This book provides new theoretical approaches to the subject of virtuality. All chapters reflect the importance of extending the analysis of the concept of “the virtual” to areas of knowledge that, until today, have not been fully included in its philosophical foundations. The respective chapters share new insights on art, media, psychic systems and technology, while also presenting new ways of articulating the concept of the virtual with regard to the main premises of Western thought. Given its thematic (...) scope, this book is intended not only for a philosophical audience, but also for all scientists who have turned to the humanities in search of answers to their questions. (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 book investigates the ontological state of relations in a unique way. Starting with the notion of system, it shows that the system can be understood as a relational structure, and that relations can be assessed within themselves, with no need to transform relations in elements. “Relations” are understood in contrast to “relational property”: without a relation there is no identity, therefore no existence. What allows us to do that without hypostatizing the relation, and without immediately taking it simply as (...) a causal relation, can be better grasped, possibly, in reference to a few entities that make best display of their systemic nature, for example images, works of art, and virtual bodies. This book shows how virtual bodies are ontological hybrids representing a type of entity that has never appeared in the world before. This entity becomes a phenomenon in interactivity and evades the dichotomy between “external” and “internal”; it is neither a cognitive product of the consciousness, nor an image of the mind. The user is well aware of experiencing anotherreality, also in the sense of a paradoxical reduplication of perceptual synthesis. The virtual body-environment is therefore simultaneously external and internal, with virtual bodies-environments to be seen as artificial windows to an intermediary world. In this intermediary world, the space itself is the result of interactivity; the world takes place in the sense or feeling of immersion experienced by the user; and the body, perceived as “other”, takes upon itself the sense of its reality, of its effectiveness, as an imaginary and pathic incision, as a production of desire and emotion, to the point that the feeling of reality conveyed by a virtual environment will rely significantly on how this environment produces emotions in the users. (shrink)

In recent years, the field of virtual reality (VR) has shown tremendous advancements and is utilized in fields ranging from entertainment, scientific research, social networks, artistic creation as well as numerous approaches to employ VR for psychotherapy. While the use of VR in psychotherapy has been widely discussed, little attention has been given to the potential of this new medium for art therapy. Artistic expression in virtual reality is a novel medium which offers unique possibilities, extending beyond classical (...) expressive art mediums. Creation in virtual reality includes options such as three-dimensional painting, an immersive creative experience, dynamic scaling and embodied expression. In this perspective paper, we present the potentials and challenges of virtual reality for art therapy and outline basic principles for its implementation. We focus on the novel qualities offered by this creative medium (the virtual environment, virtual materials and unreal characteristics) and on the core aspects of virtual reality (such as presence, Immersivity, point of view and perspective) for the practice of art therapy. (shrink)

Understanding the interactive art experience requires investigation of relations among multiple (v)users – participants who are both viewers and users in interaction with the artwork and among themselves.

Draws on the traditions of the martial arts to ask whether playing violent videogames actually transform gamers into better people.

El artículo define el sentido de los conceptos de lo fantástico, lo virtual y el arte en la fenomenología de Marc Richir, y establece una interpretación y conexión entre los mismos a partir de la primera noción. En la primera parte se explora el sentido de lo fantástico, entendiéndolo como «irrealización» de dios y del sujeto a partir de la puesta en práctica de un ateísmo metodológico presente en la epojé hiperbólica, y se explora además la cercanía profunda entre (...) esta «irrealización» y lo «virtual» del «lenguaje fenomenológico». En la segunda parte se realiza una consideración de la relación entre fenomenología y arte en la obra de Richir, mostrando que en ambos casos se trata de cierto arte del buen fingir. La «irrealización» que surge con la puesta en práctica de la epojé, que Richir llama una «finta originaria, hiperbólica», será entendida como el ancestro genético de la finta teatral y filosófica. (shrink)

