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)

I discuss how virtual reality can be used to acquire self-knowledge. Lawlor (Philos Phenomenol Res 79(1):47–75, 2009) and Cassam (Vices of the mind: from the intellectual to the political. OUP, Oxford, 2014) develop inferential accounts of self-knowledge in which one can use imagination to acquire self-knowledge. This is done by actively prompting imaginary scenarios and observing one’s reactions to those scenarios. These reactions are then used as the inferential basis for acquiring self-knowledge. I suggest that the imaginary scenarios (...) can be in principle replaced with scenarios in virtual reality in a way that still provides an inferential basis for self-knowledge. Instead of internal prompting in imagination, I call this external prompting in virtual reality. I discuss the advantages and disadvantages of external prompting. On one hand, external prompting avoids some of the common biases that can intervene with internal prompting in imagination. On the other hand, external prompting comes with some challenges of its own. External prompting might be more time-consuming and might be open to a game-like approach of the agent leading to a different sort of distortion that gets in the way of self-knowledge. I suggest that these are practical challenges, but nevertheless, external prompting seems worthwhile for self-knowledge that is otherwise especially difficult to acquire. (shrink)

A virtual reality module that incorporates a training room (for subjects to become accommodated to virtual environments) and VR translations of Philippa Foot's Trolley Problem and Judith Thomson's Violinist thought experiment. -/- These modules are free to use for classroom or research/x-phi purposes. This set of modules is optimized for the HTC Vive. If you have an Oculus Rift, please see our VR modules optimized for the rift. -/- *Requires an HTC Vive and VR capable computer. To (...) access the simulation, uncompress the .zip folder and run the executable (.exe) file. (shrink)

It is common in the cognitive and computational sciences to regard virtual reality (VR) as composed of illusory experiences, given its immersive character. In this paper, we adopt an ecological-enactive perspective on cognition (Sect. 3) to evaluate the nature of VR and one’s engagement with it. Based on a post-cognitivist conception of illusion, we reject the commonly held assumption that virtual reality experiences (VREs) are illusory (Sect. 4). Our positive take on this issue is that VR (...) devices, like other technological devices, can be embodied during use, which is why they can be the source of experiences (Sect. 5). We then propose a new concept to interpret VREs, namely, _allusion_, which means that the subject acts _as if_ the virtual experiences are real (Sect. 6). This kind of engagement has a volitional aspect, which is evident in the onboarding of VR devices and which allows us to distinguish VREs from other experiences. We conclude that, even though we have experiences that afford certain interactions in VR, the strong continuity between cognitive and biological processes is not sustained therein. This characterizes a difference of kind—given the current state of technology—between VREs and fully fledged cognitive states, which nevertheless allows for constrained experimentation in cognitive science. (shrink)

A virtual reality translation of Philippa Foot's original "Trolley Problem." These modules are free to download and use in the classroom and for research/x-phi purposes. -/- *Requires an Oculus Rift or HTC Vive and VR capable computer. To open the files, uncompress the downloaded .zip folder and run the executable (.exe) file.

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.

The prelims comprise: Introduction Virtual Reality Virtual Metaphysics Virtual Identity Economic Reality.

This is a virtual reality simulation that imagines its subject as emerging from a long stint in Robert Nozick's "Experience Machine." The simulation is an interview (with many branching paths) meant to gauge the subject's views on the metaphysics of virtual objects and the ethics of virtual actions. It draws heavily from the published work of David Chalmers, Mark Silcox, Jon Cogburn, Morgan Luck, and Nick Bostrom. *Requires an Oculus Rift (or Rift-S) or HTC Vive and (...) a VR capable computer. To open the files, uncompress the downloaded .zip folder and run the executable (.exe) file. **This module is made possible due to an APA Small Grant and a grant from Oculus Education. (shrink)

This book examines the ethics of virtual reality technologies. New forms of virtual reality are emerging in society, not just from low-cost gaming headsets, or augmented reality apps on phones, but from simulated “deep fake” images and videos on social media. This book subjects the new VR technological landscape to ethical scrutiny: assessing the benefits, risks and regulatory practices that shape it. Though often associated with gaming, education and therapy, VR can also be used for (...) moral enhancement. Journalists, artists, philanthropic and non-governmental organisations are using VR films, games and installations to stimulate user empathy to marginalised peoples through a combination of immersion, embodiment and persuasion. This book critically assesses the use of VR for empathy arousal and pro-social behaviour change, culminating in the development of a VR “ethical tool” – a device to facilitate reflective ethical judgement. Drawing upon the pragmatist philosophy of John Dewey, virtual reality is reshaped as “dramatic rehearsal”. This book explains how a combination of immersive environment-building, moral imagination, choice architecture and reflective engagement can stimulate a future-focused and empathic ethics for users of the technology. (shrink)

