The article deals with José Gil’s considerations on the relationships between the virtuality and the actuality of the dancing body. At first, it analyses Gil’s idea of projecting the current position of the dancing body into virtual images and explores Gil’s notion of the multiplicity of virtuality. Further, it demonstrates how in the space of the body a consistent compound of movements is created at the level of the monstrous virtual body. Finally, the article emphasizes that, despite the (...) connections between the actual position of the body and its virtual images, there is a fundamental distinction between the actuality and the virtuality of the dancing body. It shows that the idea of the distinction between the virtual and the actual reflects Gil’s concept of virtual memory as a zone of accumulated possibilities of movement. (shrink)

In Difference and Repetition, Deleuze claims that it is in virtue of a relation of expression which holds between intensive processes of individuation and virtual Ideas that the former determines the latter to be actualised in concrete entities. He is, however, less than forthcoming in this book about exactly how we should understand the relation of expression. This article addresses itself to this lacuna. It clarifies five characteristic features of the expressive relation, partly by drawing on Deleuze's discussion of (...) the relation of expression in Expressionism in Philosophy, party by examining familiar examples of expressive relations. It then maps these characteristic features of expression onto Deleuze's discussion of the relation between Ideas and intensity in Difference and Repetition, showing that virtual Ideas are ontologically inseparable from the intensive processes that both constitute and actualise them in the production of actual entities. By way of conclusion, this expressive account of the relation between the virtual, the actual and the intensive will be compared and contrasted with several leading accounts to be found in the secondary literature. (shrink)

In his analysis of memory, Henri Bergson introduces the key concept of ‘virtuality’, understood as a non- actual reality, an unpredictable and pre-human élan vital. Several years later, the virtual will play a key role in the way that Gilles Deleuze tries to conceive the notion of a ‘plane of immanence’, that is, a whole that guides an inexhaustible process of actualisation. Deleuze, however, refers not only to Bergson but to Gilbert Simondon and to his concept of ‘preindividual (...) field’, which corresponds to a metastable state, full of potential energy, from which a structured process can arise. This article undertakes an analysis of the different theoretical pathways leading to the concept of the virtual in Bergson, Simondon and Deleuze. It will investigate the transformations of this concept by focusing on the memory of the present individuated by Bergson, then applied to the cinema of the time- image by Deleuze, and on the figure of the crystal as an emblematic materialisation of the virtual, deeply present in the philosophy of both Deleuze and Simondon. The intention is to show – apart from the inevitable differences ‒ the significant continuity between these three authors, who share a common attempt to build an affirmative ontology of life. Combined Bergsonian and Simondonian influences lead in Deleuze to a metaphysics of becoming, where virtuality is always on the point of actualising itself in percepts, affects and concepts. (shrink)

Autism is a highly heterogeneous phenomenon. Not only is it difficult to understand the various and diverse aspects of autism, their relation to each other is also complex and still poorly understood. In my article, “Material encounters. A phenomenological account of social interaction in autism,” I have addressed this heterogeneity by presenting an understanding of how social features of autism relate to behavioral features. Straddling this divide between the social and the non-social that still pervades much thinking in philosophy, psychiatry, (...) and psychology is crucial for understanding the diverse experiences of autistic persons and... (shrink)

ABSTRACT The current article deals with the correlation between virtual and physical reality as they concern the body. The thesis of this article is that the lived body transposed into virtual reality becomes a body without organs in Deleuze’s terms, i.e. the lived body, a sensitive field of sensorial events immersed in a lived space, becomes a virtual body made up of intensities, of pure forces or magnitudes within a vector space, thereby losing its affective qualities. Furthermore, (...) lived and virtual bodies build up a correlation bridged not by intentionality, as phenomenology would maintain, but by sensation. Virtuality is thus characterised by both the loss of corporeality and the simulation of the lifeworld. But how can the split between the real and the virtual body be bridged? On the one hand, in Deleuze’s conception of sensation, real and virtual collapse into one another so that the real world ‘resonates’ with its virtual double. On the other hand, Merleau-Ponty’s concept of form relates both realities in terms of a correlation of signification between the physical and the existential realms. With recourse to the notion of structure or form, I will argue that the phenomenal and the virtual do not represent different modes of being, but are bound by a correlation ruled by sensation as a system of intensive forces. (shrink)

This paper studies the notion of virtuality in the Bohr-Kramers-Slater theory of 1924. We situate the virtual entities of BKS within the tradition of the correspondence principle and the radiation theory of the Bohr model. We show how, in this context, virtual oscillators emerged as classical substitute radiators and were used to describe the otherwise elusive quantum transitions. They played an effective role in the quantum theory of radiation while remaining categorically distinct and ontologically separated from the quantum (...) world of the Bohr model. The notion of virtuality thus differs markedly from its counterpart in quantum mechanics or QFT. (shrink)

