from the perspective of ‘aesthetic experience in virtual environments’, given the specific nature of such an environment? The discourse goes in circles, because it is always from theories elaborated in the field of the so-called ‘real’ that we develop the difference, but it is a process typically philosophical, that, on the other hand, can make sense only if it can be shown (...) that the virtual is an existent being that has an ontological structure of its own. The ontology of this strange object–event, and of its relationship to space–time, must therefore be addressed: what are the conditions of identity for a virtual body? What are its limits? In what sense does it have borders? Also, its specific temporality and its connection to human and computer memories are arguable dimensions that deserve analysis, as they directly affect an ontology of the virtual body, the difference between the virtual and the possible, and the relationship between the human body and the virtual body. However, the specific character of the virtual is to be an intermediate entity between object and event, between thing and image, so that virtual bodies represent a hybrid, interactive world which can be visualized as synthetic image, an immersive hybrid engaging the corporeality of the user and merging with the virtual body’s image; this hybridization, between the body of the spectator–actor and the virtual space in which it is immersed, is difficult to define with singularity. (shrink)

This article examines the concept of “perspective” as an embodied metaphor with ontological and epistemological implications for the modeling of historical understanding of contested pasts. The metaphors employed in modeling past reality shape how we make sense of the controversial past. In particular, I explore how perspectival metaphorical models conjure the notions of presence/proximity/engagement and absence/distance/detachment. To open this up, the paper juxtaposes two distinct models of seeing and knowing as sources of embodied metaphor: 1) static and distancing optical metaphors (...) of cognition, and 2) a “post-cognitive” process of interaction. I argue that the shift towards the affective, experiential and immersive forms of engagement in historical representation is indicative of the growing importance of dynamic, embodied and interactive features in mediated models of the past. The paper concludes by discussing the implications of virtual reality as an emergent medium that offers a new way of modeling the past. Despite its novelty, however, virtual reality raises age-old questions about the dynamics of engagement and detachment in historical understanding. (shrink)

Based on a nuanced understanding of immersion and sense of presence as two key aesthetic effects that the application of virtual reality to cinema is believed to innovate, this paper develops the concept of synthetic vision as fundamental to understanding the visual experience of VR media, particularly VR documentaries. The concept contends that viewers’ experience in VR is based on two visions that seemingly contradict each other: first, a disembodied vision that transports them to a simulated world, and second, an (...) embodied vision guaranteed by the freedom to control kinesthetic movement and direction of gaze. This serves to advance the idea that immersion and SoP are not unified but rather multifaceted concepts premised on a nuanced understanding of the varying relationships between the technological system of VR, its media content, and its user. For the concept of synthetic vision points to the paradoxical coexistence of viewers’ presence in the virtual world and their structural absence from the world that lays the groundwork for their immersive experience. By classifying three generic categories of contemporary VR documentaries, and by examining the aesthetic and ethical underpinnings VR brings to each of them, I argue that it hinges upon what kind of cinematic conventions and genres are remediated to determine the effective synthesis of the two visions. The varying effects of synthetic vision in the three subgenres of VR documentary stress that immersion and SoP have different political and ethical consequences of media witnessing. In the conclusion, I recapitulate multiple implications that the concept of synthetic vision has in regards to both the studies on VR and the recently flourishing investigation into cinematic VR artifacts. (shrink)

In recent years, the field of art therapy has sought to adapt traditional treatment approaches to today’s innovative technological environments when working with adolescent “digital natives.” In their clinic, art therapists often struggle with lack of cooperation when treating adolescents during sessions. This article presents two case studies that explore how Virtual Reality technology can be combined with traditional art therapy to treat adolescents suffering from anxiety and social difficulties. It is suggested that this type of technology may lead to (...) a better understanding of the needs of adolescents by adopting their vantage point and hence better outcomes. (shrink)