The economic explanation of individual behaviour, even behaviour outside the traditional province of the market, projects a distinctively economic image on the minds of the agents involved. It suggests that, in regard to motivation and rationality, they conform to the profile of homo economicus. But this suggestion, by many lights, flies in the face of common sense; it conflicts with our ordinary assumptions about how we each feel and think in most situations, certainly most non-market situations, and about how that (...) feeling and thought manifests itself in action. What, then, to conclude? That common sense is deeply in error on these matters? That, on the contrary, economics is in error—at least about non-market behaviour—and common sense sound? Or that some form of reconciliation is available between the two perspectives? This paper is an attempt to defend a conciliationist position. (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)

The economic explanation of individual behaviour, even behaviour outside the traditional province of the market, projects a distinctively economic image on the minds of the agents involved. It suggests that, in regard to motivation and rationality, they conform to the profile of homo economicus. But this suggestion, by many lights, flies in the face of common sense; it conflicts with our ordinary assumptions about how we each feel and think in most situations, certainly most non-market situations, and about how that (...) feeling and thought manifests itself in action. What, then, to conclude? That common sense is deeply in error on these matters? That, on the contrary, economics is in error—at least about non-market behaviour—and common sense sound? Or that some form of reconciliation is available between the two perspectives? This paper is an attempt to defend a conciliationist position. (shrink)

An emerging line of research in bioethics questions whether enhanced love is less significant or valuable than otherwise, where "enhanced love" generally refers to cases where drugs (e.g., oxytocin, etc.) are relied on to maintain romantic relationships. Separate from these debates is a recent body of literature on the philosophy and psychology of "Virtual Reality (VR) dating," where romantic relationships are developed and sustained in a way that is mediated by VR. Interestingly, these discussions have proceeded largely (...) independently from each other. This article considers whether and to what extent philosophical arguments leveled against the value of enhanced love in the pharmacological case extend to cases where loving relationships are technologically mediated via VR rather than pharmacologically mediated. It will be argued that, while some worries about the pharmacological case do not extend over in a way that will be particularly problematic for VR, two (of the four arguments considered) are more prima facie serious. I conclude by suggesting why even these stronger argument strategies are not insurmountable and, thus, that there is reason to be cautiously optimistic that VR-mediated love can largely withstand variations on the bioconservative critiques that target pharmacologically enhanced love. (shrink)

While the pedagogical benefits of experiential learning are well known, classroom technology is a more contentious topic. In my experience, philosophy instructors are hesitant to embrace technology in their pedagogy. A great deal of this trepidation is justified: when technology serves only to replicate existing methods without contributing to course objectives, it unnecessarily adds extra work for the instructor and can even be a distraction from learning. However, I believe, if applied appropriately, technology can be used to positively enhance (...) the philosophy classroom experience in ways that are not possible in traditional classroom settings – including new ways of experiential learning. To demonstrate this, I offer a case study of implementing virtual reality as a tool for experiential learning of philosophy. I show how having students “walk a plank” off a skyscraper in VR allowed me to exceed my course objectives for my Existentialism course in particularly effective ways that I could not have done without this technology. (shrink)

Paisley Livingston on Stanislaw Lem and the history and philosophy of Virtual Reality. The technologies and speculations associated with “virtual reality” and cognate terms have recently made it possible for scores of journalists and academics to develop variations on a favorite theme - the newness of the new, and more specifically, the newness of that new and wildly different world-historical epoch, era, or Zeitgeist into which we are supposedly entering with the creation of powerful new (...) machines of simulation. The innovative powers of the machines of virtual reality are so extensive, it would seem, that they are even supposed to be able to achieve the extraordinary feat of revitalizing that tired journalist genre, “gee-whiz” scientific reporting. “Gee whiz,” one can now read, “you just put on a data glove and don the head-mounted display helmet, and step right into a whole new world where the old reality - and even the tired, old-fashioned notion of reality as such - gets replaced by the non-existent reality simulated by the machine. You can fight battles and have sex with people who aren’t anywhere near you, or who never even existed. Why you can actually, I mean really, interact with an illusion!”. (shrink)