By most accounts Deleuze's engagement with Marx begins with the two volumes of Capitalism and Schizophrenia he co-authored with Félix Guattari. However, Deleuze's Difference and Repetition alludes to a connection between Deleuze's critique of common sense and Marx's theory of fetishism, suggesting a connection between the critique of the image of thought and the critique of capital. By tracing this connection from its emergence in the early texts on noology, or the image of thought, to the development in the critique (...) of state thought in A Thousand Plateaus, it can be argued that what initially appears as an entirely infra-philosophical problem, concerned with the presuppositions of philosophy, is not only a political problem as well, but ultimately bears on the very nature of the conjunction between thought and politics, making possible a re-examination of what is meant by revolutionary thought. It is a transition from noology to noopolitics. In the end it can be argued that revolutionary thought is no longer an eschatology, attempting to discern the signs of the future revolution in the present, but a thought oriented towards everything that exceeds the fetish of society, towards the virtual relations and micropolitical transformations that constitute society but exceed its representation. (shrink)

Deleuze’s film-philosophy makes much of the notion of virtual images in Bergson’s Matter and Memory, but in doing so he transforms a psycho-meta-physical thesis into a unBergsonian ontological one. In this essay, we will offer a corrective by exploring Bergson’s own explanation of the image as an “attitude of the body”—something that projects an actual, corporeal, and postural approach, not only to cinema, but also to philosophy. Indeed, just as Renoir famously said that “a director makes only one (...) movie in his life. Then he breaks it into pieces and makes it again,” so Bergson wrote that each philosopher only makes one “single point” throughout his or her whole career. And this one point, he then declares, is like a “vanishing image,” only one best understood as an attitude of the body. It is embodied image that underlies an alternative Bergsonian cinema of the actual and the body —one that we will examine through what Bergson’s has to say about “attitude” as well as “gesture” and “mime.” We will also look at it through a gestural concept enacted by a film, to be precise, the five remakes that comprise Lars von Trier’s and Jørgen Leth’s The Five Obstructions. This will bring us back to the idea of what it is that is being remade, both by directors and philosophers, in Renoir’s “one film” and Bergson’s singular “vanishing image” respectively. Is the “one” being remade an image understood as a representation, or is it a gesture, understood as a bodily movement? It is the latter stance that provides a wholly new and alternative view of Bergson’s philosophy of cinema. (shrink)

Drawing from Arjen Kleinherenbrink's recent book, Against Continuity: Gilles Deleuze's Speculative Realism (2019), this paper undertakes a detailed review of Kleinherenbrink's fourfold "externality thesis" vis-à-vis Deleuze's machine ontology. Reading Deleuze as a philosopher of the actual, this paper renders Deleuzean syntheses as passive contemplations, pulling other (passive) entities into an (active) experience and designating relations as expressed through contraction. In addition to reviewing Kleinherenbrink's book (which argues that the machine ontology is a guiding current that emerges in Deleuze's work (...) after Difference and Repetition) alongside much of Deleuze's oeuvre, we relate and juxtapose Deleuze's machine ontology to positions concerning externality held by a host of speculative realists. Arguing that the machine ontology has its own account of interaction, change, and novelty, we ultimately set to prove that positing an ontological "cut" on behalf of the virtual realm is unwarranted because, unlike the realm of actualities, it is extraneous to the structure of becoming-that is, because it cannot be homogenous, any theory of change vis-à-vis the virtual makes it impossible to explain how and why qualitatively different actualities are produced. (shrink)

Most people agree that murder is wrong. Yet, within computer games virtual murder scarcely raises an eyebrow. In one respect this is hardly surprising, as no one is actually murdered within a computer game. A virtual murder, some might argue, is no more unethical than taking a pawn in a game of chess. However, if no actual children are abused in acts of virtual paedophilia (life-like simulations of the actual practice), does that mean we should (...) disregard these acts with the same abandon we do virtual murder? In this paper I shall outline several arguments which attempt to permit virtual murder, whilst prohibiting virtual paedophilia. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

This paper argues that Moore’s principle of organic unities is false. Advocates of the principle have failed to take note of the distinction between actual intrinsic value and virtual intrinsic value. Purported cases of organic unities, where the actual intrinsic value of a part of a whole is allegedly defeated by the actual intrinsic value of the whole itself, are more plausibly seen as cases where the part in question has no actual intrinsic value but (...) instead a plurality of merely virtual intrinsic values. (shrink)