This paper aims to show that Lessing develops in his aesthetics a pre-Kantian philosophy of consciousness. The concept of virtuality that the german writer puts forward in his essay Laocoon implies an interweaving of temporal dimensions similar to the threefold temporal synthesis described by Kant in the transcendental deduction of the Critique of Pure Reason. But whereas Kant thematizes an a priori of consciousness, Lessing is in search of an a priori of plastic art. It will be seen that perfect (...) sculpture presupposes the choice of that moment in time which can open the imagination to the past and the future in a way that enriches the present by transforming it into a "pregnant moment". The final aim of the article is to trace the genesis of the concept of simultaneity of temporal dimensions presupposed by the idea of the pregnant moment, and its implications for the idea of the temporality of consciousness. (shrink)

The vision of an art masterpiece is associated with brain arousal by neural processes occurring quite spontaneously in the viewer. This aesthetic experience may even elicit a response in the motor areas of the observers. In the neurorehabilitation of patients with stroke, art observation has been used for reducing psychological disorders, and creative art therapy for enhancing physical functions and cognitive abilities. Here, we developed a virtual reality task which allows patients, by moving their hand on a virtual (...) canvas, to have the illusion of painting some art masterpieces, such as The Creation of Adam of Michelangelo or The birth of Venus of Botticelli. Twenty healthy subjects and four patients with stroke performed this task and a control one in which they simply colored the virtual canvas. Results from User Satisfaction Evaluation Questionnaire and the NASA Task Load Index highlighted an appropriate level of usability. Moreover, despite the motor task was the same for art and control stimuli, the art condition was performed by healthy subjects with shorter trajectories and with a lower perception of physical demand. In experiment 2, only the patients treated with artistic stimuli showed a reduction in the erroneous movements performed orthogonally to the canvas. This finding reminds the so-called Mozart effect that improves the performance of subjects when they listen to classic music. Thus, we called this improvement in the performance when interacting with an artistic stimulus as Michelangelo effect. (shrink)

Sense of presence and extraneous cognitive load are the two psychological effects widely employed to explain the cognitive outcomes caused by high-immersive media. This study identified the concepts of both technological affordance and the psychological effects of VR learning. It investigated the mechanism by which immersion leads to better or worse communication in the context of art education. We operationalized the concept of immersion into two levels: a high-immersive VR system and a low-immersive tablet system. Through a between-subject experiment, we (...) found that higher immersion not only led to a greater sense of presence but also lowered extraneous cognitive load. Enjoyment and attention increased as a sense of presence rose but were not necessarily predicted by extraneous cognitive load. This study found that sense of presence was a more robust explanatory variable than ECL and that cognitive load could be lower in a high-immersive environment with content specifically designed for VR. (shrink)

Introduction -- Prelude: from gesture to virtual agency -- Foundations for a theory of agency -- Virtual environmental forces and gestural energies: actants as agential -- Virtual embodiment: from actants to virtual human agents -- Virtual identity and actorial continuity -- Interlude I: from embodiment to subjectivity -- Staging virtual subjectivity -- Virtual subjectivity and aesthetically warranted emotions -- Staging virtual narrative agency -- Performing agency -- An integrative agential interpretation of Chopin's (...) Ballade in F minor, op. 52 -- Interlude II: hearing agency: a complex cognitive task -- Other perspectives on virtual agency -- Postlude. (shrink)

Is virtual reality the latest grand narrative that humanity has produced? This book attempts to disentangle the common characteristics of human reality and posthuman virtual reality by examining discourses on psychoanalysis, gene-technology, globalization, and contemporary art.