The article provides an analysis of one problem related to the discussion of the ontologi­cal status of virtual reality. The author proposes to discuss the problem of the reality of virtual worlds in terms of transformed forms. In this regard, an analysis is given of how this concept was introduced by K. Marx and how it was discussed further in the scientific literature. It is proposed to perceive the transformed form not as a perverted or false (...) real­ity, but as a separate form of life presented in its transformation. An example is the meta­morphosis of the cost of labor into the monetary form of a commodity, as was shown in Capital. On this example, a proposal is made, according to which virtual reality is the same transformed form of reality, and not an illusion of consciousness, and not an imaginary world. The qualities of the transformed form of reality are introduced: 1) a separate, but not independent form of life; 2) playing a role in the process of trans­formation as an indirect form; 3) representation in the form of a copy of the original; 4) sign-symbolic mode of existence; 5) dependence on the original, generic form of real­ity, not independence. It is shown that virtual reality is, as it were, an unembodied form of reality, existence in its potency. Such a representation was presented in the history of philosophy in the form of the idea of potential being. But this idea did not subse­quently become the basis for the development of an independent ontology of virtual real­ity. A distinction is made between the concept of virtual reality as a reality, not an illusion (the reality of digital objects) in the concept of D. Chalmers, and reality in the form of its transformed form. It is shown that virtual reality is not reduced only to the reality of imaginary worlds, to the reality of consciousness, the reality of special psychological states. The rationale is given that virtual reality is the continuation of a natural-artificial process of metamorphosis of human activity, only embodied in its transformed form. In this regard, the author proposes to interpret virtual reality as a form of life in its trans­formation and non-incarnation, which a person must use as a new resource for their de­velopment in order to overcome alienation from themselves. (shrink)

An extended approach to the comprehension of virtual reality is developed in the article. Virtual reality is understood not only as a logically possible or cybernetically constructed reality but also as continuous turbulence of potencies of the complex natural and social world we live in, the wandering of complex systems and organizations over a field of possibilities, such a realization of forms and structures in which many formations remain in latent, potential forms, and are in (...) the permanent process of making and multiplying a spectrum of possibilities, lead to the growth of the evolutionary tree of paths of development. It is shown that such an understanding of virtual reality corresponds to concepts and notions developed in the modern science of complexity. The most significant concepts are considered, such as the nonlinearity of time, the relationship of space and time, the uncertainty of the past and the openness of the future, the choice and construction of the future at the moments of passing the bifurcation points. Some cultural and historical prototypes of these modern ideas of virtual reality are given. It is substantiated that the vision of virtual reality being developed today can play the role of a heuristic tool for understanding the functioning and stimulation of human creativity. (shrink)

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

The virtual annuls all suspension of time that could, through its tragic or stylistic character, confer to time an existential value. This condition is contrasted with time as it functions in dreams. On the grounds of these observations it is shown that there are resemblances between “autistic” symptoms and the virtual world.

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)

Where will the philosophers of the future come from and can we have civilization without them? In this paper I argue that there is a co-dependent relationship between philosophy and civilization, one that has emerged and developed in relation to the emergence of information technologies, particularly writing and print and conditions for deep and prolonged concentration. The internet, however, today’s powerful information technology which is increasingly mediating humanities relationships, is proving to be a technology which threatens this relationship. The (...) internet is a technology which draws us in, obliterating the distance required for critical thought. Unless we can find ways to distance ourselves from this technology, this creator of high fidelity virtual realities, we will become trapped in our hi-tech representations. This will be the triumph of virtual reality and perhaps the end of civilization and philosophy. (shrink)

This chapter contains sections titled: Virtual Reality: Immersive Pornography Welcome to the Hyperreal World The Future Obsolescence of Real Women Hyper‐Romance is Porn Too Down the Rabbit Hole: Sexual Deviancy Flourishes in Unbounded Realities Conditioned to be Sexually Deviant Indulging in Forbidden Fruits Online User Malfunction: Virtue Theory for a Virtual World The Pornographic Singularity: A Bleak Prophecy Notes.