This paper deals with the notion of virtual memory in Bergson?s philosophy, with special regard to the question of the independence of memory and the complex intertwining of spiritual recollections with perception. Attention is devoted to the Bergsonian analysis of the actualization of virtual contents. The author also confronts the Bergsonian notion of unconscious with that of Freud?s. It seems that the notion of virtual memory is relevant not only from a psychological or an epistemological perspective, but (...) it has also some consequences with regard to practical philosophy. An excursus is devoted to the Deleuzien interpretation of virtuality. At the end of the paper the author discusses the immanent tensions within the Bergsonian concept of virtual memory from the aspect of temporal verticality, the impossible localization of virtuality and freedom. Clanak se bavi pojmom virtuelne memorije u Bergsonovoj filozofiji, sa posebnim osvrtom na pitanje o samostalnosti secanja i na slozeno ukrstanje duhovnih uspomena sa konkretnom percepcijom. Posebna paznja usmerena je na Bergsonovu analizu o aktuelizaciji virtuelnih sadrzaja. Autor takodje sprovodi konfrontaciju Bergsonovog pojma nesvesnog sa Frojdovim shvatanjem istog. Pokazuje se da pojam virtuelne memorije nije relevantan samo iz psiholoske ili epistemoloske perspektive, vec da on ima izvesne konsekvence i u pogledu prakticke filozofije. Delezovoj interpretaciji virtuelnog je posvecen poseban ekskurs. Na kraju se ukazuje na unutrasnje napetosti Bergsonovog shvatanja virtuelne memorije iz aspekta vremenske vertikalnosti i nemoguce lokalizacije virtuelnog, odnosno, slobode. (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.

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

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

In this essay I critique a particular reading of Bergson that places an excessive weight on the concept of the ‘virtual’. Driven by the popularity of Deleuze’s use of the virtual, this image of Bergson (seen especially through his text of 1896, Matter and Memory, where the idea is introduced) generates an imbalance that fails to recognise the importance of concepts of actuality, like space or psychology, in his other works. In fact, I argue that the virtual (...) is not the key concept for Bergsonism and that there is a good deal of evidence in Bergson’s other writings, especially those connected with his actualist notion of ‘refraction’, to think of him as a perspectivist philosopher. Moreover, it will be seen that Virtualism resides within an economy of reflection that is subsumed within the broader paradigm of Actualist refraction. Taking these optical metaphors seriously, the virtual becomes a perspectival image seen from an actual position, or rather, an interacting set of actual positions. This interaction is termed ‘virtualization’, denoting the substitution of a substantive conception with a processual one. In the first two parts of the essay, I direct my remarks more towards Deleuzian readings of the actual rather than Deleuze himself (Deleuze is so open about the biases he brings to his reading of Bergson as to be beyond criticism). In the second two sections, I pursue a philosophical argument for the probity of a non-Virtualist position as such within philosophy, based upon the concept of refraction. This is done not only because it is important that we remain open to other readings of Bergson that are not so heavily mediated in one direction, but also in view of the power of refraction as a new concept for reconciling actual modes such as molar identity, the present, and extension, with their virtual opposites. (shrink)

Debate concerning virtual reality is often drawn in terms of sharply defined dichotomies--for example, between "real" (or "actual") and "virtual," "authentic" and "inauthentic," and "natural" and "artificial." In this paper we offer an alternative approach by suggesting a conception of a virtual world that highlights a continuity and commonality with our sense of everyday reality. We accomplish this in part by an examination of the English picturesque garden as if it were a virtual world partially (...) constructed out of ideas and objects collected during travels to foreign lands on the Grand Tour. Such foreign travel transformed not only the English person's sense of self, but also altered the English landscape. We conclude that in one sense the "real" England is also a "virtual" reality. (shrink)