Germany's leading contemporary social theorist provides a definitive analysis of art as a social and perceptual system which not only represents an important intellectual step in discussions of art but also an important advance in systems theory. Luhmann insists on the radical incommensurability between psychic systems (perception) and social systems (communication). Art is a special kind of communication that operates at the boundary between the social system and consciousness in ways that profoundly irritate communication while remaining strictly internal to the (...) social. Each chapter elaborates a particular aspect of the general problem of art's status as a social system. The book draws on a vast body of research in the social sciences, phenomenology, evolutionary biology, cybernetics, and information theory, combined with an intimate knowledge of art history, literature, aesthetics, and contemporary literary theory. The book also engages virtually every major theorist of art and aesthetics from Baumgarten to Derrida. (shrink)

Are virtual objects real? I will claim that the question sets us up for the wrong type of conclusion: Chalmers (2017) argues that a virtual calculator (like other entities) is a real calculator when it is “organizationally invariant” with its non-virtual counterpart—when it performs calculation. However, virtual reality and games are defined by the fact that they always selectively implement their source material. Even the most detailed virtual car will still have an infinite range of (...) details which are missing (gas, engines, pistons, fuel, chemical reactions, molecules, atoms). This means that even the most detailed virtual object will still have fictional aspects. Rather than argue that virtual objects are, or aren’t, real, it is preferable to think of overlaps and continuities between the fictional and the real, where even the most painstakingly detailed virtual reality implementation of a non-virtual object is still art: a human process of selection and interpretation. Virtual reality should therefore not be philosophically understood just as a technological implementation on a trajectory to perfection, but as a cultural artifact which derives its value in part from its simplification and difference from its source material. (shrink)

Virtual Realism is an art form and a way of living with technology. To explain it, Michael Heim draws on a hypertext of topics, from answering machines to interactive art, from engineering to television programs, from the meaning of UFOs to the Internet. The book begins with the primer 'VR 101'. The issues are discussed, then several chapters illustrate virtual realism with tours through art exhibits and engineering projects. Each chapter suggests a harmony of technology with lifestyle.

This essay focuses on the ontology of the virtual, looking especially at its historical connection with today’s technology. The work begins by discussing the metaphysical structure of the Aristotelian dynamis, understood as the conceptual root of the Latin virtus. Reading Aristotle, especially through bergsonian concepts, I show how his dynamis allows a proto-deterministic account of spontaneity, strictly related to goal-oriented processes of human serial production and with the possibility of a homogeneous area of manipulation. Thus we stress how the (...) ‘reproductive’ model works in every ontological account of the virtual and especially in the Renaissance ones, connected with the idea of a full “enginerization” of the real. The core of metaphysical virtuality seems to lie rather in an ontological account of “form” that denies its processual becoming and its process of stabilization through an infrastructure. Finally, I reject any ontological use of the virtual in teleonomy, especially in its metaphysical attempt to identify autopoiesis and mechanism, and I conclude by stressing how current digital technology is fully oriented to the reproductive model, conceptually rooted in a metaphysical account of the virtual. (shrink)

The subject of the article is the philosophical and cultural methodology of digital "virtual reality", comparing the declarations of developers with the practical possibilities and social consequences of using such technologies. The developers presented projects of online digital content services for all five senses using special equipment (glasses, headphones, interactive gloves, joysticks, costumes, printers of smells and tastes, etc.). It was assumed that virtual reality would surpass the reliability of previous multimedia content and interactive computer games, and the (...) persuasiveness and attractiveness of traditional technical means of art and the press. Failure to fulfill these promises has led to significant losses since 2022 for leading companies developing digital virtual reality technologies Meta (recognized by the court as an extremist organization on 03/21/2022, activity is limited in the territory of the Russian Federation), Microsoft HapticLinks, Cave, AlloSphere, Teslasuit, VRealizer. There was a need to assess how and to what extent the methodology used and the predicted capabilities of digital virtual reality were correct. Philosophical and cultural analysis as a research method reveals: the developers of digital virtual reality promised the methodologically impossible, reducing human perception to the "sum" of the external "five senses" out of connection with the "self", inner sensitivity, bodily self-perceptions. A person is only partially amenable to algorithmized digital interaction; a critical barrier to digital virtuality is the socio-cultural identity of society and personality. The novelty of the results of the analysis lies in the conclusion: digital virtual reality in many respects is fundamentally inferior in effectiveness to traditional technical means of sensory and emotional impact and cognition, used both for creative and destructive purposes. In terms of creative potential, digital virtual reality is inferior to the technical means of art, science, education, upbringing, etc., and in terms of destructive capabilities, it is already used in the press and other mass communications technologies for manipulating public and individual consciousness, as well as psychotropic substances that cause addiction. National regulation of the development of digital "virtual reality" is recommended, aimed at protecting and developing the socio-cultural identity of Russian citizens and society, as well as for cognitive and educational purposes. It is recommended to limit the remote use of such developments to trusted domestic Internet services. (shrink)