This is the first book to present an aesthetics of virtual reality media. It situates virtual reality media in terms of the philosophy of the arts, comparing them to more familiar media such as painting, film and photography. When philosophers have approached virtual reality, they have almost always done so through the lens of metaphysics, asking questions about the reality of virtual items and worlds, about the value of such things, and indeed, about how they may reshape our understanding of (...) the "real" world. Grant Tavinor finds that approach to be fundamentally mistaken, and that to really account for virtual reality, we must focus on the medium and its uses, and not the hypothetical and speculative instances that are typically the focus of earlier works. He also argues that much of the cultural and metaphysical hype around virtual reality is undeserved. But this does not mean that virtual reality is illusory or uninteresting; on the contrary, it is significant for the altogether different reason that it overturns much of our understanding of how representational media can function and what we can use them to achieve. The Aesthetics of Virtual Reality will be of interest to scholars and advanced students working in aesthetics, philosophy of art, philosophy of technology, metaphysics, and game studies. (shrink)

Advances in virtual reality present opportunities to relive experiences in an immersive medium that can change the way we perceive our life stories, potentially shaping our realities for the better. This paper studies the role of virtual reality as a tool for the creation of stories with the concept of the self as a narrator and the life of the self as a storyline. The basis of the study is the philosophical notion of the self-narrative as an explanatory story of (...) the events in one’s life that constitutes the notion of one’s self. This application is suitable for cases when individuals need to recreate their self, such as during recovery after traumatic events. The analysis of the effects of virtual reality shows that it enables a person to engage in a process of deeper self-observation to understand and explain adverse events and to give meaning to these events to form a new story, which can complement the therapeutic outcomes of exposure treatments. This study proposes concrete examples of immersive scenarios used to reconstruct personal stories. Several possible levels of experience are proposed to suggest that recovery can be achieved through the gradual retelling of the self-narrative, addressing all of the underlying narratives. Considering the ethical challenges that might arise, this paper explores the ways in which immersion in virtual reality can benefit a person’s view toward life as a story and his or her self as its author, comparing this idea with previous research on the application of virtual reality for trauma treatment. The analysis also emphasizes the perception of narrative authorship in virtual reality as an essential method for recovering the self-narrative and improving a patient’s mental health during self-actualization. (shrink)

Critical Gaming: Interactive History and Virtual Heritage can be seen as a collection of chapters designed to provoke thought and discussion, or it can be seen and used as separate chapters that may help class debate in courses dealing with the digital humanities, game studies (especially in the areas of serious games and game-based learning) or aspects of virtual heritage. While there are very few books in this intersecting area, the range of topics that could be investigated and debated is (...) huge. So instead I have concentrated on questions in areas that appear to be central to the intersection of these three areas, have not currently been debated to any great extent or are topics that would suit either individual reflection or classroom discussion and debate. (shrink)

If media studies are to become established as a genuine science, then it needs to be determined what the subject matter of this science is to be. I propose a specification of this subject matter as consisting in: 1. the new sorts of digital entities that have been added to social reality through the invention of the digital computer, and 2. the new sorts of interactions involving human beings which such entities make possible. I support this proposal by examining examples (...) of some of the ways in which the digital products of emerging media differ from entities of other sorts. I then draw consequences from this examination to demonstrate how these products mark out a new realm within the larger domain of social ontology. (shrink)

This essay offers an update on the author's thoughts on the French feminist performance artist ORLAN, analyzing her visual representations as a new category of feminist visual art, namely, virtual hybrid beauty.

I argued in 2000 that the French artist ORLAN may have moved away from her Reincarnation performances toward her Self-Hybridizations because she thought that in the latter she would be more transparently obvious in meaning and less frequently misunderstood. I may have overstated the ability of audiences to comprehend, however. In this essay I argue that the virtual beauty that ORLAN unfolds in her ongoing series Self-Hybridizations is not a real or actual beauty but rather a fake beauty, causally disembodied, (...) based on the effects she intends to create from an imaginative use of combined hybrid imagery. Subverting the familiar philosophical notions of aesthetic distance and aesthetic appreciation, hers is not a monstrous beauty (as some feminist art theorists contend) but rather a fake beauty that still has aesthetic features worth assessing. I suggest the possibility of generational differences in understandings of the term 'feminist', i.e., shifts in meaning from early feminist theory of the 1970s to ever-evolving, twenty-first century notions of the term, all of which add to the confusion. As I negotiate this terrain, I hope to steer both critics and viewers more directly to the words of the artist herself, "I have tried to make my Self-Hybridations as 'human' as possible, like mutant beings, but I still did not think that the confusion could be possible.". (shrink)