Based on a brief overview of the history of ontology and on some philosophical problems of virtual reality, a new approach to virtuality is proposed. To characterize the representational technologies in the Internet age, I suggest that Aristotle’s dualistic ontological system be complemented with a third form of being: virtuality. In the virtual form of being actuality and potentiality are inseparably intertwined. Virtuality is potentiality considered together with its actualization. In this view, virtuality is reality with a measure, (...) a reality which has no absolute character, but which has a relative nature. This situation can remind us the emergence of probability in the 17th century: then the concept of certainty, now the concept of reality is reconsidered and relativized. Currently, in the descriptions of the world created by representational technologies, there are two coherent worldviews with different ontologies: the world is inhabited by actual and potential beings—or all the beings in the world are virtual. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.3 (2001) 207-224 [Access article in PDF] Virtual Witnessing and the Role of the Reader in a New Natural Philosophy Richard Cunningham [Figures]How did the self-described new natural philosophies of the early modern period displace other philosophic (moral, ethical, legal), and specifically religious, discourses as the locus of truth in our culture? Natural philosophy's rejection of disputation and of revelation as means of producing truth (...) in favor of the "discovery" of truth was more accurately an introduction of the invention of truth than of its discovery, and this invention demanded the creation of and participation of a certain kind of reader. Rhetorical examination of the early modern magnetic philosopher William Gilbert's most influential work, De Magnete, 1 will help us understand the "paradigm change," to use Thomas Kuhn's oft-misquoted term, 2 from a culture that accepted probabilistic truth in the natural realm to one that expected moral certainty, from a culture that accepted revelation as a legitimate means of access to truth to one that increasingly recognized only the "discovery" of truth through sensual experience disciplined through experiment.One way this paradigm change was effected was through the inclusion of the reader as an active participant in the new natural philosophies. The reader was included in the new natural philosophies by engendering in him desires for particular forms of knowledge and particular ways of attaining that knowledge. Peter Dear notes that "in the seventeenth century old practices changed and new ones appeared. Those changing practices represent shifts in the meaning of experience itself" (12-13), and he then asks the question that might well have been on the tongues of many as the old practices gave way to the new: "how can a universal knowledge-claim about the natural world be justified on the basis of singular items of individual experience?" (13). A crucially important way to justify the universal knowledge-claim on singular items of individual experience [End Page 207] was through the employment of a technique Steven Shapin and Simon Schaffer have labeled "virtual witnessing" (60-65). Briefly, "virtual witnessing" describes the use of linguistic resources to produce a vicarious experience enabling a reader to confer agreement as though she had actually been present when an experiment was conducted. Virtual witnessing alone, however, cannot explain how the scientific became the dominant truth-producing paradigm in our culture. Virtual witnessing intermingled with a variety of other elements in early modern natural philosophy to encourage readers to participate in the invention of "true" accounts of the world in which we live. In this article I will apply the tools of rhetorical analysis as I use the example of De Magnete to elaborate on how a Foucauldian form of disciplinary impulse combined in the early modern period with the technology of virtual witnessing to create an audience inculcated with desire, interest, and belief in the new natural philosophy, which had to precede and accompany expansion of the scientific into the dominant truth-producing paradigm it has long since become.For the sake of clarity I should expound upon the two key elements of my argument, "discipline," in the Foucauldian sense in which I use the term, and "virtual witnessing." According to Michel Foucault, "discipline" is "a political anatomy of detail... situated on the axis that links the singular and the multiple" (139-49), and I argue that this point, on the "axis that links the singular and the multiple," is exactly the point that enables modern science. William Gilbert's De Magnete can help us understand how knowledge and power--or epistemê and technê, to use another, perhaps more rhetorically inflected, vocabulary--combined in the early modern period to produce the effects that would become those of modern science. Gilbert provides an excellent example of the movement from the production of truth through revelation to the production of truth through discovery and the experimental method. De Magnete persuades its reader by rendering visible a formerly invisible "universal nature," 3 so that truth is no longer warranted by the invisible workings... (shrink)

This book looks at the origins and the many contemporary meanings of the virtual. Rob Shields shows how the construction of virtual worlds has a long history. He examines the many forms of faith and hysteria that have surrounded computer technologies in recent years. Moving beyond the technologies themselves he shows how the virtual plays a role in our daily lives at every level. The virtual is also an essential concept needed to manage innovation and risk. (...) It is real but not actual, ideal but not abstract. The virtual, he argues, has become one of the key organizing principles of contemporary society in the public realms of politics, business and consumption as well as in our private lives. (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)

It has become commonplace to hold the view that virtual surrogates for the things that are good in life are inferior to their actual, authentic counterparts, including virtual education, virtual skill-demanding activities and virtual acts of creativity. Virtual friendship has also been argued to be inferior to traditional, embodied forms of friendship. Coupled with the view that virtual friendships threaten to replace actual ones, the conclusion is often made that we ought to (...) concentrate our efforts on actual friendships rather than settle for virtual replacements. The purpose of this paper is to offer a balanced and empirically grounded analysis of the relative prudential value of actual and virtual friendship. That is, do actual and virtual friendships differ when it comes to enhancing our subjective well-being? In doing so, I will discuss a number of presuppositions that lie behind common criticisms of virtual friendship. This will include, among other considerations, their potential for replacing actual friendship, as well as the possibility for self-disclosure, trust, sharing and dynamic spread of happiness in virtual worlds. The purpose is not to arrive at a firm, normative conclusion, but rather to introduce a number of considerations that we should take into account in our individual deliberations over which role virtual friendships ought to have in our unique life situations. (shrink)