Virtual Futures explores the ideas that the future lies in its ability to articulate the consequences of an increasingly synthetic and virtual world. New technologies like cyberspace, the internet, and Chaos theory are often discussed in the context of technology and its potential to liberate or in terms of technophobia. This collection examines both these ideas while also charting a new and controversial route through contemporary discourses on technology; a path that discusses the material evolution and the erotic (...) relation between humans and machines. Virtual Futures brings together diverse fields such as cyberfeminism, materialist philosophy, postmodern fiction, computing culture and performance art, with essays by Sadie Plant, Stelarc and Manuel de Landa (to name a few). The collection heralds the death of humanism and the ride of posthuman pragmatism. The contested zone of debate throughout these essays is the notion of the posthuman, or the possibility of the cyborg as the free human. Viewed by some writers as a threat to human life and humanism itself, others in the collection describe the posthuman as a critical perspective that anticipates the next step in evolution: the integration or synthesis of humans and machines, organic life and technology. This view of technology and information is heavily influenced by Anglo American literature, especially cyberpunk, Pynchon and Ballard, as well as the materialist philosophies of Freud, Deleuze, and Haraway, Virtual Futures provides analyses by both established theorists and the most innovative new voices working in conjunction between the arts and contemporary technology. (shrink)

_Virtual Futures_ explores the ideas that the future lies in its ability to articulate the consequences of an increasingly synthetic and virtual world. New technologies like cyberspace, the internet, and Chaos theory are often discussed in the context of technology and its potential to liberate or in terms of technophobia. This collection examines both these ideas while also charting a new and controversial route through contemporary discourses on technology; a path that discusses the material evolution and the erotic relation (...) between humans and machines. _Virtual Futures_ brings together diverse fields such as cyberfeminism, materialist philosophy, postmodern fiction, computing culture and performance art, with essays by Sadie Plant, Stelarc and Manuel de Landa. The collection heralds the death of humanism and the ride of posthuman pragmatism. The contested zone of debate throughout these essays is the notion of the posthuman, or the possibility of the cyborg as the free human. Viewed by some writers as a threat to human life and humanism itself, others in the collection describe the posthuman as a critical perspective that anticipates the next step in evolution: the integration or synthesis of humans and machines, organic life and technology. This view of technology and information is heavily influenced by Anglo American literature, especially cyberpunk, Pynchon and Ballard, as well as the materialist philosophies of Freud, Deleuze, and Haraway, _Virtual Futures_ provides analyses by both established theorists and the most innovative new voices working in conjunction between the arts and contemporary technology. (shrink)

This article raises the question of how the ontological status of virtual objects bears on their intrinsic value. If virtual objects are unreal or less real than physical objects, does it mean that they will have less intrinsic value? If they have intrinsic value, what are the explanations for this value, and how do they relate to the ontological status of the virtual objects? First, the article reviews recent work concerning the ontological status of virtual reality (...) and virtual objects. Second, it argues that in some cases the ontological status of virtual objects does undermine the value placed in them, in that the objects can fail to have the properties that ground the value attributions made to them, while in other cases their ontological status is not important. Finally, the article relates the grounding of value attributions to philosophical theories of value, in particular, perfectionism and hedonism. (shrink)