Hacking argues against van Fraassen's constructive empiricism by appeal to features of microscopic imaging. Hacking relies on both our practices involving imaging instruments and the structure of the images produced by these micropractices. Van Fraassen's reply is formally correct yet fundamentally unsatisfying. I aim to strengthen van Fraassen's reply, but must then extend constructive empiricism, specifically the central notion of "theoretical immersion." I argue that immersion is more analogous to entering a virtual reality than to learning a language. (...) This metaphor assimilates instrument-based practice as well as theoretical debate and explanation, and can provide an anti-realist view of our micro-practices consonant with constructive empiricism. (shrink)

Molecular models are typical topics of chemical research depending on the technical standards of observation, computation, and representation. Mathematically, molecular structures have been represented by means of graph theory, topology, differential equations, and numerical procedures. With the increasing capabilities of computer networks, computational models and computer-assisted visualization become an essential part of chemical research. Object-oriented programming languages create a virtual reality of chemical structures opening new avenues of exploration and collaboration in chemistry. From an epistemic point of view, (...) virtual reality is a new computer-assisted tool of human imagination and recognition. (shrink)

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

As the technological phenomenon known as the worldwide web permeates civilization, it creates some cultures and destroys others. In this pioneering book, philosopher Thomas Langan explores "virtual reality"Can inherently contradictory phrase"and the effects of technology on our very being. In our present-day high- technology environment, making simple, everyday decisions is difficult because the virtual world we've created doesn't necessarily operate according to the old "common sense." To retain our intellectual fitness, we must, Langan argues, consider these essential (...) questions: If virtual reality is, in fact, reality, what is this life that we are caught up in? What is _being_ within the context of virtual reality? How can we establish a system for distinguishing truth from fiction? Although technology minimizes distances between people and makes the information they seek more accessible, it simultaneously blurs the line dividing fact from falsehood and real from virtual. An individual's intellectual survival is threatened as technological advancement challenges our collective understanding of what reality is. Because much of the information that is presented as fact simply works to fulfill a specific agenda, we cannot accept as truth everything that appears on the internet or in the media. To survive, we must learn to manage our lives and resources despite the flood of information we are bombarded with daily. Addressing the general educated reader, _Surviving the Age of Virtual Reality_ expertly interweaves the worlds of technology and philosophy, pushing the analysis of this technological and human phenomenon to new depths. (shrink)

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

National economies have developed self-reinforcing tendencies and detached themselves from real economic life. In order to understand this phenomenon and find political instruments to control it, systems of national economies can be conceived as virtual realities. This requires a new comprehension of reality. The author suggests different ontological classes, which can be described in terms of the relations among them.

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

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

Critics and researchers apply various criteria to evaluate the efficacy of VR, including the conformity of VR environments to the character of place. I wish to add a further test: do VR environments enable thought? The paper thus applies to VR the controversial proposition advanced by Clark and others that thinking, i.e. human cognitive processes, are situated and spatial. As a further term in this mix I introduce the concept of non-place, as elucidated by Augé and propose that non-places can (...) be characterized as unthinking spaces, i.e. spaces that provide little assistance to the thought processes of their occupants. Perhaps non-places only offer thepossibilities afforded by a kind of cognitively impoverished instrumentalism. The conclusion from these propositions is that it is instructive to couch the problematics of VR environments in terms of non-places that do not easily accommodate thought, or thoughtful interaction, were it not that thought thrives on transitions, thresholds and boundary conditions between the strange and the familiar. (shrink)