The coming of new Information CommunicationTechnologies (ICTs) has prompted muchcontroversy in higher education. Scholars andadministrators have been excited by thepotential – perhaps the threat – of the`virtual' university. But whilst much has beenwritten about `virtual higher education', lesshas been said about the actual `work' involved.Drawing upon insights from the sociology oftechnology, this paper reports on the attemptsof one university to reconcile ideas about`virtuality' with the more established networksand infrastructures of traditional universitylife. This research is based upon aparticipant-observation (...) study carried out inthe UK. (shrink)

In this bold work, of broad scope and rich erudition, Richard Miller sets out to reorient the philosophy of science. By questioning both positivism and its leading critics, he develops new solutions to the most urgent problems about justification, explanation, and truth. Using a wealth of examples from both the natural and the social sciences, Fact and Method applies the new account of scientific reason to specific questions of method in virtually every field of inquiry, including biology, physics, history, sociology, (...) anthropology, economics, psychology, and literary theory. Explicit and up-to-date analysis of leading alternative views and a wealth of examples make it an ideal introduction to the philosophy of science, as well as a powerful attempt to change the field. Like the works of Hempel, Reichenbach, and Nagel in an earlier generation, it will challenge, instruct, and help anyone with an interest in science and its limits. For the past quarter-century, the philosophy of science has been in a crisis brought on by the failure of the positivist project of resolving all basic methodological questions by applying absolutely general rules, valid for all fields at all times. Professor Miller presents a new view in which what counts as an explanation, a cause, a confirming test, or a compelling case for the existence of an unobservable is determined by frameworks of specific substantive principles, rationally adopted in the light of the actual history of inquiry. While the history of science has usually been the material for relativism, Professor Miller uses arguments of Darwin, Newton, Einstein, Galileo, and others both to undermine positivist conceptions of rationality and to support the positivists' optimism that important theoretical findings are often justifiable from all reasonable perspectives. (shrink)

As users of computer networks have become more active in producing their own electronic records, in the form of transcripts of onlinediscussions, ethicists have attempted to interpret this new situation interms of earlier models of personal data protection. But thistransference results in unprecedented problems for researchers. Thispaper examines some of the central dichotomies and paradoxes in thedebate on research ethics online in the context of the concrete study ofa virtual community that we carried out. We argue that alienation, notprivacy, (...) is the actual core of the ethical problems of virtual communityresearch. While practically everybody is allowed and often welcome tojoin online communities (which undermines the claim to privacy), mostparticipants would agree that members and visitors are not authorized touse, or `harvest,'' or sell the product of the group communication. To dothat, they would be expected to ask for permission preferably before thecontent has been produced, thus granting participants'' right to controltheir own product. This `non-alienation principle'' should be the basisof emergent social conventions in cyberspace. It would apply toresearchers as to anyone else. With certain types of research, wesuggest, cyberspace provides unique opportunities for empoweringsubjects by involving them as contributors in the research project. (shrink)

In a classic article, philosopher William P. Alston argues that nonrealism, “though rampant nowadays even among Christian theologians,” is “subversive” of theistic faith.1 Among contemporaries guilty of succumbing to this philosophical bogey, Gordon Kaufman is singled out as an especially illuminating example. Alston notes that in the essays that make up God the Problem, Kaufman makes use of a distinction between the “available referent” of theistic language and its “real referent,” the former indicating the actual object of religious experience (...) and responses, and the latter appearing only as the “I-know-not-what” that ultimately grounds them. By the time Kaufman writes In Face of Mystery, Alston suggests, the .. (shrink)

Your classic Jaguar XK 120 stands useless by the roadside. Why? Because you gave priority to the admittedly gorgeous 6 cylinder straight six engine; because you privileged the highest value part. Rubber pipes perish, though, and now thanks to a leak in a cheap hose the head gasket has blown. You are stranded and facing a costly bill. More seriously, your mechanical gaffe is a sign of your misunderstanding of Deleuze. Like Sir William Lyons, he engineers systems where the concept (...) of priority must not be confused with independence, separateness, abstraction or ethical superiority. As a good engineer, Deleuze's constructions are holistic and opposed to abstract hierarchies: if a crucial small, actual part perishes in a particular practical situation where it has a role to play, then it does not matter how much virtual power you have in reserve. Your feet are still in a pool of hot water as you survey the wasted potential of actual motion and ideal expressions, hand made in Coventry. (shrink)

The trolley problem is one of the liveliest research frameworks in experimental ethics. In the last decade, social neuroscience and experimental moral psychology have gone beyond the studies with mere text-based hypothetical moral dilemmas. In this article, I present the rationale behind testing the actual behaviour in more realistic scenarios through Virtual Reality and summarize the body of evidence raised by the experiments with virtual trolley scenarios. Then, I approach the argument of Ramirez and LaBarge (2020), who (...) claim that the virtual simulation of the Footbridge version of the trolley dilemma is an unethical research practice, and I raise some objections to it. Finally, I provide some reflections about the means and ends of trolley-like scenarios and other sacrificial dilemmas in experimental ethics. (shrink)