La museografía escolar gana terreno en la virtualidad gracias a la tecnología. Entonces, es necesario establecer la ruta pedagógica para la creación de un museo virtual como espacio de divulgación artística de educación secundaria mediante el uso de las TIC. Por ello, desde la investigación creación, se propone un método teórico-práctico de técnicas artísticas para la generación de obras de arte escolar y las herramientas virtuales en línea para la construcción y montaje en red de la propuesta museográfica 2D (...) y 3D. Como resultado se crea el Museo Virtual de Arte Salesiano con más de 1000 obras. (shrink)

Video games aren't merely casual entertainment: they are the heart of one of the fastest-growing media industries in the world, and a cultural phenomenon in their own right. Gaming has evolved from a niche pastime into a global business that rivals film and television, creating, in the process, new art forms and social arenas and have become the subject of endless public debate. This book shows that games also provide a unique space in which to study economic behavior. Games, more (...) than any other form of media, demonstrate the power and creative potential of human choice - an idea that's also the foundation of economic thinking. Whether it's developing trade relations, or the use of money, or even complex legal institutions, virtual worlds provide a captivating and entertaining arena for studying economic behavior in its most dynamic forms. The overarching theme of the volume is the economic order that governs virtual worlds, and the many ways individuals work together, often without knowing it, to govern their social relations in digital space. (shrink)

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing (...) and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

Arthur C. Danto is unique among philosophers for the breadth of his philosophical mind, his eloquent writing style, and the generous spirit embodied in all his work. Any collection of essays on his philosophy has to engage him on all these levels, because this is how he has always engaged the world, as a philosopher and person. In this volume, renowned philosophers and art historians revisit Danto's theories of art, action, and history, and the depth of his innovation as a (...) philosopher of culture. Essays explore the importance of Danto's philosophy and criticism for the contemporary art world, along with his theories of perception, action, historical knowledge, and, most importantly for Danto himself, the conceptual connections among these topics. Danto himself continues the conversation by adding his own commentary to each essay, extending the debate with characteristic insight, graciousness, and wit. Contributors include Frank Ankersmit, Hans Belting, Stanley Cavell, Donald Davidson, Lydia Goehr, Gregg Horowitz, Philip Kitcher, Daniel Immerwahr, Daniel Herwitz, and Michael Kelly, testifying to the far-reaching effects of Danto's thought. Danto brought to philosophy the artist's unfettered imagination, and his ideas about postmodern culture are virtual road maps of the present art world. This volume pays tribute to both Danto's brilliant capacity to move between philosophy and contemporary culture and his pathbreaking achievements in philosophy, art history, and art criticism. (shrink)

This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to other areas eg. computer programming. Maximization of uniqueness is minimization of entropy that coincides as well as goes beyond Information Theory (Shannon, 1948). The reusage of logic as a universal principle to minimize entropy, requires simplified architecture and abstraction. Any structures (e.g. plugins) duplicating or dividing functionality increase entropy and so unreliability (eg. British (...) Airways IT system). The ideas here were verified by my chess compositions, art works and complex information system as an author of each co uk, and were presented at conferences in Santorini, Adelaide, Geneva, Daejon and virtually. (shrink)