In Playtest, our thrill‐seeking protagonist Cooper tests SaitoGemu's “interactive augmented reality system.” As the fears he must face in “the most personal survival horror game in history” ramp up, Cooper begins to lose the ability to tell what's real and what isn't and decides he wants out, only to find that isn't so simple. But will virtual reality really be that scary? Perhaps no more than books, films and traditional video games, especially when the novelty wears off. (...) Perhaps the real moral of Playtest is “Call your mom”. But beneath the surface a much darker lesson lurks: that when our fantasies feel real, and have the power to hurt, they are no longer just a game. Virtual reality can build a bridge between what seems real and what is real, and this means its power to scare us silly is not just novel: it's revolutionary. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Reality+: Virtual Worlds and the Problems of Philosophy by David J. ChalmersAnand Jayprakash Vaidya (bio)Reality+: Virtual Worlds and the Problems of Philosophy. By David J. Chalmers. New York, NY: W.W Norton & Company, 2022. Pp. xi + 520. Hardcover $22.49, isbn 978-0-393635-80-5.It isn't uncommon to think that virtual worlds, the worlds we engage with in video games, for example, are not (...) real or at least less real than the ordinary world. After all, they are worlds that are created by us, and thus are less real than the world we didn't create, mind-independent reality. However, in Reality+, David Chalmers argues for the thesis that virtual reality is genuine reality.Reality+ is the twenty-first century equivalent of Bertrand Russell's twentieth century The Problems of Philosophy, published 110 years prior. Like Russell, Chalmers' goal is to explain the basic problems of philosophy to a wide audience.The book's twenty-four chapters are organized into seven different parts: virtual worlds, knowledge, reality, real virtual reality, mind, value, and foundations. Each section has about three to four chapters. Having taught the book in an upper-division philosophy of mind course, I would say that the first nine chapters should be read together to get a good sense of the whole project, because they give shape and structure to Chalmers' basic arguments and positions. The following fifteen self-explanatory, self-contained, chapters, are independently engaging, and can be taught separately, as standalone works of philosophy.Chalmers engages in what he terms technophilosophy, which is the combination of (1) asking philosophical questions about technology and (2) using technology to help answer traditional questions of philosophy. He claims that he draws inspiration for the project from Patricia Churchland's 1986 Neurophilosophy, where she does the equivalent of (1) and (2) with neuroscience. Reality+ delivers clear arguments, referencing historical and contemporary philosophical work, while frequently drawing from science fiction, including several outstanding Rick and Morty -style illustrations. The use of science fiction helps to connect students to abstract ideas, while the robustly constructed arguments serve to instruct students on how to go about critically examining the ideas. My students found the book accessible and engaging. I imagine the book [End Page 1] will become even more relevant to successive classes, as the issues Chalmers discusses grow more dominant in the future.Chapter 1, "Is this the real life?", begins by discussing Indian and Chinese philosophy in relation to Greek philosophy with respect to theme of illusion/dreams vs. reality. In all three traditions, one finds discussion of the nature of reality and whether we can know it. Chalmers thinks that each of these traditions helps to formulate the basic questions of his book: the knowledge question, the reality question, and the value question.The knowledge question: can we know whether or not we are living in a virtual world? In part 2, Chalmers argues that we cannot know that we are not living in a virtual world. He does so by defending his own version of Nick Bostrom's simulation argument (2003), which very roughly goes as follows: (1) If there is nothing (technological or otherwise) that would serve to block the creation of a perfect simulation of a humanlike being into existence (what he calls a sim blocker), then most humanlike beings are simulations. (2) if most humanlike beings are simulations, we are probably simulations. So, (3) if there are no sim blockers, we are probably sims.The reality question: are virtual worlds real? He argues that virtual worlds are genuinely real by examining a variety of definitions of what makes something real in chapter 6. I will examine this argument in more detail in the following section.The value question: can you lead a good life in a virtual world? He argues that one can, in parts 5 and 6. He says: "In principle, life in virtual reality can have the same sort of value as life in nonvirtual reality. To be sure, life in virtual reality can be good or bad" (p. 311).As successful as Reality+ is, philosophical counterpoints arose in my mind. In the next section, I present... (shrink)

The tone of its title notwithstanding, this book is not a self-help tract hawking glib recipes for success in the Cyber Age, nor even a contribution specifically to the philosophy of technology. Although Langan hopes for a broadly literate readership, his task is to understand “the Being of the epoch in which we are trying to survive” as requisite to deciding how best we should live. The problem of surviving the age of virtual reality thus rejoins the (...) perennial concerns of philosophy in a renewed gigantomachia over Being. (shrink)

Virtual reality (VR) offers a simulated environment where users can interact directly with their surroundings and provokes questions about embodiment and disconnection. This article will demonstrate how VR’s unique embodiment features differentiate it from the experience of non-VR online and video games and allow the transfer of movement and first-person perspective into the ‘gamespace.’ Drawing upon Merleau-Ponty’s concept of embodiment, I will argue that 1) VR is a coping experience, and 2) the VR environment becomes the world of (...) our engagement. This understanding of the VR experience allows us to reassess this technology, showing how it uses bodily action and perception to open up new digitally-mediated possibilities for connection. (shrink)

ABSTRACT In the following article, I examine Martin Heidegger’s philosophy of dwelling with a view to its importance for the concept of ‘place’. It is my interest to show how a phenomenological concept of place can elucidate the phenomenology of virtual reality. I begin by contextualising the investigation through a presentation of Jeff Malpas’ concept of the non-autonomy of the virtual, and argue for a clearer understanding of the notion of causal non-autonomy. Furthermore, I argue that (...) the autonomy or lack thereof of virtual reality should not lead to the conclusion that virtual reality cannot be experienced and examined as a self-standing entity; that in order to properly understand virtual reality, we cannot limit ourselves to the reductionistic view presented by Malpas, but must account also for the phenomenology of experiencing virtuality – and under such a phenomenological consideration, the distinctions made between non-virtual and virtual reality are made more diffuse. I then argue that we can plausibly accept that places may exist in virtual reality, despite current technological and practical limitations. In addition, I go on to consider some possible metaphysical differences between virtual and non-virtual places. (shrink)