It has long been the habit of philosophers, and is still a common failing of ordinary playgoers, to see tragedy through the coloured spectacles of an acquired philosophical or religious outlook, and to commend or condemn rather from the standpoint of partiality for a certain view about life in general than from that of one assessing the intrinsic merits of a work of art. Because we all, whether laymen or specialists, theorize about the nature and destiny of that mysterious universe (...) which, for a brief span, our minds illumine, and because the working hypothesis so engendered is inevitably tinged by our personal idiosyncrasies of temperament and taste, there have been—and, building on such a foundation, there must be—almost as many different theoretical explanations of the tragic as theoreticians speculating on this high theme. Besides introducing that personal equation which has always been anathema to science, the distorted vision for which philosophical preconceptions are responsible brings with it minor illusions that are scarcely less injurious; the reading into a play or a novel of notions that had never entered the poet's brain, or the interpolation of history with incidents that never really occurred, the discarding of much that is genuinely tragic because it happens not to fit into the mould shaped by our own ideas, and the acceptance of much that is not merely untragic, but actually inartistic—pacifist, or communist, or feminist, or religious propaganda—because it happens to display the native hue of our own convictions. (shrink)

Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But, should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not (...) resolve the issue. -/- Focusing on why individual players are motivated to entertain immoral and violent fantasies, Video Games, Violence, and the Ethics of Fantasy advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. -/- Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies. (shrink)

The actual/virtual distinction is used to give an alternative account of quantum interference by way of a new theory of probability. The new theory is obtained by changing one of the axioms of the canonical theory of probability while keeping the other axioms fixed. It is used to give an alternative account of constructive quantum interference in the two-slit experiment. The account crucially involves a distinction between actual and virtual probabilities. Although actual probabilities are operational (...) and virtual probabilities are not, there is a substantial connection between them. Virtual probabilities may be obtained indirectly from actual probabilities. In showing this, interpretive considerations are brought to bear including some having to do with quantum non-locality. Directions for future research are discussed in closing.La distinción actual/virtual se utiliza para dar una explicación alternativa de la interferencia cuántica a través de una nueva teoría de la probabilidad. La nueva teoría se ha obtenido cambiando uno de los axiomas de la teoría canónica de la probabilidad y manteniendo los otros axiomas fijos. Se usa para dar una explicación alternativa de la interferencia cuántica constructiva en el experimento de la doble rendija. El informe fundamentalmente implica una distinción entre las probabilidades actuales y virtuales. Aunque las probabilidades actuales son operativas y las probabilidades virtuales no, hay una relación sustancial entre ellas. Probabilidades virtuales pueden obtenerse indirectamente a partir de las probabilidades reales. Para demostrar esta interpretación hay que tener en cuenta las consideraciones de interpretación que se ejercen entre ellos y que tienen relación con la no-localidad cuántica. Directrices para futuras investigaciones se abordan al final del artículo. (shrink)

We are living in an era when the focus of human relationships with the world is shifting from execution and physical impact to control and cognitive/informational interaction. This emerging, increasingly informational world is our new ecology, an infosphere that presents the grounds for a cognitive revolution based on interactions in networks of biological and artificial, intelligent agents. After the industrial revolution, which extended the human body through mechanical machinery, the cognitive revolution extends the human mind/cognition through information-processing machinery. These novel (...) circumstances come with new qualities and preferences demanding new conceptualizations. We have some work ahead of us to establish value systems and practices extended from the real to the increasingly virtual/info-computational. This paper first presents a current view of the virtual versus the real and then offers an interpretation framework based on an info-computational understanding of cognition in which agency implies computational processing of informational structures of the world as an infosphere. The notion of “good life” is discussed in light of different ideals of well-being in the infosphere, connecting virtuality as a space of potential and alternative worlds for an agent for whom the reality is a space of actual experiences, in the sense of Deleuze. Even though info-computational framework enables us to see both the real world and the diversity of virtual worlds in terms of computational processes on informational structures, based on a distinct layered cognitive architecture of all physical agents, there is clear difference between potential worlds of the virtual and actual agent’s experiences made in the real. Info-computationalism enables insight into the mechanisms of infosphere and elucidates its importance as cognitively predominant environment and communication media. The conclusion is that by cocooning ourselves in an elaborate info-computational infrastructure of the virtual, we may be increasingly isolating ourselves from the reality of direct experience of the world. The biggest challenges of the cognitive revolution may not be technological but ethical. They are about the nature of being human and its values. (shrink)