Unilateral spatial neglect is a disorder characterized by the failure to report, respond to, or orient toward the contralateral side of space to a brain lesion. Current assessment methods often fail to discover milder forms, cannot differentiate between unilateral spatial neglect subtypes and lack ecological validity. There is also a need for treatment methods that target subtypes. Immersive virtual reality systems in combination with eye-tracking have the potential to overcome these shortcomings, by providing more naturalistic environments and tasks, with (...) sensitive and detailed measures. This systematic review examines the state of the art of research on these technologies as applied in the assessment and treatment of USN. As we found no studies that combined immersive VR and ET, we reviewed these approaches individually. The review of VR included seven articles, the ET review twelve. The reviews revealed promising results. All included studies found significant group-level differences for several USN measures. In addition, several studies found asymmetric behavior in VR and ET tasks for patients who did not show signs of USN in conventional tests. Particularly promising features were multitasking in complex VR environments and detailed eye-movement analysis. No VR and only a few ET studies attempted to differentiate USN subtypes, although the technologies appeared appropriate. One ET study grouped USN participants using individual heatmaps, and another differentiated between subtypes on drawing tasks. Regarding ecological validity, although no studies tested the prognostic validity of their assessment methods, VR and ET studies utilized naturalistic tasks and stimuli reflecting everyday situations. Technological characteristics, such as the field of view and refresh rate of the head-mounted displays, could be improved, though, to improve ecological validity. We found no studies that utilized VR or ET technologies for USN treatment up until the search date of the 26th of February 2020. In conclusion, VR-ET-based systems show great potential for USN assessment. VR-ET holds great promise for treatment, for example, by monitoring behavior and adapting and tailoring to the individual person’s needs and abilities. Future research should consider developing methods for individual subtypes and differential diagnostics to inform individual treatment programs. (shrink)

Globalization and informatization are reshaping human life and social behaviors. The purpose is to explore the worldwide strategies to cultivate international talents with a global vision. As a global language with the largest population, English, and especially its learning effect, have always been the major concerns of scholars and educators. This work innovatively studies the combination of immersion-based English teaching with virtual reality technology. Then, based on the experimental design mode, 106 students from a Chinese school were selected for (...) a quasi-experimental study for 16 weeks. The collected data were analyzed by computer statistical software, and hypotheses are verified. The results showed that there is a significantly positive correlation between VR and immersion-based language teaching. There is a significantly positive correlation between immersion-based language teaching and academic achievement, and VR is positively correlated with learning outcome. Compared with other state-of-art research methods, this work modifies the students’ oral test through the analysis and comparison with the system database, and the students’ learning effect is greatly improved. Finally, some suggestions are put forward according to the research results to provide an experimental reference for English teachers and future linguistics teaching. (shrink)

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

Virtual learning environments (VLEs) present us with unprecedented opportunities in bringing together students and educators from widely disparate geographical locations, as well as diverse cultures and backgrounds to participate in a learning experience that should take into cognizance the affordances of these novel arenas in the design of both content and the environment(s) in which this content is to be implemented/enacted. While VLEs do seem to address the requirements of well-structured learning endeavours, the boundaries of which are clearly defined, (...) they are challenged where complex learning material in which boundaries are less easily defined, as is the case in art/creativity education, are concerned. Given that the learning content of the creative fields is open ended by its very nature and as such does not seem to readily lend itself to an implementation within the structure of present-day, two-dimensional virtual learning environments, can such an environment/methodology be developed in the open-ended three-dimensional structure of a metaverse, based upon the critical examination of a real-life, historic precedent? (shrink)

Immersive virtual environments can produce a state of behaviour referred to as ‘presence’, during which the individual responds to the virtual environment as if it were real. Presence can be arranged to scientifically evaluate and affect our consciousness within a controlled virtual environment. This phenomenon makes the use of virtual environments amenable to existing and in-development forms of therapy for various conditions. Delirium in the intensive care unit (ICU) is one such condition for which virtual (...) reality (VR) technology has not been evaluated to date. We are currently assessing the feasibility and utility of a delirium prevention and treatment system, which implements VR to improve quality of sleep, reduce pain, lower usage of sedatives, and stimulate cognition. The proposed system will consist of 3-axis wearable accelerometers, 6-DOF position trackers, a VR system and apps designed to promote sleep quality and mindfulness. Our a priori hypothesis is that our VR therapy system would lower the occurrence of delirium in patients admitted to ICUs. (shrink)