In the immersion process the border between the canvas and the spectator or between screen and user dissolves, and the distance or physical separation between virtual and physical space is no longer given. The self can expand into the virtual, to test its own boundaries by abandoning the materiality of the limited corpus (Ostermann and Wenzel 2011). This phenomenon can also be understood as a dialogue, an important exchange, which can be itself an illuminating experience for the self and the (...) mind. If the subject is an individual in an auditorium and the object is changing between the physical space of a digital theatre surrounded by a 360° canvas and the virtual world on the canvas, how can the encounter or the immersion process be described and even more important: how can it be induced? (shrink)

Reconfigures classic aesthetic concepts in relation to the novelty introduced by virtual bodies.

Abstract. Presence is widely accepted as the key concept to be considered in any research involving human interaction with Virtual Reality (VR). Since its original description, the concept of presence has developed over the past decade to be considered by many researchers as the essence of any experience in a virtual environment. The VR generating systems comprise two main parts: a technological component and a psychological experience. The different relevance given to them produced two different but coexisting visions of presence: (...) the rationalist and the psychological/ecological points of view. The rationalist point of view considers a VR system as a collection of specific machines with the necessity of the inclusion of the concept of presence. The researchers agreeing with this approach describe the sense of presence as a function of the experience of a given medium (Media Presence). The main result of this approach is the definition of presence as the perceptual illusion of non-mediation produced by means of the disappearance of the medium from the conscious attention of the subject. At the other extreme, there is the psychological or ecological perspective (Inner Presence). Specifically, this perspective considers presence as a neuropsychological phenomenon, evolved from the interplay of our biological and cultural inheritance, whose goal is the control of the human activity. Given its key role and the rate at which new approaches to understanding and examining presence are appearing, this chapter draws together current research on presence to provide an up to date overview of the most widely accepted approaches to its understanding and measurement. (shrink)

Le voyage dans l'image que nous proposent les réalités dites virtuelles a de quoi surprendre jusqu'aux idéalistes les plus obstinés qui, comme Platon ou Descartes, ont toujours douté de la vérité de notre vision naturelle ; une vision condamnée à ne percevoir qu'un vague reflet des choses, une empreinte, une trace, voire une simple ombre projeté au fond de l'œil à la manière d'une copie irréelle. En ce sens l'image virtuelle renoue assurément avec cette interrogation philosophique à laquelle nous sommes (...) conviés, depuis Platon, concernant le statut de la réalité, une interrogation que " l'allégorie de la caverne " met en œuvre, pour retrouver, en dehors des orbites qui retiennent nos yeux en otage, un monde de formes vraies, éternelle, où règne le soleil des choses véritables. Sortir du globe oculaire, si ce n'est de la caverne de nos perceptions, en nous détournant de tous les reflets projetés sur le fond de cette cavité obscure ou, au contraire, s'approcher de cet écran spongieux où dansent les ombres pour nous immerger dans l'image, ce sont là deux mouvements, deux tendances qui ne s'opposent pas forcément et qui nous paraissent être la tresse, si ce n'est le nœud, de la philosophie. (shrink)

Detailing the potential for expression in music, art, philosophy, and more with the aid of computer technology, an exploration of digitally enhanced language, compositions, and creations discusses their implications and aesthetics.

This paper explores notions of realism, evidence, undecidability and faith in the context of our relationship with images following the digital revolution and the transition from a culture of analog photographic and filmic records to the new space-time of virtual reality. The argument provide a reappraisal of modern and post-modern conceptions of the photographic image and of film, which have queried the inherent realism of the indexical photographic sign, and have highlighted the fraught ontological and temporal nature of images supposed (...) to document and extend our perceptual relationship to reality, beyond the confines of time. The films discussed in this paper include: Luis Bunuel's The Exterminating Angel, Chris Marker's La jetée, Ridley Scott's Blade Runner, Alain Resnais's Last Year in Marienbad and You Ain't Seen Nothing Yet, and Wong Kar-wai's In the Mood for Love. (shrink)