This article analyses the ‘live’ virtual human in ABBA Voyage, the long-awaited concert reunion of the Swedish pop group ABBA, via Vilém Flusser’s concept of the digital apparition. It first argues for these virtual performers (dubbed ‘ABBA-tars’) to be understood as externalized computational codes which shift the grounds of ownership over and consent to the use of one’s likeness. They are also key to disproportionate and as yet unaccountable power held by technology companies. Secondly, ABBA Voyage’s presentation of (...) ABBA as their past selves places time in a capitalism of immateriality profiting from the protean temporality of bodies. This temporal discombobulation thwarts finitude and confounds time in meanings of life, death and growth. The article thus addresses urgent confrontations between actual and virtual humans placed in the same physical environment, and paves the way for thinking about how we are going to deal and live with their virtuality. (shrink)

It is by now generally understood that the nature of events are central to Deleuze’s philosophical endeavour. This has not meant, however, that the process mapped out by this concept has been adequately grasped. Indeed, the lines mapping out events are obscured, theoretical, even otherworldly, whenever the complexities of the creating of the virtual and the actual as the created, are reductively conceived as giving way to two separated domains; two separated domains whereby the repeater would be forever (...) condemned to be the result of an otherworldly will that “works through it,” one that would signal that they would never be capable of becoming worthy of the events that make a life. [i] The perspectival reality of the virtual with respect to the actual, which despite its fragmentary nature is in its entirety encompassed in each singular event, requires of us that we grasp what it is that Antonin Artaud’s points to when saying, I “am my son, my father, my mother, and myself.” It is not as though events perceived in the form of a virtual complex render beings inconsequential; instead, events are capable of ousting the verb “to be” in a double sense, because they enfold what is most affirmative in the activity of beings, the being of becoming whereby a life is born, always yet again, and as a function of which, as Alfred North Whitehead notes, what an actual being is, is how that entity becomes. It is adequate to its becoming. The actual as present-being expresses the verb “to be” in an ephemeral sense, or it is expressed by it in a restrictive way, while when affirmed as indistinct from the virtual, being, the verb “to be,” implies nothing else than the return of becoming. It is an untimely instant in which what is affirmed is the continuation of becoming; an instant that makes each event be the infinite becoming-finite of an actual being. So as to explore the nature of events in Deleuze’s philosophy, it is this displacement, the ousting of the verb “to be,” that I focus in on in this paper. (shrink)

The focus of this paper is the virtual certainty that much of what we must prize in loving any human person would not have existed in a world that did not contain much of the evil that has occurred in the history of the actual world. It is argued that the appropriate response to this fact must be some form of ambivalence, but that lovers have reason to prefer an ambivalence that contextualizes regretted evils in the framework of (...) what we welcome in human life. (shrink)

Embodied interface agents are designed to ease the use of technology. Furthermore, they present one possible solution for future interaction scenarios beyond the desktop metaphor. Trust and believability play an important role in the relationship between user and the virtual counterpart. In order to reach this goal, a high degree of anthropomorphism in appearance and behavior of the artifact is pursued. According to the notion of the Uncanny Valley, however, this actually may have quite the opposite effect. This article (...) provides an analysis of the Uncanny Valley effect from a cultural and gender studies perspective. It invites readers to take a closer look at the narratives that influence the production of anthropomorphic artifacts. The article starts with a short introduction of the idea of the Uncanny Valley and gives a brief overview of current artifacts. Following this, a semiotic view on computer science is proposed, which in a further step serves as an epistemological grounding for a gender-critical rereading of the Turing test. This perspective will be supported by analyzing a classic story of user and artifact—E.T.A. Hoffmann’s narration of Olimpia. Finally, the special character of anthropomorphic artifacts is discussed by taking Freud’s concept of “Das Unheimliche”, as well as theories of identity formation into consideration, closing with a plea for a more diverse artifact production. (shrink)

…Not without a providential design, the historical events of the thirteenth century led to the Holy Land, the Order of Friars Minor. The Sons of St. Francis have since then remained in the land of Jesus … to continuously serve the local Church and to preserve, restore, protect the holy places, and their loyalty to the wishes of the Founder and the mandate of the Holy See was often sealed by acts of extraordinary virtue and generosity…Holy Land guides mediate between (...) pilgrims and multiple Jerusalems. This article focuses on the roles played in this process of mediation by Franciscan human guides in two contexts: actual Jerusalem and the virtual Jerusalem of San Vivaldo.1 The longstanding, special relationship... (shrink)