Although Merleau-Ponty never directly addressed the question of technics, over the past three decades, some of the core concepts of his philosophy have profoundly informed digital media discourse, especially in the field of media arts. The problem of embodiment, in particular, represents a keystone for the understanding of the relationship between bodies and technology. This paper seeks to examine the ways in which some of the French philosopher’s key concepts– embodiment, body schema, presence, intertwining, and flesh – have been employed (...) and re-elaborated in the context of media art theory and practice. The purpose of this study is to shed light on the main conceptual entanglements between Merleau-Pontian philosophy and digital arts and performances. Thus, four topics will be discussed: the virtual body, prosthetics, virtual presence, and digital intertwining of flesh. In the conclusion, I question these concepts and their possibility/ability to pave the way for a Merleau-Pontian philosophy of technology based on the wider paradigm of virtual embodiment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GallerySarah Soquel MorhaimPhotographs in this issue are by Sarah Soquel Morhaim, a student at Cornell University. Morhaim is currently studying fine arts, political theory, and philosophy. The images were photographed at Coney Island, New York, and Ocean City, Maryland. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution (...) Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2000 The Johns Hopkins University Press... (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)

Este artigo é um relato de experiência do processo de implantação do ambiente virtual de aprendizagem do Programa Primeira Infância Melhor (PIM). O PIM é uma política pública intersetorial de promoção do desenvolvimento integral na primeira infância, implantada no Estado do Rio Grande do Sul, Brasil. Entre as atribuições do Governo do Estado está a formação das equipes em mais de 200 municípios. Por causa das restrições impostas pela pandemia de coronavirus, a política deixou de realizar formações presenciais e, (...) de forma emergencial, promoveu formações remotas, utilizando a ferramenta Google Drive. A partir desta experiência, foi decidido implantar uma plataforma de formação online. Para tanto, foi realizado um longo processo de planejamento, com análise dos materiais existentes, adequação aos objetivos pretendidos, criação do ambiente virtual e realização de uma formação piloto na modalidade educação à distância. (shrink)

Virtual heritage has been explained as virtual reality applied to cultural heritage, but this definition only scratches the surface of the fascinating applications, tools and challenges of this fast-changing interdisciplinary field. This book provides an accessible but concise edited coverage of the main topics, tools and issues in virtual heritage. -/- Leading international scholars have provided chapters to explain current issues in accuracy and precision; challenges in adopting advanced animation techniques; shows how archaeological learning can be developed (...) in Minecraft; they propose mixed reality is conceptual rather than just technical; they explore how useful Linked Open Data can be for art history; explain how accessible photogrammetry can be but also ethical and practical issues for applying at scale; provide insight into how to provide interaction in museums involving the wider public; and describe issues in evaluating virtual heritage projects not often addressed even in scholarly papers. -/- The book will be of particular interest to students and scholars in museum studies, digital archaeology, heritage studies, architectural history and modelling, virtual environments. (shrink)

Much of the excitement about virtual reality and its potential for things like entertainment, art, education, and activism is its ability to generate experiences that are powerfully immersive. However, discussions of VR tend to invoke the notion of immersive experience without subjecting it to closer scrutiny; and discussions often take it for granted that immersive experience is a single unified phenomenon. Against this, we argue that there are four distinct types or aspects of immersive experience that should be distinguished: (...) representational immersion, which corresponds roughly to what is sometimes called “psychological presence”; participatory immersion, which is related to the interactive aspects of VR experience; affective immersion, which has to do with the subject’s emotional relation to the experience; and narrative immersion, which captures the phenomenon of being caught up in the flow of events experienced. We argue that this four-way distinction helps us understand the powerfully immersive character of VR, while also recognizing its continuity with the immersion we experience with media such as novels, films, and music. We also argue that the account of immersion we offer here lets us better understand the connection between VR and empathy, charting a middle course between extreme enthusiasts who view VR as the ultimate “empathy machine” and extreme skeptics who argue that this attitude is misguided. (shrink)