The Gamer’s Dilemma refers to the philosophical challenge of justifying the intuitive difference people seem to see between the moral permissibility of enacting virtual murder and the moral impermissibility of enacting virtual child molestation in video games (Luck Ethics and Information Technology, 1:31, 2009). Recently, Luck in Philosophia, 50:1287–1308, 2022 has argued that the Gamer’s Dilemma is actually an instance of a more general “paradox”, which he calls the “paradox of treating wrongdoing lightly”, and he proposes a graveness (...) resolution to this paradox. In response, we argue for four key claims. First, we accept Luck’s expansion of the Gamer’s Dilemma to be applicable to a wider set of media, but give a novel recasting of this in terms of the Paradox of Fictionally Going Too Far. Second, we develop a novel criticism of Luck in Philosophia, 50:1287–1308, 2022 graveness resolution to this broader paradox. Third, we argue that the Paradox of Fictionally Going Too Far helps to expose an implicit moralism in the Gamer’s Dilemma literature when compared to relevant nearby literatures about other forms of media. Fourth, we consider a range of non-moral, cultural and media conventions that plausibly help to dissolve the intuitive moral gap between non-sexual and sexual violence that is central to this paradox. (shrink)

This chapter contains sections titled: College Sex is Tagged: Become a Fan “That will get you slapped!” “Can I have your number?” A Short Genealogy of Stressful Situations Treating Objects like Women, MySpace Pics, and Level Jumping Black Holes Wrap It Up.

Preface In these days, an anthology on the topic of possible worlds hardly needs justification. No issue has given rise to as much literature in the past ...

In 1927, Paul Dirac first explicitly introduced the idea that electrodynamical processes can be evaluated by decomposing them into virtual (modern terminology), energy non-conserving subprocesses. This mode of reasoning structured a lot of the perturbative evaluations of quantum electrodynamics during the 1930s. Although the physical picture connected to Feynman diagrams is no longer based on energy non-conserving transitions but on off-shell particles, emission and absorption subprocesses still remain their fundamental constituents. This article will access the introduction and the initial (...) reception of this picture of subsequent transitions (PST) by conceiving of concepts, models, and their representations as tools for the practitioners. I will argue for a multi-factorial explanation of Dirac’s initial, verbally explicit introduction: the mathematical representation he had developed was highly suggestive and already partly conceptualized; Dirac was philosophical flexible enough to talk about transitions when no actual transitions, according to the general interpretation of quantum mechanics of the time, occurred; and, importantly, Dirac eventually used the verbal exposition in the same paper in which he introduced it. The direct impact of PST on the conception of quantum electrodynamical processes will be exemplified by its reflection in diagrammatical representations. The study of the diverging ontological commitments towards PST immediately after its introduction opens up the prehistory of a philosophical debate that stretches out into the present: the dispute about the representational and ontological status of the physical picture connected to the evaluation of the perturbative series of QED and QFT. (shrink)

From the very beginning of ancient Greek philosophy up to the present day a puzzling correlation is found between rationality and reality. In this study this relation is examined with emphasis on the philosophical tradition of Aristotle and Aquinas. A comparison is made with the virtual reality created by computers and actual reality of our universe. The view expressed in the scientific neopositivism of Jordan and Mach is found to be an adequate approach to avoid contradictions in the (...) interpretation of modern physics. A challenging hypothesis is made by updating the Laplacian Demon by a powerful creative intellect in line with Judeo-Christian tradition. With this hypothesis a new light is shed on several fundamental issues in modern science. (shrink)

This essay responds to Badiou's charge that Deleuze fails to set forth a philosophy that is “beyond Gategorical oppositions.” It is argued that this criticism of Deleuze is founded upon a misreading of the Deleuzean distinction between the virtual and the actual, a reading that carries forward Badiou's misreading of Spinoza and, hence, of Deleuze's Spinozism. With this corrected, we show how the virtual‐actual distinction operates within the experimental philosophy, or pragmatics, that Deleuze, and later Deleuze (...) and Guattari, sets forth. It is this pragmatics that is precisely the philosophy of difference that is beyond categorical oppositions. Through a comparison of Deleuzean pragmatics with the work of Hume and Peirce, we are able to respond to Badiou's further criticism that Deleuze's philosophy fails to understand the conditions for creativity in thought and culture. This criticism is itself resolved once one corrects for Badiou's misreading of Deleuze's virtual‐actual distinction. (shrink)

Second Life, a virtual world, has been heralded by some scholars and transhumanists as a sacred, “heavenly” space. Through detailed ethnographic work on Buddhist religious spaces in Second Life, this article argues instead that just as in actual life, virtual life is comprised of both sacred and profane spaces. By demonstrating different types of Buddhist spaces, community-practice-oriented and individual-practice-oriented, and the meaning that these spaces hold for practitioners, readers come to understand that the sacrality in Second Life (...) is just as contingent and constructed as it is in the actual, physical world. (shrink)